Balay | January
These brothels take front and center again in his new exhibition, Balay. While the title of the show seems to be encompassing of all domicile (“balay” means “house” in various Philippine languages), it zooms in on these whorehouses, evoked as patched-up makeshift structures, held together by something that is at once ephemeral and enduring.
Every Nook and Cranny| March
It is often the case that an artist's concept springs forth from the fusion of multitude of ideas and experiences; and as you, the audience, go through my series of works in this exhibition they may make you recall imagery and concepts from various traditions and adjacent perspectives you might be familiar with. One most common observation I get is how they resemble ruins of ancient civilizations; cities carved through solid rock like the ones in Petra and Cappadoccia.
The Gift | January
In The Gift, Michael Villagante offers the viewer the heart—both as physical fact and the spiritual center of man. In this suite of works, the heart is exposed, offered as a gift. It has roots in Catholic iconography: Jesus Christ is depicted with his heart exposed and strewn with thorns. As a visual symbol, the heart is near universal. It is one of the first things that a child is able to draw. When one says that the heart is offered, it means that the self is given in its entirety and without conditions.
At Patuloy ang Gulong | March
The works in At Patuloy Ang Gulong bear this complexity of resiliency in the face of structural oppression and exploitation, painting at the intersection of nostalgia and critique to show just how far back in time that exploitation stretches, and how it continues, rolling into the present, while immersing us in its urgencies. Like a wheel, the disaster will pass, but the overwhelming grey sheath only reminds us that it also leaves incalculable losses in its wake. But still, the world will keep turning, life must go on, and in every frame the volcano still appears, dormant but waiting. We dust the ash off and push forward.
Recent Works | January
In his solo exhibition, Recent Works, Barrera continues to plumb the depths of childhood to surface some its enduring images: action heroes, pets and loved ones, imaginary friends. Central to its narrative was his early life in Caloocan which saw his grandmother as a dominant figure, serving as a parental figure to grandchildren whose fathers and mothers were abroad making a living.
Scripture and Soul | March
Elegance, simplicity, and graceful rhythm, —these are what a viewer immediately senses in Tessa Mendoza’s current solo exhibit. The paintings breathe a quiet spirituality. Entitled “Scripture and Soul,” artist Tessa Mendoza elaborates: “I’ve been reading Scripture since 1986 and it never ceases to amaze me. It's dynamic and it's effective—both mysterious and perceptible.
Material Culture | February
Daniel Dela Cruz
Trendy objects that mark the differences of cultural periods, and our complex relationship with them, take center stage in Daniel Dela Cruz’s Material Culture. Through several discrete groups of artworks which can actually comprise solo exhibitions within themselves, Material Culture as a conglomerate solo exhibition can be seen as the comparisons between how objects that define the idea of “cool” are valued by a culture at a particular time; how these objects are ascribed with meaning by our society; and how we allow these meaning-vested objects to define us.
Bisyo Cycle | March
Aligaen’s work in “Bisyo Cycle” once again displays his playful interpretation of the world around him. In these series of works, he tackles the dependence of people on literal and figurative vices. Aligaen uses people’s reactions to life’s unpredictability and harshness as a focal point to show how they easily become self-centered, delusional, and obsessed with man-made comforts in their struggle to mold their ideal “reality.”
Frontline | May
Triangles, pyramids and stones are constant motifs in his pieces mirroring stability, resilience and progress which resonates our society’s battle against this global pandemic called COVID19. In his solo exhibit titled FRONTLINE, Demi Padua narrates his reflections on the ongoing quarantine period. For Demi, every one of us is a front liner who he aims to represent in what he dubbed as intrapersonal portraits.
Noontide Hagonoy| May
The fishing municipality of Hagonoy in Bulacan sits on land that consists of archipelagic marsh and river tributaries where at noon, the water from the sea evaporates, humidity filling the air. The place has become the center of probe in Renz Baluyot’s “Noontide Hagonoy” where sites are re-evaluated as with the artist’s attachment to it. Here is where he is no more than an observer and yet, where he might have come from. Living in metropolitan Manila, his family would drive north at every chance they could get. Hagonoy has always been home.
Given Time | May
Jaime Pacena III
Pacena presents recent works that reflect the mental, emotional and physical space of isolation and quarantine during this pandemic. It features a series of recent paintings that highlights the stages of grief of an individual during this global crisis. This is presented in a virtual gallery space that somehow investigates the notions of the new normal we all belong now, which even the art industry cannot escape. The project extends in this social media platform take over as Pacena presents his daily life in his home and studio as an exploration on the practice of Artist-in-Residence during this trying times.
Interception | May
Quizon favors ongoing dialogues of strange objects into a new visual language. These explorations of incongruousness in existence are often highlighted by intricate details and unusual perspectives. Notice the brain and how it is highlighted to represent knowledge. It is inherent that we think what is right for us through where the light leads us. Often he distorts his space using hyperrealism marked by rustic finish and in raw and limited monotone palette often depicting his mood.
The ___ and the Self | July
The ___ and the Self is an online exhibit that visually presents the personal experiences, realizations and feelings of the participating artists, accompanied by literary works.
It aspires to become an avenue where viewers can relate and be inspired to the subject's consciousness. The pieces aim to highlight the importance of being sensitive not only to the situation of others, but most importantly to the condition of one's self.
The artwork shared by the participating artists became a collective stories of persistence and finding hope and peace in times of emotional instability, isolation, fragility, loss and despair. As we dive into their pieces, we get deeper into their stories, relate to their life at home, and explore the depths of their minds.
Attachment | July
Jara shares his sentiments about how the elderly are much more affected by the pandemic since they are more prone to the disease. And because of this, they are being prohibited in doing many things which we sometimes forget also affects both their physical and mental health. Jara wanted to give face to the struggles they continue to experience, and how things we are used to cannot be done again any time soon, and where both sadness and hints of hope are wonderfully depicted through the subjects' expressions.
Other People | July
In his series of works, Other People, Julius Claveria Redillas references this type of portraiture centering around people of prestige. Rather than painting them in stark verisimilitude, the artist represents these figures as clumps of ribbons of flesh, peering through malevolent eyes, set against a single-color background. Their clothes, that would have mirrored their importance, are reduced to floating silhouettes of white, which intensely frame the monstrous face.
Kamunduhan | July
Kamunduhan, as a whole, reveals its fascinations and disenchantments with the world, how our own embodiment is both prison and freedom (for how else could we navigate the space and time of the here and now?). It asks question on the nature of the body itself, how the desire that propels creation ultimately leads to the body’s own dissolution. In light of a pandemic, global warming, and ecological collapse, the exhibition jolts us out of our complacency, bringing our attention to the world, which may be the only thing we have.
Thrown-ness | August
Winner Jumalon | Ian Quirante
“Thrown-ness”, a two-person show by Winner Jumalon and Ian Quirante explores the state and feeling of being thrown into a new reality, a new normal where there is absolutely no escape. Thrown-ness borrows from Martin Heidegger’s reinterpretation of Dasein which is often translated into English as “existence”.
Stop Counting The Days | August
In the middle of these all, art has become a vital ingredient of our everyday, carrying our hopes to go across another plane of reality ,or even to evolve as human beings and we STOP COUNTING THE DAYS.