PAST EXHIBITIONS
2026
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Dark Days | January
Rafael La Madrid
In Dark Days, one of the two exhibitions opening 2026 for Art Cube, Rafael La Madrid turns to nature not as a sweeping vista but as something closer, more granular, and quietly insistent. His attention settles on the small and the often overlooked, allowing fragments of the natural world to carry the weight of reflection and endurance.
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Where The Land Becomes Still | January
Jep Dizon
In Where the Land Becomes Still, one of the two exhibitions opening 2026 for Art Cube, Jep Dizon offers his latest exploration of landscape painting—one that resists the genre’s habitual calm and instead presses it into unfamiliar territory. What he terms “hybrid landscape art” unfolds through the careful interweaving of landscape with other painterly traditions, notably still life and portraiture, allowing scenes to hover between place, presence, and objecthood.
A Field Guide to Navigation | February
Eri Abe
Roads have long been considered foundational physical markers of advancement. They form channels through which movement flows—connecting places, bridging different cultures, shaping civilizations, and allowing the passage of people, stories, and goods.
Still | February
Arel D. Zamabarrano
In STILL, Arel Distor Zambarrano presents two interconnected bodies of work that examine measurement, perseverance, and grounded positivity. The exhibition centers on the titular STILL, a 15-piece polyptych of considerable proportions, and Optimism Underpinned, a suite of 30 smaller works. Together, they articulate a practice shaped by discipline yet animated by motion, steady and forward-looking.
Pagmamahal | February
Demosthenes Campos
Demosthenes Campos' Pagmamahal means love in Filipino, but in everyday conversation, it also signals something becoming more expensive. The dual meaning is tangential to this exhibition, because in a time when the pace of life accelerates at such a rush that we can barely cope and the cost of living continues to rise, what does it mean to speak of love? Has it, too, become something difficult to sustain? Can we still afford to love and be loved?
FMLA | March
Julio Jose Austria
To encounter Julio Jose Austria’s paintings is to recognize them not as fixed endpoints, but as traces—residual evidence of a life negotiated across geographies, labor, and care. In this sense, his practice recalls the expanded ethos of Joseph Beuys, for whom the artwork functioned less as an autonomous object and more as a document of lived experience and social reality. Austria’s canvases operate similarly: they are records of endurance, migration, and interior weather.
Don Bryan Bunag | February
Don Bryan Bunag
In Inhabitants, Don Bryan Bunag extends painting toward the condition of an inner environment—one that feels uncannily close yet remains fundamentally unreachable. Inflected by Immanuel’s Kant thought of “inner sense,” the means by which we perceive and represent the various states of the mind, the works situate the viewer before spaces that resemble thresholds, cosmic events, and scenes on the verge of transformation: domains that seem to recognize us, even as they seem estranged.
You. I. Luv. | March
Ian Inoy
YOU. I. LUV. examines and enacts resilience as a historically produced condition shaped by colonial legacies, structural violence, and collective trauma. Grounded in the Filipino experience, the exhibition draws from postcolonial and trauma studies to question how resilience has been normalized as both a cultural expectation and a survival strategy. Rather than framing resilience as an innate strength, the exhibition asks how it is learned, imposed, and sustained across generations.
Pastilan | March
Rey Labarento
Duality in life does not necessarily mean two distinct beings or situations. Sometimes it’s the same thing seen differently, meant differently. Visayan visual artist Rey Labarento explores this relationship in the exhibition “Pastilan.”
Seams of Memory | March
Winna Go
In Seams of Memory, a major exhibition that gathers her recent works alongside a selection of early highlights, Winna Go (b. 1997) offers a generous view of her evolution as an artist, revealing a practice that mediates between Chinese and Filipino cultures, tradition and contemporaneity, longing and the idea of home. Organized by Art Cube and comprising 15 large-scale works, the exhibition contemplates the ways the two cultures are bridged—by memory, by material, and by the waters that once welcomed those who journeyed from the mainland to the archipelago.
Somewhere In The Middle | March
Lui Manaig
The middle isn’t glamorous. It’s not the thrilling beginning, all urgency, freshness, and newness. It’s not the victorious finish line either. It’s the somewhat capricious stretch in between, the part where you pause, look around, and realize you’re still figuring things out. For a visual artist, this space can feel surprisingly and achingly fragile. There’s momentum, yes, but certainty? Rare.
Plan B | April
Groupshow
The eleven artists in this exhibition share an understanding that things do not always go as intended, and that proceeding anyway requires a particular kind of grace. There is a phrase in Filipino that captures this: magaling magdala. It is the compliment you give someone who walks into a difficult situation and makes it look effortless. Someone who knows how to carry themselves, how to hold complexity without showing the strain, how to pivot when the ground shifts and make it seem like they intended to end up there all along. The works in this exhibition do not dwell on what went wrong with Plan A. They simply demonstrate what it looks like to have moved on.
Unplanned Spaces | May
Groupshow
Painting is a slow form. It resists the pace of everything around it — the accelerated image culture, the speed of information, the feeling that the world is constantly mid-revision. To choose it, especially now, is not nostalgia. It is a particular kind of resolve.
Terraforming | April
Nina Garibay
In Terraforming, Nina Garibay constructs a visual archaeology of power, how it is formed, imposed, inherited, and ultimately undone. Drawing from archival images of Egyptian, Bronze Age, and medieval Christian origin, many sourced from institutional collections such as the British Museum, the Vatican Museum and the Cairo Museum, her paintings assemble civilizations into composite fields where time collapses and authority reveals both its continuity and its limits.