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Open Trench | January


Geovanni Abing

In his solo exhibition, Open Trench, Geovanni Abing amplifies how this notion of warfare has permeated our day-to-day lives, from events of great importance to affairs of minimal consequence so long as opposing forces meet and collide. Using a striking visual imagery that is a remix of a variety of elements—art history, video games, military hardware—Abing exposes conflicts of varying scale, “even personal conflicts and struggles.” What he presents are his collaged visions of  “the aftermath of conflicts,” redolent with images of ruin, collapse, and devastation.


God Bless Our Home | January


Dondon Jeresano

In his body of work, Ronald “Dondon” Jeresano has been positioning the familiar shanties of the city within the privileged spaces of art and civic institutions as a way to highlight, converse about, and critique their contradictions. This unnerving juxtaposition (“unnerving” because images of poverty so casually co-exist in such hallowed spaces) is once again the governing theme in his latest solo exhibition, God Bless Our Home.



Dust | January


Nix Puno

2020 saw me learning that charcoal on paper is fragile (more so than graphite). It just sits there loosely, not really binding to the paper. It literally can be swept by the wind. The year also saw how fragile our lives are, as well as the things we often hold on to. A lot of the things we were used to in our lives - some things and places - literally gathered dust because of the pandemic.


Disparatis | February


Nick Navarro

  In his solo exhibition, Disparitis, Nick Navarro turns these superstitions on their heads, not to contradict them but to extend their import and tease out other possible associations and meanings. For instance, in the work, “Sa ating pagkabusog ay di na muli tayo makukuntento,” the artist confronts the superstition that warns of sleeping while hungry (or else the soul will escape the body to seek a place where food is abundant and from where it may not be able to return) by asking what if the hunger is for knowledge. Once this hunger is partly assuaged, will the soul have the desire to still return, having the full awareness that knowledge is limitless?


Square Meters | February


Jonathan Joven


  Square Meters is Joven’s way of looking back into his former home and how it has shaped him to become the person—and inevitably, the artist—that he is. His observations about the life in the slums allow the viewer to have a glimpse of the desires and dreams of those society seems to have forgotten, as they keep body and soul together under a roof that leaks and reveals a portion of a sky.

Christian Culangan and Kim Gaceja April

Alaala | April


Christian Culangan | Kim Gaceja

   Alaala approaches cloth as a the signified and as a signifier. They apply the question of tactile memory, in reverence to who the objects belong to, personal ideography and its significance to the present. Presenting a purview of material connection to hopeful though uncertain futures.


Ayaw Ko Na Maging Tao | May


Doktor Karayom

  In this show, Trinidad directs his works toward the release in the reality of an individual due to the stressors and anxious events surrounding them, this is about regaining sanity and rest. Without hesitation, Trinidad focuses on what he decides to create, he uses art as his expression to liberate his deep thoughts. As his art changes on a constant, he finds solace in the fact that his works are apart from each other, where emotions are observed in each piece he lets out. Different concepts and creative thinking always have to be exerted to produce most of his output. 

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86,400 | July

PJ Cabanalan

  In this solo exhibit, 86,400, arguably his most personal yet, Paul John Cabanalan contemplates the nature of time and how one chooses to live it. The context of the works is the pandemic which, for boon or bane, has set the world on pause and given people a surplus of time to do what they have been putting off, concentrate on the things that matter, and reconnect with the nourishing elements of life.


Noon | February


Azor Pazcoguin


  In his solo exhibition, Noon, Azor Pazcoguin proposes that art may fill in the gaps as they provide the necessary function of documentation. In a suite of still lifes and portraits, the artist injects new life to obsolete objects as well as celebrities who have achieved iconic status. Using a monochromatic palette to underscore how these figures are inextricably linked to the past, Pazcoguin brings them back to the scrutiny of contemporary attention, each depicted individually on the canvas, surrounded by gray space, like some kind of icon or holy object.


Home Invaders | April


Erick Villarruz

 In the larger of scheme of things, the works of Villarruz align to the growing consciousness of taking care of the planet, as our survival rests upon the continued existence of the rest of creation, not least of which are the plants. “As we sleep, they are still there giving off fresh air for us to breathe,” he says. The word “intruder” in the title is, of course, meant ironically and tenderly: “an intruder we definitely love and completes our comfort zone—the place we call ‘home.’”


Banwa| May


Jonathan Madeja

  For the artist, Banwa is microcosm of what’s happening in the Philippines. Majority of the working class are involved in agriculture and fishing, though they are underrepresented in art, the media, and in matters of government and policy. What the artist hopes to achieve is to shine a light on people like those he knew and interacted with from day-to-day in his island life, fully aware of their dreams, hopes, and desires. “What I also want to convey,” says the artist in the vernacular, “is that life by the sea is never easy and that there are still many stories behind it that most of us still don’t know.” Madeja vows to tell these stories, each exhibit like a chapter in a book, beginning with Banwa.

Ugmad by Michael Delmo

Ugmad | July

Michael Delmo

 There is an element of uncertainty in the dreamland that Michael Delmo has conjured for us in his fourth solo exhibition, Ugmad.     


 Ugmad, a word shared by Cebuano and Hiligaynon alike, often pertains to the verb “to cultivate” as in “to foster growth”, “to raise”, “to work the soil”, or “to domesticate.”  It can also stretch itself to mean “to prepare”, “to tame”, “to civilize”, “to accommodate” or “to refine”.  All these cognate meanings apply to the precarious state that is common to all the works that comprise the exhibition.


Salt | March


Hersley Casero

In his solo exhibition, Salt, Hersley Casero traces the contours of the pandemic life not through the usual images associated with it, such as masks and shields, but in a more oblique, metaphorical way. The artist’s symbol of choice is salt: the ubiquitous element present in our bodies as mortal beings and the larger bodies of the world’s oceans; in the food we consume and share as well as in the hulking landscapes our eyes devour in a moment of wonder. 

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Re.Set | April


Lawrence Cervantes

   Reset shows the beauty of the quagmire as his bareness exudes enveloping random eeriness to the viewer in a claustrophobic twist as his story progresses. If Origins focused on the evolving cycles of life, in Take Over, the grim scenario is Nature turned against humans, in fact, it overtook the race by its own consumption leading to our eventual perish. Origins was at the beginning of creation where the plot is reversed in Take Over as people are dissolved and vegetation lush are all that were left. This bleak oversight preoccupies Cervantes’ brushstrokes in Reset as the lopsided world domination in at hand. Humanity is being tipped off the scale.

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Reinforced | May

Noel Elicana

  In his solo exhibition, Reinforced, Noel M. Elicaña presents what has become his recognizable visual language (a combination of gestural abstraction, symbolism, and dreamlike imagery, which the artist calls “social-surrealism”) in order to capture the inner truth and resolve of an individual as he faces life’s myriad challenges. Though it is easy to read his paintings within the context of the pandemic, Elicaña delves into the more enduring themes of spirituality “reinforced,” to use the title, by the agency of “family, experience, struggle, and faith.”

the world that was by Japs Antido

The World That Was | July

Japs Antido

   In his exhibitions, John Paul Antido has been consistently portraying images of Filipiniana, with attention to turn-of-the-century fashions and styles, in vivid colors and highly-defined outlines, evoking nostalgia for the old ways of life. In his solo exhibition, The World That Was, the artist manifests his characteristic figuration, this time further illuminating how the past may serve as beacon to cast light upon the travails of the present and the uncertainty of the future.

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Realize, Real Eyes, Real Lies | March

Reynold Dela Cruz

Award-winning visual artist Reynold Dela Cruz paints every single day. No day-offs or holidays. An old-timer in the art scene-- a trained worker--who painstakingly strives on a daily wage he foregoes to see a muse for inspiration to create. Like clockwork, he shows up at his studio upstairs from his home as soon as he wakes up. And while taking his morning coffee, he is already mixing his paints. This work ethic adheres regardless if ever he will have an upcoming show or not.

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Limang Daang Taon | May


Archie Oclos

  In this exhibition, Oclos composes his works of events, stories and sorrows five hundred years since the arrival, conquest and distribution of Christianity in the Philippines, which made the country as it is today. Inspired by surviving the situations of today made painting his way of prayer and life.

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Repaso | June

Emmanuel Garibay

  Marking 500 years of Philippine Christianity, the Catholic Bishop’s Conference of the Philippines (better known as the CBCP) selected the theme and slogan “Gifted to give”. The year’s celebrations drew the attention of Emmanuel Garibay, a Filipino social realist and scholar of theology who maintains a critical eye on how religion is organized in the Philippine context. Garibay’s works in this latest exhibition--large scale canvases, portraits on wood and paper--highlight not only how the year’s celebrations hide the extractive and violent colonization that made Christianity possible, but how the institutions that sustain Christianity also miss its underlying messages towards creating a more just and equal society.

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SoLACE | September

Isko Andrade