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.”