feature essay about contemporary art in the philippines

NEWS/COLUMN

Philippine Art: Contexts of the Contemporary

Patrick D Flores and Carlos Quijon, Jr.

Ginoe, Kabit Sabit All images courtesy of the artists and writers

The history of contemporary Philippine art traverses a vibrant terrain of artistic practices that delicately and urgently mediate the modernity of art history, institutions, exhibition-making, and the expansive activity of curatorial work. It performs this range of gestures to speak to and intervene in the ever-changing political milieu and the vast ecology, as well as ethnicity, of the archipelago. The Cultural Center of the Philippines (CCP), which opened in September 1969, is an important institution in this history. The CCP was founded during the term of President Ferdinand Marcos, with the First Lady Imelda Marcos securing the funds for its construction and serving as its first chairperson. Its mandate was to promote national cultural expression and to “cultivate and enhance public interest in, and appreciation of, distinctive Philippine arts in various fields.” Other institutions of culture during this time were the Design Center of the Philippines (DCP), founded in 1973, the Museum of Philippine Art (MOPA), and the Metropolitan Museum of Manila (MET), the latter two instituted in 1976. The artist Arturo Luz concurrently directed these institutions, with his eponymous gallery practically managing the MOPA. The CCP was a venue for modern and international art and helped cultivate ideas of contemporary conceptualist and performance art. The practice of Raymundo Albano, curator of various spaces within the Center from 1970/1 until his death in 1985, is important in the development of curatorial discourse and practice in the Philippines. During his term, he conceptualized the idea of Developmental Art, which for him was a “powerful curatorial stance” inspired by “government projects for fast implementation.” Albano’s provocations inspired a rethinking of the nature of the art work: its form, cultural lineage, relationship with the audience, and ability to absorb the desire for distinction and identity. His initiative Art of the Regions, which presented the works of Junyee, Genera Banzon, and Santiago Bose is exemplary. Apart from these initiations, Albano also inaugurated the CCP Annual, a presentation of representative works of the year; and oversaw the publications Philippine Art Supplement, a bi-monthly art journal that ran from 1980 to 1982, and the three-issue magazine Marks, with Johnny Manahan. In 1981, Junyee organized the project Los Baños Siteworks. It was an exhibition held in a three-hectare “halfway ground between the mountain and the city.” For this platform, the region is imagined as a site and a sensibility away from the conventions of the typical gallery exhibition: “By utilizing nature’s raw materials as medium, the relationship between the art object and its surroundings are fused further into one cohesive whole.” The trope of region was a way of shifting the ecology of contemporary art exhibition, now “no longer confined within the boundary of gallery walls.” As Junyee describes the works in the exhibition: “Like extensions of nature, the works sprouted from the ground, floated in the air, surrounded an area, dangled from branches in random arrangement around the exhibition site.” Outside the Center, “social realism” developed in response to an increasingly authoritarian political milieu under the auspices of the developmentalist regime of Marcos. The term was explicated by critic Alice Guillermo who describes it as “not as a particular style but a commonly shared sociopolitical orientation which espouses the cause of society’s exploited and oppressed classes and their aspiration for change.” According to her, social realism was “rooted as it is in a commitment to social ideals within a dynamic conception of history, social realism in the visual arts grew out of the politicized Filipino consciousness.” The latter was forged by the Philippine revolution against Spain in 1896 and the continuing struggles against all oppressive systems. Guillermo argues that social realism in the Philippines “stresses the choice of contemporary subject matter drawn from the conditions and events of one’s time,” and “is essentially based on a keen awareness of conflict.” Whereas realism may be construed as a merely stylistic term, social realism is a “shared point of view which seeks to expose or lay bare the true conditions of Philippine society.” The work of the collective Kaisahan (Solidarity, 1975-6) whose members included painters Papo de Asis, Pablo Baen Santos, Orlando Castillo, Jose Cuaresma, Neil Doloricon, Edgar Talusan Fernandez, Charles Funk, Renato Habulan, Albert Jimenez, Al Manrique, Jose Tence Ruiz, and later joined by Vin Toledo, became emblematic of this tendency.

The quicksilver practice of the wunderkind David Medalla flourished during this milieu, albeit in an idiosyncratic vein. He was a homo ludens, provocateur, poet, and a prominent figure in modern and contemporary art in the Philippines and elsewhere who worked on kinetic, installative, participatory art, and other actions that do not neatly fall into accepted categories. During the opening of the CCP in 1969, he led a blitzkrieg demonstration that protested against what he saw as the Center’s philistinism. Caught by a cop securing the grand opening, Medalla was escorted outside, and when asked if he had the necessary permit to protest, he handed over his invitation, from the First Lady Imelda Marcos no less, and invoked his right to unfurl his art work—a cartolina on which was hand-painted: “A BAS LA MYSTIFICATION! DOWN WITH THE PHILISTINES!” The government of Ferdinand and Imelda Marcos was deposed in 1986 by way of the EDSA People Power uprising. With the uprising came a renewed democratic impetus that skewed the priorities of institutions ensconced by the Marcoses. From being a venue for international travelling exhibitions, the MET focused on Filipino art. The CCP started to exhibit works of social realist artists, which could not be hosted in the 1970s. The DCP was absorbed by the Department of Trade and Industry. The administration of the MOPA was debated upon by organizations in a series of meetings revolving around the anxiety of what it takes for a post-Marcos institution to be democratic. In the end, it was discovered that the site of MOPA was not owned by the Philippine national government and that the institution itself did not have funds to continue its operations; ultimately, it was shuttered. The democratic impulse, alongside its myriad mystification from a resurgent pre-Marcos oligarchy, informed artistic practices and shaped ecologies of participation during this period. Artist collectives were formed as part of the renewed sense of democratized practice. Kababaihan sa Sining at Bagong Sibol na Kamalayan (Women in the Arts in an Emerging Consciousness, KASIBULAN) was founded in 1987 by visual artists Ida Bugayong, Julie Lluch Dalena, Imelda Cajipe Endaya, Brenda Fajardo, and Anna Fer. It was inspired by a consultation conference on Women Development organized by the National Commission on the Role of Filipino Women (NCRFW). At the heart of the organization was the goal to surface a “collective consciousness of Filipino women from which new image and identity can emerge and transformation can begin by giving a sense of power and empowerment” by creating “network[s] with women artists regionally, nationally, and internationally.” This collective consciousness presents itself in “her visual language, her sensibility, and artistic excellence” and in “symbolism, imagery, values, and beliefs of women’s personal and collective transformation” and in an interest in “crafts that are the traditional domain of women—tribal, indigenous, or folk, as an alternative effort to the inescapable influence of Western modernism.”  Besides such aspiration, the group also endeavored to “assist women’s groups in resolving women issues that have long hindered the socio-economic and cultural growth of Filipino women.” The membership was “open to all women in the arts—visual, literary, and performing artists including art historians, educators, and critics who demonstrate a willingness to work for the sisterhood’s goals.” From monthly fora, to exhibitions, to publications, the KASIBULAN fostered a community of women artists, conscious of the issues of gender and the potentials of feminist struggle if the consciousness veered towards it. In the 1990s, discourses around regionality gained exceptional traction, especially with the help of CCP’s Outreach and Exchange Program and the establishment of the National Commission for Culture and the Arts (NCCA) in 1992.  The NCCA was the “the overall policy making, coordinating, and grants giving agency for the preservation, development and promotion of Philippine arts and culture.” The mandate of the CCP’s Outreach and Exchange Program and NCCA ensured support for initiatives and projects outside Manila such as the Baguio Arts Festival (BAF), inaugurated in 1989, the Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) founded in 1990, and the national travelling exhibition Sungdu-an (Confluence) that ran from 1996 to 2009. All three platforms convened artists from the regions and helped consolidate regional public spheres through exhibitions and meetings. The BAF, initiated by the Baguio Arts Guild, was instrumental in giving space for the arts and culture of the Cordillera region, north of Manila. The VIVA ExCon, helmed by members of the artistic collective Black Artists of Asia based in Negros Occidental, allowed for the cultivation of an inter-island connection among the provinces in the Visayas. Sungdu-an became an important step in the consideration of national art across archipelagic contexts through a curatorium based in the regions. Both VIVA ExCon and the Sungdu-an explored the potential of travelling as a method for artistic and curatorial practice in the Philippines and challenged notions of the “national” along axes of regions and the archipelagic condition. Today, the energy of artists, through their own volitions and the support of the market and the state, can be felt across the islands in the country, no longer confined to the center that is Manila, and freed from gospel of the prophets of international art. The belabored question of being Filipino has been displaced across the more productive notion of locality, one that is worldly and yet rooted. In many ways, the binary has been unmasked as a false choice and that the Philippine experience cannot sustain the premise.  Alongside these more national considerations of region, international imaginaries of regionalisms also proliferated in the 1990s through exhibitionary and museological efforts. Important in this regard are the initiatives of the Asia Pacific Triennale (APT) organized by the Queensland Art Gallery in Brisbane that begun in 1993; the founding of the Singapore Art Museum (SAM) in 1996; and the pioneering collection and exhibitionary undertakings of the Fukuoka Art Museum (FAM) in Japan starting in 1979 and which became the Fukuoka Asian Art Museum (FAAM) in 1999. These three institutional initiatives offered a dynamic understanding of region-formation and regionality, prospecting the varied coordinates of the Asia-Pacific in APT, Southeast Asia in SAM, and Asia in FAM/FAAM.

Jocson, Princess Parade

The Fukuoka Art Museum pioneered in the exhibitionary efforts to present art from Asia. It inaugurated the Asian Art Show in 1979, one of the first exhibition platforms to present Asian art on a transregional scale. After the Fukuoka Asian Art Museum was established, the Asian Art Show transformed into the Fukuoka Asian Art Triennale which held its first edition in 1999. FAM also initiated the exhibition series Asian Art Today Fukuoka Annual featuring single-artist presentations, which included in its roster Roberto Feleo (Philippines, 1988), He Duo Ling (China, 1988), Tan Chinkuan (Malaysia, 1990), Tang Daw Wu (Singapore, 1991), Rasheed Araeen (Pakistan, 1993), Durva Mistry (India, 1994), Mokoh (Indonesia, 1995), Kim Young-Jin (South Korea, 1995), and Han Thi Pham (Vietnam, 1997). It also played an important role in the exhibition of art from Southeast Asia with exhibitions such as Tradition, Source of Inspiration (co-presented with the ASEAN Culture Center, 1990), New Art from Southeast Asia (1992), and Birth of Modern Art in Southeast Asia (1997). For its part, the Asia Pacific Triennial of Contemporary Art (APT) was the brainchild of the Queensland Art Gallery | Gallery of Modern Art and was established in 1993. APT presented an exhibition, a film program, projects for children’s art, and a public program that gathered artists all over Asia for talks and workshops. Exceptional in APT’s trajectory was its focus on contemporary art from Asia, the Pacific, and Australia. Their programming was sustained by acquisition and commissioning of new works. It cultivated research and publication and actively offered residencies and training programs for artists and museum professionals in the Asia-Pacific region through the Australian Centre of Asia Pacific Art (ACAPA). Finally, the SAM came to the scene in 1996, guided by the acquisition, annotation, and exhibition of contemporary art from Southeast Asia. It helped condense a regional imagination of art in Southeast Asia and was influential in its historicization and discursive formation. Moreover, it forged the status of Singapore as an important location for regional contemporary art. While institutional projects thrived in the 1990s, the late 1990s and the early 2000s saw the proliferation of independent and artist-run spaces, presaging the horizontal, peer-to-peer scenarios in the years to come. These spaces threw sharp light on forms of gathering and participating in the artistic landscape poised to be different from, if not critical of, the scale and the economy of institutional programs. Earlier examples include Shop 6, founded by a group of artists led by artist and inaugural CCP curator Roberto Chabet in the 1970s, as well as The Pinaglabanan Art Galleries run by the artist Agnes Arellano and her partner British writer Michael Addams in the 1980s. These spaces were usually privately funded or existed with the support of private foundations. Some remarkable examples were Third Space, which was an exhibition and performance space founded by artist and filmmaker Yason Banal in Quezon City in 1998; Surrounded by Water in Angono, Rizal, put together by artist Wire Tuazon in the same year and which later became a collective of artists including  Jonathan Ching, Mariano Ching, Lena Cobangbang, Louie Cordero, Cristina Dy, Eduardo Enriquez, Geraldine Javier, Keiye Miranda, Mike Muñoz, and Yasmin Sison; and big sky mind, conceived by artists Ringo Bunoan, Katya Guererro, and Riza Manalo in Manila in 1999. One of the longest-running alternative art spaces, Green Papaya Art Projects, emerged in 2000. Built up by artist Norberto Roldan (who was also one of the founding members of the collective Black Artists in Asia) and dancer and choreographer Donna Miranda, Green Papaya was “an independent initiative that supports and organizes actions and propositions that explore tactical approaches to the production, dissemination, research, and presentation of contemporary art in various and cross-disciplinary fields. It continues to provide a platform for intellectual exchange, sharing of information and resources, and artistic and practical collaborations among local and international artists and art communities.” 

These histories shape the trajectory of contemporary Philippine art in the 2010s and onwards. With the development of exhibitionary discourses within institutions and beyond it through independent art spaces, the figure and agency of the curator signified the intelligence that became necessary in navigating the complex networks and economies these historical developments referenced. The curatorial agency was borne out of the self-reflexivity cultivated in ideas of contemporary artistic production and history within or against the discourses of the institutional, the independent, and the commercial.  Crucial in this development was the Curatorial Development Workshops (CDW), a platform for curatorial education and training that was initiated by the Japan Foundation, Manila and the University of the Philippine Jorge B. Vargas Museum and Filipiniana Research Center in 2009. The CDW provided “a platform for interaction among young curators, their peers, and established practitioners in the field.” From an open call, a selection of emergent curators would be invited to present exhibition proposals in a workshop setting, with professional curators sharing about their practices and projects. The first iterations of the workshops gave one of the participants a chance to work as an intern curator in a Japanese institution under the JENESYS (Japan-East Asia Network of Exchange for Students and Youth) program and was given the space and guidance to realize their proposed exhibitions at the Vargas Museum. In 2017, the exhibition Almost There was held at the Vargas Museum alongside smaller scale exhibitions organized by chosen workshop participants across different venues in Southeast Asia. The 2010s also saw novel imaginations and platforms of exhibition-making and the making public of art. In 2013, the Art Fair Philippines was launched. It was a large-scale platform for exhibiting and selling modern and contemporary visual art in the Philippines and Southeast Asia. It also helped expand the audience for local visual art and, in its more recent iterations, helped push questions of accessibility and the publics of art. The career of artist Ronald Ventura is symptomatic of how artistic agency relates to the market, without necessarily being overwhelmed by its demands. Ventura’s works continue to mobilize more traditional techniques alongside a sensibility keen on spectacle and seriality. Ventura once held the record of the highest selling artist in Southeast Asia when his large canvas painting Grayground sold for more than 8 million HKD at the 2011 Sotheby’s auction. In May 2021, his work Party Animal sold at the Christie’s 20th and 21st Century Art Evening Sale for 19 million HKD, 16 times its estimate. This said, artists have set up their own spaces, with residency and mentorship programs, attuned to the vicinities and constituencies around them. And the primary and secondary markets have been hectic, evidenced in numerous fairs, auction houses, and galleries. In all this, the quality of Philippine contemporary art may be described as consistent across persuasions, whether it be realist painting or conceptualist installation, postcolonial intermedia or printmaking, or research-based projects linked to photography, moving image, sound, action, or archive.   The year 2015 saw the participation of the Philippines at the Venice Art Biennale after more than 50 years. In 2015, Patrick D. Flores curated the exhibition Tie A String Around the World. The pavilion presented the works of National Artists Manuel Conde and Carlos Francisco and artists Jose Tence Ruiz and Manny Montelibano, probing technologies of conquest and worldmaking and their resonances in the contemporary contestations of territory in the South China Sea. The succeeding year also saw the participation of the Philippines in the Venice Architecture Biennale with the exhibition Muhon: Traces of an Adolescent City which looked at the architectural and urban history of Manila throughout the years curated by Leandro Locsin, Jr., Sudarshan Khadka, and JP dela Cruz.

Alongside these developments were equally compelling tendencies of practice that mediated contemporary contexts of production and reception of art and the potent possibilities in the areas of collaboration, intervention, and participation in artistic environments in the most expansive sense. The practice of Nathalie Dagmang has ventured into these considerations. As a student of anthropology and visual artist, she is interested in the interfacing of contemporary conditions of human experience, from ecological disaster-prone communities to the experiences of migrant workers, with the artistic process harnessed as a way to prompt conversations around social engagement. For her work  Dito sa May Ilog ng Tumana  (2016) she looks at the urban community of Baranggay Tumana that is situated along the Marikina river. In her ethnographic project, she investigates how the relationship between the site and the community becomes mutually transformative: the residential settlements continuously change the topography of the river, and the river becomes inextricable with how daily life is imagined both as quotidian landscape and as a site in constant risk of inundation due to tropical typhoons. Dagmang also took part in “Curating Development,” a program based in the United Kingdom and funded by the Asian Human Rights Commission. Working with curators and anthropologists, she initiated workshops and community-based art activities with the Filipino migrant workers based in the United Kingdom and Hong Kong and conceived exhibitions that looked at the contributions of migrant labor to the Philippine imagination. The cogent relations between activism and performance are fleshed out in the practice of Boyet de Mesa, who also convenes the annual Solidarity In Performance Art Festival (SIPAF), an artist-organized project that promotes cultural exchange, solidarity, and peace through performance festivals that started in 2015. Artist Eisa Jocson’s practice discerns this same interventive potential in performance in her works that look at feminized and queer migrant labor, such as in the work  Princess Studies  (2017-)   and  The Filipino Superwoman Band  (2019), with Franchesca Casauay, Bunny Cadag, Cath Go, and Teresa Barrozo. This performative agency likewise inspires the practice of artist and architect Isola Tong whose works interrogate urban space and development and notions of wildlife within the framework of transgender politics and ecosystems. Finally, it is through performance that the romanticization of the diasporic experience is refused without disavowing its intimacies and prospects: the practice of Noel de Leon who is based in London and co-directs Batubalani Art Projects takes interest in how objects survive and index traces of historical conflicts and circulations of both people and things. Meanwhile, the practice of Lilibeth Cuenca Rasmussen who is based in Copenhagen devises performances that propose simultaneously ludic and critical ways of struggling with the tenacious demands of “identity” and “culture” and their situatedness and displacements.  This keenness on the options in participation and more horizontal logics of practice finds exceptional articulation in Load na Dito, a mobile research and artistic project founded in 2016 by artist Mark Salvatus and curator Mayumi Hirano. It foregrounds the critical and creative possibilities that inhere in collective and interactive action of making, presenting, and curating art. In 2019, Load na Dito proposed  Kabit at Sabit , a multi-modal and multi-site exhibition that involved practitioners from all over the archipelago. From the Filipino words for connect or install and inspired by the Pahiyas Festival in Lucban, Quezon, the hometown of Salvatus, the curatorial project invited practitioners to create artistic projects that investigated installation as a technology of display. Each practitioner was asked to choose a façade in which they attached or installed objects, transforming the site into an exhibitionary space where art meets its public—both incidental and intentional. In these tendencies and trajectories of practice and institutional history, Philippine contemporary art demonstrates an acute discernment of persistent and current concerns, one that shapes the lively intellects of engaged artists and continually expands the effects of their intuitions.

Abuga-a, Kabit Sabit

Quinto, Kabit Sabit

About the Writers

Patrick D Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines and Curator of the Vargas Museum in Manila. He is the Director of the Philippine Contemporary Art Network. He was one of the curators of Under Construction: New Dimensions of Asian Art in 2001-2003 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Past Peripheral: Curation in Southeast Asia (2008); Art After War: 1948-1969 (2015); and Raymundo Albano: Texts (2017). He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He was the Artistic Director of Singapore Biennale 2019 and is the Curator of the Taiwan Pavilion for Venice Biennale in 2022.

Patrick D Flores

Carlos Quijon, Jr. is a critic and curator based in Manila. He is a fellow of the research platform Modern Art Histories in and across Africa, South and Southeast Asia (MAHASSA), convened by the Getty Foundation’s Connecting Art Histories project. He writes exhibition reviews for Artforum and Frieze. His essays are part of the books Writing Presently (Philippine Contemporary Art Network, 2019) and From a History of Exhibitions Towards a Future of Exhibition-Making (Sternberg Press, 2019). He has published in MoMA’s post (US), Queer Southeast Asia, ArtReview Asia (Singapore), Art Monthly (UK), Asia Art Archive's Ideas (HK), and Trans Asia Photography Review (US), among others. He curated Courses of Action in Hong Kong in 2019, co-curated Minor Infelicities in Seoul in 2020, and In Our Best Interests: Afro-Southeast Asia Affinities during a Cold War in Singapore in 2021. 

Carlos Quijon, Jr.

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Arts & Culture

Contemporary arts in the philippines: an introduction, discover the rich tapestry of contemporary arts in the philippines, where traditional filipino art meets modern expression., february 18, 2024.

Contemporary arts in the Philippines encapsulate a vibrant and diverse spectrum of artistic expressions. They reflect the nation’s rich cultural heritage, social issues, and modern-day challenges. Characterized by its dynamic use of various mediums, styles, and themes, Philippine contemporary art transcends traditional boundaries to explore new forms of expression. Accordingly, this period of art is particularly marked by its engagement with current events, technology, and globalization.

Evolution and Development of Contemporary Arts in the Philippines

The late 1960s and early 1970s are recognized as a pivotal era for contemporary arts in the Philippines. It marks a departure from classical forms and the emergence of new artistic movements. At the same time, it was an era of significant social and political change, which artists responded to with innovation and critical discourse.

The period saw the rise of influential artists and collectives who challenged the status quo. They experimented with new materials and techniques, and addressed pressing societal issues through their work. As a result, they laid the groundwork for a flourishing contemporary art scene that continues to evolve, reflecting the complexities of Philippine society and contributing to the global art landscape.

Pre-war Period Influence

The pre-war era in the Philippines witnessed the emergence of the “Triumvirate” – Victorio Edades, Carlos “Botong” Francisco, and Galo Ocampo. These pioneering artists broke away from the conservative art norms of the time, introducing modernist concepts and techniques. Their works, characterized by bold experimentation and a departure from classical themes, laid the groundwork for modern Philippine art, influencing generations of artists to come.

Post-war Innovations

The post-war period saw significant contributions from six artists associated with the Philippine Art Gallery (PAG) in Ermita, Manila. Cesar Legaspi, Hernando Ocampo, Ramon Estella, Romeo Tabuena, Vicente Manansala, and Victor Oteyza were instrumental in furthering the modernist movement. Each brought their unique perspective and innovative techniques to the fore. Their collective efforts helped diversify the artistic landscape in Philippine art. They blended local themes with modernist styles to create art reflective of the nation’s post-war reality.

International Recognition

The international stage took notice of Philippine art with the landmark participation of Jose Joya and Napoleon Abueva at the 1964 Venice Biennial. Earning critical acclaim, Joya’s abstract expressionist works and Abueva’s modernist sculptures showcased burgeoning contemporary arts in the Philippines to the world. This participation marked a significant milestone for Joya and Abueva, and for Philippine art as a whole. It heralded its arrival on the global art scene, fostering international collaborations and exhibitions.

These pivotal moments in Philippine art history highlight a journey of evolution and innovation. From the groundbreaking works of the “Triumvirate” to the international acclaim of Joya and Abueva, the legacy of these artists continues to inspire and shape the vibrant, diverse, and dynamic contemporary art scene in the Philippines.

Key Institutions and Movements in Philippine Art

The Cultural Center of the Philippines (CCP) , established during the term of President Ferdinand Marcos, plays a pivotal role in promoting Philippine art and artists. Since its founding, the CCP offered a platform for artists to showcase their work, from Filipino traditional art to contemporary forms. Its impact extends beyond exhibitions, encompassing performances, workshops, and educational programs. All foster a deeper appreciation and understanding of Philippine art across diverse audiences.

Under the guidance of Raymundo Albano, the CCP saw innovative curatorial practices and the birth of Developmental Art. These challenged traditional Filipino art forms and embraced experimentation. Albano’s “Art of the Regions” initiative sought to decentralize the art scene, highlighting regional artists and their unique contributions. This approach diversified the types of art showcased and broadened the audience for Philippine art. It made it more inclusive and reflective of the nation’s rich cultural tapestry.

Conversely, Alice Guillermo defined social realism in the Philippine context as an artistic movement that captures the struggles and aspirations of the marginalized. The collective Kaisahan , embodying this definition, used art as a means of social commentary and activism. It addressed issues of poverty, injustice, and political strife. Their work is a testament to the power of art in effecting societal awareness and change, highlighting the critical role of artists as social commentators and activists.

Independent Art Spaces and Collectives

The late 1990s and early 2000s witnessed the emergence of independent art spaces and artist collectives. Among them, Green Papaya Art Projects, provided alternative venues for artistic expression and collaboration. These spaces fostered a sense of community among artists, encouraging experimentation and multidisciplinary projects. They played a crucial role in expanding the reach of contemporary arts in the Philippines, making it accessible to a broader audience and further enriching the country’s art scene.

By now, Philippine art showcased a remarkable diversity in themes, materials, and forms, reflecting a blend of traditional Filipino art and modern innovations. Artists freely navigated through a variety of mediums, ranging from classical painting and sculpture, to digital art and multimedia installations. This eclectic mix highlighted the Philippines’ rich cultural heritage while addressing contemporary issues.

Multimedia Arts: Pushing the Boundaries of Traditional Filipino Art

By incorporating video, sound, and interactive technology, artists engage audiences in immersive experiences that traditional mediums cannot offer. This expansion into digital and multimedia forms allows for a more dynamic exploration of topics relevant to the modern world. They include identity, migration, and the impact of technology.

Moreover, the integration of these new forms and technologies with traditional Filipino art elements creates a unique and vibrant art scene. It challenges artists and audiences alike to reconsider the definition of art and its role in society, ensuring that Philippine art remains relevant and responsive to the changing times.

Art Appreciation and Public Engagement

By engaging with contemporary and traditional Filipino art, individuals gain insights into the cultural, historical, and social contexts that shape the contemporary arts in the Philippines. Appreciation involves observing, interpreting, and connecting with the emotions, stories, and values depicted in various art forms. This process enriches our cultural literacy and fosters a deeper connection to our heritage and contemporary societal issues.

Moreover, galleries, museums, and art fairs are instrumental in promoting Philippine traditional arts and contemporary expressions. These venues serve as accessible platforms for the public to encounter and engage with art. Galleries often focus on showcasing contemporary artists, offering them a space to explore and present their work to diverse audiences.

Museums play a crucial role in preserving and displaying traditional Filipino art, providing educational resources that help visitors understand the historical and cultural significance of these works. On the other hand, Art fairs, offer a dynamic environment. Artists, collectors, and art enthusiasts can converge, facilitating the discovery of new talent and the exchange of ideas.

Together, these institutions contribute to a vibrant art ecosystem in the Philippines. They support artists by providing visibility and opportunities for collaboration while educating and engaging the public. Through exhibitions, workshops, and interactive events, they encourage active participation in the arts. Perhaps more importantly, they foster a culture of appreciation that spans the rich tapestry of Filipino artistic heritage and its evolving contemporary landscape.

Icons of Contemporary Arts in the Philippines and Their Contributions

Vincente manansala.

Posthumously declared a National Artist in 1981, Vicente “Mang Enteng” Silva Manansala rose to become one of the most financially successful artists of his generation. His art, deeply rooted in the socio-economic shifts of the late-19th century, spanned genres such as landscape, still life, and portraiture. His signature “Transparent Cubism,” learned in Paris from Fernand Leger, used cubistic shapes to create a decorative, overlapping effect.

Known for his charming and gallant demeanor, Manansala combined the academic rigor of his schooling with the lively street language of his youth. Over the course of his career, his unique artistic style greatly resonated with both high society and ordinary people.

His genre scenes, often depicting cockfighters, street vendors, and families in humble settings, established him as a master of genre. But his works also carried a social critique, reflecting his empathy for the working class. Manansala’s exploration of themes such as the female nude and the crucifixion showcased his range and depth. He balanced commercial demand with personal faith and artistic integrity, elevating simple folk to sophisticated subjects of social change.

Arturo Luz , another National Artist for Visual Arts in the Philippines, stands out for his distinctive Modernist approach. Characterized by the simplification of natural forms into geometric shapes, lines, and bold colors, his work reflects his personal artistic journey.

A significant influence on Philippine Modernism as a curator, designer, and educator, he founded pivotal cultural institutions such as the Design Center of the Philippines and the Metropolitan Museum of Manila . These organizations continue to nurture new generations of artists and designers under his Modernist ethos. His works, ranging from genre paintings to geometric sculptures, blend Western and Eastern aesthetics into a minimalist yet profound expression of form and space.

Without a doubt, his meticulous craftsmanship and disciplined design process allowed him to explore various themes. He portrayed cityscapes and abstract landscapes with a consistent stylistic integrity. Collaborating with architect Leandro Locsin, Luz’s artworks harmoniously complemented Locsin’s architectural masterpieces. Further, it illustrates the seamless integration of art and space in Luz’s oeuvre. This synthesis of Western modernism and Eastern principles, particularly Zen aesthetics, underscores Luz’s unique position as an artist who successfully married diverse influences into a distinctly Asian Modernist style.

Benedicto Cabrera (BenCab)

Widely known as BenCab , Benedicto Cabrera is a pivotal figure in Philippine contemporary art, celebrated for his profound impact on the scene. Awarded the title of National Artist for Visual Arts, BenCab’s work encompasses a variety of themes, including social commentary, Philippine folklore, and scenes from everyday life.

His style blends realism with expressionistic strokes, capturing the essence of Filipino identity and experience. BenCab’s Sabel series, inspired by a real-life scavenger, stands out as a testament to his ability to humanize marginalized figures. Today, he remains a beloved and respected artist in the Philippines and beyond.

Ronald Ventura

Ronald Ventura emerges as one of the most dynamic contemporary artists from the Philippines. Known for his intricate, layered works, he explores the interplay between reality and fantasy. Ventura combines hyperrealism with cartoons and graffiti. He creates complex, visually arresting pieces that delve into issues of identity, consumerism, and the clash of cultures. His record-breaking sales at auctions speak to his global appeal, and his contributions significantly elevate the status of Philippine art on the international stage.

Nona Garcia

Nona Garcia is renowned for her ability to capture the ephemeral and the overlooked in her photorealistic paintings and installations. Garcia’s work often investigates themes of memory, displacement, and the passage of time. Furthermore, she employs a range of media from traditional paint to x-rays. Her meticulous attention to detail and skill in rendering subjects invite viewers to reconsider their relationship with the ordinary. Garcia’s exploration of transparency and obscurity serves as a metaphor for the complexities of human experience.

These artists exemplify the rich diversity and vibrancy of the Philippine contemporary art scene. As a result, through their unique styles and profound thematic explorations, they each contribute to broadening the appreciation and understanding of Filipino art. Their works reflect the socio-cultural landscape and engage with universal themes that resonate with a global audience.

Contemporary Art’s Role in Society

As noted, contemporary art acts as a mirror to reflect societal issues. It is a catalyst for critical thinking and a vehicle for promoting cultural heritage. Through various forms and expressions, contemporary artists challenge viewers to confront social, political, and environmental issues. They stimulate dialogue, fostering a deeper understanding of the world around us. Altogether, this engagement encourages audiences to question assumptions, consider different perspectives, and engage in critical discourse about pressing global and local concerns.

Moreover, contemporary art serves as a steward of cultural heritage, preserving traditional practices while integrating them into modern contexts. Artists often draw on historical themes, techniques, and motifs, reinterpreting them through a contemporary lens. This fusion of past and present enriches the cultural landscape.

Art fairs, galleries, and museums support artists and generate revenue for communities. This enhances the vibrancy of urban environments and contributing to the growth of creative economies. Art tourism, in particular, is a pivotal aspect of cultural exchange. It draws visitors keen to experience the rich artistic heritage and dynamic contemporary art scenes of different regions.

In summary, contemporary art’s role in society extends far beyond aesthetic appreciation, impacting economic development, cultural preservation, and intellectual engagement. Its capacity to reflect and shape societal values underscores the importance of supporting and fostering the arts within communities worldwide.

The Future of Contemporary Arts in the Philippines

The future of Philippine art is poised for exciting developments. Driven by emerging trends such as digital art and increased global recognition, artists increasingly leverage technologies to create innovative works. They blend traditional Filipino art with various media to explore new dimensions of expression. This digital shift expands the creative possibilities and democratizes art by making it more accessible to wider audiences.

Furthermore, contemporary arts in the Philippines are gaining significant international attention. Filipino artists prominently feature in global exhibitions, biennales, and art fairs. This global recognition fosters cross-cultural dialogues and opens up opportunities for collaboration, positioning Philippine art firmly on the world stage.

The potential of art as a tool for social change and sustainability is increasingly recognized. Artists are using their platforms to address environmental concerns, advocate for social justice, and promote sustainable practices. Consequently, they inspire communities to reflect on pressing issues and envision a more sustainable future.

Philippine Art in the Global Context

Significantly, Philippine contemporary art contributes to the global art scene. It showcases the unique cultural heritage and diverse perspectives of the Filipino people. The infusion of local themes with universal concerns resonates with international audiences, highlighting the rich cultural narrative of the Philippines.

Conversely, the adoption of new media and technique express thematic explorations of global issues such as migration, identity, and climate change. This global-local interplay enriches the artistic discourse, allowing Filipino artists to contribute meaningful insights to the global conversation.

Cultural exchange and global recognition of Filipino artists promote understanding and appreciation across cultures. As Filipino artists participate in international platforms, they showcase the vibrancy of Philippine art. Furthermore, their work also facilitates cultural exchanges that foster mutual respect and understanding among nations.

In conclusion, the future of contemporary arts in the Philippines is bright. Digital innovation, global recognition, and the power of art for social change all pave the way for a dynamic and impactful art scene. Philippine art continues to evolve in the global context. Today, it remains a powerful medium for cultural expression and dialogue, reflecting the nation’s unique identity while engaging the broader global community.

Read more: Art Fair Philippines 2024 Opens to the Public This Weekend

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Exploring Six Major Contexts in Philippine Contemporary Art

Contemporary art in the Philippines emerges as a vibrant and diverse sphere that effortlessly transcends conventional boundaries, continually evolving and adapting to the ever-changing milieu that envelops it. A crucial element consistently shaping and defining contemporary artworks is the context within which they originate, are displayed, and are subsequently interpreted. The exploration of the multifaceted nature of contexts in contemporary Philippine art will unfold, shedding light on how these contexts wield influence over the inception of artistic endeavors, their reception by audiences, and the broader discourse encompassing the Philippine art world.

1. Cultural Context

Philippine contemporary artists frequently draw inspiration from their cultural milieu, engaging with socio-political issues, historical events, and cultural traditions. The cultural context provides a rich source of material for artists seeking to express their perspectives on identity, belonging, and societal norms. This aspect of context is particularly evident in the works of artists such as BenCab, who addresses issues of cultural identity and heritage through his evocative paintings and installations.

2. Social Context

The social context of contemporary Philippine art encompasses the broader social landscape, including societal structures, movements, and collective experiences. Artists often explore activism, human rights, and social justice themes, contributing to the discourse on relevant societal issues. Activist-artists like Alwin Reamillo, for instance, incorporate social and political commentary into their artworks, addressing the pressing concerns of their time.

3. Technological Context

Technology plays a pivotal role in shaping contemporary art in the digital age in the Philippines. Artists leverage various technologies, from virtual and augmented reality to artificial intelligence, to create innovative and interactive experiences. The works of artists like Leeroy New, who explores the intersection of technology and traditional Filipino folklore in his installations, exemplify the dynamic relationship between art and technology in a contemporary Philippine context.

4. Institutional Context

The spaces in which Philippine art is exhibited, such as galleries, museums, and alternative art spaces, significantly contribute to the interpretation of artworks. The institutional context influences how viewers engage with art, shaping their understanding and appreciation. Some Filipino artists challenge traditional exhibition formats, opting for unconventional venues or digital platforms, thereby redefining the relationship between art and its institutional context.

5. Economic Context

The economic landscape impacts the production, distribution, and consumption of contemporary Philippine art. The art market, collectors, and funding sources shape artistic practices and trends. Artists may respond to economic challenges by adopting unconventional materials, collaborating with local brands, or exploring alternative funding models. Some contemporary Filipino artists, like Patricia Perez Eustaquio, navigate the economic context by engaging with local industries and craft traditions.

6. Personal Context

Filipino artists’ personal experiences, emotions, and perspectives contribute to contemporary art’s subjective nature. Artists infuse their work with elements of autobiography, self-reflection, and introspection. The confessional and introspective artworks of Mark Justiniani, for example, exemplify the intimate connection between a Filipino artist’s context and creative expression.

The intricacies of contemporary art contexts in the Philippines are complex, varied, and constantly in flux. As Filipino artists traverse the diverse terrains of culture, society, technology, institutions, economics, and personal experiences, their artworks mirror the dynamic interplay inherent in these contexts. Grasping and valuing the environments in which contemporary Philippine art takes shape enriches our capacity to interact with the art world, nurturing a profound appreciation for the myriad voices and stories contributing to the continually evolving tapestry of contemporary artistic expression in the Philippines.

Written by Cherry Fulgar

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Comprehensive Guide to Philippine Contemporary Art

Overview of philippine contemporary art, notable philippine contemporary artists, prominent art movements in the philippines, how to appreciate philippine contemporary art, prominent art galleries and museums in the philippines, impact of philippine contemporary art in society, future of philippine contemporary art, philippine art in the global context.

Have you ever wondered about the vibrant beauty and intriguing depth of the Philippine contemporary art scene? If so, you're in the right place. This blog will guide you on a journey through the rich tapestry of contemporary art in the Philippines, taking you from the nation's most prominent artists, through the significant art movements, and into the future of this thriving art scene. It's a world where creativity meets cultural traditions, where modern techniques blend with historical narratives, and where artistry has a profound influence on society. So, let's dive in and explore the wonders of the Philippine contemporary art scene together.

The Philippine contemporary art scene is a vibrant mix of traditional Filipino aesthetics and modern artistic expression. It is a reflection of the country's history, culture, and the diverse voices of its people. Here are some key points to understand the essence of Philippine contemporary art:

• The fusion of old and new: Contemporary art in the Philippines strikes a balance between the traditional and the modern. Artists often incorporate elements from indigenous folk arts and colonial-era influences, while experimenting with modern techniques and themes.
• The voice of the people: The Philippine contemporary art scene is a platform for social commentary and critique. Artists use their work to express their views on societal issues, from politics and corruption to environmental concerns and human rights.
• Diversity and dynamism: The art scene in the Philippines is as diverse as the archipelago itself. With over 7,000 islands and numerous ethnic groups, the country’s art reflects this rich cultural tapestry. There is no single style that defines Philippine contemporary art, but rather a dynamic blend of styles, themes, and techniques.

Now that we've got the basics down, let's move on to some of the key players in the Philippine contemporary art scene. These are the artists who are shaping the face of modern art in the Philippines and making a mark on the global stage.

There are numerous artists who have made a significant impact on the Philippine contemporary art scene. Let's take a look at a few who've made waves in the art world with their unique style and thought-provoking work:

• Benedicto Cabrera: Often referred to as Bencab, Cabrera is a national artist known for his paintings that depict the Filipino life. His work is a profound exploration of the social and political landscape of the Philippines.
• Nona Garcia: Garcia is celebrated for her photorealistic paintings and installations. Her work often raises questions about memory, identity, and personal histories.
• Elmer Borlongan: Borlongan's art is a visual diary of the everyday Filipino life. His vivid, realistic paintings provide a glimpse into the struggles and joys of the common man.
• Patricia Perez Eustaquio: Known for her interdisciplinary approach, Eustaquio uses a variety of mediums, including sculpture, painting, and textiles. Her work explores themes like decay, desire, and the pursuit of beauty.

These artists, and many others like them, bring depth, diversity, and dynamism to the Philippine contemporary art scene. They challenge us to see the world, and specifically the Philippines, through different lenses. Their powerful work keeps the art scene vibrant and continually evolving.

The Philippine contemporary art scene is rich, diverse, and ever-evolving, thanks to the various art movements that have shaped it over the years. Let's explore some of the most influential movements that have left an indelible mark:

• Modernism: This art movement emerged in the Philippines in the mid-20th century. It broke away from the traditional art forms and introduced abstraction, expressionism, and cubism. Artists like Victorio Edades and Arturo Luz were key figures in this movement.
• Neo-Realism: This movement, which emerged in the late 20th century, sees artists portraying reality with a new perspective. They use everyday scenes and common people as subjects, creating a powerful connection between art and the daily Philippine life.
• Post-Modernism: This movement is about challenging the norms and conventions of art. Post-modern artists in the Philippines embrace diversity, contradiction, and the blurring of boundaries between high and low forms of art.
• Conceptual Art: This art movement emerged in the late 20th century, with artists prioritizing ideas over the visual components of art. Conceptual artists in the Philippines use their work to critique social, political, and cultural issues.

Each of these movements has contributed to shaping the Philippine contemporary art scene into what it is today: a vibrant, dynamic, and diverse space for creative expression and critical discourse.

If you're new to the Philippine contemporary art scene, it might feel a bit overwhelming at first. But don't worry—you don't have to be an expert to appreciate art. Here are some simple steps to help you start:

• Look: Simple, right? But it's more than a quick glance. Spend time with the artwork. Notice the colors, shapes, textures, and any details that catch your eye.
• Think: What is the artwork trying to say? Does it bring up any emotions or thoughts? Remember, there's no right or wrong answer. Art is subjective, and it's all about your personal interpretation.
• Learn: Try to find out more about the artwork—the artist, the context in which it was created, the techniques used. This can often provide a deeper understanding of the piece.
• Engage: Share your thoughts with others. Discussing art can open up new perspectives and make your art appreciation experience richer.

Remember, art is meant to be enjoyed, not just understood. So, take your time, keep an open mind, and let yourself be drawn into the fascinating world of the Philippine contemporary art scene.

Now that you're all set to dive into the Philippine contemporary art scene, let's talk about where you can find it. The Philippines is home to some incredible art galleries and museums that showcase the best of local contemporary art. Here are a few places you should definitely check out:

• The Metropolitan Museum of Manila: Often referred to as the Met, this museum is a haven for modern and contemporary art enthusiasts. It consistently hosts exhibitions featuring works by some of the biggest names in the Philippine contemporary art scene.
• The Cultural Center of the Philippines (CCP): The CCP is more than just a performance venue. Its galleries are a platform for both established and emerging artists to showcase their work.
• Ateneo Art Gallery: Located within the Ateneo de Manila University campus, this art gallery boasts an impressive collection of Philippine contemporary art, including works by winners of the prestigious Ateneo Art Awards.
• Pinto Art Museum: Situated in Antipolo, this museum is a bit of a trip from Manila, but well worth it. Set in a lush garden, it's home to a vast collection of contemporary art pieces by Filipino artists.

These places not only offer a glimpse into the vibrant Philippine contemporary art scene, but also provide an enriching cultural experience. So, next time you're in the Philippines, don't miss the chance to explore these art havens!

Art isn't just about creating beautiful pieces for the eye. It's also about sparking conversations and making people think. And that's exactly what the Philippine contemporary art scene does. It has a significant impact on society in several ways:

• Reflecting social issues: Artists often use their work to comment on pressing issues in society. In the Philippines, contemporary art often mirrors the struggles, hopes, and experiences of the people. It's like a mirror held up to society, reflecting the realities of life.
• Encouraging critical thinking: By presenting different perspectives on various issues, contemporary art encourages viewers to think critically. A single piece of art can provoke a whole range of emotions and thoughts, prompting people to see things from a different angle.
• Promoting cultural heritage: The Philippine contemporary art scene is deeply rooted in the country's rich cultural heritage. Artists often incorporate elements of traditional Filipino art forms into their work, helping to keep these traditions alive and relevant in today's world.
• Contributing to the economy: Art is also a significant contributor to the economy. The sale of artworks, admission fees to galleries and museums, and art-related events all generate revenue. Plus, art tourism is a growing sector, attracting visitors from around the world to the Philippines to experience its vibrant contemporary art scene.

As you can see, the impact of Philippine contemporary art stretches far beyond the walls of galleries and museums. It plays a vital role in shaping society, culture, and even the economy.

Today, the Philippine contemporary art scene is more dynamic and diverse than ever. But what about its future? Let's take a look at some trends that might shape its direction in the coming years:

• Embracing digital art: As technology advances, more and more artists are exploring the potential of digital art. From digital painting to virtual reality installations, the possibilities are endless. This trend is likely to continue, pushing the boundaries of what art can be.
• Increased global recognition: Philippine contemporary art has been gaining recognition on the international stage. With more Filipino artists participating in global art fairs and biennales, this trend is set to continue. This means we can expect to see more Philippine art on a global scale in the future.
• Focus on sustainability: As environmental issues become more pressing, artists are increasingly using their work to raise awareness about sustainability. This is likely to remain a key theme in the future, with more artists exploring ways to create art in an eco-friendly way.
• Art as a tool for social change: Art has always been a powerful tool for social commentary, and this is unlikely to change. In the future, we can expect to see more artists using their work to comment on social issues and inspire change.

While it's impossible to predict with certainty what the future holds, one thing is for sure: the Philippine contemporary art scene will continue to evolve, innovate, and inspire. With its rich history and dynamic present, there's no doubt that the future of Philippine contemporary art will be just as exciting.

Now, let's zoom out a bit and talk about how the Philippine contemporary art scene fits into the global picture. You might be surprised at just how interconnected everything is!

• Contributions to the World Art Scene: Filipino artists have been making waves internationally for quite some time now. They've been showcasing their unique perspectives and techniques, earning spots in prestigious exhibitions and collections worldwide. These contributions enrich the global art scene, making it more diverse and inclusive.
• Influence of Global Trends: Art is a universal language, and Filipino artists are fluent speakers. They're in tune with global trends, but they also bring their own distinct flavor to the mix. Whether it's modernism, postmodernism, or digital art, you can see global influences in their work, but with a Filipino twist.
• Cultural Exchange: Art is also a form of cultural exchange. When Filipino artists showcase their work internationally, they're not just representing themselves, but the Philippines as a whole. They're sharing our culture, history, and experiences with the world. And in return, they bring back new influences and ideas to the Philippine contemporary art scene.
• Global Recognition: More and more, the world is recognizing the talent and creativity of Filipino artists. They're winning awards, getting featured in international publications, and being invited to participate in global events. This recognition shines a spotlight on the Philippine contemporary art scene, encouraging more people to explore and appreciate it.

So, as you can see, the Philippine contemporary art scene isn't just thriving locally—it's making a mark globally, too. And that's something we can all be proud of!

If you enjoyed our comprehensive guide to Philippine Contemporary Art and want to explore more about the art world, we recommend checking out the workshop ' Classical Painting in the Modern Day ' by Eric Drummond. This workshop will provide you with valuable insights on the relevance and importance of classical painting techniques in today's contemporary art scene.

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Fine Arts Department Faculty Publications

Literary: the contemporary philippine essay - introduction.

Ramon Guillermo , University of the Philippines Diliman Martin V. Villanueva , Ateneo de Manila University Follow

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Literary: The Contemporary Philippine Essay

Recommended Citation

Guillermo, R., & Villanueva, M. V. (2016). Literary: The contemporary Philippine essay - Introduction. Kritika Kultura, 0(26), 618–625. https://ajol.ateneo.edu/kk/articles/77/838

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Contemporary Art of the Philippines

Contemporary art of the Philippines is a form of art that is based on the life and times of the Filipino people. It is a way of depicting everyday scenes, which is the closest to the Filipino spirit. This art form is a reflection of the country’s cultural identity, and it is a great way to promote Philippine culture.

Table of Contents

The conceptual framework of Anading’s work focuses on the way objects are re-configured outside of their original context. These sculptural works often use ephemeral scaffolding structures to explore themes related to the aggressive urbanization of the Philippines. His installations also use a strong site/insight play.

Poklong Anading is an award-winning conceptual artist who creates paintings, video, installations, and sculptures. She was the first Filipino to receive an Ateneo Studio Residency Grant in Australia, and in 2006, she was given the 13 Artists Award by the Cultural Center of the Philippines. Her most recent exhibition, Hit Or Miss Is a Hit, recently concluded.

Poklong Anading is a pioneer in the field of multi-media art in the Philippines. She began by working on experimental video projects, but over the years, she has expanded her practice to incorporate installation and other media. Her work often makes use of discarded objects gathered in various parts of Manila. Many of her concepts are based on interactive processes, giving the viewer the opportunity to participate in the process.

Kawayan de Guia is another acclaimed artist who produces art that explores social and political issues of contemporary Filipino society. She is also interested in using found objects and transforming them into a part of the collective memory of Filipino culture. She has completed several residencies and received the Philip Morris Asian Art Award in 2003. She was also awarded the Ateneo Art Award for Visual Art in 2011.

The Philippine contemporary art scene is a dynamic one. The locality has transformed dramatically from the alternative spaces and collectives of the 1990s to a sophisticated and independent practice. In addition, the local art market has expanded to take part in the global art market.

The works of Ernest Concepcion are abstract reflections of Philippine history, social issues, and the human experience. He uses a variety of techniques and styles in his works, which challenge viewers’ preconceptions about art. Concepcion splits his time between Brooklyn and Manila. His work is currently included in the group show WORD at the Corridor Gallery in Brooklyn.

Pettyjohn’s work was influenced by her parents’ art and her own life experiences as a Filipino-American. His paintings often have a figurative element, and he also incorporates sculptural works into his work. His work evokes memories and themes of impermanence, which speak to the anxieties of a new generation of individuals.

Villamiel uses a wide variety of mediums to create his work. His works often incorporate found objects and make them into installations. He began his art career much later in life, while working as a set designer for television, a leather-bag maker, and a t-shirt company owner. In 2006, he held his first solo exhibition.

The artist has collaborated with local governments to create projects in the Philippines. In Paoay, Ilocos Norte, for example, he transformed discarded water tanks and cement fountains into a post-apocalyptic park. Another project, titled Pasig River, was funded by the Burning Man Global Arts foundation. The project involves floating installations on the Pasig River, one of the most polluted waterways in the metropolis. In the process, the artist aims to challenge our perceptions of the environment.

Pasilan is a self-taught artist who has achieved success in the art world. He studied at the University of Santo Tomas Fine Arts and has been a part of several group shows and solo exhibitions. His work has been shortlisted for the Ateneo Art Awards.

Merino’s work is laden with evocative imagery. Reminiscent of shanties, claustrophobic spaces, and small stitched patches, his work is a poignant commentary on politics in the Philippines. It might even be indicative of the artist’s subconscious.

The artist has been influenced by Philippine folklore and culture. He has a wide collection of local artifacts, which are woven into his textured abstract paintings. His work is also a reflection of the offbeat perspective on contemporary Philippine society. In the process, he recycles used materials.

A number of Philippine artists have successfully staged solo exhibitions in the United States. A number of Filipino-American artists have also staged solo shows at prestigious American institutions. However, the process of embracing and celebrating diversity has been hampered by corporate interests, which are incompatible with progressive politics.

Ged Merino is a multi-media Filipino-American artist based in New York. His most recent solo exhibitions were in 2014, and he was chosen for the Singapore Art Stage. He also co-founded Bliss on Bliss Art Projects in New York, where he and his wife Carolina Morales present experimental works by contemporary artists.

Merino’s work incorporates hundreds of pairs of discarded shoes wrapped in fabric. The project is part of a collaboration with a nonprofit organization in New York. The artist plans to donate the wrapped shoes to those affected by the typhoon Haiyan. Merino credits her interest in fabric to her mother.

The art exhibit was difficult to stage due to lack of funds. But with the help of the support of family members and the Filipino art community, it was made possible. She invited notable Filipino artists such as Alfredo and Isabel Aquilizan, Lav Diaz, Jessica Hagedorn, and Ninotchka Rosca to participate. Applicants were evaluated by Ged and a committee of artists. The artists are not paid a commission for their works, but are asked to cover expenses for reception and other related activities.

Villamiel’s work is multi-faceted, combining painting, installation, and mixed media. His work often makes use of salvaged objects, which he reassembles as traces of social reality. His works often feature cages filled with artifacts gathered from around the country. Some of his pieces are large-scale, and many depict social commentary.

In one installation at the Singapore Art Museum, the viewer walked through a lane lined with doll heads propped on bamboo poles. The viewer then entered a bahay kubo that was lined with smiling dolls. They had been rescued from a dumpsite in the area, and the walls were covered with them. Some of the dolls were missing limbs or arms, while others were missing their hair.

A multidisciplinary artist, Villamiel studied at the University of the East and then worked as a set designer for television shows. He was also a leather bag craftsman and a t-shirt business owner before embarking on his art career. Since then, he has held several solo exhibitions and continues to exhibit internationally.

Mark Salvatus is another contemporary artist from the Philippines. He has won the Ateneo Art Awards in 2010 and was recently named one of CCP’s 13 Artists for 2012. He has exhibited in numerous galleries in the country, including New York, Toronto, Canada, and the Netherlands.

David Medalla is another important name in Philippine contemporary art. The young artist was born in Montalban, Rizal, but studied abroad at the Parsons School of Design in New York and at the University of Helsinki in Finland. His work stretches the boundaries of art and has influenced the country’s contemporary art scene. He has won several awards for his work and is widely admired internationally.

Carlos Cabrera is a Filipino artist, and his work is exhibited in galleries and museums across the United States, Europe, and Asia. His first exhibition was held in the Indigo Gallery in Mabini in 1965. Since then, his works have been featured in exhibitions in New York, Los Angeles, Paris, Tokyo, and London. The artist has lived in London for much of his professional career. He was awarded the Order of National Artist for Visual Arts.

The 1960s were BenCab’s formative years. He met his wife Caroline Kennedy while living in the Philippines and eventually married her in England. They have three children together. While he struggled to establish himself as a painter in London, he was able to sell his artwork to several celebrities, including the actress Glenda Jackson. In 2006, he was also named National Artist for the Visual Arts by the Philippine government. In 2009, he received an honorary Doctorate of Humanities.

BenCab’s work is highly collectible. He is one of the most sought-after artists of his generation. His works sell like hotcakes, and collectors often rush to purchase them well before they are completed. BenCab’s name is a self-styled pseudonym for Benedicto Cabrera.

BenCab’s oeuvre encompasses paintings, sculptures, and graphic arts. He is widely regarded as a pioneer in Philippine art. His figurative works often depict flowing fabrics. He was inspired by his elder brother Salvador Cabrera, and began painting on walls when he was seven years old. After finishing school, he became an illustrator for a national newspaper.

BenCab’s work draws inspiration from Filipiniana prints and photographs from Europe. The ‘Larawan’ series is a nod to the artist’s nostalgic feelings for his homeland. In these paintings, he uses colour to draw parallels between the past and the present.

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Contemporary Performing Arts and Literature in the Philippines

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This study mirrors the symbolic actions of cultural characters in Davao folk narratives. It utilized descriptive-narrative and narrative-conversational methods to collect and analyze the folk narratives in the Davao region. The Cultural Symbolism theory of Clifford Geertz was used to reveal the interweaving culture of the indigenous people. Thus, the symbolic actions present in the texts are the following: pangayaw (tribal war), divine intervention, hunting, trading, belief in the existence of heaven, usage of magical instruments, cursing and casting enchantments, and patronizing a Datu. Hence, this study contributes to the preservation of culture which is slowly vanishing due to the effects of colonization, modernization, and globalization. Thus, further studies on myths, folktales, folk songs, folk speeches, and folk epics should be done to promote the cultural awareness among postmodern Filipinos.

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Semra Kızılarslan

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