how did philippine contemporary art evolve essay

Tate Papers ISSN 1753-9854

From Ephemeral Experiences to Lasting Legacies: Discourses on Experimental Art in the Philippines during the 1960 s and 1970 s

Eva Bentcheva

This paper shows how the Philippine visual art scene of the 1960s and 1970s offered particularly fertile ground for early experiments in process, interactivity and participation in art. Focusing on the installation-like ‘environments’ of Roberto Chabet, the community-centred compositions of José Maceda and the interactive performances of David Medalla, Judy Freya Sibayan and Raymundo Albano, it looks at the significance of the term ‘experimental’ in Philippine art at this time, and discusses the intersection between discourse-building, artistic practice and institutional politics.

Since the 1990s, there has been a burgeoning interest in the ‘global’ manifestations of conceptual and performance-based practices. Writing for the catalogue of the 1999 exhibition Global Conceptualism: Points of Origin, 1950s–80s at the Queens Museum of Art in New York, Thai art historian and curator Apinan Poshyananda singled out Southeast Asia as a site where conceptual practices took deep-seated roots after the Second World War and offered scope for developing new concepts and manifestations which spoke to the Southeast Asian social, political and cultural contexts: ‘The term conceptualism embraces various forms of art in which the idea of the work is considered more significant than the object itself.’ 1

Two decades since Global Conceptualism , Poshyananda’s reflections continue to resonate. While no survey of conceptual art in Southeast Asia has been undertaken to date, there is a profound interest in investigating idea-based, performative and intermedia art beyond the chronologies of post-Second World War Euro-American art histories. In this respect, a number of archiving initiatives and exhibitions have shed light on the role of key figures in conceptualism’s early development, primarily across the Philippines, Indonesia, Malaysia and Singapore from the 1960s until the 1990s. 2 Moreover, these have often reiterated the role of artistic production as the locus of conceptual and performative art-making, thus echoing Poshyananda’s framework of ‘Con Art’ as an effort to foster political critique. 3

Yet what frequently remains outside the scope of discussion is the relationship between conceptual practices and discourse-building – in the form of writings and exhibition-making – which often had close ties with established institutions and educational systems. This paper explores the central role of discourse-building and institutionalisation in fostering conceptual, abstract, installation, performance-based and intermedia practices. It examines this via the framework of the Philippine visual art scene of the 1960s and 1970s, which it argues was a particularly fertile ground for early experiments in process, interactivity and participation. From the installation-like ‘environments’ of Roberto Chabet to the community-centered compositions of José Maceda, and the interactive performances of David Medalla, Judy Freya Sibayan and Raymundo Albano, a number of artists working during the 1960s and 1970s sought to navigate the boundaries between so-called ‘experimental’ practices, the cultural politics of the Marcos regime (1965–86), and international discourses around contemporary art and the ‘avant-garde’. Expanding upon curator and art critic David Teh’s notion of ‘currency’ as a negotiation of national, regional and transnational art practices via key terms, this paper investigates the significance of ‘experimental’ art as a term in the Philippines during the 1960s and 1970s. 4

The aforementioned five key figures hailed from different backgrounds – Chabet, Albano and Sibayan all produced art alongside prolific careers as independent and institutional curators (and teaching, in the case of Chabet) in public institutions in Manila; Medalla devoted his life to art while traversing the creative circles of Europe and the Philippines; and Maceda was active as a composer, university professor and ethnomusicologist. Seen together, however, they provide valuable insights into the evolution of ‘experimental’ art across artistic practice, discourse-building and institutionalisation. Their works highlight how ‘experimental’ was deployed both as an umbrella term for installation, conceptual and performance art, and as an encapsulation of the discursive tensions and internal struggles among artists working in the Philippines. 5

Commencing with an overview of key developments in Philippine art during the 1950s and 1960s, this paper subsequently divides into three sections which examine how ‘experimentalism’ was mobilised in individual works, as well as curatorial discources and critical writings. The first section presents early iterations of the term in relation to the practices of Chabet and Medalla. Examining how this term steered away from conceptual and performance art, minimalism and installation emerging from the USA and Europe in the 1960s, it argues that ‘experimental’ offered scope for artists to advance locally-driven discourses and concepts, and subtle forms of criticism under the authoritarian Marcos regime in the 1970s.

The second section of the paper highlights the simultaneous ways in which ‘experimental’ was mobilised within government-backed institutions, in particular the Cultural Centre of the Philippines. It explores how artists acknowledged and engaged with this co-option, paying particular attention to Albano’s attempts to legitimise a broad range of formal experimentations under the notion of ‘developmental art’, and Sibayan’s critique of the failure of institutional practices to produce a new form of ‘avant-garde’ through her performances and writings.

Finally, this paper also considers the relevance of the term ‘experimental’ for discourse-building, beyond discussions of institutionalisation. The third section examines iterations of ‘experimentalism’ in relation to folk traditions, technology and community. It considers Albano’s writings on installation and Maceda’s participatory musical ‘happenings’ as examples of initiatives which operated at the institutional nexus, yet sought to advance the parameters of the ‘experimental’ through participation, performance and installation beyond the visual arts. Returning in conclusion to ‘experimentalism’ as a form of currency, this paper argues that the mobilisation of this term by individuals sat across and ‘beside’ the frameworks of the national, transnational, and collective imaginations from which many strands of contemporary Philippine art in the 1960s and 1970s took their impetus. 6

Artistic and political ecology, 1960s and 1970s

Emerging from a period of decolonial struggles after the Second World War, the art scenes of 1960s Southeast Asia were not marked by a unified style or movement. Rather, the rising presence of internal power struggles, coupled with the dynamics of the Cold War, came to play a formative role in reorienting artistic practices away from the internationalist ideals of the 1950s and towards more nationalistic frameworks. Ahmad Mashadi has noted that in the aftermath of the Bandung Conference of 1955, disillusionment with the seemingly ‘universal’ style of abstraction marked a decisive turn towards aesthetic experimentation and discursive explorations in the 1960s and 1970s. 7 Artists distanced themselves from the language of international solidarity, and came to question the systems of art education which bound their creative practices to forms of national identity. In the wake of President Suharto’s New Order regime in Indonesia, this development was exemplified by the activities of Gerakan Seni Rupa Baru (the New Art Movement) (1974–9), a constellation of artists from the cities of Bandung and Yogyakarta. 8 Their conceptually leaning practices gravitated away from established art systems and rejected the view that art was universal. In the self-published Black December Statement (1974), the group took a critical stance against the lack of social and political consciousness in Indonesian fine arts, and proclaimed a commitment to intermediality, as well as the elimination of the division between ‘high’ and ‘low’ art. 9

The initiatives of Gerakan Seni Rupa Baru illustrate a close-knit connection between early conceptual and performance practices, and a desire to expose the structures and contradictions of nations in the wake of post- and neo-colonialism, and in newly established dictatorships. 10 In light of such examples, Patrick Flores has argued that the 1960s and 1970s marked a crucial moment in which ‘the international requires, or anticipates, a performative expansion of practice’. 11 However, as this paper will argue, this ‘performative expansion’ was activated not only through the visual language of art; it also surfaced in curatorial practice and writing in order to explore new artistic identities in Southeast Asia. In Malaysia, the exhibition Towards a Mystical Reality and its accompanying manifesto, published by artists Redza Piyadasa and Sulaiman Eisa in 1974, proposed that the roots of Malaysian modern artistic practice lay in the cultural and philosophical traditions of Asia as they came into conversation with international concerns. 12 Proposing a distancing from Western influences, the manifesto called for the creation of artistic practice and discourse which went against state-sanctioned art forms and ideological affiliations in the wake of the Cold War.

Preceding the birth of conceptual practices in Indonesia and Malaysia, the Philippine art scene had been already undergoing transformations since the early 1960s, which marked the birth of performative and concept-driven forms of art. As in many other Southeast Asian states, Philippine modern art of the 1950s had been dominated by abstract painting and sculpture. In 1957, the Art Association of the Philippines – an influential body of art critics and curators founded in 1948 – witnessed a charged debate around the dominance of abstraction over figuration in Philippine modern art. 13 Culminating in a ‘walkout’ from their annual competition by the conservative factions of the association, abstraction came to be recognised as the most influential form of artistic practice after the Second World War. This development gave impetus to a new wave of formal experimentation in painting and sculpture in the following decades. 14

By the early 1960s, an expansion of the parameters of abstract art was further fuelled by the opening of a number of private galleries supporting new forms of practice. These notably included the Philippine Art Gallery, established by Lyd Arguilla, and the Luz Gallery run by Arturo Luz. Both galleries were established as part of the wider economic and urban changes in Manila in which Makati became the new financial district and a benchmark for modern urbanism drawing on the ideas of the artist Fernando Zóbel (1924–84). 15 Furthermore, throughout the 1960s and continuing into the 1970s, numerous commercial and artist-run independent spaces such as Arts Laboratory and Shop 6, among others, also came into existence. These provided systems of support and opportunities for artists looking to form networks and exhibit in solo and group exhibitions. For this emerging generation of Philippine artists, abstract expressionism, minimalism, assemblage art and performance from Europe and the US remained a strong influence. An influx of publications, as well as interpersonal exchanges and contacts, allowed them to access the discourses associated with these movements. 16 As the decade progressed, a number of artists who had lived or travelled abroad, including David Medalla, Roberto Chabet, Ben Cabrera, Nena Saguil, Arturo Luz, Napoleon Abueva, Constancio Bernardo and Jose Joya, also returned to the Philippines with news of developments in artistic practices and discourses, as well as political positions, which all fed into a nascent ecology of what would later be termed ‘experimental art’.

This period was also marked by a transition from democracy to an authoritarian regime, and finally martial law in 1972 under the presidency of Ferdinand Marcos. In the aftermath of Japanese occupation during the Second World War, the Philippines gained independence in 1946. The series of post-war governments which followed continued to maintain close political and cultural ties with the US. In 1965, Ferdinand Marcos of the Nacionalista Party was elected president. Following his re-election in 1969, Marcos initiated a new socio-economic regime. Under the new rule, the Philippines experienced the rapid construction of infrastructure projects, accompanied by intense censorship, restrictions on personal and political freedoms, and human rights violations. As part of Marcos’s vision to foster greater international recognition for the Philippines, the government instigated the building of large new edifices – most famously the Cultural Centre of the Philippines (CCP) in Manila – which was at the heart of significant changes in the arts and culture. 17 Constructed with partial support from the US, the CCP was envisioned as an emblem of a cultural politics which sought to present the Philippines as a multimedia ‘mecca’ for international art, dance, music and theatre within Southeast Asia. 18 With its inauguration in September 1969, the CCP also launched a visual arts department, the CCP Art Museum. Over the course of the 1970s, this played a formative role in the visual arts through changing exhibitions featuring both international and local contemporary artists, as well as awards, public programmes and publications. As Mashadi noted:

The visual arts initiatives offered an internationalist orientation focusing on high modernism and new experimental forms, including conceptual and performance art which were seen as extensions of an emerging Filipino modernity that seamlessly embraced a dynamic spirit inherent within regional and indigenous cultures. 19

Through its diverse programme, the CCP Art Museum wielded a strong influence on a national level by inviting both established and emerging artists to become involved in exhibitions and award schemes. In doing so, it played a formative role in steering discourses around abstract, minimalist, installation-based and conceptual art – all deemed ‘experimental’ media which were officially sanctioned as part of the cultural politics of the institution. However, this seeming openness and commitment to formal experimentation – or, in the words of the CCP Art Museum’s first director, Roberto Chabet, art which showed ‘an articulate command of means to pursue innovative solutions’ and ‘a confident commitment to ideas’ 20 – was also underpinned by incipient exclusions. The programmes of the CCP expressly rejected art which bore messages of overt political expression or criticism, most notably by social realists. Coming together in the 1970s, the Philippine social realists were a group of artists who drew on international leftist leanings in order to stage overt and satirical political critique against the Marcos regime; they primarily used figurative painting alongside cartoon and poster-making, public enactments and installations. 21 Their mode of work often demonstrated strong performative and conceptual elements, yet their political nature ensured they remained outside the scope of the ‘experimental’ art programmes of the CCP. 22

Despite the backing afforded to conceptual art by institutions such as the CCP, this paper argues that the emergence of a Philippine ‘experimental’ art should not be dismissed purely as a politically ‘coerced’ form of art and, hence, a counter-example to ‘global conceptualism’ as a fight against dictatorial and canonical formations in Southeast Asia and internationally. 23 Rather, it is worthwhile exploring the interconnections between practice, institutionalisation and discourse-building within the framework of individual artists where the notion of ‘experimental’ art came to hold specific importance and took on numerous nuances.

Towards ‘experimental’ practice

In recent attempts to map the histories of ‘experimental’ practices, the works of Roberto Chabet have come to prominence. 24 After pursuing a career in architecture, Chabet turned to art-making in the late 1950s, and took part in several group exhibitions in contemporary art galleries across Manila. His first solo exhibition at the Luz Gallery in 1961 marked him as an important emerging figure in the Philippine art scene, working to challenge the conventional parameters of sculptural practice. 25 Subsequently, after returning to the Philippines from the US and Britain (where he had travelled on a grant from the Rockefeller Foundation) in 1969, Chabet became employed as the first director of the newly established CCP Art Museum. 26 Over the course of this short-lived appointment from 1969–70, he initiated a number of exhibitions and launched a prestigious award for experimental practice, the Thirteen Artists Award , laying the foundations for the CCP’s commitment to experimental and modern art practices in the decades to come.

Fig.1 Roberto Chabet’s Hurdling 1970 in the exhibition Sculptures , Cultural Centre of the Philippines, 1970 © Roberto Chabet Archive, Asia Art Archive

In terms of his own practice, Chabet’s early installations from 1970 to 1975 provide informative insights into key shifts in the Philippines art scene. Influenced by the work of Marcel Duchamp and Fluxus, his work demonstrated an engagement with transnational discourses around conceptual art, performance and assemblage art. On the one hand, his practice aimed to assert the inherent place of these media within Philippine and Southeast Asian art and culture; on the other hand, it also sought to challenge the rigidity of minimalism on a formal level. These principles may be seen in works such as Hurdling 1970 (fig.1), one of Chabet’s early installations in which he deployed readymade materials. Hurdling comprised a series of vertically suspended frames (a reference to athletic hurdles) from which stemmed jagged protrusions made of found scraps of metal. Signalling danger and an impossibility for functional use, the work produced a spatial intervention in the gallery space at the CCP, when it was first shown as part of the 1970 group exhibition Sculptures . Exhibited in this context, Hurdling reflected a new stage in Chabet’s artistic development towards the making of immersive installations, or what he termed ‘environmental works’. 27 Approximating Alan Kaprow’s definition in ‘Assemblages, Environments and Happenings’ (1966), Chabet’s use of ‘environments’ to describe such works evoked a fluidity between art and life, and a theatrical encounter which required movement on the part of the viewer in order to experience the work’s interplay on space, perspective, light and mass. This piece, along with a number of subsequent installations, not only drew on architectural forms but also on principles of perspective and illusion from the world of theatre. 28 While embracing overt references to international minimalist practices in the 1960s, these works additionally made references to local events such as the post-war reconstruction of Manila, a theme which Chabet and a number of other artists recurrently explored through the use of everyday, readymade and found materials such as scraps of iron, plywood and rubber. Simultaneously, the work tapped into conceptual art practices through its play on language. The use of the word ‘hurdling’ in the title, for example, held a double reference to the ‘hurdles’ of the art world which artists needed to navigate in order to succeed. By further using a form suggestive of a frame – a recurring motif in Chabet’s installations from the early 1970s – the artist alluded to a break with traditional art forms, and all of the hazards that come with it, including a lack of commercial opportunities and discourse, as well as fierce competition.

Through this rich use of metaphors and allusions, Chabet attempted to initiate what artist and curator Ringo Bunoan has described as ‘veiled critiques’ of the art world, by situating himself not only as an observer, but also as a critic. 29 The artist elaborated upon this conscious positioning in an interview with critic Cid Reyes in 1973:

Reyes: You have been considered an initiator of a movement variously called ‘Conceptual Art’ or ‘Art as Idea’. What motivated you to explore this field? Chabet: My works really are more properly the works of an art critic. I mean they are the works in which the concept behind the work of art is the art itself. These days – and especially in a country like ours where there are no art critics – the artist assumes the role of a critic by questioning the nature of art. And I don’t necessarily mean writing about it, the way an art critic would. 30

In addition to describing his formal shift away from sculpture, towards performative and discursive practice in the late 1960s, Chabet’s ‘artist-as-critic-pose’ 31 – a term borrowed here from Eileen Legaspi-Ramirez – allowed the artist to converse across the independent practices and institutional contexts presented here under the rubric of ‘experimental art’. This became the crux of Chabet’s collaborative projects with artists Raymundo Albano and Boy Perez in their work under the pseudonym Liwayway Recapping Co. (also known as the Mayon Vulcanising Co.).

Fig.2 Pages from a manifesto for Liwayway Recapping Co.’s exhibition at Joy Dayrit’s Print Gallery, Manila, May 1970 © Estate of Joy Dayrit

Over the course of its loose existence in the early 1970s, the group staged a limited number of ephemeral exhibitions. 32 Similar to Chabet’s solo works such as Hurdling , a notable feature of their practice was the creation of immersive spaces around which audiences could move and experience the play of light and shadow. This experimentation with form and perspective, however, also tapped into the artists’ playful and humorous attitude towards the professionalism of art-making. In a sarcastic and lighthearted self-published manifesto for a group exhibition in May 1970 (fig.2), the artists captured this blurred boundary between professionalism, experimentation and independence which they saw as engaging with a number of aspiring ‘avant-garde’ initiatives in the 1970s:

The Liwayway Recapping Co. held its first exhibition at Joy T. Dayrit’s print, now extinct, and this exhibition lasted only for four hours – six to ten in the evening. For those of you who missed the direct experience of this exhibition, these pictures are for you to look at. No attempt will be made to explain what the pictures are all about. You won’t feel the same sensation we felt when we experienced the exhibition as a whole that evening, you won’t feel what the balloons are all about, and we will feel sorry for you, but nevertheless no attempt will be made to explain what the pictures are all about. Yours truly, the Liwayway Recapping Co. 33

The tongue-in-cheek tone of this statement can be read as an invitation to discuss what constituted art, and who could produce its discourses. All the meanwhile, the intertextuality of the Liwayway Recapping Co.’s projects not only served as an artistic statement, but also as a means of producing a discourse around the notion of ‘experimentalism’.

On the one hand, the Liwayway Recapping Co.’s understanding of ‘experimental’ was grounded in the use of impromptu actions, alongside everyday forms and objects which spoke to the material reality of the Philippines. Their activities referenced the ‘happenings’, the performances or events staged in everyday settings as works of art in New York in the 1950s, as well as the anti-institutional, interdisciplinary and collaborative spirit of the revolutionary avant-garde organisation Situationist International in Europe. On the other hand, ‘experimental’ also described a resistance to being seen as mimicking international avant-gardes. Chabet commented to Cid Reyes on the notion of ‘avant-garde’ in relation to the Philippines: ‘What is considered “avant-garde” in the Philippines may not be “avant-garde” in another country. Let’s just call it “experimental” art.’ 34

In light of this distinction, the role of humour and parody was particularly important in conveying this alternative, locally rooted expression of ‘experimentalism’ which surfaced not only in works by the Liwayway Recapping Co., but also in a number of other conceptual and performative practices of the time.

Fig.3 Yolanda Laudico Roberto Chabet performing Tearing into Pieces 1973, Cultural Center of the Philippines, Manila © Yolanda Perez Johnson

In 1973, Chabet staged a private performance at the CCP in which he tore apart the recently published book Contemporary Philippine Art (1972) by the art critic Manuel D. Duldulao. 35 Published independently, Duldulao’s book gave an overview of developments in contemporary art, including Chabet’s paintings as examples of key developments in Philippine contemporary art. 36 Chabet’s performative destruction, known as Tearing into Pieces , was captured in a photographic series taken by fellow artist Yolanda Laudico (presently Yolanda Perez-Johnson). The photographs depicted Chabet playfully destroying the book before posing on top of, and practicing yoga alongside, the torn-out pages (fig.3).

As this private performance represents a rare example of explicitly emotional enactment by Chabet, it is tempting to interpret it as symbolic act of subversion, or resistance, against the efforts of canonisation found in Duldulao’s book. Yet it was also staged as a condemnation towards a perceived lingering drive in Philippine art criticism to epitomise painting and sculpture as examples of avant-garde practice, without recognition of Chabet’s later efforts to experiment with forms and materials. This reading finds support in the performance’s aftermath – Chabet chose to display the torn-out ‘remains’ of the book in a trash can as an untitled sculptural mound in the 1973 group show at the CCP, An Exhibition of Objects , curated by Raymundo Albano.

Given the final exhibition context of the work, it is impossible to divorce Tearing into Pieces from the institutional and political framework within which it was produced. Critically assessing Bunoan’s description of Chabet’s works as ‘veiled critiques’, it is crucial to remember that Tearing into Pieces was to be shown ‘as art’ within the very institution which also exhibited numerous works mentioned in Duldulao’s book as examples of important contemporary art practice. Furthermore, Chabet and Albano were not only practising artists immersed in the experimental art scene; they were also cultural professionals working very much ‘within’ the system. As mentioned previously, Chabet had been appointed the first director of the CCP Art Museum, with Albano filling in the role of deputy director. After Chabet’s resignation in 1970, Albano first took over the role as interim director, and was subsequently appointed as director, holding this position until his death in 1985. Thus, in light of both Chabet’s independent practice and his collaborations with Albano, there emerges an understanding of ‘experimentalism’ as a fusion of humour and parody in order to stage light-hearted, confrontational contexts. This runs in contrast to the expressions of activism seen in the works of the social realists in the Philippines and, later, in the conceptual art of the Indonesian New Art Movement. Such actions, while often seemingly benign and even mundane in their form, were however very important to the individual practices of these two artist-curators, for it allowed them to traverse the institutional-independent nexus – a point which this paper will return to in the next section. Capitalising upon the notion of ‘experimental’ aligned them with an emerging discourse around conceptual art, described by Albano as aiming to lead viewers to question their realities and presuppositions. 37 Thus an understanding of ‘experimental’ art emerges from these examples not only as an expression of ‘pure’ concept, but as also as a politico-poetic gesture.

This understanding may be traced in the practices of expatriate artist David Medalla, whose work abroad came to play an important role in the Philippines, albeit one sometimes under-explored from the position of a national art history. 38 Having departed for Europe in 1960, news of Medalla’s engagements in London’s kinetic art scene at Signals, London (1964–6) and with the performance group Exploding Galaxy (1968–70) continually reached the Philippines. 39 Over the course of the 1960s, Medalla’s traversal of media and networks abroad became synonymous with the notion of ‘experimentalism’, with Chabet describing Medalla in 1973 as an artist who ‘never stops experimenting’. 40

On the one hand, Medalla’s formal transition from abstract painting and sculpture to a deeply performative mode of art-making in the 1960s rendered his practice an independent navigation of different artistic and cultural traditions which transcended nationalism. On the other hand, his increasing engagement with various leftist political causes in the 1970s, ranging from the war in Vietnam to decolonisation, the rise of dictatorial governments in Southeast Asia and workers’ rights in Britain, also led to an understanding of his work as an experimentation across the boundaries of the political and poetic. As later noted by Medalla in an interview with Pakistan-born artist Rasheed Araeen in London in 1977, ‘the so-called marginal art forms – not the marginal artists – may express a deeper reality better than the major accepted art forms’. 41

This positioning across the political, poetic and aesthetic was important for the Philippine art world – although Medalla was no longer present in person, his work symbolically straddled the perceived divide between conceptual and political art. This ability to independently navigate existing demarcations came to the forefront when Medalla returned to the Philippines in 1969. Despite working in media championed by the CCP, Medalla harboured a scepticism of art being embedded within institutional structures, arguing that museums were spaces in which performative art lost its spirit and efficacy. 42 Perceiving many of the featured works in the CCP programme to have abandoned their political and social agency, Medalla staged a protest at the opening of the CCP in which he and his peers Mars Galang and Jun Lansang arrived uninvited to the opening reception and unfurled hand-made posters from the balcony of the central foyer. Captured in a much-circulated photograph showing Medalla holding a placard reading ‘Abas la Mystification! Down with the Philistines!’, this agitprop gesture objected to the building of state-backed cultural institutions in an increasingly authoritarian political system.

While the political cause behind this protest served as a precursor to several of his most important participatory performances and installations such as Down with the Slave Trade 1971 and The People’s Participation Pavilion 1972, created with John Dugger for Documenta 5, Medalla refused to have his art limited to activism. 43 Through works such as A Stitch in Time 1972, a participatory installation in which viewers were invited to stitch small objects and designs onto a suspended stretch of cloth, he espoused an understanding of ‘experimental’ art as rooted in the making of social contexts. In the words of critic and curator Guy Brett, these contexts served as ‘a microcosm of the phenomenon of artistic movements themselves, which, at their most creative and challenging moments inspire people to surpass themselves, a phenomenon that is greater than any single individual talent’. 44 In contrast to the importance placed on materiality and form in the ‘environments’ of Chabet and the Liwayway Recapping Co., Medalla’s art insisted on the centrality of interaction and interlocution. Thus, the final material ‘product’ was only of secondary value to the work’s discursive possibilities. A Stitch in Time did not require an institutional context to be shown, and could be readily staged in a variety of settings, where it served as a medium for interaction and conversation on themes ranging from everyday events to the artworld and politics. 45

As his practice could be strictly ascribed neither to the political nor conceptual realm, Medalla’s art came to represent a ‘gesture’ towards the increasingly intertwined connection between political discourses, institutional outreach and experimental art in the Philippines. 46 This iteration of ‘experimental’ art as politico-poetic action not only preceded later practices by social realists in the Philippines, but also reflected early transnational connections to politically versed conceptual and kinetic practices by artists from Latin America, most notably Lygia Clark, Sérgio Camargo, Hélio Oiticica and Jésus-Rafael Soto, with whom Medalla had contact in London. 47 Despite the fact that he sought to distance himself from the Philippines after this protest and travelled back to Europe, not to return to the Philippines again until 1986 after the fall of the Marcos regime, his works sparked an investigation of the nexus between institutionalisation and experimental practice which later surfaced in the practices of a number of other artists who remained in the country.

Negotiating the institutional nexus

As a ‘hyphenated artist-curator’, Raymundo Albano engaged with the question of how it was possible to theorise about developments in contemporary art while allowing for the fluid relationship between institutionalisation and experimentalism to continue existing. 48 Having served as Chabet’s assistant director of the CCP Art Museum in its first year from 1969–70, Albano took over its directorship after Chabet’s resignation. Over the course of his term, he remained active as an artist, poet, poster-maker, folk theatre set designer and writer, alongside playing a leading role in establishing influential publications such as the Philippine Arts Supplement and Marks , which fostered critical writings on ‘experimental’ art in the Philippines. 49

According to Flores, one of the most pressing questions which Albano faced was how experimental practices could be legitimised within the context of government-backed institutions such as the CCP which upheld censorship against art that was politically critical. 50 Grappling with this question at a time when performative and conceptual practices were internationally associated with counter-culture movements, Albano explored how the language of modern art could be mobilised in order to justify showing a wide-range of experimental practices within the CCP, meanwhile retaining a degree of autonomy of expression. 51

In 1978, Albano coined the term ‘developmental art’ to describe the heterogenous practices he wished to support within the CCP. 52 On the one hand, this notion echoed the government’s rhetoric around the drive to ‘develop’ the Philippines’s economy and infrastructure. On the other hand, it also referenced the making of fast, ephemeral and process-based projects which were characterised by the use of readymade and industrial materials, as was the case in many ‘experimental’ art practices of the 1970s. 53 By interlacing several nuances into the term, the notion of ‘developmental art’ appeased government strictures, while accommodating practices that crossed different media and had performative elements with the potential for underlying meanings.

In light of this, Albano’s writings emerged from a position which sought to understand the mechanisms through which ‘experimental’ practices became embroiled with processes of institutionalisation. However, by virtue of his institutional role, they also turned a blind eye to the social and political injustices taking place under the Marcos regime, or refused to engage with histories of cultural and economic imperialism through which Philippine (art) history had come into formation. This understanding of ‘experimental’ art thus reflected a positive and at times also complacent affirmation of Philippine modernity seeking to position itself within an international framework. As noted by the art critic Marian Pastor Roces:

The belief system that sustained the frenetic art-making was based on a certain Philippine art version of, believe it or not, nationalism. There was this hyper-consciousness about local art finally, ecstatically moving in synchrony with New York, San Francisco, Tokyo, and possibly even pushing ‘ahead’ more progressively than in Paris, London, Rome. 54

Despite Albano’s efforts to generate a theoretical framework around the notion of ‘developmental art’, the term did not take on deep roots in artists’ own terminology to describe their works. 55 Instead, a desire to understand the power dynamics which governed the ‘experimental’ art scene in the Philippines became the subject of works by other artists, most notably Judy Freya Sibayan.

Having studied under Chabet at the University of the Philippines Diliman between 1972 and 1975, Sibayan’s entry into the world of contemporary art had been highly influenced by Chabet’s engagement with writings on contemporary and experimental practices from the US in this period. Writing in 1988 for the catalogue of the Thirteen Artists Award while she was director of the Contemporary Art Museum of the Philippines, Sibayan described her experience of studying ‘experimental’ art during the 1970s under Chabet:

We [Sibayan and her peers] didn’t perceive ourselves as belonging to specific ‘species’ (painter, printmaker, sculptor, photographer, etc.). We did what was demanded by the investigation [of art] – whatever formalized a concept, be it the manipulation of space, light, architecture, human bodies or human behaviour ... art made with the aim of studying and researching art further. We engaged in performance art, for instance, in order to investigate the inevitable ‘loss of species’ in art or the blurring of borders that separated art forms. With these experiments, we tried to extend the idea that to make art was to perform a task. We tried to affirm that what was essential in artmaking was not the object created but the process of creating art and the good this process did to ourselves. 56

Over the course of her degree, Sibayan began developing ephemeral actions with fellow artist Huge Bartolome which formed the basis for her later engagement with parody and institutional critique. 57 These early ‘classroom performances’ were often initiated by Chabet’s instructions and assignments for his students and took the everyday functions of the university and its hierarchies as the starting point for interrogating the power dynamics which determined what could be deemed art. 58 As an example of her performances from the time, the artist has recalled staging a work in which she stood on one end of a path with Bartolome on the other end; each held a balloon which they requested be given by passers-by to the person standing at the other end. 59 This exchange was performed for an hour with only one audience member, Sibayan’s professor, the renowned Philippine abstract painter Constancio Bernardo, who viewed the performance from his office on the fourth floor of the College of Fine Arts.

Fig.4 Judy Freya Sibayan’s Lemon Cake , performed in the car park of Sining Kamalig shopping complex, Manila, 1974 © Judy Freya Sibayan

As a young student beginning to engage with the question of what structures – and who – had the power to assign actions and objects the status of ‘art’, Sibayan argued that such performances constituted part of a wider investigation into how to ‘have the agency to do art that would be validated and legitimised as art.’ 60 In later works, Sibayan extended her exploration of power dynamics beyond the university and began using performance and conceptual art as a means to expose power structures within the Philippine art world. In Lemon Cake 1974 (fig.4) – a work which Sibayan acknowledges as her first formal ‘happening’ – the artist staged an impromptu performance in the car park of the shopping complex Sining Kamalig. Established by Chabet, inside the complex was Shop 6, one of Manila’s earliest alternative spaces, where a group of artists working in the media of installation, conceptual and performance art congregated. Sibayan’s Lemon Cake was enacted during the launch of a group exhibition at Shop 6, in which her works were not featured. In response to this exclusion, Sibayan and three other students stationed their Renault in the car park and placed a lemon cake on the hood to mark the artist’s birthday. As visitors passed by on the way to the exhibition opening and inquired what the artists were doing, they responded solely with the words ‘lemon cake’ and proceeded to eat the cake until it was finished.

Despite not having been part of the official exhibition, a photograph and description of this adjunct performance were included a review titled ‘101 Artists: Incidents at Sining Kamalig’ published by Albano in the art magazine Marks :

A yellow car docked at the middle of the parking lot, filled with people eating and drinking, not minding anyone. Afterwards, they opened all the doors of the car, set half a pie, two half-empty Magnolia Chocolait bottles, and a metronome on top of the car’s front. 61

Described by Albano as an experimental work with an emphasis on confusing gestures and playful behaviours (as echoed in the aforementioned works by the Liwayway Recapping Co.), the review ignored the protest nature of the work. In contrast, Lemon Cake represented an early attempt by Sibayan to articulate the dynamics of insider-outsider status in relation to artists’ networks and the politics of independent spaces, a subject which she later took up during the 1990s in a broader engagement with institutional critique. 62 The performance had been conceived first and foremost as an intervention ‘performed in jest in a place that was not designated as a space for art’. 63 The fact that it had been retrospectively re-envisioned as a performance artwork by none other than the director of the CCP Art Museum fuelled Sibayan’s interest in interrogating the junction between institutional structures and art, but also underscored the centrality – and inescapability – of institutions in discourse-building during the Marcos era.

Fig.5 Audience at Sound Bags and Three Kings , performed by Judy Freya Sibayan, Raymundo Albano and Huge Bartolome, Cultural Centre of the Philippines, 6 January 1978

Soon after the performance, Sibayan began to engage more directly with Marcel Duchamp’s critique that the art space as context, rather than the object, ascribes artefacts the status of ‘art’. 64 Similar to the creation of Chabet’s Tearing into Pieces in the courtyard of the CCP, her practice set out to challenge institutions as building blocks for experimental practice. At the same time, she engaged with the question of how artists in the Philippines, both knowingly and sometimes unwittingly, struggled to navigate and negotiate the boundaries between institutional control, censorship, experimentalism and independence. Examples of works which she produced as part of this investigation included performances such as Sound Bags and Three Kings , performed in collaboration with Albano and Bartolome on 6 January 1978 in the End Room of the CCP’s Main Gallery (fig.5). The artists sat among the audience and took turns bringing out objects from a paper bag, such as crumpled paper and a comb, with which they made varied sounds and amplified these using a microphone – ‘gifting the audience with sounds’. 65 Through this action, Sibayan and her collaborators sought to explore the barriers of what could qualify as art within the context of the institution, while speaking from a position within the institution.

It is important to note that alongside such works, Sibayan held numerous institutional roles and affiliations after the completion of her undergraduate studies, first as Curatorial Assistant at the CCP (1976–7), then as an exhibiting artist (1974–81), and finally as Museum Director of the CCP (1987–9), leading her to describe herself as a ‘de-centered’ subject. 66 Her personal journey as both insider and outsider became an increasingly present theme in her work, and ultimately morphed into the main subject of her practice. In the 1990s, she returned to a performative mode of art-making in order to reflect upon how the value of ‘art’ was bestowed. With the launch of Scapular Gallery Nomad (started in May 1994 and resumed in 1997), Sibayan sought to expand beyond Duchamp’s notion that the museum context ‘produces’ art. She developed a conceptual work in which she took on a role as the vehicle of a gallery, performing wearing a self-made scapular – a Christian garment made to hang over the shoulders – which served as a ‘gallery’ in which art objects by other artists could be ‘exhibited’. By taking on the role of a mobile ‘gallery’ in which she embodied all institutional roles, Sibayan examined how ‘anyone who contributes to belief in the value of an object, a performance etc. as having value as art, actually produces art’. 67 Echoing earlier positions which had been tentatively voiced by the Liwayway Recapping Co., and more overtly expressed by Medalla, Scapular Gallery Nomad signalled the shortcomings of government-backed institutions – particularly the CCP – in fostering a truly avant-garde practice in the Philippines. Taking this critique one step further through art criticism and autobiographical writing, Sibayan retrospectively historicised her practice and articulated her position as an artist striving to work, quoting the American artist Andrea Fraser to describe herself as ‘inside yet outside, complicitous yet critical’. 68

She has since argued that the very institutionalisation of ‘experimental’ works by the CCP in the 1960s and 1970s led to the demise of the avant-garde as a result of institutional demands and the cultural politics of the Marcos regime. Sibayan located herself – along with other figures such as Chabet and Albano – as part of an interwoven system of discourses in which the notion of ‘experimental’ practices of the 1960s and 1970s had sought to exist both within, and beyond, the institutional context. 69 In doing so, she voiced the concern that the institution had failed to produce a radical new practice which reflected the Philippine identity in the wake of independence, modernisation and postcolonialism. Sibayan outlined this position:

As a process of de-centering, this practice was a response to the failure of the avant-garde with the institutionalization of this failure becoming the condition of another practice, that of Institutional Critique. A subject position locating the artist ‘off-center’ of the art institution, Institutional Critique is a praxis that problematizes and changes this institution but does not affirm, expand or reinforce the artist’s relationship to it. To have left the center/Center was the only tenable response to a situation I found deeply problematic as an artist whose trajectory is to make critical art, that is, art that problematizes the making of art. 70

Sibayan’s retrospective writings about her own practice reflect a frustration with the formal production of art since the 1970s. Yet, they also signal the need to recognise that the support granted to experimental practices generated possibilities for developing new forms of discourse. These were not limited to the navigation of ‘veiled critiques’ seen in the aforementioned works of Chabet and Albano, but also explored new discursive and formal productions around the junction of ‘experimentalism’, tradition and participation.

New discursive productions

One important discursive production which steered away from ‘experimental’ art and institutionalisation can be found in Albano’s writings exploring the relationship of installation-making and performativity to local and regional systems of thought. 71 In an essay titled ‘Installation: A Case for Hanging’ (1981), he divorced the notion of ‘experimental’ practice from institutional associations as previously developed in his writings on ‘developmental art’. Instead, he considered the performative display of installations through hanging, leaning and spreading, akin to ‘collaborative installations in nature’. 72 Spearheading a discussion around the relationships between contemporary art, ecology and community, Albano looked to a number of practices created outside Manila’s conceptual art circles in which the notion of ‘experimental’ also evoked discussions around folk traditions and community practices as contestations of the Western definitions of installation and performance art:

It may be that our innate sense of space is not a static perception of flatness but an experience of mobility, performance, body, participation, physical relation at its most cohesive form. Thus installation is akin to fiestas and folk rituals from all our ethnic groups. 73

Whereas previous discussions of ‘experimental’ art at the nexus of institutional discourses had heralded the role of Euro-American discourses, Albano’s writings on installation represented a significant shift in discourse; they advocated a distancing from Euro-American notions of the ‘avant-garde’ in favour of traditional and ecological influences which emphasised the regional roots of intermedia practices in the Philippines. While Albano did not produce these discourses with the intent of divorcing them from his institutional role – a core part of the CCP’s programme was also geared towards presenting traditional forms of music and dance – he aimed to provide the scope for an expanded discussion around what constituted ‘experimental’ across contemporary and traditional forms in the visual arts, music and theatre.

One such prominent iteration of an ‘experimental’ art which engaged with indigeneity in light of transnational and intermedia discourses can be found in the writings of experimental composer and ethnomusicologist José Maceda. Honoured in the Philippines with the title of ‘National Artist for Music’ in 1997, Maceda was trained as a pianist, ethnomusicologist and composer, and came to be known during the 1960s and 1970s for his eclectic compositions. Taking up a professorship at the University of the Philippines in 1952, he continued to carry out research on traditional music by roughly eighty-seven ethnolinguistic groups in the Philippines until his retirement in 1990.

Over the course of his career, Maceda engaged extensively with how experimental practices in the arts – particularly performance and music – could serve to foster community solidarity, an interest in history and appreciation of traditional cultural practices within the Philippines. With no interest in generating political critique via his writings, he was more concerned with the structures through which contemporary Philippine society fostered a sense of community and cultural continuity after centuries of Spanish and American colonisation. Similar to Albano’s texts on installation, Maceda’s writings and compositions highlighted his thinking about contemporary art, tradition and society in a new configuration which did not derive exclusively from the Euro-American discourses of avant-garde art. Throughout the 1970s, he published articles around the themes of modernity, technology, tradition and community formation in postcolonial Philippine society, the relevance of which transcended musicology and came to have an influence on contemporary art by questioning how traditional and mass participatory experiences could engage the modern national Philippine consciousness. 74

In a 1978 essay titled ‘A Primitive and a Modern Technology in Music’, Maceda cautioned against the over-use of digital technologies in society, particularly in rural areas of Southeast Asia where the ownership of digital technologies served as symbols of affluence which did not reflect real levels of development. 75 As a proponent of traditional forms of music, he also advocated for a return to the experience of music as a social and communal event, rather than an embrace of digitally transmitted popular culture from the West, noting that ‘a musical technique foreign to a native culture sometimes tends to adulterate and weaken musical practice’. 76 However, recognising the inescapability of digital technologies, Maceda argued in favour of using digital technologies in innovative ways and took a particular interest in technologies used for recording and playing music, which he saw as a means to spread information about traditional practices to the maximum number of people through mass transmissions and participatory events in towns and cities.

Fig.6 José Maceda’s performance of Cassettes 100 in the lobby of the Cutural Centre of the Philippines, Manila, 1971

Fig.7 José Maceda’s performance of Udlot-Udlot , with choreography and special programming by Roberto Chabet, at the University of the Philippines Diliman, Manila, 1975

While writing from an ethnomusicological perspective, Maceda’s ideas around transmission and mass participation had a strong resonance with certain discourses around public and participatory art. They were particularly aligned with Albano’s proposition of ‘experimental’ art as fostering a heightened awareness of realities and presuppositions, as seen in the Liwayway Recapping Co.’s immersive ‘environments’, and with Medalla’s advocation that art’s primary function was to produce shared encounters and social contexts. Such frameworks lent Maceda’s scholarship and experimental compositions a receptive audience within the cultural circuits of Manila.

As noted by the curator Dayang Yraola, while Maceda was a contemporary of a number of visual artists who experimented with performativity during the 1960s, he did not have many connections to the visual arts scene. 77 Nevertheless, he collaborated with visual artists on two occasions in order to realise the large-scale, participatory performances, Cassettes 100 1971 (fig.6) and Udlot-Udlot 1975 (fig.7). Both works echoed the principles of participation, community formation and disseminating tradition outlined in Maceda’s writings and have remained highly relevant for the history of ‘experimental’ performance and conceptual art in the Philippines to this day. Cassettes 100 was staged at the CCP and consisted of sound clips of indigenous music previous recorded during Maceda’s fieldwork expeditions. The clips were played simultaneously from one hundred tape recorders held up by one hundred participants who moved around the space in a choreographed pattern. The work was devised with the assistance of visual artists Jose E. Joya Jr and Ofelia L. Gelvezon-Tequi for the design and projections; and the theatre light designer Teodoro Hilado for lights and effects. The performance was documented by the official photographer of the CCP, Nathaniel Gutiérrez, through whose visual records the memory of Cassettes 100 has survived not only as an experimental composition, but also as a pioneering immersive public ‘happening’ in the Philippines. In a similar spirit of collective enactment, Udlot-Udlot premiered at the University of the Philippines in 1975; in it, students simultaneously played instruments including bamboo flutes, stamping tubes and stick beaters. Their collective organisation and spatial movement was choreographed by Chabet, thus developing a work which once again saw the meeting of experimental music, participatory art and theatre.

While Maceda’s writings on indigenous music were often aligned with the rhetoric of cultural preservation and dissemination espoused by the Marcos regime, he avoided introducing discussions of coercion or resistance into his works. Rather than dismissing his institutional works as ‘failures’ to produce avant-garde actions, as argued by Pastor Roces and Sibayan, Cassettes 100 and Udlot-Udlot may also be seen as acts of sonic ‘epistemic disobedience’. The academic and author meLê Yamomo describes how they offered both a new and unfamiliar form and aesthetic, and at the same time operated within the permitted strictures of institutions and politics. 78 Maceda’s writings and collaborative performances not only saw the development of a new form of practice in which large social and cultural processes where activated, but also signalled the central importance of considering the multivalent way in which ‘experimentalism’ went beyond institutional frameworks. In doing so, they tapped into discussions around performative art, community, transmission, spirituality and tradition which went beyond regional discussions on conceptual art in the cases of Indonesia and Malaysia. Maceda’s works and discourse also resonated transnationally with the Tropicália art movement in Brazil from the 1960s until the 1990s where experiments with music played a key role, and in the works of Fluxus in Europe during the 1960s and 1970s, when figures such as Nam June Paik became concerned with the role of mass digital transmission in fostering social consciousness.

This paper commenced with the view that the 1960s and 1970s in Southeast Asia have often been seen as periods of political transformation which fuelled changes in art and cultural expression. In light of this context, the birth of ‘experimental’ practices in the Philippines demonstrates a complex relationship in which several key artists developed ways of working with conceptual, performance and installation art across the nexus of institutional and independent practices. In the cases of Chabet and Albano, the two artist-curators maintained close affiliations to government-sanctioned institutions. Their conceptual projects often sought to navigate these ties, looking for formal and discursive ways in which to experiment with forms and ideas while remaining within the accepted language of a national art history. For others, such as Medalla, a positioning abroad enabled a more overt criticism of the co-option of ‘experimental’ practices within a national rhetoric. Developing numerous participatory performances which had both political and poetic elements, Medalla’s practice remained a powerful example of alternative practices beyond the conceptual-political divide in the Philippines. In the works of Judy Freya Sibayan, conceptual and performance art remained deeply rooted in a self-reflective practice which, over time, took on the nature of institutional critique. Here, Sibayan’s writings alongside her artistic practice remained an important element within which the nature of ‘experimental’ art was continually being shaped and revisited through the 1970s. Finally, looking beyond discussions of institutionalisation in relation to the visual arts, the mass participatory performances, or ‘happenings’, composed by José Maceda in collaboration with visual artists offer a reading of early performative practices as modes of mass participation in the collective making of a new hybrid system of sound which fused the traditional and modern, thus forging new conceptions of art and society in post-independence Philippines.

Returning to the core proposition of this paper, ‘experimental’ art was born in the Philippines from a place of continual interlocution between individual practices and politics, both individual and state. While the role of institutions has recently been the subject of substantial inquiry, this paper has highlighted the centrality of individual discourse-building for all five of the artists discussed. In the framework of their practices, the term ‘experimental’ was embraced as a form of ‘currency’ not only to attest to, but also to investigate the roots of their idea-based, performative and intermedia practices ‘beside’ national discourses. Emerging from their numerous writings – ranging from reviews, to interviews, criticisms and autobiographies – are various concepts and terms. These include ‘environment’, ‘developmental art’ and ‘installation’, among others, which convey the nuanced ways in which the nascent national lexicon of conceptual terminology in the 1960s and 1970s continually sought also to position itself ‘beside’ regional and transnational discourses on conceptual and performance art.

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.

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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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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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A Filipino Painter’s Perspective of Filipino Identity: What Makes Philippine Contemporary Paintings Truly Filipino

There has been literature examining artists and their paintings in Philippine art history. However, understanding Filipino identity in the field of contemporarypaintings from contemporary Filipino artists has not been researched extensivelyyet. The study, anchored on the psychoanalytic theory, answered the researchquestion, “What makes Philippine contemporary paintings truly Filipino?”Qualitative case study design was used to gain understanding of this concept froma Filipino painter in the field of Philippine contemporary visual arts. To accomplishthis, data were gathered using in-depth interviews with a Filipino painter who hasbeen active in contemporary art production, and currently involved in artorganizations and in the academe. According to the analysis of the interviews, thevisual character (alibata) incorporated in the artwork, is an essential identifyingelement in Philippine contemporary paintings. Another element is the subjectdepicting current events in the country. The ex...

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International Journal of Academic Research

Assoc. Prof. Dr. Abdul Rauf Ridzuan

The Malaysian women’s identity in paintings essentially began to surface between the year 1970’s to 1980’s. The attempt to fulfill the demand of identity searching fought by the Malay painters in the 1958 has enlightened the present women revivalists to also pursue this quest. This was leaded by the severe identity crisis suffered by Malaysian women painters of 1950’s to the 1970’s. Thus, by reevaluating the essence of ‘Malayness’ and its cultural strand, the Malaysian women painters tempt to portray an identity to complement the Malay arts. The objective of this paper is to examine the Malay identity in Malaysian women’s painting by studying the form and content of Malaysian women’s painting by using art appreciation descriptive method. Visual content analysis is conducted to achieve the objectives above. The outcome of this paper shall suggest the emergence of Malay arts and cultural heritage values traceable in the Malaysian women’s paintings between the 1970’s to the 1990’s. Adopting the heritage arts discipline, the present article shall unfold the identity of ‘Malayness’ through its form and content in each painting.

International Journal of Art & Design Education

ALAN GUZMAN

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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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• Book Reviews

W.J. Sastrawan

Historical Perspectives on Philippine Contemporary Art

The Art Gallery of New South Wales' exhibition of contemporary Philippine gave viewers a chance to explore Filipino society and culture. But the inclusion of historical perspectives on the art would have made for a more in-depth engagement.

Wayan Jarrah Sastrawan - 12 Feb, 2018

In this experiment, four members of Perspectives of the Past visit the Art Gallery of New South Wales (AGNSW) for Passion + Procession: Art of the Philippines and write four mini-reviews about their experience based on their diverse backgrounds (museum and heritage studies, performance studies, history and archaeology). 

Today’s review focuses on the historical contexts of the artworks in the exhibition. It tries to show how familiar features of modern Philippine art and culture can have unexpected historical resonances and nuances.

Do You Have A Place In Southeast Asia, Pedro?

Rodel Tapaya (2015-16)  Adda Manok Mo, Pedro?  (Photo: W.J. Sastrawan)

As I entered the Art Gallery of New South Wales’  Passion + Procession: art of the Philippines  exhibition space, I was struck by a vast acrylic painting by Rodel Tapaya, depicting warfare, halos of fire, Illuminati-like pyramids and diamonds, and a lot of chickens. This surreal and rather comical montage had a serious message about the daily presence of violence in Philippine life, drawing particular attention to recent battles between national security forces and Muslim militants on the island of Mindanao in the nation’s south. The caption described the painting’s imagery as being “drawn from Catholicism and pre-colonial folklore”.

But as I kept looking, the artwork’s symbolism seemed more generally Southeast Asian and less specifically Filipino. There were all kinds of connections to other cultures in the region that went unmentioned in the artwork’s caption. For example, the Ilocano title of the work, “Adda manok mo, Pedro?” (Do you have a rooster, Pedro?), sounded to me like a mixture of Malay ( ada = “there is”, -mu  = “your”) and Javanese ( manuk  = “bird”, “cock”). The symbolism of the rooster as an agent of male power and violence is well-known in Indonesia by the term  jago , which connotes “champion” but also “gangster”.

From datus to trapos: reading Philippine history in the OED

How an English dictionary documents different eras of linguistic exchange between Filipinos and their colonisers.

Danica Salazar 05 January, 2018

The last page of a four-page letter in the Maguindanao language in Arabic script, from Sultan Muhammad Syah Amiruddin of Maguindanao, 1746, held by the British Library and available online . (Photo: British Library / Public Domain)

Muslim influences are also present in Philippine culture. The island of Mindanao, whose security problems Tapaya’s painting alludes to, shares a great deal of its cultural heritage with nearby Malay societies. This common Muslim heritage is exemplified by the various sultanates that thrived in the southern islands from the 15th to the 18th centuries as classic Malay entrepôt states, on par with the older palaces of Brunei and Johor.

Mindanao historical traditions claim that Islam came to the Philippines through high-born missionaries from the Malay peninsula, Sumatra and Borneo. While it is difficult to verify the details of the biographies of individual missionaries, it is probably true that Malay clerics were crucial to the conversion of southern Filipinos to Islam. Memories of this historical Filipino-Malay solidarity against European colonialism are preserved to this day by Muslim separatists who have taken up arms against the Philippine state.

But the caption of “Adda manok mo, Pedro?” made no mention of any of these regional links, instead describing all of the Southeast Asian images and references as indigenous “Philippine folk mythologies”. I was disappointed to find that as I made my way around the exhibition, the cultural connections between the Philippines and the rest of Southeast Asia kept being downplayed, in favour of an emphasis on the national distinctiveness of Philippine art and the predominant role of Catholicism within that art.

Devout Colonialism

One of the most famous symbols of Catholic devotion in the Philippines, the Child Jesus of Cebu, was alluded to by a work in the exhibition. This venerated relic is associated with the very earliest stage of Spanish Catholic colonisation of the Philippines.

The Child Jesus of Cebu statue, venerated in the Minor Basilica of Santo Niño, Cebu City (Photo: Ellis Mendez 2006 / CC License)

The Child Jesus statue was brought to the Philippines in the 16th century by the explorer Ferdinand Magellan, a Portuguese in the service of the Spanish crown who was looking for a Pacific ocean route to the Indonesian Spice Islands. On 14 April 1521, Magellan gave the statue to the indigenous rulers of Cebu, Raja Humabon and his chief consort Hara Humamay, who had both just converted to Catholicism. The Child Jesus therefore marks the first Christian conversion of historical significance in the Philippines.

But Spanish colonisation did not properly begin until the arrival of Miguel Lopez de Legazpi in 1565. This time around, the new king of Cebù did not want to convert to Christianity or accept Spanish rule, so Legazpi attacked and deposed him. In the ruins of Cebu’s former capital, one of Legazpi’s mariners discovered the original Child Jesus statue gifted by Magellan 44 years before. The survival of the relic, amongst the destruction of the indigenous kingdom, was seen as miraculous proof that God was on the side of the Spanish campaign. Now enshrined behind bulletproof glass in Cebu City, the Child Jesus icon represents an originary moment for both Catholicism and colonialism in the Philippines.

In the  Passion + Procession  exhibition, this relic was replicated by Renato Habulan as one of a series of ten wooden sculptures that depict the Catholic and indigenous inflections in Filipino religiosity. What was notable about the inclusion of the Child Jesus in Habulan’s self-consciously folksy artwork, is that it showed how the social resonance of this relic has changed drastically since the 16th century. Originally a royal gift and miraculous talisman for the deeply statist Spanish colonial project, the statue is now beloved as an object of popular devotion by the citizens of an independent, postcolonial republic. Unfortunately the exhibition did not provide the necessary historical information to bring that remarkable transformation to viewers’ attention.

Mixed Religion, Mixed History

Habulan’s claim that “religious practice in the Philippines is mixed” was a central thesis of the whole exhibition. But the exhibition seemed imply that the mixture consisted of two ingredients only: organised Catholic religion and indigenous folk spirituality. This conceptual binary was repeated in many of the artwork captions, and it left little room for a couple of issues that I felt deserved more attention.

The exhibition’s Mindanao ikat  textiles shows remarkable similarities, in terms of production and design, to Malay and Indonesian weaving. (Photo: W.J. Sastrawan)

The first issue was about the historical links between the Philippines and other parts of Southeast Asia, and especially between Muslim communities whose traditional networks transcended national borders. Those relationships tended to be obscured in this exhibition, both by the repetition of the Catholic/folk binary and also by the emphasis on the indigenous aspects in the artworks. Symbols and concepts of regional significance were presented as if they derived from purely local mythologies.

On the only panel where the Philippines’ cultural links with its neighbours were acknowledged, it was in very abstract terms of “share[d] cultural and religious practises” and “exchange between the region’s diverse communities”. Without specific examples of those shared practices and exchanges, it was difficult to see how the Filipino artists were participating in, and responding to, the general currents of Southeast Asian history and culture.

The second issue was about the relationship between Christianity and colonialism. Talk of “mixed” or “fused” religiosity often glossed over the political character of Catholic presence in the Philippines. Proselytising was the primary reason and justification for Spanish colonisation of the archipelago, as expressed in a 1591 contract authorising an attempted conquest of Mindanao for God and King:

“the most worthy and important thing in these islands [is] to strive for the propagation of our holy faith among the natives herein, their conversion to the knowledge of the true God, and their reduction to the obedience of His holy church and of the king, our sovereign” Governor Gomez Peres Dasmariñas, Manila, 12 May 1591 (quoted from the sourcebook  Mindanao Muslim History )

Miraculous relics such as the Child Jesus of Cebu were crucial to the task of establishing a Catholic colony, both by strengthening the faith of the colonists and by persuading native converts of the supremacy of the Christian God. By neglecting to mention how the biographies of this devotional object was tied up with colonial politics, the exhibition missed an opportunity to place modern religious practice in the context of the nation’s colonial past.

Southeast Asian history, Catholic history, Muslim history, and colonial history are all mixed up in Philippine history, and they have all left their mark on Filipino culture and art. By engaging with the historical complexities of the contemporary artworks exhibited in  Passion + Procession , we can better understand the artistic achievement they embody.

Hunting the Secrets of the Philippines

What makes the Philippines tick, and what's the one piece of art, object or artefact that could provide an answer?

Michael Leadbetter 20 Feb, 2018

Five reasons why I don’t always like art galleries

A personally-confronting reflection on why, sometimes, art galleries don’t seem to work for the author.

Nien Yuan Cheng 14 Jan, 2018

Passion + Procession: Art of the Philippines

A mini-review of the Art Gallery of New South Wales' recent exhibition of Philippine art.

Natali Pearson 05 Jan, 2018

Despite the pandemic, art is constantly evolving

Art ‘thrives’.

An artistic process grounded on the principle of transferring images from a matrix onto other mediums, more often than not in paper or fabric, printmaking is an emerging art form in the country that needs and deserves more exposure. This fact was made apparent in a recent private dinner I’ve had with the president of the Philippine Association of Printmakers (AP), Ambie Abaño , Manila-based artist and member of AP, Yas Doctor , former president of the Cultural Center of the Philippines (CCP) and former chairman of the board of trustees of the De la Salle College of Saint Benilde (DLS-CSB), Nestor Jardin , management consultant and art enthusiast, Zeny Inglesias , and prolific author and Manila Bulletin lifestyle editor, AA Patawaran , in Conrad, Manila to celebrate the success of the digital launch of ‘Of Art and Wine.’

The curtain-fundraiser art event organized by Nestor, ‘Of Art and Wine,’ stays true to its goal of promoting local artists and their craft. The ensemble series returns to the hotel-by-the-bay’s 34 meters long and six and a half meters high wall of Gallery C, where it is ceremoniously held for four years and running. Now on its 14th edition, the campaign features AP and its 20 artists whose collective work of over 30 pieces highlights the art community’s endeavor to conform to the new Covid-world. In light of the global health emergency, this year’s installment was initiated online. 

Who says print is dying?

Printmaking gained its popularity in the country during the early ‘60s through Manuel Rodrigo Sr. and Rodolfo Paras-Perez , who came to be known as the “Father of Philippine Printmaking.” Among similar art forms like painting and drawing, print is arguably the less explored, however, nowadays it is becoming more and more popular with the resurgence of art urged by the quarantine. It is also one of the oldest art forms whose origins can be traced back to the prehistoric era. Print has evolved throughout the years due to the discovery of various printing materials. For context, one very iconic printmaking artwork is Japanese artist Katsushika Hokusai ‘s The Underwave off Kanagawa , color woodcut, from the Rijksmuseum Collection. I had learned a great deal from the knowledgeable and eager artists Yas and Ambie on printmaking from traditional techniques such as woodcut, etching, engraving, and lithography, to the modern screen printing.

Even without the actual serving of wine, it was a fine evening thanks to the meaningful discussions, good company, the delicious spread from China Blue, the restaurant right beside the exhibit, and the marvelous print artworks.

As we finished our meal, Nestor expounds on the concept behind his brainchild, a marriage between the art of wine with visual arts including paintings, sculptures, wall art in decorative pieces by local artists. For 2021, the arts manager and cultural executive wanted to start the year with an exhibit. His original plan was to use CCP’s 40 th -anniversary collection, however, the artworks were already sold out, prompting him to tap on AP.

An artistic process grounded on the principle of transferring images from a matrix onto other mediums, more often than not in paper or fabric, printmaking is an emerging art form in the country that needs and deserves more exposure.

Thriving fast

Zeny also explains “Thrive,” the event’s theme and exhibit this year. “It’s the new year, and we’re all looking forward. We progress in spite of the circumstances,” she says. True enough, art prospers in the face of uncertainty, much like how the Dark Ages paved way to the Renaissance, a time of great scientific and artistic revolution. In the Philippines, the arts and creative industries have been rising above the occasion with the emergence of new talents, and the reinvention of existing ones. “The exhibit’s theme, ‘Thrive,’ resonates perfectly with Conrad Manila’s commitment to stay strong and resolute for the institution, the industry, and the country. It’s a perfect reminder for us to remain focused on what is important to transform our future,” Conrad Manila’s general manager and art enthusiast Linda Pecoraro , said earlier that day at the online launch. Later that night, the Australian-Italian GM passed by our table to say hello but was unable to join us as she was doing her rounds at the hotel. 

The exhibit embodies AP’s belief that the role of artists has always been to observe, reflect, and translate everything to tactile units through various media to create art that celebrates life conveying reflective narratives through printmaking. It is worth noting that two prints of contemporary artist Ronald Ventura are present in the gallery.

On the state of printmaking in the Philippines, “thriving” is the best word to describe it. “There’s a growing appreciation for printmaking, mostly from the younger generation,” says Ambie. “We noticed that in art events and fairs, it’s is always big. The appreciation is definitely wider now. Before compared to painting, people frown on printmaking, with the misconception that prints are just works on paper. The thinking then was that paintings would last longer than prints,” she adds.

“The younger generation now don’t care. ‘This is work on paper, I don’t care. I want it.’ You know?” Ambie beams. “Now, the way of appreciation is ‘because I like it .’ Of course, it’s also the exposure of these younger generations to art outside ,” she ends.

Nestor adds to Ambie’s statement. “In the economic point of view, prints are generally more affordable than acrylic or oil. Because young professionals can afford it more, it is the perfect start if you want to collect art,” he concludes.

“Of Art and Wine: Thrive” displays artworks of AP and will run for purchase at the Gallery C of Conrad Manila, Seaside Boulevard, Coral Way, Pasay, until Feb. 19, 2021. It is also available for online viewing via bit.ly/oaawthrive. and at Conrad Manila’s Facebook | 8833-9999.

Philippine E-Journals

Home ⇛ international journal of multidisciplinary: applied business and education research ⇛ vol. 3 no. 1 (2022), global contemporary art in the philippines: a vantage point.

Ana Neliza B. del Mundo-Angeles

Philippine art scene had never been more prolific than today. This study aims to be a groundwork for more studies about global contemporary art in the Philippines and how it can help shape the future curriculum of Fine Arts in the country. This study looked into the characteristics of global contemporary art in the Philippines through the professional artists’ and art students’ perspectives using qualitative research method. The research believes that global contemporary art promotes “unity in diversity” to unite nations as one big community sans nationality, color, race, or language. Once the phases of this study is complete, these will be significant to artists and art students who want to be guided on creating contemporary art that can compete globally, as well as academes to have a handy reference for creating global contemporary subjects following an outcomes based curriculum.

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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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Philippine history told through art

SiningSaysay, from two Filipino words meaning art and history, is a collaboration among three institutions working to make it an innovative way of teaching history. The University of the Philippines (UP), UP Alumni Association (UPAA) and Araneta Center Inc. pooled resources to mount 30 artworks by 28 distinguished alumni, including a national artist of the UP College of Fine Arts.

Guided by historians Dr. Serafin Quiazon and Ma. Luisa Camagay, each artist depicted his vision in oil, acrylic or stone over many months so that the artists became historians themselves, merging the dual discipline of history and art.

UPAA president Ponciano E. Rive-ra Jr. envisioned SiningSaysay as “a tableau of the entire archipelago and a timeline that ends with an ellipsis—dot, dot, dot,” where images of future events can be added later.

The complete collection of 30 large easel paintings are on view at Gateway Gallery on the fifth floor of Gateway Towers, Araneta Center in Cubao, Quezon City until SiningSaysay finds a permanent home on UP campus.

PRE-HISPANIC PERIOD

“ANGONO PETROGLYPHS” BY JUNYEE

The earliest evidence of writing consisting of line incisions and drawings of human figures, triangles, rectangles and circles were found in the Angono cave in Rizal.

“PRE-HISTORIC MATERIAL CULTURE” BY BENJIE CABANGIS

Manunggul burial jar dating back to 890 BC tells of a seafaring people.

“PAMBANSANG BANGKA” BY SIMKIN DE PIO

Filipinos belong to the Austronesian group, a seafaring people who migrated from either Taiwan or northeastern Indonesia, according to two theories, and were known as boat builders.

“THE GHOSTS OF THE FUTURE” BY GIG DE PIO

Among ethnolinquistic groups, the Visayan Pintados stood out for their body tattoo.

“PRE-HISPANIC PHILIPPINES” BY RANDY SOLON

In a barangay, the leader is called a datu and the priestess is referred to as catalonan (among Tagalogs) or babaylan (Visayans).

“THE SARIMANOK AS CULTURAL SYMBOL” BY ABDULMARI ASIA IMAO

Islam reached the shores of Sulu in 1380 with the Tausug as the first group who accepted it as a religion and way of life. The Sultanates of Sulu, Maguindanao and Lanao later resisted military expeditions sent by the Spanish and American colonizers.

SPANISH COLONIALISM

“THE WEST DISCOVERS THE PHILIPPINES” BY ARMAND BACALTOS

The Spanish expedition of Ferdinand Magellan reached the Philippines in 1521, which led to the subjugation of natives beginning with the Legazpi-Sikatuna blood compact.

“THE BATTLE OF MACTAN AND CHRISTIANIZATION” BY AMADO HIDALGO

The battle of Mactan caused Magellan’s death and Lapu-Lapu’s recognition as the first Filipino leader to fight foreign aggression.

“THE ONSET OF THE REVOLUTION” BY VINCENT DE PIO

Filipinos responded to Spanish colonialism with revolts. The ilustrado, including Jose Rizal, later demanded reforms. When reforms did not materialize, Filipinos took to waging a revolution led by the Katipunan.

“BREAKING COLONIAL TIES” BY ROMEO MANANQUIL

The execution of the priests Gomez, Burgos and Zamora in 1872, the Reform Movement and the execution of Jose Rizal inspired the Katipunan even more in the revolution against Spain.

“THE FILIPINO STRUGGLE FOR INDEPENDENCE” BY AILEEN LANUZA

Emilio Aguinaldo took over the revolution after Bonifacio’s death and accepted the Truce of Biak-na-Bato. Forced to go into exile, Aguinaldo returned when the Americans came and declared Philippine independence from Spain in Kawit, Cavite.

AMERICAN COLONIALISM

“REASSERTING INDEPENDENCE” BY DON ARTIFICIO

Filipinos, as exemplified by Gen. Gregorio del Pilar valiantly riding his white horse, face the American invaders after Spain lost the Philippines to the United States.

“AMERICAN BETRAYAL OF AN ALLY” BY NORMAN DREO

A least-known hero, Macario Sakay, continued to fight the Americans and was branded a bandit.

“QUEZON AND OSMEÑA ADMINISTRATION” BY ROMEO CARLOS and NORMAN DREO

The Commonwealth government was headed by Manuel L. Quezon and later Sergio Osmeña as President. Osmeña took charge of running the government while the Americans were occupied with the complete liberation of the Philippines from the Japanese.

JAPANESE OCCUPATION

“OCCUPIED PHILIPPINES” BY JULIUS SAMSON

The Commonwealth government was interrupted by the Japanese Occupation for three years during which the invaders sponsored a republic headed by Jose P. Laurel. But on Oct. 20, 1944, Gen. Douglas MacArthur returned with Osmeña and Carlos P. Romulo, President and Cabinet member, respectively, through Palo, Leyte to lead the liberation forces.

THE REPUBLIC

“BUILDING FROM THE ASHES” BY NORLITO MEIMBAN

After liberation, the Americans finally granted the Philippines independence on July 4, 1946, signifying the end of American rule. Elected first president of the Third Republic was Manuel Roxas.

“QUIRINO PRESIDENCY” BY ROMEO CARLOS and MICHAEL VELASCO

Upon the sudden death of Roxas in 1948, Vice President Elpidio Quirino served the former’s unexpired term and got a fresh mandate as President when he won the presidential election in 1950.

“POST-WAR PHILIPPINES” BY BEN INFANTE

Quirino was followed by Ramon Magsaysay, Carlos Garcia and Diosdado Macapagal. Magsaysay endeared himself to the common tao by improving the life of the rural folk. Garcia’s administration is associated with the Filipino First policy of giving precedence to local industries and favoring Filipino capital. Macapagal’s administration takes credit for the introduction of a Land Reform Code and the change in our Independence Day from July 4 to June 12.

“BATAS MILITAR” BY PABLO BAEN-SANTOS

The country entered one of its darkest moments with the proclamation of martial law by President Ferdinand Marcos on Sept. 21, 1972.

“YELLOW FEVER” BY ANGEL CACNIO

Filipinos unite to end the Marcos regime through people power. As they marched at Edsa, the people gave their support to the widow of the slain opposition leader Benigno Aquino Jr., Corazon Aquino, who became President.

“DYIPNI RIDE” BY MICHAEL VELASCO

President Fidel V. Ramos extended amnesty to the members of Reform the Armed Forces Movement, who staged coup attempts against the Aquino administration, and negotiated with the Moro National Liberation Front and the National Democratic Front. President Joseph Estrada headed the celebrations marking the centennial of the declaration of Philippine independence on June 12, 1898.

“THE JOURNEY CONTINUES” BY GRANDIER BELLA

Gloria Macapagal-Arroyo became President as she assumed the unexpired term of deposed President Estrada and gained a fresh mandate in 2004. Her term marked the introduction of automated elections in the country. Elected in 2010, Benigno “Noynoy” Aquino III leads the Philippines to the matuwid na daan (straight path of governance).

Gateway Gallery is open every day, no breaks, from 11 a.m. to 7 pm. For group tours, contact the curator at 0908-8816406 or e-mail [email protected] .

PHOTOS OF PAINTINGS BY LEO M. SABANGAN II

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Digital Commons@RISD Home > Division of Liberal Arts > Contemporary Aesthetics (Journal Archive) > Special Volumes

Everyday, Elsewhere: Allegory in Philippine Art

Patrick D. Flores , University of the Philippines Follow

The essay traces certain contexts of the allegorical impulse in Philippine image making and art, specifically as it marks the self-consciousness of the maker of image and art to render time, place, and event legible. It conceives of it as an aesthetic of migration, prefiguring an elsewhere that is aspired to as well as a phantasm of affinity that describes a present condition. The allegorical, therefore, bears the desire to belong to the world, referencing both the critique of coloniality as well as the possibility of transcending it at the very moment of revealing its ethical failure.

Since September 29, 2016

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Special Volumes:

• Special Volume 9 (2021) AESTHETIC ENGAGEMENT AND SENSIBILITY: REFLECTIONS ON ARNOLD BERLEANT'S WORK
• Special Volume 8 (2020) URBAN AESTHETICS
• Special Volume 7 (2019) AESTHETICS AND TERRORISM
• Special Volume 6 (2018) AESTHETIC CONSCIOUSNESS IN EAST ASIA
• Special Volume 5 (2016) CONTEMPORARY PERSPECTIVES ON FILM AND PHILOSOPHY
• Special Volume 4 (2012) ARTIFICATION
• Special Volume 3 (2011) AESTHETICS AND THE ARTS IN SOUTHEAST ASIA
• Special Volume 2 (2009) AESTHETICS AND RACE: NEW PHILOSOPHICAL PERSPECTIVES
• Special Volume 1 (2005) AESTHETICS AND MOBILITY

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