AS of this writing, the highly controversial art exhibit called “Kulo” is still there at the Cultural Center of the Philippines (CCP), in open defiance of numerous protests over what many Catholic groups—and other sectors, too—describe as the blasphemous treatment of religious figures.

In fact, the uproar seems to have further convinced the artist behind the installation art piece “Poleteismo” Medio Cruz—as well as his supporters, including certain CCP officials—that his artistic expression is fully justified. Besides, never before had he attracted so much attention.

Critics of Cruz and the CCP management that gave him an exhibition venue are up in arms over the so-called artworks: an image of Jesus Christ which has a replica of a penis protruding from its face; another penis draped with a rosary; a crucifix attached to yet another penis. The artist’s evident obsession with male genitalia has made some quarters wonder if the exhibit is his way of compensating for certain biological deficiencies, but I digress…or do I?

The exhibit contains other images of Christ, the Virgin Mary, the Holy Family, the saints and the rosary juxtaposed with condoms and other prurient objects. Observers get the impression that the artist—perhaps in rebellion to his presumably Catholic upbringing, he was reportedly educated at a Dominican-run university—has attempted to drag to the level of sleaze the icons and objects that he was once compelled to revere. Talk about unresolved childhood issues.

Fine. As an artist, he was perfectly within his rights to give expression to whatever angst he may feel against the Catholic Church and religion in general. Freedom of expression is, after all, recognized as a human right under Article 19 of the Universal Declaration of Human Rights and in the International Covenant on Civil and Political Rights (ICCPR). The Philippine Constitution contains similar guarantees for artists like Cruz.

The CCP itself seems to be standing by Cruz. Claiming that artists have a duty, among others, to challenge prevailing beliefs, CCP president Emily Abrera was quoted saying in at least one published report: “We see nothing wrong with it to question, to seek answers, to look behind the surface and to dig out what our real values are.”

Meanwhile, the Concerned Artists of the Philippines has reportedly also expressed support for Cruz and the other artists for upholding freedom of expression as guaranteed by the Constitution, specifically Article III Section 4, which states, “That no law shall be passed abridging the freedom of speech, of expression or of the press.”

Of course, no freedom is absolute; for the sake of public order, for instance, limits need to be placed on our liberties—whether we are artists or artisans, lawyers or laborers, businessmen or bus drivers, clerics or clerks.

Moreover, while it is unconstitutional to pass a law to curtail the freedom of expression, the Constitution does NOT say that those who invoke and practice free expression are immune from suit should they commit obscenity, slander and other violations of the Revised Penal Code.

Cruz, along with his patrons in the CCP and elsewhere, had better be ready to face the legal consequences of their decision to mount an exhibit, which they must have known from the start would give offense.

And offense they did give—and continue to give—to the Catholics who not only make up the majority of the population of this country, but also are the Republic’s biggest taxpayers. Without the taxes dutifully paid by the citizens of this country who are Catholics, the government would not have the money for programs like cultural development and for institutions like the CCP.

What has only lately begun to get sufficient focus in this uproar is the fact that the CCP is an agency of the Philippine state. In fact, in the government’s table of organization, the CCP is attached directly to the Office of the President. Its top officials, beginning with Abrera, are all presidential appointees.

Aside from Abrera, the CCP Board of Trustees includes Florangel Rosario-Braid, Jaime Laya, Arsenio J. Lizaso, Isabel Caro Wilson, Zenaida R. Tantoco, Cristina Turalba, Antonio S. Yap and Carolyn E. Espiritu. Raul M. Sunico is the current CCP president. They all owe their positions to President Benigno S. Aquino 3rd, from whom nothing has been heard—as of this writing, anyway—about the “Kulo” scandal. They all serve at P-Noy’s pleasure. If only the President had been more judicious in selecting his CCP appointees who are supposed to be the guardians of the nation’s aesthetic values.

As a state agency, the CCP depends on funds—for its operations, programs and projects, such as the “Kulo” art exhibit—made available to it by the Congress of the Philippines.

While artists constantly complain that they have not been getting “enough help” from the government, the fact is that the annual budget allocated to the CCP has been steadily rising. The General Appropriation Act (GAA) for Fiscal Year 2010 had set aside a total of P140 million for the CCP as “subsidy requirements in accordance with [its] programs.” For FY 2011, some P195 million was earmarked for the CCP.

With the 2012 GAA undergoing deliberation in the Congress, some lawmakers are reportedly mulling over a proposal to limit the CCP’s budget to just one peso as a punitive measure reflective of the public indignation over Cruz’s salacious exhibit.

According to its own website, the CCP was created in 1966 through Executive Order No. 30, by then-President Ferdinand E. Marcos—and reportedly as the behest of his wife Imelda. The CCP’s declared purpose is to promote and preserve Filipino arts and culture.

Question: Do Cruz’s works promote and preserve Filipino arts and culture?

According to the CCP website, performing companies representing dance, music and theater reside within the CCP. It has four resident dance companies: Ballet Philippines, Philippine Ballet Theatre, Ramon Obusan Folkloric Group and Bayanihan Philippine National Folk Dance Company. Tanghalang Pilipino is the CCP’s resident theater company while music is represented by the Philippine Philharmonic Orchestra, UST Symphony Orchestra, Philippine Madrigal Singers and National Music Competitions for Young Artists Foundation.

Indeed, the CCP has many programs worthy of public and state support. It would be a shame if that support were to suddenly dry up—all because of an art exhibit that is not only grossly offensive, but is also downright UGLY!

This e-mail address is being protected from spambots. You need JavaScript enabled to view it.