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<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8" />
<meta content="IE=edge" http-equiv="X-UA-Compatible" />
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<!--Bootstrap 4.6.0 + JS-->
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<title>Tatlong Taóng Walang Diyos Exhibit Catalog</title>
</head>
<body>
<header>
<nav class="topnav navbar navbar-expand-lg navbar-dark bg-black fixed-top">
<button aria-controls="navbarNav" aria-expanded="false" aria-label="Toggle navigation" class="navbar-toggler"
data-target="#navbarNav" data-toggle="collapse" id="menubutton" type="button">
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<div class="navbar-dark collapse navbar-collapse" id="navbarNav">
<div class="navbar-nav" style="margin-left: 2em">
<a class="nav-link" href="#exhibition-brief">Exhibition Brief</a>
<a class="nav-link" href="#selected-photos">Selected Photographs</a>
<a class="nav-link" href="#profiles-link">Profiles</a>
<a class="nav-link" href="#contact-form">Contact</a>
</div>
</div>
</nav>
<div class="jumbotron" id="header-texts">
<h1>Tatlong Taóng Walang Diyos</h1>
<h2>Exhibit Catalog</h2>
<br />
<br />
<h3>Stall #09, Cubao Expo</h3>
<h3>Sep 14 - Oct 30, 2019</h3>
<br />
<p>
An exhibition of images that chronicle the three years of Duterte
rhetoric conditioning policy and practice. Featuring photographs by
The Nightcrawlers.
</p>
</div>
</header>
<main>
<hr id="exhibition-brief" class="divider-exhibit-brief" />
<div class="container clearfix">
<h1>Exhibition Brief</h1>
<div id="container">
<div class="poster-img clearfix">
<img
alt="Poster of the exhibit. A man is in the middle of the road wearing a red shirt and cap. He has a raised fist. There is a burning effigy behind him. In the background, people are in a rally and looking at the fire."
src="assets/posters/poster1.jpg" />
</div>
<!-- vertical carousel adapted from https://codepen.io/yeoli-thm/pen/ajVZjv -->
<input hidden="" id="button_1" name="carousel-control" type="radio" />
<input hidden="" id="button_2" name="carousel-control" type="radio" />
<input hidden="" id="button_3" name="carousel-control" type="radio" />
<div class="brief-text" id="carousel">
<div class="p-wrapper">
<section class="panel_a">
<p>
President Rodrigo Duterte assumed office on June 30, 2016. In
his 2019 State of the Nation address marking the midpoint of
his presidency, the first issue he addressed was the
persistence of the drug problem, making a connection between
“drug money” and the Marawi Siege in 2017 and citing the 175
men in the military and the police killed in the 5-month
battle. And the first solution he offered was to “respectfully
request Congress to reinstate the death penalty for heinous
crimes related to drugs.” This was received with applause in
what seems to be the natural progression from the applause
also received by his 2018 SONA statement, “Your concern is
human rights; my concern is human life.”
</p>
<p>
The first human right is the right to life. It has been made
clear in the most chilling fashion that those killed had their
lives taken because they are not human. In a nation where the
justice system barely moves, corpses are automatically
perceived as those of the ‘adik.’ Their having been killed is
the evidence of the crime that warranted the delivery of
justice right on the streets, in ditches, or in their homes.
Their being dead is testimony that they, as criminals or drug
addicts, are no longer human and therefore worth
exterminating. Should a child find herself in the crossfire,
she is merely collateral damage in this war.
</p>
<p>
Tatlong Taóng Walang Diyos is an exhibition of images that
chronicle the three years of Duterte rhetoric conditioning
policy and practice. The title is a nod to Mario O’Hara’s 1976
period film set in the three years of the Japanese Occupation,
pivoting the full weight of the brutality of the occupation on
the body of a woman named Rosario whose narrative, steeped in
the sorrowful mysteries, prompts a cruel test of faith in a
time seemingly abandoned by an indifferent God.
</p>
</section>
<section class="panel_b">
<p>
Revisiting this film in late 2016, the film critic Noel Vera
uses it as a telescoping lens for what might lie ahead in
Duterte’s 6-year presidency. At this 3-year midpoint, this
exhibition is an effort to keep in focus the difficult and
wearying task of bearing witness carried out by
photojournalists who cover the war on drugs. The images
selected from the photographers informally grouped as the
“Night Crawlers” capture scenes of the killings, fixing within
the frames both the killed and the police presiding over
homicide cases under investigation [HCUIs that now number in
staggering thousands difficult to ascertain because of a lack
of competent and credible counting]; and encapsulate moments
of grief, loss, and trauma but also of resistance and
survival. Some of these photographs have been circulating in a
traveling exhibition organized by Rise Up, a network of
advocates and families of victims of drug-related killings.
Photographs of those killed including minors when they were
still alive line shelves in the exhibition to provide
portraits of human lives--to retrieve the dignity of the
victims before they were summarily killed.
</p>
<p>
As visual records of the war on drugs, the graphic images are
viewed very differently:
</p>
<ul class="brief-text">
<li>
as powerful indictments against the toll of war, engendering
in a steadily growing demographic a renouncement of the
killings; or
</li>
<li>
as dramatic incitements, engendering in a demographic
staunchly loyal to President Duterte a renouncement of these
images that are seen as destabilizing the Philippine
government.
</li>
</ul>
<p></p>
</section>
<section class="panel_c">
<p>
In addition, photographs of family members holding up photos
of the killed compiled by Resbak (a loose organization of
photographers, journalists, and artists) throw light on the
toll of the war on drugs. For a country that prides itself
with the greeting, “Mabuhay!” and a culture that has a
predilection for the use of honorific familial titles such as
“Kuya” and “Ate,” “Manong,” “Manang,” “Tay,” or “Nay” even for
strangers, we have to reckon with the dissonance of the
respect and affection these terms suggest with the kind of
evisceration of families and communities incurred. The killed
and the survivors of the killed are not just alleged drug
personalities but mothers, fathers, daughters, sons, sisters,
and brothers.
</p>
<p>
Video and film, artworks, and a neon piece complement the
searing images of the photojournalists. The Night Crawlers,
Rise Up, Resbak, Paalam.org, and individual artists and
filmmakers have contributed work to this exhibition to defy
the seeming apathy, silent resignation, or trumpeted
conviction that every single one of these killed did not
deserve due process, compassion, justice, or dignity. The
Greek philosopher Epicurus observed, “God does not interfere
in the affairs of men.” In what can be perceived as a godless
time when the most vulnerable demographic of society--first
abandoned to their penury then to the aggressive culling
within their communities, this exhibition attests to the human
spirit and human will to resist impunity, to demand
accountability, and to express kinship with victims and
survivors of the fatuous war on drugs. Sa tatlong taóng walang
Diyos, tayong mga tao ang magbubuklod sa pakikipagkapwa-tao.
</p>
<p>—Carina Evangelista, 2019</p>
</section>
</div>
<!-- // .p-wrapper -->
</div>
<!-- // #carousel -->
<div class="brief-nav" id="navigation">
<label class="label_a" for="button_1"><span>1</span></label>
<label class="label_b" for="button_2"><span>2</span></label>
<label class="label_c" for="button_3"><span>3</span></label>
</div>
<!-- // #navigation -->
</div>
</div>
<!-- // #container -->
<hr id="selected-photos" />
<div class="general-container container clearfix">
<h1>Selected Photographs</h1>
<div class="main-photo-container container-gallery">
<div class="img-container clearfix">
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/acayan.jpg"><img
alt="Three men are in the foreground. From the left, two are wearing black uniforms with a mask. The man in the middle has a skull design in his mask. He is holding an assault rifle. The man beside him is wearing a casual green shirt and a surgical mask. His arms are crossed."
src="assets/photos/acayan.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Ezra Acayan</h4>
<p>
Armed guards take position outside the Parañaque city jail,
Metro Manila, Philippines, August 12, 2016. An alleged grenade
blast killed 10 inmates, 8 of whom were awaiting trial for
drug-related cases.
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/dela-cruz.jpg"><img
alt="A funeral. A boy is resting his cheek on the casket of a 16-year old girl and seems to be looking at a picture of Jesus pinned on the casket door. Beside him are two women mourning. The casket is line with Hello Kitty stickers. There is also a Hello Kitty backdrop."
class="sensitive" src="assets/photos/dela-cruz.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Kimberly dela Cruz</h4>
<p>
A relative mourns beside the coffin of Nercy Galicio in
Navotas before the burial on Sunday, April 30, 2017. Galicio
was known to have used marijuana and was abducted and killed
last April 18 by unknown suspects. She was a big fan of Hello
Kitty and was only 16 when she was killed.
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/go.jpg"><img
alt="A man lies dead on the ground. There is a yellow evidence marker #1 near his hand. There is also blood and a gun on the ground. His foot is bare. His slippers are near him. There is a evidence marker #2 beside it. A dark blue-green Mitsubishi L300 is near his body. To the right is a policeman wearing a cap, surgical mask and gloves. There are inside a police line tape. In the foreground, a sign says ‘Reserve Parking.’ In the background are weeds, grass and trees and electric lines."
class="sensitive" src="assets/photos/go.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Vincent Go</h4>
<p>
A still unidentified male killed during a police operation
along West Service Road, Brgy. 160, Caloocan City early Sunday
morning, August 18, 2019
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/lerma.jpg"><img
alt="Crying faces were drawn using black markers on a white cloth. Four women are wearing are wearing this mask covering their entire face. Another person is partly hidden behind one of them, wearing a cap and the mask. In the background is a blurry image of a footbridge filled with people and a church cross."
src="assets/photos/lerma.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Raffy Lerma</h4>
<p>
Present among the crowd of thousands, families of victims of
extrajudicial killings whose faces are covered to conceal
their identities, listen as names of victims killed under the
Duterte administration are read during a protest outside the
congress where President Rodrigo Duterte simultaneously
delivered his State of the Nation Address, on July 23, 2018.
</p>
<p>
In his SONA speech, the president declared that the war on
drugs will not stop and will be as chilling and relentless as
the first day it began.
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/lopez.jpg"><img
alt="An image of an altar. The centerpiece is Jesus on the cross. To the left is status of the Sto. Nino with an image of Our Lady mounted on the wall. The right part of the altar is a statue of the Virgin holding baby Jesus. Plants and flowers are in front of the altar table covered. To the left of the altar is a pool of blood."
class="sensitive" src="assets/photos/lopez.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Eloisa Lopez</h4>
<p>
The blood of slain Catholic priest Richmond Nilo stains the
floor of a community chapel in Zaragoza, Nueva Ecija province,
Philippines, June 11, 2018. Nilo was shot to death by unknown
gunmen as he was preparing to celebrate mass before
parishioners.
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/santiago.jpg"><img
alt="An empty stretcher sits by side of a road. There is a pool of blood in the gutter. A policeman wearing a cap and gloves is about to leave. A crowd forms behind a yellow police tape looking at the scene."
class="sensitive" src="assets/photos/santiago.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Bro. Ciriaco Santiago, CSsR</h4>
<p>Cebu--August 7, 2019</p>
<p>
Mactan, Cebu-- By-standers watch as the police take away the
body of Edward Zanoria.
</p>
<p>
In August 2011 he was arrested in a buy-bust operation by the
police. He had been released from jail only a few days before
he was shot.
</p>
<p>
This is one of many incidents where recently released inmates
are killed.
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/see1.jpg"><img
alt="A photograph of a man’s legs and feet. The number ‘III’ was written using a black marker on one of his legs. He is partially covered by cloth."
src="assets/photos/see1.jpg" style="width: 100%" />
<p></p>
</a>
<a href="assets/photos/see2.jpg"><img
alt="A photograph of a man’s legs and feet. The number ‘II’ was written using a black marker on one of his legs. He is inside a black body bag. He was laid on a tiled ceramic floor."
src="assets/photos/see2.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Aie Balagtas See</h4>
<p><b>The Night They Became Statistics</b></p>
<div id="dyptich">
<p>Here are numbers 3 and 2</p>
<p>Together they make: 5, 6, or 32</p>
<p>No names, no faces</p>
<p>Just numbers with blood traces</p>
<p>Justice? What justice?</p>
<p>They're not humans, they're statistics</p>
</div>
<br />
<p>
President Rodrigo Duterte on 32 Bulacan killings: "Maganda
'yun. Patay pa tayo ng another 32 everyday, maybe we can
reduce what ails this country."
</p>
</div>
</div>
<div class="media-box">
<div class="thumbnail">
<a href="assets/photos/sepe.jpg"><img
alt=" man is in the middle of the road wearing a red shirt and cap. He has a raised fist. There is a burning effigy behind him. In the background, people are in a rally and looking at the fire."
src="assets/photos/sepe.jpg" style="width: 100%" /></a>
</div>
<div class="caption-box">
<h4>Basilio Sepe</h4>
<p>
Protesters burn an effigy of President Rodrigo Duterte during
his third State of the Nation Address (SONA) near the
Philippine Congress in Quezon City on Monday. July 23, 2018.
The groups protested against the current administration for
allegedly failing in his promises such as ending
contractualization, alleviating poverty and their so-called
war on drugs, which has killed thousands, mostly the poor.
</p>
</div>
</div>
</div>
</div>
</div>
<hr id="profiles-link" />
<div class="container bio-box clearfix general-container profiles">
<div class="photogs-box">
<div class="box" id="nightcrawlers">
<h3>Photographs by <b>The Nightcrawlers</b></h3>
</div>
<br />
<div class="nightcrawlers-box">
<div class="box">
<p>
<b>Ezra Acayan</b> says, “I am a human first, before I am a
journalist.” Acayan focuses on documentary journalism and
photography that highlights social issues and human rights.
</p>
<p>
He has won multiple awards, including the Human Rights Press
Award (2017) and the Young Photographer of the Year Istanbul
Photo Awards (2018), for multi-media reporting on the drug war.
Last year, he was also a finalist in the International
Photography Awards’ Photographer of the Year. Acayan’s work has
been exhibited in many countries, including Geneva, France and
Germany.
</p>
</div>
<div class="box">
<p>
<b>Kimberly Dela Cruz</b> (KDS) is a freelance photographer and
journalist based in Manila. While studying Journalism, she
started photographing student protests and later joined the
Philippine Daily Inquirer. She has been covering the war on
drugs since July 2016. In 2017, she co-produced “Si Kian,” a
children’s book on the murder of Kian Delos Santos that won the
2018 National Children’s Book Award. In the same year, she
became a fellow for the International Women’s Media Foundation
and was sent to cover stories in El Salvador. In 2019, Dela Cruz
was selected as a finalist for the Inge Morath Award by Magnum
Foundation.
</p>
<p>
Her works have appeared in The Washington Post, The Guardian,
Time, Al Jazeera, Buzzfeed News, The Irish Times, Nikkei Asian
Review, Philippine Daily Inquirer and in exhibits across the
globe.
</p>
</div>
<div class="box">
<p>
<b>Vincent Go</b> (VG) engages photojournalism as a method to
show the truth behind the stories of ordinary people. “In
advertising, the main objective is to sell the product. You can
crop and make an ugly image into a beautiful one in order to
sell. Photojournalism is different. You are telling a story
about the social issues with your photos. I find it more
challenging.”
</p>
<p>
Go’s commitment to journalism is more than a professional
career. He sees this work as an advocacy to value life.
</p>
</div>
<div class="box">
<p>
<b>Raffy Lerma</b> finished his Diploma in Photojournalism at
the Konrad Adenauer Asian Center for Journalism of the Ateneo de
Manila University. He was also the Philippine representative in
Hanoi, Vietnam for World Press Photo-Asia Europe Foundation
Forum for Young Photographers in 2004. For 12 years, Lerma
worked as a staff photographer for the Philippine Daily
Inquirer, covering the daily news beat in Metro Manila. To focus
on his documentation of the Philippine War on Drugs, Lerma has
recently shifted to working independently.
</p>
</div>
<div class="box">
<p>
<b>Eloisa Lopez</b> (EL) is a Filipino photojournalist based in
Manila, who specializes in stories on human rights, women, and
religion. Early this 2019, she received the Anja Niedringhaus
Courage in Photojournalism Award by the International Women’s
Media Foundation for her work on the drug war. Her work has also
been published in The Guardian, The Los Angeles Times, The New
York Review of Books, and The Virginia Quarterly Review. She is
currently a stringer for Reuters.
</p>
</div>
<div class="box">
<p>
<b>Bro. Ciriaco Santiago III, CSsR</b> (BCS) is a Redemptorist
brother who worked as their Justice and Peace Coordinator for
years. In 2017, he joined the “pilgrimage for a cause” on the
“Camino de Santiago,” starting in St. Jean Pied de Port, France
and journeying to Santiago de Compostela, Spain.
</p>
<p>
As a photojournalist, Santiago dedicates his life efforts for
the poor who fall victim to the senseless killings every night
in the name of a war on drugs. Santiago says, “Photography
becomes an interesting and challenging field only if it conveys
a message, as the power of lens awakens the viewers and promotes
a message of JUSTICE and HOPE towards the building of a better
world.”
</p>
</div>
<div class="box">
<p>
<b>Aie Balagtas See</b> (ABS) is a freelance journalist. She
covered the crime beat for 10 years. She has contributed to the
Philippine Daily Inquirer, Philippine Star, and GMA News Online.
The issues she’s covered include President Rodrigo Duterte’s war
on drugs, the Ampatuan massacre, the pork barrel scam and the
scandals hounding Philippine’s New Bilibid Prison.
</p>
<p>
She was a fellow to Kwanhum Press Foundation to the 3rd Korea
Press Foundation – Kwanhun Fellowship Program in 2014, and
NSK-CAJ 33rd Fellowship Program for Journalists in Southeast
Asian Countries in 2012.
</p>
</div>
<div class="box">
<p>
<b>Basilio H. Sepe</b> (BHS) is an independent photographer
based in Manila, Philippines. His coverage focuses on national
and regional concerns. He has done multimedia work for various
international and local outfits such as ABS-CBNNews Online,
UCANews, European Press Photo Agency (EPA), Getty Images,
Associated Press Television News (APTN) and more. He is also an
active member of the Photojournalists’ Center of the Philippines
(PCP) and an alumnus of the Angkor Photo Workshops 2016.
</p>
<p>
His work on the Philippine drug war has been recognised by
theInternational Photography Awards (IPA) ’ and was named
“Photographer of theYear” for the Philippines in 2018.
</p>
<p>
Basilio bagged 2nd place in the Top news, Singles category of
the 5th Andrei Stenin International Press Photo Contest in 2019.
He also served as the photography editor for The Varsitarian,
the student publication of the University of Santo Tomas where
he also received his Fine Arts degree.
</p>
</div>
</div>
</div>
<br />
<br />
<div class="other">
<div class="box" id="addworksby">
<h3>Additional Works by</h3>
</div>
<div class="additional-box">
<br />
<div class="box">
<p>
<b>Carina Evangelista</b>’s writing, editorial, and curatorial
practice straddles the Philippines and the US. Publications for
which she has been contributing author for include monographs
and exhibition catalogues for Constancio Bernardo, Roberto
Chabet, and Yasmin Sison-Ching. In New York where she is
currently Editor at Artifex Press, she also previously worked
for six years on numerous exhibitions and museum publications at
The Museum of Modern Art. Her creative practice has included
writing the libretto for the musical “Manhid,” originally staged
by UP TROPA Experimental Theater Company and restaged by Ballet
Philippines at the Cultural Center of the Philippines; and
serving as actor and lyricist for the film “Pisay.” She started
exhibiting as a visual artist in the Philippines in 2017.
</p>
</div>
<div class="box">
<p>
<b>Carlo Gabuco</b> (CG) is a visual artist and freelance
photographer based in Manila, Philippines.
</p>
<p>
His photographs as well as his paintings focus on human rights
and development issues, as well as daily life in the
Philippines. He covered the aftermath of Super Typhoon Haiyan in
the Philippines and continues his coverage of the Philippine
drug war. He has worked with Human Rights Watch and Amnesty
International, and has been published in both local and
international publications including the BBC, Time, National
Geographic, Cicero Magazine and Der Spiegel.
</p>
<p>
His paintings and photographs have been exhibited across South
East Asia. He is the photojournalist behind Rappler’s ongoing
Impunity Series.
</p>
</div>
<div class="box">
<p>
<b>David Ramirez</b> grew up in the Philippines. He pursued
further education in the US, where he graduated with a degree in
Molecular and Cell Biology from the University of California,
Berkeley, in 1999. He was part of staff of the Human Genome
Project and later, worked on the development of the EUCLOCK
Project.
</p>
<p>
His science fiction novel, “The Forever Watch,” was published by
Thomas Dunne Books in the US, and Hodder and Stoughton in the
UK. He currently resides in Manila.
</p>
</div>
<br />
<div class="box">
<div class="box" id="filmsby">
<h3>Films by</h3>
</div>
<div class="box">
<ul class="filmsby-list">
<li><b>Lav Diaz</b></li>
<li><b>Mike de Leon</b></li>
<li><b>Carlos Siguion-Reyna</b></li>
</ul>
</div>
</div>
</div>
</div>
</div>
<hr />
<div class="container general-container" id="organizers">
<h1>Exhibit Organized by</h1>
<div class="contact-organizers organizers-box">
<div class="box">
<h4>Rise Up for Life and for Rights</h4>
<p>
<b>RISE UP</b> is a network in defense of life and protection of
human rights against drug-related extra-judicial killings and
violations.
</p>
</div>
<div class="box">
<h4>Respond and Break the Silence Against the Killings</h4>
<p>
<b>RESBAK</b> is an interdisciplinary alliance of artists, media
practitioners, and cultural workers. The primary goal of RESBAK is
to advance social awareness with regards to the killings brought
forth by the Duterte administration’s ‘war on drugs’. Through
various art forms and platforms, we seek to give voice to and
empower the most vulnerable sectors targeted by the state-endorsed
killings.
</p>
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