EXHIBITIONS Current Upcoming Past Current Current 1/3 Past 1/1 2019 Past 2018 2017

Art Cube Philippines is home for Contemporary Philippine Art. We specialize in paintings, sculptures and art objects by young and established visual artists from the Philippines. 1/3 Past Exhibits Upcoming Exhibits May Groupshow by Pancho Alvarez Joey Cobcobo Billy Bagtas Nina Wi

Pastilan | March 13 - April 4, 2026 Pastilan Rey Labarento March 13 - April 4, 2026 1/7 View Catalogue Video Press Release OMP! (Oh My Pastilan!) 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.” In keeping with his previous works, Negros Island provincial life is depicted with much generosity in Labarento’s works, from people at basketball games, the local plazas, and anywhere around the town of Valencia and Dumaguete. Each of the paintings is a scene brimming with emotion, hence the expression “pastilan” Now this reaction can go both ways. It can be a “wow!” or a “tsk!” In “Drunk Man and the Scorers,” you can almost hear the children say “pastilan sabaa nimo kol” calling out the noisy uncle heckling from the bleachers, while in “Partners in Crime,” it’s the simple pastilan joy of a beer with your best friend. Next door it was “Game Over” after the card game, and manong mutters “pastilan walay swerte,” as he wonders if he can ask for a cigarette. Meanwhile, strength in numbers is a common tendency in the country — both the city and the countryside, much aligned with Philippine horror vacui aesthetics. In the Visayas, the habal-habal is a motorcyle ride where capacity is pushed to the limits, sometimes adding wooden planks to make extra seats. It easily elicits a “pastilan layo layo pa ang byahe” for being careless, but to the “Family Trip,” it’s a “pastilan” for the excitement. One of the more interesting scenes is from “Outdoor Massage” where one sees a pair of hands on a tree on the edge of the painting. This stems from the belief that the negative forces drawn out from the massage guest, when transferred to nature, helps the tree grow. It sounds “pastilan hinaya ra” until you realize, it’s not so far from humans exhaling carbon dioxide which becomes plant food. Being in Negros, a sense of adventure seems innate to anyone, whether you’re a local or “nadagit.” Trekking and running culture has always been around — pastilan fun until your feet are sore, and it becomes pastilan “Runner’s Foot.” “Ninja Boy” is a throwback to those times when, after watching a favorite superhero tv show, the kids would play around the house or outdoors, and the parents could only sigh “pastilan ning bataa.” In this era of phone picture documentation, moments are decided quickly “Pastilan! Chadaa uyy!” Whether it’s a photo of your friend “Framing You” or a mirror selfie “Picture Picture.” That moment your *slightly* tipsy friend says “Moses” while hanging out at the local river is the pastilan shot of the day. Of course, in some situations “pastilan” is only really a good feeling or a bad feeling, but we can’t deny its versatility as a way of expression. “Pastilan” as well links us to our greater Asian family, where there are words in the everyday vernacular that have a plethora of meanings that rely on context and experience. “Mai pen rai” in Thailand generally means “it’s okay” but has become multi-layered as a response. “Yabai” in Japanese previously meant a negative situation, but is now also used for strong immediate emotions, especially when something is really good. Rey Labarento in each of his exhibitions, especially outside his hometown, gently highlights that which makes Visayan culture meaningful and unique. While his style appears to fall under the characterizations of Naïve Art, they are actually complex layerings of human identity formed by the Negros mountains, the Visayas oceans, and the Dumaguete sun, to which I say: “Pastilan what an artist!” -Francisco Jin Sung Lee

Kapalaran | October 4 - November 1, 2025 Kapalaran Jonathan Dangue October 4 - November 1, 2025 DSC05581.webp 1/4 View Catalogue Video Press Release In Kapalaran, Jonathan Dangue turns his gaze toward the ancient cycle of the Chinese zodiac, reimagining its twelve animals not as static signs but as beings charged with spirit and movement. Each creature bears its familiar temperament: the pig breaks into a wide grin, the horse gathers its strength with forelegs raised and mane unfurled, the rooster caught in the instant of crowing, summoning the day. These presences are not merely sculptural forms but vessels of character, animated by their symbolic roles across centuries of belief and tradition. Dangue shapes his animals as assemblages of found objects, infused with attributes of fortune and prosperity. Among these are yuanbao—the boat-shaped ingots of wealth—and the pierced brass coins of Chinese lore, talismans once strung together to ward off misfortune. By embedding such emblems into his creatures, the artist situates them within a continuum of material and spiritual aspiration. In striking counterpoint to these animated forms are the artist’s own hands, cast in resin, amber-hued and luminous. Placed downward with fingertips touching the surface, they serve as both pedestal and anchor. They hold aloft the zodiac animals, yet also draw them back to the earth, reminding us that whatever celestial order the heavens might decree, the grounding of existence remains in human touch. Binding these figures is a coil of wire that spirals around hand and animal alike, as if tracing an unseen current of energy. It is at once tether and conduit, suggesting the luminous cord of destiny that threads through our lives. Dangue’s Kapalaran meditates on this tension: between forces believed to govern from above and the agency we carry within our grasp. The sculptures insist that while fate may be written in the stars, destiny is equally shaped by the weight and gesture of our own hands. -Carlomar Arcangel Daoana Jonathan Dangue Jonathan Dangue (b. 1984) is a Filipino sculptor, painter, and architect renowned for transforming brass into textured, expressive art that reflects both philosophical and emotive themes. Licensed in architecture, he won the Grand Prize in the 2011 and 2012 Metrobank Art & Design Excellence (MADE) competitions—first for sculpture with “Walang Pinanghahawakang Anuman sa Palad” and then in the architecture category. Dangue’s works balance intuition and planning, often incorporating everyday material like brass into his visual vocabulary. His pieces have been featured in solo and group shows such as Kabuluhan ng Buhay and Monumental Abstracts, and he has also designed the Department of Health’s regional office in Davao and created a commemorative MADE sculpture “Binhi”

Terraforming | April 11 - May 2, 2026 Terraforming Nina Garibay April 11 - May 2, 2026 1/7 View Catalogue Video Press Release Lay of the Land “Look on my Works, ye Mighty, and despair!” — Percy Bysshe Shelley, Ozymandias 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. The exhibition begins with a proposition: culture is engineered under conditions of power. What appears as tradition, belief, or identity is often the result of systems imposed to stabilize and organize society. Terraforming, in this sense, is not limited to the physical shaping of land. It names the broader capacity of power to reshape reality at scale. Land becomes territory. Territory becomes system. System becomes belief. What begins as an effort to establish order gradually produces structures that extend control over both environment and population. This process raises a fundamental question: Is culture shaped by force, or does it mutate through contact? The works suggest that what is often described as syncretism is not a neutral blending, but the residue of systems imposed and later adapted. Forms persist even as their original meanings shift. What survives is not the intact system, but its fragments, reorganized under new conditions. The material basis of this process is never far from view. The images Garibay draws from were themselves carved from stone, cast from earth, constructed from the ground up to give visible form to authority. In The Golden Hawk, dominion is aligned with divine sanction, recalling how rulers anchored power in the natural and the sacred. In Priestly Family, belief is stabilized through repetition, lineage, and institutional continuity. Authority is not only declared, it is reproduced. Yet even as these systems consolidate, they begin to detach from their foundations. This is most evident in Fondation, where the figure appears suspended, its base removed, its grounding uncertain. The work points to a stage at which structures remain intact but no longer hold. Authority persists, but its origin has thinned. The system continues, but without stable ground. Historical precedent makes this condition legible. Egypt, once a center of immense power, was successively absorbed into other empires. Its forms endured, but its sovereignty did not. The British Empire, which later collected and archived many of these remnants, followed a comparable trajectory. Its dominance depended on the control of circulation, trade routes, and strategic passages such as the Suez Canal. When that control weakened, the system it sustained began to falter. Whoever controls the terrain controls the narrative, but terrain itself is never fixed. This instability is brought into the present in The Tower. Its form recalls the Chrysler Building, a monument to industrial ambition and financial power. Yet here it appears less as a celebration than as a structure under pressure. The tower rises from the same logic that produced earlier monuments: expansion, consolidation, and the projection of permanence. But within that logic lies overextension. Systems expand because they are built to do so. Expansion generates strain. Strain leads to rupture. The collapse of the tower is not an anomaly, but a structural outcome. In this light, terraforming emerges not as a singular act, but as an ongoing condition. Power reorganizes reality, stabilizes it, extends it, and in doing so produces the conditions for its own instability. What follows is not disappearance, but transformation. The system collapses, yet the terrain it reshaped remains altered. Forms endure. Symbols persist. Meanings are reassigned. Each system leaves behind structures and meanings that persist beyond its control. If the remnants of past civilizations now appear to us as fragments, rigid, monumental, and partially understood, the future offers no clearer resolution. It remains a terra incognita, shaped by the same processes of control, adaptation, and collapse. What rises will not remain. What falls will not fully vanish. Each new order begins not from nothing, but from what has already been transformed. -BG

PAST EXHIBITIONS 2021 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. 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. 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. Milk and Tea | August Marrie Saplad Milk and Tea represents the meaning of the words transparent, innocent and meditate. The transparency of the glass reflects a character of being seen through the insides. On the other hand, when thinking of milk, she sees a child ‘s innocence and pureness. It is evident that their intentions are pure at heart. Lastly, when you envision Tea it is something to think about, something that you look forward to like an event in the future or an occasion. Connecting and Disconnecting | September Ciane Xavier Intrigued by the real essence of humanism, transhumanism, and life in general, Ciane Xavier gets to the bottom of her own life experiences and deeply personal emotions to explore and share her perception of human truths. As we live in a world where there are limitations and boundaries, we see in her “Carrying the Weight” and “Dragging Away” sculptures a story that tells the fragility and vulnerability of our being. That as humans, we have flaws and imperfections that lead us to self-discovery. 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. The 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 | 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. Heroine | August Kobusher Kobusher used most of his favorite female cartoon characters, that most of us loved during our childhood. HEROINE is a way for him to pay homage to the women that touched and changed our lives. He is inspired by the same women that are close to our hearts; our mothers, sisters, the one beside you right now, the femme fatale, the vamp, the one that got away, the cool chick, the plain janes, man-eaters, divas, and queens among many others. Eastern Fables | November Tiffany Lafuente In the country, only a handful of artists delve into such territory. Tiffany Lafuente, in show after show, proves that she’s one of the most elegant and sharpest among them, chronicling the absurdities of life, particularly those present in institutions—religion, the art world, polite society—on which we blindly invest our belief. For her exhibition, Eastern Fables, Lafuente this time explores the comedy of manners in a microcosm of Chinese society, in which superstition dictates the rituals and habits of people and inanimate objects are perceived to be endowed with auspicious, magical powers. 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. 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. 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 | 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 a beacon to cast light upon the travails of the present and the uncertainty of the future. SoLACE | September Isko Andrade To refresh and to relax— that is Isko Andrade’s goal as he produced his “SoLace” masterpieces. While he is known for creating dark and deep artworks as previously seen in “Smoldering Refuge” and “Pamilya”, Andrade decided to take on another technique by using whites and light hues of blue and red on this exhibit. SEEDS | November LJ Abola-Sy In this new collection of works by LJ Ablola Sy, she pays homage to these individuals by capturing them in their typical day at work. The images portray their daily grind with a semblance of normalcy, highlighting the uninterrupted performance of their duties despite the ongoing challenges. We see them roaming the streets and manning their usual workplaces, each scene animated by the artist’s characteristic juxtaposition of discrete colors in free forms, resembling stylized drips of paint arranged to produce a map-like appearance. 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. 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. 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. Extra Chromosome | August Maribel Magpoc Magpoc created Extra Chromosome to increase public awareness about people living with this condition. Down syndrome is a condition in which a person has an extra chromosome in their DNA. The extra copy changes how the baby’s body and brain develop, which causes both mental and physical challenges for the baby. Even when people with Down syndrome might act and have similar features to people without it, each person has a variety of capabilities. An Imaginary View from | September a Synthetic Window Jep Dizon Jep Dizon’s “An Imaginary View from a Synthetic Window,” tells the story of how humans are manipulated by modern reality, to the point that they have forsaken the world that is out there. People, immobilized by the instant life full of glitz and glamour, stay still as time passes them by. And even when the shroud of technology is lifted, only 4 walls and a false window to the outside world are there to welcome each and every one of mankind. Gone are the days of appreciating and savoring moments in life beyond, a life that is filled with lights from above and waves from below. Arbitrary Grounds | November Neil Atienza, David Ryan Viray, Geremy Samala August Lyle Espino, Mikko Baladjay, Art Tevera The show made up of friends who came together to show their arbitrary works of art coming from transferring energies to the ground, the canvas, and the space that surrounds it. Together, these young artists are ready to take over the art world as they demonstrate larger-than-life artworks that not only show colors, creativity, and imagination but depth. Legends | November Pongbayog In these present-day artistic times, it is with no doubt that Pongbayog is one of the sought-after contemporary artists in the country. Pongbayog plays with the balance of lights, shadows, and angles-- creating highly detailed and monochromatic paintings. Much inspired and as an artist himself, Pongbayog attempts to pay tribute to legendary personalities in the art industry by bravely highlighting them in these hyper-realistic works for his 5th solo exhibit. Tranquility | December Mark Lester Espina In his solo exhibition, Tranquility, Mark Lester Espina envisions how this zone of quiet may be manifested by paintings that act as windows into a realm whose optical modulations are set on low. Looking at these works, the viewer engages with spare but meaningful elements, discerning shapes, and patterns with how the pigment has been applied onto the canvas. In the absence of an illustrative outline, these forms look mysterious, fleeting, and elusive, like thoughts about to vanish. Homebound | December Julius Redillas Julius Claveria Redillas is Filipino artist who studied painting at Far Eastern University in Manila and has exhibited his works in various galleries in the country and abroad. Redillas is known for phantasmagorical themes and embellished subjects, this also includes distorting various images. Most of his works are portraits of individuals which he copies from photographs of people he sees online or from a book. His work may appear faceless but viewers can see from the silhouette the glimpse of the identity of the individual in his piece. Surprisingly, his viewers are able to identify the personas remarkably. Revisioning The Breakout | December After Despondency Jayson Cortez For Jayson Cortez, now that we are nearing the second year of the lockdown and things are showing signs of promising improvement, his attitude is one of expectant hope, exemplified in his solo exhibition, Revisioning the Breakout after Despondency. The artist uses the language of economics to highlight how the world is emerging from the global scourge, ready as it is to embrace the possibility of a kinder future. Behind The Curtain | December Demi Padua Demi Padua with his latest solo exhibition revisits classicism and infuses it with his pop-symbolist works. Not the customary pastiche works and reiterations; he contextualized the works of the Renaissance and Baroque masters, his narrative is inspired by his realizations and reflections from his late father: man’s mission on earth and the preciousness of life and faith in the divine.

God Bless Our Home - Solo Exhibit Dondon Jeresano Manila Bulletin Lifestyle Feature February 8, 2021 God Bless Our Home - Solo Exhibit Dondon Jeresano Tatler Asia February 2021

ABOUT Art Cube Gallery Established in 2012, Art Cube Gallery maintains a premier exhibition space at the OPVI Centre, Chino Roces Extension, Makati City, Metro Manila, Philippines. The gallery has so far mounted more than a hundred art exhibitions involving award-winning and seasoned artists, as well as very promising young painters and sculptors in the Philippine contemporary art scene. It has represented Filipino artists in international art shows in Japan, Hong Kong, Singapore, Taiwan, and Germany. The gallery has consistently participated in the annual art events of Art Fair Philippines since its inception, as well as Art Central in Hong Kong for several years. Art Cube provides a platform for talented young artists to showcase their works before an extensive roster of art collectors. It also helps promote the careers of seasoned artists by giving art aficionados a broad access to their works in international art exhibitions. Art Cube collaborates with public institutions, artist associations, and civic organizations by supporting programs that seek to propagate interest in the arts in all levels of society, projects that promote artists’ welfare, and advocacies that extend socio-economic assistance for the underprivileged.

PAST EXHIBITIONS 2023 REGENERATION | January Group Show PAMANA | February Group Show To amplify Linangan’s mission of empowering artists and communities through art education, we organized the “Pamana” exhibit highlighting the foundational role of mentorship in fostering the development of Philippine contemporary art. The exhibits bring together Linangan residents, alumni, and stalwarts of the Philippine art scene, most of whom have mentored in Linangan to raise funds for the development of the Linangan mentorship program. Arisgado | March Arel Zambarrano For the silent desperate many--who struggle to make both ends meet--one barely lives to fight another day. Arisgado, the sixth solo exhibition by Arel Zambarrano, essays the painstaking realities that he and his laborers face day-to-day challenges. Based in Iloilo, this artist-architect continues his narrative from his previous shows, armed with undulated persistence, this time Zambarrano unravels deeper discontents as he collectively identifies with the suffering predicament of many—the dog-tired working class including the downtrodden and abused multitude--to still plod the neck deep flood for them to keep their head above water. Paisahe | March Demosthenes Campos Demosthenes Campos contin ues to explore his multi-layered, highly-textured abs tract idiom in his solo exhibition, Paisahe. The exhibition’s title is derived from the Spanish word for landscape, and Campos explores how landscapes—an enduring painting genre—may be translated into abstraction, and how the inner world of an individual may assume the contours of a landscape in this series of works. Tunay Na Pangalan Ng Hindi Kilalang Anino | March Doktor Karayom Trinidad continued his street art while holding exhibitions for his red paintings and sculptures. He found success in art competitions, first winning a t-shirt design contest for a local fashion brand, the Thirteen Artist Award in 2018, and was nominated to participate in the Ateneo Art Award in various years. Across Structural Realities | April Group Show With structural realism as a pretext, we may view scientific theories that tell us only about forms and structures of the unobservable world, neglecting its nature. This selection of artists with their works work across worlds both seen and felt, collecting experiences and presenting them as tangible visions. They invite us to contemplate on the complexities of our existence, allowing us to reflect on our relationships with the natural and fabricated realities we find ourselves in. Plastic and Colors of Youth | April Fernando Sena Fernando Sena, considered as one of the masters of the still life genre, revisits his toy series in his solo showcase, Plastic and Colors of Youth, for Art Cube. Showing no loss of figurative skill and vitality, Sena once again depicts the joyous tumble of toys and their parts, all commingling together in their varied shapes and hues, so much so that no single piece asserts dominance. The viewer, regardless of where they look at the canvas, is treated to an eye-catching pop of color and shine, with the toys’ harmonious configurations being at once accidental (their arrangement in a box) and intentional (as the artist has devoted his attention and chosen to paint them). Balaan | April Roland Llarena Balaan (holy in Hiligaynon), a solo exhibition of Roland Llarena, seeks to be this gentle reminder as he essays in paper and perforated steel metal sheets the beauty of impermanence by instilling sacredness in people as God is supreme in his holiness. Done in new mixed media Llarena explores creatively his artistic pursuits--as he unravels the virtues leading up to how to be a good man--in these difficult times. Finding Purpose | April Kim Gaceja In Kim Gaceja’s Finding Purpose, he delves into the reason for getting up every single day, taking inspiration from the words of Viktor Frankl, the renowned psychiatrist and Holocaust survivor. Frankl believed that meaning is instilled by an individual in the events of one’s life. He also stated that both work and suffering can direct one toward finding meaning, ultimately leading to fulfillment and happiness. One only needs to find meaning in small things to have a wonderful and meaningful life. Threading Through Time | May Winna Go In her first solo exhibition, Threading Through Time, Winna Go contemplates how the locus of identity is shaped by the variables of the past and the present—at times harmonious and conflicting—especially at this juncture of history in which the world is idealized as a global community. The artist looks back at her Chinese ancestry and its powerful pull on her imagination and private life, expressed through an astounding suite of large-scale works featuring traditional Chinese robes as well as an installation of soft sculptures and archival materials. The Bitter Sea Is Boundless, but if You Turn Around There Is The Shore | May Patrick de Veyra In Patrick de Veyra's recent solo exhibition, The Bitter Sea Is Boundless, But If You Turn Around There Is The Shore, the artist showcases a stunning collection of vibrantly colored paintings, each piece featuring intricate layers and surfaces added or subtracted with well-thought out intent. With each painstakingly laid veneer, he builds on his pigments and glazes, a number of them in volatile neons, each shade having its own visual character and curing time. The artworks exude a playful yet sophisticated aesthetic that perfectly captures the artist's creative vision and his specific brand of conveying emotion without overreaching sentimentality or saccharine nostalgia. Pa Living Up To My Blue China | May Tracie Anglo-Dizon Tracie Anglo Dizon’s third solo exhibition “Living up to my Blue China” features paintings that embody timeless beauty cast in the form of blue china, which serves as the base for the artist’s critical reflection on the constraints of cultural conventionality. Using a more contemporary painterly touch Anglo Dizon plays with the boundaries of ornamental design to interject the tension between the modern and the classical, between the oriental and the western, with a witty aesthetic twist of feminism in overriding the dominant culture. Unveil | May Dave alcon A stoic philosopher once said the worst thing one can do to himself is not become who he could be in this lifetime. For his 6th solo exhibition, Unveil, Dave Alcon literally pauses, reflects, and honors his long and arduous artistic journey an existential feast of paintings on his love for painting. The Day After the Night Before | June Clairelynn Uy Technology made it accessible for anyone to explore interests and techniques that used to be far more exclusive, time-consuming, or skill-intensive to do. Meanwhile, the processes and philosophies of early adopters and pioneers continue to linger on, so much so that people still cite inspirations from those who lived centuries ago. What would the greats of the past would say if they saw how we have trodded down the paths they blazed? In a time where the barrier to entry for almost everything have been lowered, the question of replication, adaptation, and reproduction often comes up. A Little Bit of Everything | June Angelo Tabije Once in a while, after a succession of visual styles, an effective artist craves for experimentation as a form of welcome respite. In his second solo exhibition at the Art Cube, A Little Bit of Everything, Angelo Tabije spontaneously attempts to put together past raw signature fixtures, uncanny lines patterns and painting elements that had made him a much-sought-after artist of figurative bespoke expressions. For Tabije, art is the lie that tells the eminent truth. Paradoxically, it is not that art does imitates life rather life imitates art. We learn how to dream, how to exist, how to think about ourselves through these paintings. Tabije has brought back the storytelling in his inherent visuality. When the Smoke Clears and the Dust Settles | June Arturo Sanchez Jr. When the Smoke Clears and the Dust Settles is a testament to how Art Sanchez expresses profundity in his exploration of identity, spirituality, and the interplay between calm and chaos. With his new pieces, most notably arrays of shadow boxes filled with spliced three-dimensional components seemingly floating in the void, the artist invites viewers into the depths of his being, all the while playing on the drama of light and dark. Forever In Debt | July Marvin Quizon Marvin Quizon has been essaying death on canvas since he first won in a national art competition in 2017 and became a fulltime artist. With sheer brushstroke prowess, inducing an old photograph-feel, Quizon unapologetically explores that gruesome defining mood employed with a certain sentimentality in exploring his visuals of mortality. Forever in Debt is Quizon’s fifth solo exhibition, this time, however, he ushers hope with a feeling of gratitude to the present day happenings in his life. For Quizon, to be thankful is to imbibe all the positive energies in the universe-as part of the continuing dual cycle of life and death. Broken Flowers refers to the different kinds of being damaged between the two characters in the picture. A powerful reprisal of his main piece during his first solo show, this time both subjects are seated while still their souls are locked in a tight embrace. Childish | July Macj Turla In Childish, Macj Turla's third solo exhibition, the artist delves into the complex themes of escapism, the fear of growing up, and the weight of taking responsibility. Through a collection of freshly produced wide-eyed paintings framed by wood textures or hand-wrought, black-painted epoxy clay, Turla invites us to explore the nuances of human emotions and behavior, shedding light on the struggles and conflicts that lie beneath the surface of our daily lives and familiar characters in our surroundings that dwell on denial. Pusyaw | July Nic Navarro Nic Navarro’s latest exhibition, Pusyaw, extends and amplifies the visual vocabulary we have known of the artist. Navarro's previous works have often depicted a frozen world, where time stands still, giving rise to an eerie and surreal ambiance within ordinary interior spaces. However, in this current body of work, Navarro delves into the nature of time itself, contemplating its relentless passage and embracing the concept of breakdown and entropy. Ghosts | August Don Bryan Bunag Don Bryan Bunag's works explore the concept of visualizing an internal landscape— an imagination of what his mind would look like if it were a place—as a representation of his state of mind. For Bunag's upcoming exhibit, entitled Ghosts, he was trying to find a personal definition of a ghost. Since 2018, he has always gravitated toward using this word as the central idea of a specific show. But as someone who likes to plan, he did not rush it until he felt that his work and himself were aligned and ready to justify what he envisioned. An Abstract Voyage | August Edwin Martinez An Abstract Voyage reflects on the complexities of life's journey and the significance of introspection. Contemplating past decisions and missed opportunities, Edwin Martinez acknowledges the fickleness and unreliability of the human mind. The artist emphasizes the importance of rest as an essential component of learning from failures. We are often too quick to bounce back without taking the time to reflect on our experiences, yet this is imperative if we are to survive. The artist seemingly aims to capture the cycle of failure, respite, and redemption that is an inherent part of the human experience. Through the depiction of a cycle of continuously falling down and getting back up, Martinez’ works illustrate that failure is not always negative; it is an integral aspect of life. When faced with failure, one must compose oneself and prepare for what lies ahead. Traces | August Jayme Lucas In Traces, Jayme Lucas’ second solo exhibition, the artist delves into junctures and beliefs passed through generations through imagery and themes vital to her practice. She paints empty tracts of land in their natural state. Aside from these wide-encompassing settings, however, Lucas also paints moving people, wandering anatomical parts, and figures frozen in relaxed stances as she chronicles comings and goings and keeping still as means to dissect elements of tradition, memory, and identity, creating an absorbing visual journey. Debosyon | August Lymuel Bautista For his solo exhibition, Debosyon, Lymuel Bautista presents a narrative told through a unique approach to the pictorial surface, skillfully transforming the canvas into a representation of corrugated iron roofs. Through his adept use of deep reds and browns, reminiscent of rusted iron, Bautista brings attention to the precarious conditions of marginalized communities—which constitute the majority of the country’s population—as well as the struggles they face daily. For this show, the artist departs from his usual socio-realistic subject matter, as epitomized by his work “Haunting Wail of Chaos,” the Grand Awardee in the Watermedia on Paper category of the Metrobank Art and Design Excellence in 2021—a visual fable depicting the intersection of the pandemic’s challenges with societal issues. Beyond The Scars: Illuminating the light within | September Daniel Dela Cruz Adversity shapes us, but it does not have to consume us. In life’s journey, we inevitably encounter trials and pain that leave scars upon our hearts and souls. Constant reminders of our battles, these scars do not define who we are. We are more than the sum of our wounds; we are resilient beings capable of letting the light shine from within, illuminating the darkness that tries to engulf us. Instead of allowing our scars to become prisons of sorrow, we can transform them into stories of triumph. The human spirit possesses a remarkable ability to rise above pain, find meaning in suffering, and emerge stronger than ever before. Our scars can be symbols of courage and perseverance that inspire others to face their own trials. Flimsy Cobweb Sheets | September Carzen Esprela & Lu Gonzales An individual's character is highly dictated by their manner of storing and retrieving acquired thoughts, perhaps; a dilemma in terms of retaining or omitting an idea. Say, a place dependent on identity may evolve to a level of taste. Cleaning an old room involves careful analysis of which to keep or discard. Old receipts, old coins, old keys, photographs, letters, etc., are presented all at once. In the choosing, the room is prepped for receiving. Some are displayed, some kept in cabinets or drawers. This is the case in Gonzales' and Esprela's works; carefully selecting which parts of their work they choose to keep. Love Is The Only Way | September Billy Bagtas Love Is The Only Way, Billy Bagtas's remarkable fifth solo exhibition, is a veritable tribute to flexibility, transformation, and the healing power of the most compelling feeling on earth and beyond. Exploring a journey of overcoming darkness through artistic expression, Bagtas takes us on a personal yet penetrating voyage through six engrossing paintings and an intriguing installation. These works embody the emotional landscape of souls coping with loss and the artist's lived experience as his family navigated the profound pain of losing his mother in 2021. Catchments | October Jim Orencio In his latest solo exhibition, Catchments, Jim Orencio invites us into a mesmerizing world where the delicate balance of nature is not just observed but celebrated. Presented by Art Cube, Orencio’s collection breathes life into the canvas, weaving an intricate tapestry of the Arboretum at the Pintô Art Museum. The term “catchments” is not merely a title but a poetic revelation. Defined as areas where rainwater is collected and stored, the term finds its roots in gardening and ecology. In the context of Orencio's exhibition, Catchments symbolizes the inherent significance of water sources in nurturing life. It is a nod to the intricate ecological processes where water serves as a lifeline for the flora and fauna, emphasizing the interconnectedness of all living things. Leaving Marks | October Shannah Orencio In the delicate dance between art and nature, Shannah Orencio emerges as a trailblazer, challenging conventional perceptions of still life. Her latest exhibition, Leaving Marks, showcased at Art Cube, is a testament to her evolution in interpreting the genre, offering viewers a vibrant tableau where flowers, devoid of traditional vases, find their place in artfully arranged confinements, each bloom jostling for attention in a harmonious dance of colors and shapes. Neighborhood | October Rey Labarento A simple, happy life straight out of a dream exists — as the world continues to fixate on a time when things were better, a nostalgia that runs across all generations from boomers to gen Z’s. Painting a picture of such life is not as easy as it sounds, because some fall into the trap of an over-idealized, Amorsolo-esque landscape that is both idyllic and dismissive of social truths. Negros Oriental born and raised visual artist Rey Labarento presents a poignant glimpse of this life – his life, his inspirations, through his Neighborhood of Valencia, Negros Oriental and its neighboring Dumaguete City. The Things You Bury, The Things That Grow | October Arvi Fetalvero Sometimes, you don’t always reap what you sow. This has been a recurring realization for the artist during the past years. Sometimes what grows out of the seeds is something one least expected —a great surprise or disappointing failure. Either way, despite the anxieties and the uncertainty of the outcome, all one can do is continue plowing, and hope for the best. The artist tries to cope with this realization and contemplate her current conditions while she does her gardening — all the seemingly unrewarded or unnoticed efforts she has made while biding her time and keeping patient for the small possibility of something more in the future. She takes the time for quiet introspection as she finds affinity with her plants’ natural instinct to survive. Esaes, Eyag, tan Kareenan | November Group Show Whispers, Screams, and Calmness Pangasinan is a developing province with a re-establishing culture. As Pangasinenses, we are in the process of rediscovering our identity, which has been somewhat lost over the years due to the influence of the developing world. Unfortunately, culture and the arts have often been neglected by the people in the province. However, the province's artists are taking a proactive approach by immersing themselves in the environment to seek and restore the lost identity. Our goal is to establish a distinct identity that will define us and shape the future of the province. To achieve this, we are exposing ourselves to various cultures, disciplines, and principles; striving to learn and apply them to our own context. Despite the diverse range of artistic styles and interpretations, we are collectively dedicated to using this diversity as the foundation of our vision for promoting the arts in the province. Dulo ng Langit | November Jojit Solano The maxim, "Nothing is true, everything is permitted," serves as the guiding ethos for a particular society that has artfully constructed an illusory utopia. Within this societal framework, paramount importance is assigned to the convenience and affluence of a select few, while simultaneously inculcating fear as a mode of faith. In this realm, conventional notions of morality are regarded as the stuff of legend, overshadowed by a pervasive illusion of immortality, wherein the unrestrained expenditure of wealth is fervently pursued with the primary objective of warding off the specter of mortality. Santigwa | November Kevin Villa & Denmark Dela Cruz Knowing nothing can be better than thinking you know it all, a concept that some find liberating. There's a certain purity in ignorance, reminiscent of the bliss we experienced as children when we simply understood things through the lens of our senses. However, this kind of ignorance can also become a tool for corruption in the hands of those with selfish motives. People and society can mold children to serve their interests, creating the illusion of purity while ultimately tearing apart their dreams and aspirations. The Six-Sided World: Art Cube's Year End Show | December Group Show Art Cube takes great pride in unveiling its much-anticipated year-end show, The Six-Sided World. This exhibition serves as a testament to the gallery’s commitment to showcasing the multifaceted brilliance of both emerging and established artists. The chosen theme, a cube, symbolizes the depth and diversity of the 73 participating artists, whose creative voices collectively shape the ever-evolving landscape of Philippine visual art.

JUXTAPOSED: BETWEEN ORDER AND COMPLEXITY Carlo Tanseco | Art Fair Philippines 2021 May 6 - 15, 2021 Carlo Tanseco is well-known in design circles as a maverick – a product and furniture designer frequently featured in CITEM, an architecture graduate, an entrepreneur connected with various businesses. But he kept a secret passion that took him years to have the time and opportunity for. This first solo painting exhibition by Carlo Tanseco explores pattern and order on the one hand, and liberation from patterns, and by extension, the prevailing social order or the limits we impose on ourselves, on the other. This is his first painting exhibition; something that he took years to transition in to this medium, is his personal expression of breaking free from his usual forms of expression and creativity to pursue this passion which started since childhood. Several series comprise this solo exhibition by Tanseco. A series on heroes both national and artistic, mythological figures, and a portrait, that are visually tied together by a graphic rendition of pattern and symmetry comprise the show. Knowledgeable and witty, the images he produces show the hallmarks of an artist confident and in an advanced state of development. Conceptually, they are all of idealizations – myth, nation, hero, icon – which presage the trajectory of this artist, whose initial foray shows a mark of matured visual identity, ripe for a full artistic career in the visual arts. -Ricky Francisco Press Release Carlo Tanseco Juxtaposed Between Order and Complexity ANC - Carlo Tanseco Art Fair Philippines 2021 People Asia - Carlo Tanseco Art Fair Philippines 2021 Esquire ph - Carlo Tanseco Art Fair Philippines 2021 “I love pattern, order, and symmetry. This exhibit is all about depicting order and then breaking that order, so that a new figure or realm emerges and opposes it. It is about uniformity and consistency yielding to something that is free, defiant, and unique. It is about ideas that challenge the system.” – Carlo Tanseco Ocula - Art Fair Philippines 2021

KAMUNDUHAN ART SANCHEZ | CES EUGENIO | HAMILTON SULIT | ISADORE LERIO | JOHN LERY CAPILI LOTSU MANES | MICHAEL DE GUZMAN | PAULO BARRERAS | RANDO ONIA | SEVERO BARING 25 JULY 2020 KAMUNDUHAN 25 July — 15 August Kamunduhan: (Dis)enchantments with the World “Kamunduhan,” which translates to “worldliness” is double-edged sword: it can be construed as either negative or positive—or both. The negative connotation, of course, signifies the unfettered desires of the flesh, which can only transpire through embodiment in the world. The positive meaning suggests a sharp awareness of what is happening around us, coupled with a call to action to address the lack, the injustice, the impoverishment of the world. In this group exhibition, which features artists from Rizal Province—a long-time bastion of the arts—the twin definition of the word is unsheathed, evoked by works that reveal how our being in the world is shaped by various forces: from the inescapable imperatives of the body to the complex strictures of society. What is present in most of the works is a keen awareness of desire, and how this desire drives both creativity and destruction, both life and death. For Art Sanchez, who has curated the exhibition, as well as Lotsu Manes, whose early exhibition prompted the title of the show, “kamunduhan” portends to a fulfillment of eschatology, the philosophy of last things: bodies massing together in some kind of Biblical judgment, the reckoning of humanity in the “darkest hour” (Sanchez) or the world itself as a globe half-submerged in liquid fire, presided over by scepter which has pierced through a bat, a suggestion of man over nature, whose karmic consequence is the boiling of the planet (Manes). In the works of Michael De Guzman, Kim Hamilton Sulit, and Isadore Gabriel Lerio, it is the body’s cursed flesh that takes center stage. In De Guzman’s work, the grinning mouth is seen through a warren of wires, obviously out of control, hence the need for restraint. In Sulit’s work, the seated figure is shown in a slow state of decomposition, with the head fully melted as the sex organ quietly drips away. Lerio, on the other hand, goes deeply into the body to metaphorically show the mechanism of desire, the seeming mindlessness of its operation. For Jhon Lery Capili, it is not so much the body as the mind that controls and regulates desire, sometimes verging on excess and wildness. Metaphor is the language used by Severo Baring who depicts a snake (a symbol of temptation), bearing a skull for a head, which signifies how untrammeled desire ultimately leads to death. In the work of Ces Eugenio, the emphasis is grounded on the sheer variety and complexity of the world: from metals (gold leaf) to the actual bones of an animal, to the painted pitcher plants of the natural world (which are, telling, carnivorous). In the work of Paulo Barreras, a constricted room symbolized the prison-like grip of a worldliness that doesn’t account for anything beyond eye can see, as evidenced by a floating empty whose roots attempt to reach out into space. 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. -Carlomar Arcangel Daoana VIEW THE EXHIBITION CATALOG

THROWN-NESS IAN QUIRANTE | WINNER JUMALON 22 August 2020 THROWN-NESS Ian Quirante | Winner Jumalon 22 August "If I take death into my life, acknowledge it, and face it squarely, I will free myself from the anxiety of death and the pettiness of life - and only then will I be free to become myself." - Martin Heidegger “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”. For Jumalon, the experience of being thrown into a new reality albeit a dystopian one allowed himself to confront his very existence, his own sense of being. Jumalon also believes that the feeling of thrown-ness allowed him to discover his life’s meaning as a metaphysical being. It was not that long ago that the word “normal” meant something completely different for Jumalon and Quirante. In the beginning of 2020, both artists have found themselves thrown into a new world that is unfamiliar, unsettling, and at times terrifying. However, new terrains and new realities present new ways for mankind to come to terms with its very existence, being, and mortality. Oftentimes, new terrains present an opportunity for restoration and renewal. In the words of Arundhati Roy: The coronavirus “pandemic is a portal”. And as we are presented with this portal to a new, reimagined future, our minds tend to return to “normality” by holding on to the nostalgia of a bygone world, to find solace in the things that gave us comfort in the past. However, a rupture, an opening already exists and we are in the midst of it. Roy said that “historically, pandemics have forced humans to break with the past and imagine the world anew”. This is why the state and the feeling of being thrown into a new reality, thrown into the rupture that leads to a new world is a deeply transformative albeit an agonizing existential experience. The state and feeling of being thrown into this rupture is what Jumalon and Quirante are investigating in their two-person show Thrown-ness. Jumalon's imagery in Thrown-ness is, in certain respects, a visual iyaku—an “imperfect translation” of both his internal and external realities in the time of a global pandemic. As iyaku in Japanese culture is about capturing the essence albeit through an imperfect translation of the spoken and the written word, Jumalon's portraits are visual impressions of the feeling, the energy, and the atmosphere of a world that has been thrown into a prolonged state of uncertainty, bleakness, and ambivalence. His larger-than-life portraits are superimposed with natural motifs that are based on and inspired by objects that the artist collected during his daily engagement with his immediate natural environment during quarantine. The ambiguous relationship between the elements in Jumalon’s compositions—natural motifs that appear to melt into the human figures, and broad and violent brushwork that obscure and obliterate much of the human faces—resulted to the creation of portraits that are almost phantom-like. It was as if man/woman was melting into his/her environment, a form of self-transcendence, a metaphysical experience amidst a dark and unsettling landscape. As for Quirante, his idea of thrown-ness revolves around the recontextualization of his old drawings gathered from his visual diary. For Quirante, being thrown into a new reality presents an opportunity to revisit objects and images that are imbued with personal memory but with the intention of creating new meaning. In some respects, Quirante lifts from his past collection of works to make sense of a new and unfamiliar cultural landscape. According to him, although his process entails working with past drawings, his concern is not to create an autobiographical work. Instead, his creative impetus comes from his fascination with the act of constant editing without a fixed plan or end result. Quirante references the creative practice of William Burroughs who likewise featured an element of randomness in his body of work. For Quirante, the sense of thrown-ness is felt in the absence of a clear and defined visual narrative in his compositions that appear as disquieting dreamscapes. As the artist finds himself thrown into this troubling new reality, he creates works that reflect the uncertainty of the current zeitgeist. For Quirante, thrown-ness is about being fully absorbed in the creative process of constant editing, a process that is reflective of the existential need for greater adaptability and antifragility in the new normal that the artist has found himself in. For Jumalon, thrown-ness is about reaching a state whereby the artist is able to completely inhabit the present moment in spite of the pervading sense of desolation and uncertainty. The Japanese idiom ichi-go ichi-e which roughly translates into English as “This moment only happens once and will never happen again” captures the way by which Jumalon has engaged with his immediate environment during the pandemic. Jumalon’s involuntary isolation opened an opportunity for him to be deeply immersed in this new dystopian reality, and in response, create an impression of his daily struggle. -Patrick de Veyra VIEW THE EXHIBITION CATALOG