DEC13_SUPERDUPERFINAL

COVER

Editorial Team
Charlie Co
Manny Montelibano
Jade Snow Dionzon
Moreen Austria
Ida Vecino
Aeson Baldevia
Barry Cervantes

CONTENTS
68
Curators Notes Eastern Visayas
8
Messages
23
Bayanihan Exhibition and Fundraising Events
28
V-CON 1
37
V-CON 2
59
V-EX
82
Curators Notes Central Visayas
96
Curators Notes Western Visayas
131
Tribute Exhibition
151
Essays
170
Acknowledgements

The theme Dasun or “what now” is in keeping with Futures Studies which postulates
possible, probable, and preferable futures and the world views and myths that
underlie them. “What Now” seeks to understand the context and circumstance of
the art community in relation to the sectors of the community it coexists with, what
is likely to continue and what could plausibly change.
Part of the creative initiative is to seek a systematic and pattern-based understanding
of past and present, promote inclusivity, and determine the likelihood of future events
and trends so as to better respond with alternatives towards a much preferred future.

Messages

Director’s Notes
by Manny Montelibano
I heard the snaps of the packing tape as the artworks were wrapped
and people started to conquer the fear brought by the new strains
of the COVID-19 virus. It was then that we were finally closing
the 30th year of the Visayas Islands Visual Arts – Exhibition and
Conference in Bacolod City, its place of birth and rebirth.
When we started to plan this event in 2016, the VIVA ExCon
Organization Inc.-Bacolod wanted to bid for the 2018 event.
However, Roxas City, Capiz wanted to host it. Since the ExCon had
not been hosted there, our organization nominated Roxas City to
host the event and Bacolod City was to host in 2020, and the bid
that happened in Roxas was for 2022 which was Antique.
VIVA ExCon Iloilo and Roxas succeeded. The Bacolod team started
to plan things out December of 2016, after Iloilo. We continued
to strengthen our art community in Bacolod and prepared for
the big celebration in 2020. We had three years of planning and
decided to focus on Futures as a theme which was later articulated
as Dasun, referring to what is next or the futures. This happened in
September 2019. We planned to mount four tribute exhibitions
and one curated exhibit for contemporary artists, as well as a 4-day
participative conference.
There were many challenges along the way. The usual on the list
were financing, communication, management, organization,
international delegation, etc. But the most difficult was the politics
coming from all directions. But this did not stop us. We were firm
and always went back to the real intention of why we were doing
this. This was for the artists, for our brothers and sisters, our family
in the islands and the whole world.
Without fear and doubt, I said yes. We had time in our hands,
the technology was there, our organization was intact and strong,
and we had the support of our community, government and nongovernment
organizations, cultural agencies, and individuals who
believed in giving hope in these dark times.
Dasun Recalibrate was realized with the use of technology to bridge
the islands and the world. It started with the Virtual Conference
1 (V-CON 1) for 5 days and Virtual Conference 2 (V-CON 2)
that was spread out in 6 months from January – June of 2021. It
then opened the exhibitions from August – December 2021. We
managed to give small financial assistance to our island coordinators
and production grants to the selected artists even when there were
lockdowns here and abroad. This was in good part because of the
resiliency of artists and organizers. Approximately, we touched
more than 5000 individuals… artists, cultural workers, curators,
students, teachers, collectors, government and non-government
organizations, from the Philippines, Taiwan, Singapore, Indonesia,
USA, Korea, Netherlands, Japan, Malaysia, Belgium, England, New
Zealand, Australia and Hong Kong.
From November 2020 – December 2021, we organized the longest
biennial in a pandemic.
Thank you to the artists, the organizations, the individuals, the
curatorial team and the island coordinators who supported us in
this voyage.
This celebration is a social vaccine… a recalibration of thought, of
intent, and of purpose for the futures, “Ang Dasun.”
9

Flashbacks of VIVA ExCon
by Charlie Co
About 30 years back and as far as I can remember, I was twentythree
years old, young, and hot-blooded when I found myself in
the right place, at the right time. I was part of Pamilya Pintura, Art
Association of Bacolod and later on, the Black Artists in Asia. Most
art propaganda movements were products of the political landscape
of our country but amidst the hundreds of artists politically painting
the town red in the 1980s, I wasn’t painting as a propaganda artist
really. This is because even before the political landscape worsened, I
was already throwing socio-realism with a lot of political undertones
in them. I was painting the walls because at that time, that was what
I felt. I never did it because I was pressured to do it. I was creating
works that needed to be expressed, needed to be heard at a time
when everyone was afraid to speak out.
I was there from the start, listening as a young lad without any deep
understanding with regards to the crucial impact the Visayan Islands
Visual Arts Exhibition and Conference (VIVA ExCon) would
have on the history of Visayan artists. I remember well that day in
Mambukal Mountain Resort when VIVA was first conceptualized.
I was with Roberto Feleo, Nato Ong, Bobi Valenzuela, Manny
Chavez, Norberto “Peewee” Roldan, Dennis Ascalon and many
more – these were the people who helped put together what we are
enjoying right now. These were the key people who have paved the
way for Visayan artists to thrive.
VIVA ExCon may not be the most vibrant, not that organized, and
definitely not that big. It might not be that loud then but it was a
large exclamation point in society. It was different – spontaneous,
crazy, culturally connected… Unleashed, it was a cornucopia of
colors, songs, words, ideals. And the best thing is that every time
there is a VIVA, we get to meet new artists in the Visayas. After all,
it’s not every day you get to converse, learn and discuss with fellow
artists from different islands in one setting.
11
In 1990, along with the full support of the Baguio Artists, Negros
celebrated the very first VIVA ExCon in Bacolod. Peewee Roldan
was able to organize it, even with meager funding. That event
embodied the word ‘bayanihan’ so well because there wasn’t a lot of
financial support and not many of us to organize it but we were able
to make it happen. Everybody helped each other unconditionally,
often times there weren’t any concrete plans to guide us, yet there
was unity in everything that we did and we succeeded in launching
the biennale.
As VIVA ExCon grew through the years, it turned heads, gained
more support and made a name for itself. One of the reasons for
its swift rising status was also because of Peewee Roldan, one of the
founders. Peewee had very good networking and marketing skills.
It was one of the many factors why the biennale was supported and
sustained in its earlier years. And for the second time it was held in
Bacolod, we got a generous contribution from the CCP President
Maria Teresa Roxas, who was visiting La Consolacion College at
that time and saw us mounting one of the exhibition spaces. It was
raining back then; we were struggling and I think she took pity on
us. That support fueled our tenacity to reach the goals of VIVA
even more.
There were so many great memories in the history of VIVA ExCon.
Too many to mention! 1992 in Bacolod was one of the most
unforgettable. It was when VIVA opened its doors to international
artists from Japan. Baguio came in full force, Cebu with Raymund
Fernandez and his UP group, Ben Cabrera and Junyee were there
too… Japanese artists Inagaki Tatsuo, Akatsuki Harada, Hitomo
Utami, Tei Kobayashi, Tsunetaka Komatsu and Dodo Drumer
Rieko Shimbo were doing installations and performance works.
VIVA ExCon was way ahead of its time for a biennale outside
Manila.

VIVA ExCon 2 - Photo by Yvette Malahay-Kim
12

It may not be our fondest memory but VIVA ExCon Dumaguete,
despite the difficulties, was one of those moments in history that
tested the gathering of Visayan artists. We were just trying to survive
one day at a time. We didn’t have enough funds for the exhibitions
nor food for the participants. Good Samaritans came to help like
Gerard Uymatiao, who owned a hardware store, lent us several panels
of plywood to hang the artworks… provided we didn’t use nails! It
was a time when only Visayan artists were present at the festival.
The question “Do we continue VIVA?” became a death ringer that
the biennale might not see another year. But VIVA ExCon never
lost its pillars. I remembered Kitty Taniguchi, our counterpart along
with Silliman University, hosted the Bacolod artists and welcomed
us into her home. Bobi Valenzuela spent hours coming up with his
curation, Brenda Fajardo and Ed Defensor guided the discussions
of the conference, Dea Doromal along with Toto Tarrosa financially
supported it along with artists like Yvette Malahay-Kim and Cidni
Mapa, who continue to follow it to this day. This was also the time we
connected with Japan Foundation and Japanese curator Mizusawa
Tsutumo sought me out in Dumaguete to join the exhibition ‘Asian
and Modernism’ to be held in Tokyo the following year. Since then,
Japan Foundation became a constant supporter of the succeeding
VIVA ExCons. It was also this time that the founding members
of the ExCon, the Black Artists in Asia, went on their separate
ways. They all had their priorities; Peewee Roldan was not able to
participate in Dumaguete and the next VIVA in Iloilo.
VIVA, however got to live long, much longer after that pit stop.
After Dumaguete, organizing committees became wiser. They
learned and molded their unique flavor and because of this,
VIVA ExCon evolved organically in the hands of the islands that
protect it. The components of VIVA ExCon remain the same, the
conference and the exhibition. The conference is where the visitors,
artists, cultural workers and curators engage in deliberating projects,
sharing problems, and creating solutions by collaborating, suggesting
and deciding. And from the semi-formal setting of the morning
activities, we go to the more comfortable informal discussions in the
evening coupled with beer or liquor to ease the stiffness of the day
and let out the uncensored, the craziness, the fun...
VIVA ExCon grew in Iloilo with the help of Ed Defensor and Brenda
Fajardo, who were then appointed officers of the newly organized
NCCA. It extended the biggest grant at that time - two million
pesos. From then to this day, NCCA has been a sturdy pillar of VIVA
ExCon. VIVA Iloilo was well-organized and very successful because
of this funding. It was open to everyone; not just Visayan artists and
it kept the same combination of conference and exhibition.
CEBU (1998)
Got to host it next! I could not forget how Raymund and Estella
Fernandez, Jayvee Villacin, Palmy Tudtud, Babbu Wenceslao and
the UP Cebu-based Fine Arts professors called the Pusod Group
organized it very well. It was also this time that Roldan came back
to participate but his involvement ended in this VIVA. He left the
ExCon for the succeeding years.
As VIVA expanded, it embraced the independent filmmakers such
as Lawrence Fajardo and Manny Montelibano. They headed a
collective called Produksyon Tramontina Inc. in Bacolod and they
got to participate.
LEYTE (2000)
After Cebu, Leyte (2000) hosted the next VIVA and was not
ready to feature the films due to lack of equipment. However, the
films were viewed in the boats going to Leyte. The fast crafts were
equipped with VHS players and big television screens for their
passengers. The conference happened in Palo, Leyte. The artists and
groups welcomed the delegates. In this time, there were no smart
phones and yet it was participated by many. Video projectors at
that time were only available in 747 planes so artists used manila
papers, overhead projectors, blackboards, white boards, and slides
for presentations.
Brenda Jajardo, Ed Defensor, Imelda Cajipe-Endaya, National Artist Napoleon
Abueva, Dea Doromal, Raul Agner, with other Visayan Artists
Photo by Yvette Malahay-Kim
13

BOHOL (2002)
VIVA by this time has gained its popularity in almost all the provinces
of the Visayan region, as well as the international art communities.
It was the turn of Bohol (2002) to host. The exhibition was done in a
gymnasium, and the first video installation by Manny Montelibano
was done there. Santi Bose together with other known artists
came. Curated exhibitions were not yet practiced. The organizers
requested the participants to bring their works for the exhibition,
artists hand carried their works and endorsed these to the organizers
for installation. Almost all exhibitions since the beginning of VIVA
were a survey, a mix of mediums, styles, disciplines, subjects,
resulting to a chaotic space with art in it. Curatorial direction was
missing. This was recognized by the organizers and participants, to
the point that Santi Bose referred to it as “a place full of stale art.”
This was a sign that VIVA was beginning to mature. The Negros
Occidental delegates, bid as the next host and won.
BACOLOD (2004)
VIVA 8 was held in Bacolod and as always, the pioneer city did its
best to add more flavor to the mix. We held a fundraiser exhibition
of donated artworks by known artists like Mark Justiniani, Nestor
Vinluan and Elmer Borlongan among others to be raffled off to
only one winner. We called it The Collector’s Dream. We invited
multi-media artists including Gabby Fernandez who brought
in film, as well as Roberto Feleo and Nato Ong who guided and
shared in the conferences of VIVA 8. In that VIVA, we created
nine bamboo towers representing the nine islands and a bridge to
connect them together, symbolizing the purpose of VIVA. It was
bridged in the opening program but we felt that our bonds needed
more growth. The process of creating the towers was collaborative
in nature. Each tower was hosted by a local art organization to work
with the island representative artists one week prior to the opening.
Reinforced by a hybrid conference which was participative, all
had a chance to work with an ephemeral collaborative project, an
output of the conference, which was to work with different artists
from the different islands producing a single output. The outputs
were presented to the conference and discussions of collaborative
dynamics came out. Responding to the recommendations gained
from the past VIVAs, the first curated exhibition was mounted. The
curator was Bobi Valenzuela assisted by Leslie de Chavez. It had
many criticisms because works were chosen before the participants
came. But on the other hand, the organizers continued the tradition
of an exhibition survey, where attending artists brought their works
14
for an open exhibition. The ExCon ended with a surreal party with
masks and costumes created and worn by artists. Budoy Mirabiles,
PG Zoluaga, JV Villacin, The Wicked Tarsiers, Kinengkoy Comedy
Express, and the committee members of the National Commission
for Culture and the Arts – Committee on Visual Arts participated
in the social programs held during meals and parties. Some of the
pioneer organizing members volunteered to help, Nening and Ted
Villanueva, Milton Dionzon, Louie Dormido, Perry Argel and his
group from Boracay.
SAMAR (2006)
Samar was also a memorable VIVA ExCon. It was criticized but
artists continue to grow. VIVA adapts to its hosts’ resources and
direction. Samar continued the curated exhibition and mounted it
at the Public Plaza and the conference was held in a public school.
Many local artists came. Ben Cab, Pandy Aviado, Cap Reyes and
the members of the NCCA Visual Arts Committee participated in
the events. Artist Raul Isidro from Samar was one of the key people
who made the ExCon possible. There was also a big delegation from
Cebu. At the end of the ExCon, Cebu expressed their desire to host
VIVA again.
Leyte Artists with National Artist Ben Cabrera, Pandy Aviado and Dulce Cuna -
Photo by Yvette Malahay-Kim

DUMAGUETE (2012)
Garbo sa Bisaya Awardees 2010 - Photo by Manny Montelibano
CEBU (2008 and 2010)
In 2008 and 2010, VIVA ExCon happened in Cebu. This was a
time when the next generation of artists, the students who attended
the first three VIVAs, had become professors already. Dennis
Montera led the organization, with the support of Ruben Cañete
as the curator and a wide range of artists from UP Visayas Cebu
and University of San Carlos, with different disciplines that came
together to work. In addition, Garbo sa Bisaya was first introduced
with the intention to honor artists, cultural workers, writers,
curators and those whose work had an impact that contributed to
the growth of local art practice. There were discussions of changing
the name of VIVA ExCon to The Visayas Biennale. There was also
a discussion to give the ExCon a home and Cebu, the Queen City
of the South, had all the resources, its art biome was more complete
so the thought was every two years, it will happen in Cebu. But the
plenary went back to its origin and its strength which is a travelling
biennale. This concern was brought up because resources in other
areas of the Visayas were scarce. All that was done was for this event
to progress for the artists in the Visayas. The conferences were well
organized, art workshops were available for students and interested
individuals, and performances every night. In Cebu 2008 and 2010,
VIVA got even bigger. This is the second time that this event was
hosted by the same group twice. The first one was in Bacolod.
On the other side of Negros, where the sun rises from the sea,
Dumaguete (2012) hosted VIVA. Siliman University and Foundation
University were the main venues for the event. Headed by Babu
Wescenslao and Yvette Malahay-Kim, the artists and students from
both Universities participated in the conference. The exhibition was
curated by Dr. Patrick Flores. The concern of changing the name
of VIVA ExCon to the Visayas Biennale came to a conclusion and
it was finally decided that the biennale will continue to be called
VIVA ExCon. The organizers continued the Garbo sa Bisaya which
honored artists and cultural workers Victorino Manalo, Raymund
Fernandez, Peque Gallaga, Florentina Colayco, Peewee Roldan,
Antipas Delotavo, Mark Justiniani, and Paul Pfeiffer. Norberto
Roldan, refused to be recognized, but all the other awardees had
their works exhibited at Siliman University. “Pagpahiluna” meaning
looking after was the theme. This edition also had an exhibition
at the Vargas Museum called Handumanan. There was a small art
market at the boulevard. At the same time, art organizations and
groups had exhibitions in galleries, cafés, and other alternative
spaces. On the other hand, there was an attempt to create more
public art around the city but it was not carried out due to lack of
resources.
And so the art making in the Visayas continue to evolve because we
see each other every two years, present our Island Reports, reignite
our camaraderie and celebrate together. VIVA ExCon’s impact on the
attending artists became a beacon of light, a source of motivation to
pursue art because they can see that they’re not alone in this world
– the community pursues art as one entity.
I personally loved the idea that VIVA ExCon goes from one island
to another every two years. We are an archipelago after all but what’s
more important is that this manner of approaching the biennale
elevates the artworks of the artists. It exposes them to other artists
from other places, it engages them to share, and the mindsets of
all who attend are opened to the circumstances of other islands. It
fights the apathy that is slowly eating art communities so when I was
tasked to organize it years after it was founded, I safeguarded this
concept because this promotes unity, awareness, camaraderie, and as
we’ve all experienced, precariousness.
15

BACOLOD (2014)
Another memorable VIVA ExCon was in 2014, held in Negros.
As planning was already being laid out the year before, I got
seriously ill with kidney failure and ended up on hemodialysis for
six months while awaiting a kidney transplant in February 2014.
Manny Montelibano took over as VIVA ExCon director while I was
recuperating and under strict reverse isolation in Manila. VIVA was
well planned in spite of the fact that typhoon Haiyan hit the Visayas
to include Samar, Leyte, parts of Cebu, Northern Negros Island,
Panay Island, Bantayan, and Boracay. It was a disaster. Many lives
were lost. When it was time to rebuild, our team composed of Dr.
Patrick Flores, Manny Montelibano, Dennis Ascalon and Moreen
Austria, travelled to all the islands to meet the coordinators and
leaders of the artists groups. I remembered the team told me that
the artists in Leyte, which was badly hit, were traumatized and even
questioned their practice. Our Leyte coordinator suffered the loss of
his parents, his taste buds were affected during that time. Moreen
Austria got sick because of the experience of being in a place where
thousands of people died. The theme of this VIVA then became
INSPIRE with a satellite photo of the typhoon covering the region.
The visit to the islands was very important to reassure our brothers
and sisters in the arts that there is a future.
Joyce Toh, Yael Buencamino, Clarissa Chikiamco
Photo by Manny Montelibano
A few months later, as a celebration of my second life, I opened
Orange Gallery in a bigger space… citing it as one of the exhibition
venues for VIVA come November of that year. I was back on my
feet and continued on as VIVA ExCon chairman. Despite the
dangers with my health, there was no stopping me from being
physically present and on top of it. We held VIVA at the Nature’s
Village Resort. For me, it was a perfect venue for the conference as
it had room accommodations, a restaurant, a conference hall and
an open pavilion where artists would casually converge after the
conferences. We invited known art collectors like Edwin Valencia
and Ramon Hofileña to talk about the art of collecting, top curators
Patrick Flores of UP Diliman’s Vargas Museum, Yael Buencamino
of Ateneo Art Gallery, Clarissa Chikiamco of National Gallery
Singapore and Joyce Toh of Singapore Art Museum, also a constant
VIVA supporter over the years, gallery owners Dawn Atienza of
Tin-aw Gallery, Jun Villalon of Drawing Room, Silvana Diaz of
Galleria Duemila and prominent Filipino contemporary artists
Geraldine Javier, Leslie de Chavez, Paul Pfieffer and Mark Justiniani
to be our speakers. The first time VIVA came back to Bacolod,
we introduced a curated exhibition… This time, we introduced a
tribute exhibition, specifically an exhibition of Jess Ayco mounted
at the Balay ni Tana Dikang Museum. Garbo sa Bisaya exhibiton
was in the Negros Museum, and the contemporary exhibition was
hosted by Gallery Orange in Art District. There were also other
collaborative exhibitions in the New Government Center and Frida
Gallery which were organized by the group of Tristram Miravalles
and Guinevere Decena with Indonesian and Malaysian artists. The
Museo de La Salle output was composed of contemporary Korean
artists headed by Seonyoung Kim from Gwangju, Korea, with the
group of Raymond Legaspi, Rhoderick Tijing, Junjun Montelibano,
Peque Gallaga, Cindy Ballesteros, and Nene Legaspi. The art students
from Cebu had performances in Art District and the conference
grounds. Bacolod artists opened their homes and studios to welcome
guests from the other islands, became drivers, reception staff and
whatever they can to be a volunteer. The Bayanihan spirit remained
to be quite strong. We became sensitive even to food preferences
due to religious and personal practices by offering vegetarian meals
for the participants… all were covered from media, beliefs, local to
international in scale. I can say it was very well organized and wellattended.
I was very proud of our committee for doing a good job.
16

VIVA ExCon 2016 Iloilo - Photo by Leo Lazatin
ILOILO (2016)
VIVA came back to Iloilo in 2016 with Rock Drilon as head of the
organization. He united the different groups and had the support
of the local, provincial and national government. The conference,
an exhibition, and other programs were held in the complex of
the Iloilo Provincial Capitol. Garbo sa Bisaya, a tribute exhibition,
and a contemporary exhibition were curated by Dr. Patrick Flores.
Exhibitions spread throughout Iloilo City, in universities, old houses,
galleries and other alternative spaces. Since Iloilo had international
flights, it was easy for international guests to join. Every time VIVA
happens, the host city benefits from it. It brings a boost to the local
economy, enhancement of artist communities, and pride to the city
itself. Hakus, meaning to embrace, was the theme. To embrace the
past, the present and the future. Bacolod wanted to host the next
VIVA and was ready for the bid. Peewee Roldan came back this
time as a participant and talked to me about our differences and
tried to settle it. He asked me if he could bid for the next VIVA so
that Roxas City, Capiz can host it since he was from there. I agreed
and pulled out our bid and supported his. But on the other hand,
as organizers in the past, we have discussed that the bid should be
for the next four years. This was to give the organizers a 4-year time
period to prepare systems, funds, networks, and all that is required
for the event. The bid in Iloilo was for Roxas (2018) and Bacolod
(2020) which was the celebration of its 30th year. The bidding that
happened in Roxas was for 2022.
17

VIVA ExCon 2018 Roxas - Photo by Aeson Baldevia
18

ROXAS (2018)
The 2018 VIVA ExCon was hosted by Roxas City, led by none other
than the man who founded the biennial in 1990, Peewee Roldan.
He did not attend the succeeding ExCons since the second VIVA
ExCon in 1992 and Cebu in 1998. For whatever reasons he had
for his absence, the responsibility of running VIVA fell on my lap
unexpectedly. I have not looked back since. When Peewee started
showing up once again in the very recent ExCons, I saw it fit that he
deserved to organize VIVA in Roxas. It was his baby after all. A year
prior to VIVA Roxas in 2017, I, along with several artists traveled to
Roxas City to check on their infrastructure and possible venues for
the conference, like I always do for each VIVA in different islands
in the past. It was at this time when Peewee revealed to me and a
few others, that the Black Artists in Asia that founded VIVA ExCon
was founded back in 1990 because of his personal involvement
with a leftist group. An organization had to be born to legitimize
black propaganda against the government then. This revelation
came as a shock to me, not to mention an insult and a betrayal of
friendship since I was made to believe that VIVA was made for the
simple reason that we wanted to bridge the Visayan Islands through
exhibitions and conferences and find a voice in the contemporary
art scene in the country. It was then clear to me that the reason he
abandoned VIVA ExCon was because it was not going according to
his plan. When VIVA Roxas finally happened in 2018, he persisted
with his agenda at the 3rd day forum wherein he wanted VIVA
ExCon to be of socio-political leaning, citing the Escalante incident
that happened just months before and that artists should make a
stand. When it was my turn to speak, I gave the audience a piece of
my mind and heart, saying to them that it was not my call where
the artists want to bring their art… to the left or to the right. Many
things happened in this VIVA. Roldan also revealed that he stole a
letterhead from the Cultural Center of the Philippines for a letter to
invite the Japanese delegation in the second VIVA. Even National
Artist for Cinema Kidlat Tahimik mentioned that it was a criminal
thing to do, stealing and falsification of documents. Another thing
I observed was that the local artists were relegated to working on
the sidelines while a team from Manila which Peewee brought
was running the show. Maybe it was their strategy to reinforce the
organization. Garbo sa Bisaya was cancelled due to the implications
of the word Garbo in the local dialect. The conference was attended
by Visayan artists, students, people coming from Luzon mostly,
and international personalities. The exhibition happened in a
gymnasium, the museum, and public buildings, the plaza, and near
the beach.
VIVA has existed for 28 years because we believed in its cause and
that is, just as I have believed in since 1990, to bridge the Visayan
Islands through art. At that time, I already thought VIVA would be
divided and come 2020, it would probably be the last. And so for
its 30th year, it should be hosted by Bacolod once again and rightly
so because history started there.
To be precarious is to be ready for whatever the future holds. Who
would have thought that 2020 would be such a terrible year? No
one. VIVA was always a time for the celebration of Visayan Art.
Back in VIVA ExCon Roxas 2018 when I was questioned about
what 2020 would be like, I answered that it would be a blank
canvas. I felt like it was somewhat prophetic. The pandemic came
and indeed, it became a blank canvas. No one knew what to do
when the pandemic hit. The 4-year plan for VIVA ExCon’s 30th
Year went down the drain, the excitement died and fear settled in.
19

BACOLOD (2020)
Year 2020 was the biggest and the most challenging year for VIVA
ExCon. It was the 30th year and it was supposed to be a very
important celebration for us. In 2019, while adrenaline was rushing
through our veins, we thought we had found a perfect sponsor for
VIVA’s 30th year in a foundation run by a successful Negrense. But
things did not turn out as we expected as unfortunate incidents
happened in the coming months. And then the COVID-19
pandemic happened. It arrived in the Philippines and it spread like
wildfire. I asked Manny, as VIVA executive director, if we should go
on with the VIVA ExCon: “Dayonon ta ni?” (Will we push through
with this?) There was a decision to wait it out but we decided to
move forward with a plan to recalibrate the theme into the word,
DASUN (What’s next). The answer to the question became much
clearer and defined when curator Patrick Flores agreed to accept
the challenge as well as to curate the exhibition, both virtual and
physical (if circumstances would allow it). It was the first time that
the biennale transitioned into the digital world. We moved forward
with the very first online VIVA ExCon.
More unexpected luck came to us in the form of a sponsorship
from the Mercedes Zobel Foundation that gave VIVA a gift and
proceeds from our fundraiser exhibitions that were big enough to
fund the projects in our projected 18-month long VIVA ExCon.
It was during this time in 2020 when I contracted the COVID-19
virus after we launched VIVA ExCon at the Art District that landed
me and my wife in the hospital for 10 days.
Gathering all the resources we could get and transitioning to a digital
platform was not easy. How in the world can we do it when no one
had the slightest idea how to even start? But again, BAYANIHAN
happened. The core group consisting of key people like Jade Snow
Dionzon, Moreen Austria, Gina Jocson, Ida Vecino, Kathryn
Baynosa, Rhoderick Samonte, Barry Cervantes, Aeson Baldevia,
Julie Yip, Dennis Ascalon, Carmel Hibaler and the Orange Project
staff, all volunteers who shared their time and ideas. Special mention
also goes to all the local artists, musicians and dancers who dressed
up and performed at the Art District as if VIVA ExCon was really
and actually happening, despite the absence of an audience which
would have been the delegates from all over the Visayas. A special
and controversial sculpture of a carabao by artist Rafael Paderna was
donated to the Orange Project with my collaboration, in time for
the ExCon launch. But all this would not have been possible if not
for the one hundred percent support of Victor Benjamin “Bong”
Lopue, III and his family. Bong, who is a philanthropist in his own
quiet way, prefers to be out of the limelight but gives an approving
nod and a big smile when he sees Art District and Orange Project
bustling and bursting with art, even while the whole world was on
lockdown. With Manny Montelibano directing the ship, and with
help coming from people who have supported VIVA ExCon in
its earlier years. There was no other motivation needed when you
know someone’s got your back. The conferences were accepted well,
especially at the end when everyone got to host and talk to each
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VIVA ExCon 2020 Bacolod Launching, Charlie Co, Manny Montelibano, Bong Lopue - Photo by Aeson Baldevia
21

other via the Zoom meetings. It was not the best but it was what was
possible to do given the situation. Exhibitions happened differently
too. With Flores calling the secretariat team to become his eyes and
hands as he curated the spaces – this is innovating how mounting
exhibitions can be done without being present in the pandemic.
In the future when the young artists will ask what we did when the
pandemic happened, we can proudly say that we trudged forward
and continued VIVA ExCon despite the odds. Leadership is an
important factor to the outcome of the biennale. So, don’t be afraid
to lead. We are seven islands and a hundred smaller islands strong!
VIVA ExCon is like a heartbeat, you know. It has its ups and downs.
Every island, when they decide to host the biennale is already a
winner regardless if they did well or not. It’s no ordinary task after
all. Sometimes I find myself criticizing how it is handled but I
realize that accepting the honor of hosting VIVA ExCon is already a
victory for the island. Many have criticized it through the years, that
its exhibitions are stale and old but the effect of VIVA ExCon in the
islands varies and that’s why it is still alive up to now. For the last 30
years, VIVA ExCon has impacted many artists in their careers. Even
to those who are unknown artists, it is part of the reason why they’ve
pursued art. It has recognized artists in different islands and the art
history of each island. Consistently, it has inspired the people.
People ask, what change can VIVA ExCon bring to the artists or to
the island? Take Maria Taniguchi for example. When VIVA ExCon
started, she was a little girl but now, she’s one of the island curators.
She’s a world-class artist and she’s Visayan. Estella Fernandez and
Yvette Malahay-Kim were just students from UP Cebu when Cebu
first participated in the second VIVA. Now, they bring their students
whenever VIVA beckons. We call them VIVA ExCon Babies –
those artists who started attending it at a younger age and are now
curating exhibitions for the biennale or guiding their own flock to
all the VIVA ExCons. It is a reassuring fact that VIVA ExCon is
going the right direction.
Zanna Jamili, Zabiel Nemenzo and Megumi Miura prepare for VIVA ExCon
2020- Photo by Aeson Baldevia
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Bayanihan Exhibitions
Fundraising Events

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Dasun Exhibition
A celebration of 30 years of VIVA ExCon featuring multi-generational artists from
November 2020-January 2021.
In this exhibition organized by Orange Project and Art District, artists came
together to celebrate the longest-running art festival in the Philippines. When VIVA
ExCon was created by members of the Black Artists in Asia in Bacolod City in
1990, its function and purpose was to respond to concerns of the visual artists at
that time of post-Martial Law. Thanks to these efforts made decades ago, these same
aspirations and care for the artist community, as well as the concern for Visayanbased
artists as a whole, is still present and ever thriving. In the face of a global
pandemic, these artists have continued to nurture and sustain a strong sense of
community by helping various causes through their art and refusing to let the global
health crisis dampen their spirits. It is this same determination that these creatives,
from the founding members of VIVA ExCon to VIVA babies to young artists who
are yet to experience their first VIVA, have come together to honor this sense of
community and artistry. In different locations within Art District, one will find

works of art, either individually or collaboratively made. One need only to step
in and walk through Art District grounds to see the various murals, sculptures,
and outdoor installations; take a tour within Orange Project to see paintings
and other wall-bound works, together with installations and sculptures; view
the split presentation within Block17 Art Space; gaze upon the various works of
art presented by the Art Association of Bacolod within their gallery space, and
look into the many artistic offerings at Dosé Coffee + Art. Dasun is a collective
creative effort of generations of artists who believe that we are all in this together
as an artistic community, but more importantly, a community of human beings
who strive to keep these connections alive. This exhibition is a celebration of
resilience, camaraderie, and hope.
Exhibition text written by: Karina Broce Gonzaga

V-CON 1
by Jade Snow Dionzon
After three decades, VIVA ExCon 2020: DASUN was the
homecoming to its birth province that everyone was looking forward
to. ‘Dasun’ or ‘what now’ was a theme that is in keeping with
Futures Studies which postulates possible, probable, and preferable
futures and the world views and myths that underlie them. “What
Now” sought to understand the context and circumstance of the art
community in relation to the sectors of the community it coexists
with, what is likely to continue and what could plausibly change.
Part of the creative initiative was to seek a systematic and patternbased
understanding of past and present, promote inclusivity, and
determine the likelihood of future events and trends so as to better
respond with alternatives towards a much-preferred future.
The VIVA ExCon Organization was planning the event a year and
a half before COVID-19 struck hard in the country. But instead of
shirking, the organization decided to push through and calibrate its
programs - the show must go on. It was a time to adapt, a milestone
in the history of a biennale that has inspired and nurtured countless
Visayan artists through the years.
One of the two phases of VIVA ExCon 16 from 2020 to 2021
was the Visayan Islands Virtual Conference (V-CON), the other
being the Visayan Islands Virtual Exhibition (V-EX). The Virtual
Conferences were held in November 2020 and continued on
a monthly basis until June 2021. The official opening of VIVA
ExCon 16 was on November 8 but the conference proper started on
November 11, 2020 with the Island Updates from Panay, Kalibutan
Curatorial Input by Patrick Flores and Curatorial Team and the
official conference virtual opening of the first Virtual Dialogue 1:
Family, which was held with resource persons Alfredo & Isabel
Aquilizan and Rosemarie Jacobo-Sarnate with reactors Raymund &
Estela Fernandez.
Day 2 of the virtual conferences was on November 13, 2020 with
Island Update from Bohol and the Virtual Dialogue 2: Business
with resource persons Calixto Chikiamco and Ed Valencia with
reactor Raul Arambulo.
November 15, 2020 was Day 3 conference day with Island Updates
from Cebu and Virtual Dialogue 3: Education with resource persons
Br. Edmundo Fernandez, FSC and Fr. Jason Dy, SJ, with reactor
Palmy Tudtud.
Day 4 of the virtual conferences was on November 18, 2020
with Island Updates from Samar and Leyte as well as the Virtual
Dialogue 4: Governance with resource persons Congresswoman
Loren Legarda and Congressman Francisco “Kiko” Benitez with
reactor Br. Tagoy Jakosalem, OAR.
The last virtual conference was on November 20, 2020 with Island
Updates from Bacolod and Dumaguete as well as discussions about
The Role of Cultural Agencies in Developing the Visayan Art
Communities by Rica Estrada of Cultural Center of the Philippines,
Ben Suzuki of The Japan Foundation Manila, Teresa Rances of
Asian Cultural Council and Geraldine Araneta of NCCA, National
Commission for Culture and the Arts. It was concluded by the
Synthesis of Futures Studies by Rhoderick Samonte.
Eleven eleven, twenty twenty was the official start of the conference
component of VIVA ExCon 2020: Dasun or What Now, a key
inquiry that the community of artists in Negros had to face two years
before that agreed upon date, right in the middle of a developing
pandemic that threatened to put the world on its knees.
True enough, the world halted and every one had to retreat to
individual homes, went online and accessed what technology they
could to survive. We say that an artist cannot help but possess an
indomitable spirit and there were very few times in the modern
world that this is more apparent than in this VIVA ExCon period
of darkness.
The VIVA ExCon Organization, headed by Charlie Co and Manny
Montelibano, which was tasked to host the 30th year of the Visayaswide
biennale did not succumb to the temptation of indefinite
postponement but instead, explored the marriage of a virtual
platform and futures thinking.
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We were actually quite excited about the platform chosen given the
limitations of the pandemic. We went into the future studies design
and perspective with the main objective to arrive at a possible,
probable and preferable future for the artist community. To design
this, Futures Thinker Rhoderick Samonte walked us through some
of the basic principles of futures thinking which proved to be a
method for informed reflection on the major changes that will likely
occur in the next ten, twenty or more years in all areas of social
life, including the arts. Futures Thinking uses a multidisciplinary
approach to pierce the veil of perceived opinion and identify the
dynamics that are creating the future.
The artist group, with the exception of a small number of shining
careers, has always been peripheral at best but just tolerated and
left alone most of the time. They sometimes feel that they don’t
factor in most of society’s general blueprint. It is, therefore, about
time to create a discourse that shifts perspectives and reassures the
artist community that they can direct their own future. We invited
representatives of four sectors to look into the context of existing
dynamics vis-à-vis the arts: this is family, business, education and
governance. We were happy to note that key people representing
the major stakeholders in the lives of artists were appreciative of the
direction that the ExCon was taking and willingly contributed in
the developing discourse.
It is true that the problems of the world may not have been solved
in the duration of the V-CON but the perspective gained by
individual artists were powerful tools in reshaping a future and
carving out a road towards something that is agreeable to them, that
is empowerment.
Indeed, the Visayas Islands Visual Arts Exhibition & Conference
(VIVA ExCon) 16 recalibrated itself to successfully engage creative
spirits in a virtual dynamics that was interactive, observant of health
protocols and one that brought together the artist community to
find strength among each other and rise together in spite of the
challenges of the times.
So given this futures thinking lens, the assembly of artists examined
their own experiences and answered the question on how these
helped or hindered their career in the arts and what their preferred
future is in the context of these four sectoral focus. The virtual break
out rooms were maximized in terms of small group discussions per
area which were further fleshed out in the plenary. The dynamics
enabled each artist to reflect and articulate experiences in a nonthreatening
and safe space. They found their voices and created
statements expressed in images that represent their say in how
their future is going to be like. This then allowed them to widen
their perspective and realize the relationship of their individual
experiences to the prevailing societal dynamics and therefore assess
for themselves how best to proceed given the preferred future that
they have identified.
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V-CON1 Day 1 November 11, 2020
Virtual Dialogue: Family
How families can Make or Break an
Artist: Community, Collaboration,
Co-Creation
Raymund L. Fernandez and
Estela Ocampo - Fernandez
Alfredo and Isabel Aquilizan
by Vincent Rose Sarnate
The sectoral focus on family featured the sharing of family dynamics
by artist-couple Alfredo and Isabel Aquilizan as well Rosemarie
Jacobo-Sarnate, the wife of Negrense visual artist Susanito Sarnate
with reactors Cebu-based artist-couple Raymund and Estela
Fernandez, all of whom were intimately aware of how a family can
make or break an artist, the theme being community, collaboration
and co-creation.
Whether it is stepping into foreign soils or the unstable ground of
material needs, it can be hard to build a home in shifting sands.
But for Alfredo Juan and Isabel Aquilizan, a change of place and
space puts up new homes for extended families. They are keeping
doors open to more collaborative, community-based projects with
Filipinos and fresh faces ever since their relocation to Brisbane,
Australia in 2006. The couple’s assemblages and art pieces spoke
of home. Isabel Aquilizan said that home is the constant reference
point where we continually connect, reflect, and return to. She
emphasized that their body of work navigates around family, journey,
community, homeland, identity, sense of place and displacement
and the significance of objects which usually include domestic items
and mementoes.
Rosemarie Sarnate discussed how art was conceived and nurtured
in their low-income household, headed by a father who is trying
to pursue his passion all while providing the needs of his family.
Rosemarie’s husband Susanito was initially drawn to oil painting,
but the economic and practical demands of a home with growing
children pushed him to settle with less expensive textile and
latex paints in his first few group exhibits. As their resources for
art materials continued to dwindle, Susanito eventually set aside
the love for painting and looked for alternatives. Mrs. Sarnate
mentioned that her husband’s background in ceramics production
led him to think of terracotta as the perfect, long-term art medium.
Though everyday is still a battle between the call of heart and hunger,
Rosemarie Sarnate was beyond glad to note how that in 17 years of
supporting and creating artworks, they were able to send both of
their children to school until they graduated from college.
The speakers and reactors touched on the significance of community,
as they draw strength from the family of artists, mentors, friends,
gallery owners, and collectors who show unwavering love in everchanging
times. Furthermore, Alfredo Aquilizan’s family of seven
and Rosemarie Sarnate’s household of four are both painted with
mutual support of art, even with children whose interests are of
diverse colors.
Futures moderator Rhoderick Samonte embraced each island’s
vision for family with these keywords: looking inward, creativity
in the global scale, progressive scene for the arts and better
opportunities within the family and beyond, acceptance of art as a
career, empowering and creating spaces to unleash new talents, and
family as a place for cultivation of learning, as well as a source of
sustenance, success, and satisfaction.
The creative couple’s lifeline from quicksands of longing is bringing
people together to create art, evoking memories, forging connections,
and rekindling kinship and belonging, while Rosemarie Sarnate’s
saving grace from miry clay is pure faith in her husband’s eventual
love for terracotta.
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V-CON1 Day 2 November 12, 2020
Virtual Dialogue: Business
The Value of Art and Artists in
Business: Myth,Realities and
Opportunities
Ed Valencia
Calixto Chikiamco
Raul Raphael V. Arambulo
The sectoral focus on business was a virtual assembly graced with
the presence of speakers Calixto Chikiamco and Ed Valencia, as well
reactor Raul Arambulo in a participative discourse on business with
the theme ‘The Value of Art and Artists in Business: Myths, Realities
and Opportunities.’
In the bumpy, new roads of art and business, one should learn from
experts who know where to go and how to take the wheel.
Chikiamco believes that art must be value-adding to be viewed
favorably and supported by business. He mentioned, as an example,
how art can be integrated and applied to products and properties
to enhance perception of value to the company’s customers or
increase their price or marketability. According to him, there are
opportunities for struggling artists who can show potential, but they
must tread this delicate balance in dealing with businessmen and
art investors and must be careful in not sacrificing their vision or
their soul. Chikiamco shared that art by business can be commercial
and short-term as it may select only artists and artworks that are
considered safe, established, or rigorously consistent with the image
that the business is trying to project. He advised artists to function
like sports cars, focusing on their craft and leaving the commercial,
practical aspects to trusted people who can act in their best interest.
Chikiamco added that artists must be alert to scammers, exploiters,
and unprofessional agents claiming to act on their behalf, and
learn to document each artwork to not leave any doubt about the
authenticity of their pieces.
Valencia expressed that there is significant engagement in the art
world by a lot of the institutions. The business world values art.
Corporate social responsibility programs of large and medium-sized
companies have always been in support of arts and culture. But
in the recent years, things don’t seem to be looking up. Valencia
mentioned that government and corporate funding for art programs
have shrunk and will continue to shrink even in post-pandemic
recovery; senior renowned artists will remain resilient and stable
while emerging artists will be more heavily impacted in the current
environment. Providing solution to such a drawback, he discussed
digital transformation, social media, and digital learning as
perennial and personal tools for artists in opening up opportunities.
Artist presence online will provide direct access and engagement
to companies and business entities, as there is no official creative
directory of artists and art professions by locale. There are platforms
of wider reach and continuous awareness via social media.
Reactor Arambulo said that the beauty of VIVA is in providing
greater opportunities for regional artists to get in touch and hit the
road with the right people.
To arrive to promising futures in arts and business, Samonte
presented the delegates’ prime driving forces: online or digital
spaces, improved relationship and stronger partnership between
business and the arts, right compensation without exploitation,
professionalism, and establishment of intermediaries who will
become the artist’s effective and trustworthy representatives.
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V-CON1 Day 3 November 13, 2020
Virtual Dialogue: Education
Art and Education: Context
Creativity and Criticality
Jason Dy, SJ
Palmy Pe-Tudtud
Br. Edmundo Adolfo De Leon Fernandez FSC
The sectoral focus on education merited from the inputs of Br.
Edmundo Fernandez, FSC and Fr. Jason Dy, SJ as well as the
reaction of Prof. Palmy Pe-Tudtud in an informative discourse on
‘Art and Education: Contexts, Creativity and Criticality,’ where the
assembly also surfaced their own experiences in relation to their own
educational preparation.
Br. Fernandez, gave an overview of Fine Arts and Philippine
education and revealed that only 1.94% of the country’s higher
education institutions offer a baccalaureate program in Fine Arts.
This reality is aggravated with the occasional content and delivery
mismatch by teachers whose degree and specialization were not in
any way related to art. Br. Fernandez stressed that art is valuable in
the child’s formative years and must be an essential subject beginning
elementary. He said that art education should be in tandem with
cultural education. One cannot teach art apart from teaching
culture. If children are brought by teachers to the museums and
are provided with meaningful synthesis of the experience, they will
learn the larger context of what art is. He discussed how art teaches
creativity in problem solving, perspectives, risk-taking, observation
skills, and self-confidence, caters to multiple intelligences, teaches
children to have a different language in self-expression, and teaches
abstract concepts effectively.
Fr. Jason Dy, SJ presented two dominant themes: the importance of
research in one’s creative practice and the significance of curriculum
development in cultivating a critical approach and creative response
to arts in the students. He encouraged creative research and
keeping a contextual journal that is similar to an artist’s sketchbook
but with annotations. Fr. Dy talked about how this journal will
provide a profile of one’s visual, creative, and cultural interests and
motivations, record internal resonance with the observed reality,
and give a greater, deeper insight into the historical context of
one’s artistic practice. He said that it is a valuable tool in gauging
and monitoring one’s art progress. It helps artists link theory and
practice as well as supports their working process.
Fr. Dy recommends a student-centered content development. The
goal is to spark creative and moral imagination that is not only
responsive to contemporary global realities and challenges, but also
deeply rooted to local histories, conditions, norms, and institutions.
The continuity and spiral structure of education must give emphasis
on Philippine arts, culture, and crafts, consultation and sustained
collaboration, curating and creating contents, and independent
learning.
Prof. Pe-Tudtud hopes that schools in the country will realize
the importance and value of art education and how it affects and
develops humans.
Futures Thinker Samonte synthesized all notions, proposals, and
preferred futures in education. These included equal opportunities
for art appreciation, holistic alternative learning experiences and
art education system, engaging the specially abled in developing
artistry, and making short courses accessible.
For the aspiring visual artist, Br. Fernandez mentioned that formal
art education teaches technical skills, structured approach to
learning, discovery, and exploration as the students receive regular
critique, proper feedback, direct access to experts and professionals,
share experiences, and develop networks. He emphasized, though,
that a lack of degree does not in any way mean a lack of talent.
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V-CON1 Day 4 November 14, 2020
Virtual Dialogue: Governance
The Arts, Legislation and Futurity
Deputy Speaker Loren Legarda
Hon. Jose Francisco Benitez, Ph.D
Br. Tagoy Jakosalem, OAR
The last futures focus was on governance which was participated in by
resource persons Deputy Speaker Loren Legarda and Representative
Francisco “Kiko” Benitez with reactor Br. Tagoy Jakosalem, OAR
on the theme “The Arts, Legislation, and Futurity.” The artist group
found their voices in the virtual platform and created a discourse
expressed in images which reassured them that they do have a say in
how their future is going to be like.
To preserve Philippine indigenous and traditional culture, DS
Legarda led the development of cultural villages, focusing on their
schools of living traditions. To showcase the artistry of the Filipino
contemporary artists to the world, she initiated the return of the
Philippines to the Venice Art Biennale in 2015. And as Chairperson
of the House Sub-Committee on Better Normal, and sponsor of
House Bill No. 6864 or the “Better Normal for the Workplace
Communities and Public Spaces Act of 2020”, DS Legarda saw to
it that the concerns of the art and culture sectors were addressed
in the proposed law that was originally meant to institutionalize
health and safety protocols only. Provisions in the bill include the
government’s sufficient support for culture bearers and masters and
those engaged in our dynamic traditional forms, emergency cash
subsidies for those involved and working in the arts and culture
sectors, the maximization of digital platforms towards bolstering
various creative industries, and encouragement of online promotion
or streaming of cultural programs, performances, exhibitions and
enhancement of existing public arts and monuments. DS Legarda
shared that House Bill No. 6864 has already been passed by the
House and now pending in the Senate.
Rep. Benitez collaborated with 45 members of the 18th Congress,
including DS Legarda, to form the Arts, Culture and Creative
Industries Bloc. ACCIB has conducted a series of consultations with
cultural agencies and stakeholders in different creative industries
to facilitate growth and enhance the global competitiveness of the
country’s creative industries, and has introduced bills that seek to
mainstream cultural mapping at the local government unit level. This
is to give leverage to local heritage and culture as a driver of tourism;
recognizing the potential of cinema in promoting Philippine tourist
destinations to a global market. Rep. Benitez spoke of a bill that
has also been introduced to ensure protection of artists and crew
members, many of whom work freelance, in the film and television
industries. He expressed that government agencies are answering
and catching up to the emergent needs of the country.
Having chaired the technical working group that consolidated bills
establishing ICT hubs nationwide, Rep. Benitez highlighted the role
of digital transformation and digital technology as enablers of new
forms of artistic and creative expression, as well as the cultivation
of creative talent and cultural capital to fuel economic growth from
digital advertising to the art gallery and the museum.
Reactor Br. Jakosalem reaffirmed the role of government in
supporting the creative initiatives of artists and art organizations, in
conducting art mapping, and in sustaining a formative art culture in
the regions through socialized art education and practice or through
local community art centers.
It’s already the fourth V-CON 1 session, but all breakout rooms
are still charged with vigor and zeal. Samonte acknowledged
thoughts on advocacy and support from the local government
more importantly at the barangay level, sustainable and long-term
art residency programs and initiatives, and incorporation of art in
the development of the tourism sector. There existed this mutual
preference for a government that invests in the artists and cultural
communities; that professionalizes, institutionalizes, and values art
and the artists, and engages them in real community and human
resource development.
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V-CON1 Day 5 November 15, 2020
The Role of Cultural Agencies
in Developing the Visayan Art
Communities
Geraldine B. Araneta of NCCA-NCVA
Rica Estrada of CCP VAMD
Teresa Rances of Asian Cultural Center
Suzuki “Ben” Tsutomu of Japan Foundation
The final day was a discourse on the role of cultural agencies in
developing the Visayan art communities with Rica Estrada, head
of the Cultural Center of the Philippines Visual Arts and Museum
Division, Ben Suzuki of The Japan Foundation-Manila, Teresa
Rances of Asian Cultural Council and Geraldine Araneta of National
Commission for Culture and the Arts - National Commission for
Visual Arts. The synthesis by futures moderator Rhoderick Samonte
then featured the creative images that the artists from the different
islands came up with to provide a preferred future with shapes and
colors.Cultural agencies have always been inclusive and supportive
of the Visayan art.
Estrada, said that as early as 1980, the Cultural Center of the
Philippines was having exhibitions of works by Visayan artists. She
added that there was a continued collaboration with the Visayan
artists community through the creation of VIVA ExCon. Ben
Suzuki, Director of Japan Foundation, Manila (JFM), presented
cultural encounters and exchanges from his experience in working
with Filipino artists. Asian artist residences were also mentioned
in the course of the talk. As such initiatives carry on, there will
be growing opportunities for artists from the Philippines to work
closely with creatives from Japan and other countries. Teresa Rances,
Philippine Program Director of the Asian Cultural Council (ACC),
discussed how the organization advances international dialogue
through cultural exchanges. She said that ACC engages cultural
leaders from the established to the emerging, and works from
traditional to cutting-edge. Rances shared that the foundation has
supported over 300 Filipino artists since 1963, and 8 of them have
become national artists. Geraldine Araneta, Head of the Visual Arts
Committee of the National Commission for Culture and the Arts
(NCCA), introduced some of the many government contributions
of the NCCA, including its support for VIVA ExCon. She also
touched on recommendations of the visual arts sector representatives
in collaboration with the government. These include establishing
art acquisition programs for government cultural institutions,
reviewing copyright laws, and working closely with the Department
of Tourism and Foreign Affairs in promoting Philippine visual arts
locally and internationally.
The speakers identified several open calls, fellowships, and grants
designed with best interest of the arts and culture sectors in mind.
Concluding the 5-day conference, the delegates listened to a
presentation by island coordinators of significant images from
their artists. All were asked to look in terms of metaphor. Aklan
interpreted growth, metamorphosis, and bright future. Antique
highlighted culture and identity and the place’s huge potential in
being a catalyst for innovation and collaboration. Bantayan Island
stressed the role of art and culture, the representation of one’s self,
and how one creates a system in the future that art is part of. Bohol
hoped for community, support of families in creative pursuits,
network with other Visayan art groups, and the improvement of
curriculum in their art schools. Capiz focused on the attainment
of futures through having basic core values and principles in place,
and on realizing essential tenets, beliefs, and ideals as artists and
individuals. Cebu likened their preferred future to a mangrove:
art and artists thriving in every possible direction even through
unbearable conditions. Iloilo and Guimaras were one in looking
towards and working for brighter years in the arts. Leyte emphasized
the welfare of artists and the need for a unified art community that
is collaborative as it is harmonious. Negros Occidental saw limitless
creativity and possibilities with respect to culture and tradition, as
well as a community that could weather the storms. Negros Oriental
shared how sustainable and nurturing initiatives from artists
could turn preferred futures to pursued futures. Samar featured
collaborative and essential efforts of artists in teaching, guiding, and
learning from each other.
Futures moderator Samonte said all these will serve as a visual
summary of keypoints from breakout sessions and would paint
what is truly preferred and desired for futures as artists in relation
to families, businesses, education, and the government. “With the
word ‘Dasun,’ we now know what exactly we will do because we
have a clear understanding of what’s gonna happen in the future,”
he added.
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35

Curators Converse Node 1:
What Happens In/To/With
Through the World
Region 6 | December 12, 2020
The Visayas Islands Visual Arts Exhibition & Conference (VIVA
ExCon) 16 opened V-CON 2 with Node 1. The webinar was with
Kalibutan Head Curator Patrick D. Flores and Region 6 curators
Guenivere Decena and Liby Limoso who were first in a series of
talks. The speakers were joined in by ExCon Director Manny
Montelibano, ExCon Chairman Charlie Co, and interpreters Nicky
Templo Perez and John Xandre Baliza from Benilde School of Deaf
Education and Applied Studies.
Bacolod-based curator Decena brought the works of Negros artists
Perry Argel and Denli Chavez to light. Decena highlighted how
Perry Argel’s works deviate from the typical economic setup.
Consumerism adds trash, while Argel subtracts waste through
art. He performed world-saving math in his exhibition, Ilistaran
(Dwelling Place). Decena equally lauded films from Denli Chavez.
To a world that views mental health passively, Chavez projects
gravity. Her films Hangin, Lagaw Lagaw, Dalia Dali Lang, Suba
sang Malogo, Release, and Killer’s Eye deal with the molding of
the mind; how serial killers are made, human trafficking, acute
depression, domestic abuse, coping with loss, and related issues.
Her concept Pagbutwa Halin sa Kaidalman (Rise from the Depth)
integrates the legend of “Siete Picados” and tells of loss, gain, and
rise toward a novel form of consciousness. Iloilo-based and Panay
island curator Liby Limoso documented and visualized the oral
tradition of Panay Mythology. Limoso talked about mapping the
characters of Panay’s Sugidanon through oil painting. Sugidanon
is a ten-chapter epic of noblemen, mythical creatures, and demigoddesses
and is traditionally performed through chanting sessions
that last for hours.
38

Caught by the Lockdown:
Artists’ Struggles and Strategies
December 19, 2020
This webinar described the personal situation of foreign visual
artists as they were caught by the global pandemic and the ensuing
lockdown. It was an insightful sharing on how the global pandemic
and lockdown affected their art practice and projects and the
strategies they employed to cope and thrive. The insights and
realizations shared with fellow artists who are struggling during this
time elicited relevant discourse.
Inagaki Tatsuo of Japan shared his artistic concept of realizing
communication that transcends cultural backgrounds that seemed
to have originated in experiences over several days at VIVA.
Tatsuo San aimed to use his online knowledge and experience
in multiple areas. As a long-term plan, he is thinking of creating
a platform for overseas artists to come to Japan and work. Rini
Hashim of Malaysia, on the other hand, expressed that artists from
her country have long looked for inspiration in Filipino art and have
integrated certain Filipino artists in their university syllabus. She
is advocating for the practice of circular economy in art-making.
Wimo Ambala Bayang of Indonesia focuses on photography and
video as his primary art mediums and creative channels. Apparently,
Jogja artists kept inching forward even if the world was in a standstill.
There were artist grants from different sectors.
39

Region 7 & 8 Curators in V-CON 2
January 16, 2021
A continuing Curators Converse for the V-CON 2 with theme
Kalibutan: The World in Mind featured head curator Patrick Flores
and island curators for Region 7 Jay Jore and Maria Taniguchi as
well island curators for Region 8 Nomar Miano and Mars Briones.
more culturally specific theme of ‘the world is full of slippery turns’
pertaining to the turn of events and circumstances in a world that
is emergent. His artists were Popo Amascual on sonic performance
and RV Sanchez on sonic, photo and video performances.
Flores expressed that there is a shift from locating the art world
in society to the social world of art. It needs a mediation process
addressed towards the social dimension of art and it is important
to develop a venue of social imagination. Jay Jore discussed the
urban movement in Kalibutan and the possibility of ‘Sikitsibug’
(compress, expand) that refers to human dynamics. Jore
featured Cebu artists with intimate familiarity with the fabric of
the city to include Solitaryo Cinco with Sebastian D. Penayes III/
Bastinuod, John Villoria, Mark Anthony Copino/Kidlat, Khriss
Ihmmanuelle Bajade/Bakh, and Mona Alcudia. Maria Taniguchi,
on the other hand, looked at Kalibutan as a vague notion, cognition
plus speculation plus the universe. She worked with artist Gabi
Nazareno on dispersal into emptiness which is a graphite on canvas,
and Retired Artist with exhibitions and performances where the
performer engaged in sculpting and singing.
Nomar Miano, on the other hand, explored the ecology of art as a
response and engagement in terms of agencies plus interface plus
systems and structures. His artists included Soika Vomiter with Panic
Box, which engaged the chaotic interior of the artist’s consciousness
as well as implicated the anarchy of visual and auditory mediations
in real life; the Regional Art Forum Collaborators which included
the Community Art Archive Team and Cultural Workers from
Samar; Ivy Marie Apa, Geraldine Ocampo, Nikka Lindo, Donna
Medenilla, Santy Perez Leano, Fenna Joyce Moscare and Eden
Brillo. He described the modalities as oriented in time and space,
recorded conversations, text/graphic presentations and audio-video
broadcast. Last for this session was Mars Briones who discussed
artistic and cultural production in Tacloban. He worked with a
40

Art Initiatives in Changing Times
January 30, 2021
V-CON 2 had a very interesting discussion on the responses of
artists when calamity strikes, most especially during the pandemic.
Featured were the national feeding initiative by the Art Relief Mobile
Kitchen and a local response in the form of waves of assistance from
ArtHeals Fundraising.
Alex Baluyut and Precious Leaño of Art Relief Mobile Kitchen, also
known as ARMK, marked 7 years of 24/7 monitoring and addressing
the hunger needs of people affected by tragedy and calamity. Their
community volunteers included SK members, elders, barangay
officials or the LGU, and artist groups. ARMK has led more than 60
feeding missions and when calamities happen simultaneously, they
also operate simultaneous kitchens. On the other hand, Charlie Co,
Roderick Tijing, Barry Cervantes of ArtHeals shared that they began
at the onset of the pandemic when the team felt the need to respond
before lockdown ensued. ArtsHeals is an initiative that champions
art as an agent of consciousness to and for the community. Wave
1 was Local Artists Support where ArtHeals Fundraising with the
Orange Project Team gave forty grocery packs with one month’s
supply to local artists. Wave 2 was Face Shield Project for Front
liners where artists started creating face shields for front liners that
were delivered to outposts, along with snacks sponsored by artist
friends, to different locations guarding the city borders. Wave 3
was PPE Project in collaboration with NVC Foundation. Wave
4 was Food Pack Distribution to Remote Areas. Finally, Wave 5
was Pawssion Project. PAWS is an organization that helps strays get
through each day. ArtHeals Fundraising collaborated with them by
buying sacks of dog and cat food for these stray cats and dogs. The
impacts of the initiative was to create a consciousness of being part
of the solution rather the problem.
41

Art Market: Prospect for
Visayan Artists + Kalibutan Nodes
February 6, 2021
Art, to be relevant, must be indigenized as it is globalized. Through
a series of online and interactive dynamics, VIVA ExCon keeps to
its mission of strengthening art communities throughout Philippine
islands and across the globe.
Part One | This webinar with art fair and gallery founders Trickie
Colayco-Lopa, Rey Mudjahid “Kublai” Millan, and Cesar “Jun”
Villalon Jr. was the first part in the fifth session of V-CON 2. Art
Fair Philippines co-founder Trickie Lopa said through the years,
Visayas has been a part of Art Fair Philippines. Art in the Park just
kept growing. Even amidst the pandemic, she shared how the art
market is pivoting and adapting quickly. She highlighted that the
best way to nurture artists of the Visayas is to nurture the culture
of the Visayas, and to cultivate authenticity and confidence in one’s
identity. Rey Mudjahid “Kublai” Millan, Mindanao Art founder,
emphasized that the dream of a thriving art industry in Mindanao is
where Mindanao Art digs its roots on. LawigDiwa Inc. look to create
an avenue that gathers Mindanawon artists who are true to their
roots and who are proactive in the celebration of their culture in the
form of visual art. According to The Drawing Room founder Cesar
“Jun” Villalon Jr., art must be accessible and contextualized. Artists
and galleries need to work towards community involvement and
contribution. The gallery’s critical exposure program was aimed at
increasing audience engagement and diversity, expanding collector
interest, and expanding artist’s and gallery’s networks. The Drawing
Room nurtures long-term partnerships as it values the depth of a
relationship a gallery offers to the artist.
selection of Kalibutan artists, Flores assessed the artist’s ethical
ecology: the artist’s attentiveness to the world and relationship with
others. He looked for a citizen-artist with broad sympathies, migrant
imagination, intellectual curiosity, and patience with process. He
put stress on mutual dynamics. He selected artists Lani Maestro,
Leo Abaya, Joar Songcuya, Rhine Bernardino, Josh Serafin, and
Charles Buenconsejo.
Part Two | The webinar Kalibutan Curators Node 1: Curators Converse
– What Happens In/To/With/Through the World with Kalibutan
Head Curator Patrick D. Flores was the second part in the fifth
session of V-CON 2. Head Curator Patrick Flores viewed Visayas
in personal history. He said that VIVA ExCon as a curatorial model
and method is sustainable, inter-organizational, extra-institutional,
and itinerant. It is likewise collaborative, artist-generated but
curatorially mediated, multi-format, and interdisciplinary. In his
42

Kalibutan Seminar Node 2:
Artists Explore Intimicaies
and Community Practice
Region 7 | February 13, 2021
This webinar with Region 7 curators and moderators Maria
Taniguchi and Jay Nathan Jore, and artists Gabi Nazareno, Retired
Artist, Mona Alcudia, and Solitaryo Cinco art collective (Khriss
Bajade, Bastinuod, Mark “KDLT” Copino, and John Villoria) was
the sixth session of V-CON 2.
The previous Curators’ Node 1 sessions provided a walk-through of
the exhibition proposals from Kalibutan artists. In Seminar Node
2, artists went into detail in terms of their creative method and
practice.
Gabi Nazareno’s works are mostly figurative and are products of
her involvement in the art and culture scene. She considered her
method performative, additive, and subtractive. According to Gabi
Nazareno, structures are built, destroyed, and rebuilt, be it physical,
psychological, or anything in between. Retired Artist shared that
home has been 14 different addresses, and for almost all her life, she
looked for a place with an original flavor. She produces creative works
that allow public engagement as well as private conversations with
herself. Mona Alcudia involved herself in organizing community
events, and in her creative practice, explored material manipulation.
She studied the idea of otherness, structure of creative practice,
gentrification of culture, and macro view and distant perspective in
relation to the framework and purpose of Filipino design. Solitaryo
Cinco art collective (Khriss Bajade, Bastinuod, Mark “KDLT”
Copino, and John Villoria) shared that the members have their
own artist studios, and have been working with different mediums.
They were typically into independent practice, but the pandemic
somehow shifted their dynamics towards community interaction.
The members began using street art to give the affected communities
a different perspective. They painted QR codes leading to relevant
news articles, photo documents, and data on the pandemic.
Limitations propelled the artists to go beyond their bounds. Gabi
Nazareno introduced an impersonal element to her work. Retired
Artist grew her own art medium. Mona Alcudia reclaimed Filipino
design, and Solitaryo Cinco took art to the streets.
43

Biennials in the New Normal &
Kadaan
February 27, 2021
VIVA ExCon believes that the present is ever-turning. As we live in
the age of artistic revolution and surging global plights, the world is
taking an even sharper turn.
Part One | The webinar Biennials in the New Normal Age with
curators Vipash Purichanont and Sunjung Kim was the first part in
the seventh session of V-CON 2. Session moderator and practicing
curator Tessa Maria Guazon stressed that situations will continue to
radically change in the coming years. She remarked that the panel
discussion will consider how biennials will change as we enter a
new phase of world history. There has always been this lingering
question on the sustainability of artistic and curatorial practice, but
along with it come answers that champion art as an offspring of
change. Pressing world issues gave birth to novel ways of art-making
and adaptation. As global art issues reach local spaces, there is a
louder call for artistic and curatorial propositions through the lenses
of local conditions of practice. Curator Vipash Purichanont said
that the organizing body of the First Thailand Biennale were the
Office of Contemporary Art and Culture (OCAC) and Ministry
of Culture in Bangkok. As a national initiative of contemporary
art, the organizing institution of the biennial chose different cities
and sites in Thailand for each edition. He stated that the biennial’s
objective is to curate a long-term relationship with the site as sitespecific
biennials have curatorial concepts that attach themselves
to exhibition sites. On the other hand, curator Sunjung Kim
told the story of Gwangju Biennale which was basically initiated
to commemorate the 50th anniversary of the Restoration of
Independence, to promote the city’s cultural arts tradition, and to
pay tribute to the May 18 Gwangju Democratization Movement.
She said that to this day, Gwangju Biennale strives to raise both
national and international awareness of the city’s democratic spirit
and to sublimate the wounds of its history into arts and culture.
Kim shared how Gwangju Biennale advances Gwangju to the status
of a cultural hub for Korea, Asia and the world, providing a platform
for an expanded interchange of international contemporary art.
Moderator Tessa Maria Guazon said that curators work around very
specific parameters; pointing out how both Sunjung and Vipash
44
worked with sites that have their own histories. Novel concerns also
triggered new biennale approaches like online or virtual platforms
and revitalization of programs, the idea of online commissions, more
local contributions and collaborations in Thailand, preparation
of new buildings for the Gwangju Biennale, and extending the
duration of the biennale. Biennials are coping and thriving in the
face of global constraints.
Part Two | The webinar Island Special: Kadaan with artist Florence
Cinco was the second part in the seventh session of V-CON 2. The
organized by the Samar and Leyte team headed by coordinators Mary
Ann Broderick and Maria Katrina de la Cruz. Resource speaker
Florence Cinco briefly touched on the semantics of the webinar
title. He shared that Kadaan is a Waray word meaning belonging
to the distant past, very old, or having existed for a long time. This
is in subtle reference to the intimacy of his works with culture and
the passage of time. Cinco believes in the integrity of belief and
timelessness of practice, and therefore translates art to action. His
initiatives include terracotta workshop in Tacloban and community
feeding program in Samar, where he serves healthy meals.

Kalibutan Seminar Node 2:
Artists Explore - Intimacies and
Communities
of Practice
Regions 6 & 8 | March 13, 2021
Kalibutan Seminar Node 2: Artists Explore – Intimacies and
Communities of Practice turned the lens on the artists chosen by the
Region 6 and 8 Kalibutan curators.
For Region 6, curator Guenivere Decena was with artists Perry Argel
and Denli Chavez. Argel shared his process which starts the day with
exploration, cleaning and organizing things. He makes a connection
to forms encountered in the surroundings and creates something
out of objects found in collaboration with the environment. His
way is ritualistic, collaborative, immersive, and a participatory art
approach. Denli Chavez had a different take on the legend ‘Siete
Picados,’ which redefines rebellion. She was involved in research
which to her was going through history and going beyond bounds.
Her film, a collaborative effort on production, aimed to reflect the
circumstances of the audience. Curator Liby Limoso was with
collectives/artists AR. Sculptura, EyeCan Creatives, Ron Espinosa,
Farida Kabayao, and TM Malones. AR. Sculptura shared the ideas
of revolutionizing architecture, integrating visual arts and culture
through contemporary applications of local patterns, believing that
every client deserves a masterpiece. Their artworks were in strategic
locations, developing public consciousness towards the richness and
vastness of Visayan culture. They were also into creating Sugidanon
dolls. EyeCan Creatives does art events, workshops, documentaries,
paintings, illustrations, character design and studies, cosplay and art
camps. They make sure works are grounded, sensitive, appreciative
of culture and endeavors to bridge the physical realm to the virtual
realm. Their art events included Sambit (Sambeat), Bayle, Tigbaliw,
Hugod and Dihon. They aimed to discover the world in the minds
of the Panay Bukidnon. Ron Espinosa, Farida Kabayao and TM
Malones are into performance, design, moving image and sound
in a multi-layered and multifaceted art which exhibit the heritage
of Western Visayas, the cultural imperialism in Panay and Negros
Occidental and finding answers and creative solutions.
which facilitate dialogue or discourse between scholars and
practicing artists in the regions. They aimed to develop awareness
and enthusiasm for regional art among immediate and extended
communities, as well as to render service to extended communities
of artists and cultural workers. Soika Vomiter used to focus on street
art and paintings, and later evolved to being a multidisciplinary
artist as he incorporated performance art, time-based art, sound art,
and video art into his art practice. To him, Kalibutan was a space of
endless possibilities where excitement, adventures, curiosities, and
risks reside. He considered the introduction and establishment of
contemporary art in his hometown as his major challenge because
he said that there is almost a non-existent art scene. His work ‘The
Panic Box’ is a representation of himself which finds connection with
the audience. Lastly, curator Mars Briones was with artists Popo
Amascual and RV Sanchez. Amascual experienced contextualizing
European materials in the Philippine setting. He applied Theater for
Disaster Preparedness and Trauma Therapy that addresses problems
that affect communities. ‘Hingalo’ was his work which involved
different respiratory sounds especially during the pandemic. It is a
mediatized sonic performance that engaged with the percipient’s own
respiration. RV Sanchez, on the other hand, was initially inclined
towards a more academic style of drawing and painting, and later
began experimenting with different art mediums to include video
installation, performances and photography. He attempts to look
closer into how new media creates for us a particular reality which
has nothing to do with reality as it is. He has explored collaboration
with art-related groups and organizations, activities with and for
the community. In 2017, he started focusing more on performative
works and was fascinated with the idea that the concept of gesture
and structure can be a reflection of the balancing act that we must
achieve in our lives.
Region 8 curator Nomar Miano was with collectives/artists Regional
Art Forum and Soika Vomiter. The Regional Art Forum promotes
contemporary art practices and regional art
45

Uwak + Kalibutan Node 2 + Uswag
March 27, 2021
Uwak + Kalibutan Node 2 + Uswag. It was never a question of how
lofty art is, but of how rooted, relevant, and responsive it is to the
local community and the rest of the world. The V-CON 2 session
commenced with the music video launching of Martin Miravalles’
socio-political track, Uwak.
Part One | The webinar Kalibutan Seminar Node 2: Artists Explore
| Intimacies and Communities of Practice, with head curator and
moderator Patrick Flores and artists Rhine Bernardino, Leo Abaya,
Joar Songcuya, and Joshua Serafin, was the first part in the eighth
session of V-CON 2. Bernardino, Abaya, Songcuya, and Serafin
talked about their personal and professional identities and how
the roots of such anchor them and their proposals to Kalibutan.
Rhine Bernardino experimented with the self and the body. She
considered the body as an art medium beyond the physical and
material as she responded to global issues through it. She sought
to introduce a sense of collectivity to communities and leave a
lingering trail of interconnectedness. Leo Abaya’s practice was as
diverse as our cultural traditions. He was into curation, teaching,
design for film, theater, and has worked with printed media. Abaya
melded imagery with intellect so perfectly, the audience was hoisted
to cogitation. He reached out to societies in effecting consciousness
of cultural ferment and imperialism. Abaya believed that practice
is shaped by and is always responding to a larger world. Seafarer
Joar Songcuya described his art making as documentary and
biographical. He invested in marine engineering and art making
for almost a decade, and since 2013 has converted his cabin to an
art studio. Songcuya discussed the progression of his open art style
from figurative, impressionistic, naive works, to atmospheric spaces.
His experiential expositions included paintings and installations.
Songcuya highlighted that the human drive to create was his saving
grace from life’s worst storms. Joshua Serafin, a ballet dancer, aimed
to decolonize the body. His modern choreographic works jived with
memories of distant past. He shared about his spiritual background
as a child, and his early knowledge on mythology, traditions,
and precolonial belief system that were faithfully translated to
performances. Serafin was able to transfigure local experiences to
46
global consciousness and entity. His practice is currently multiform
and in his art, Serafin merges ethnicity and childhood. To certainly
respond to an uncertain world, Flores concluded that there is a need
to closely attune the self to Kalibutan.
Part Two | The webinar Island Special: Uswag with artists Sam
Penaso, Wyndelle Remonde, and Panlantawon art collective
(April Villacampa, Delio Delgado, Joni Alontaga, Martha Atienza,
Roberth Fuentes, M. Alinney Villacastin aka Khokoi) was the
second part in the eighth session of V-CON 2. The speakers were
joined in by facilitator Lester Ouano, Bohol coordinator Jeffrey
Ronald Sisican, Cebu coordinator Jay Nathan Jore and Bantayan
Island coordinator Anthony Jake Atienza. Multi-disciplinary artist
Sam Penaso explained the gravity of local and national exhibitions
and art residencies abroad. Artists ought to contextualize and situate
art in new, foreign sites, even spaces online, so that all too familiar
ideations of the self and the world could be seen with fresh eyes.
This is innate in the spiral nature of art practice. Graphic illustrator
Wyndelle Remonde remarked that art is a form of visual expression.
It is the real image of an artist’s internal conflict, his external
world, and his universe of probabilities. Remonde regarded his art
as autobiographic. He was drawn towards experimentation and
unorthodox methods; evident in his use of silkscreen printing along
with conventional materials. Panlantawon Art Collective started
their recent projects with collaborations between members. Their
concepts dealt with issues on climate change and land ownership,
corresponding physical solutions, and immediate response. They
tackled local concerns through global lenses and vice versa.

Music Video Launch of Uwak
47

Kalibutan Seminar Node 3: Works
Disclose | Materialities of Art
Region 6 & 8 | April 10, 2021
The continuing virtual observation of the curated Kalibutan
exhibition has now brought V-CON 2 to Seminar Node 3: Works
Disclose | Materialities of Art featuring the Regions 6 and 8 ‘Kalibutan’
artists. Region 8 curator Mars Briones was first to present artists RV
Sanchez and Popo Amascual. Sanchez’s main concept for his “figure
drawings” project was a drawing that offered a gateway to a more
peaceful and happy place, it had become a meditative practice. The
proposed project took its cues from structure and gesture where
structure took the form of leftover food packaging and paper bags
as base, surface or background for drawings. Gesture, on the other
hand, was a participatory video performance which took cues from
a real life drawing class. Popo Amascual’s project involved much
sonic element and sound manipulation to retrieve the nature of
sound as something devoid of character, as locator, segregator, and
interrogator. His project Hingalo was the staging of sound and
mattered a lot since it is an attempt at the urgency of experimentation
and the need for finding solutions. The artist expressed that this
tackled the timeliness of problematizing issues, feelings, the
need to worry and it was a way for people to reflect and go into
introspection. The other Region 8 curator Nomar Miano presented
artist Soika Vomiter and art collective Regional Art Forum. Vomiter
presented mindscape for mental health issues which involved video
documentation and visual images that integrated red lights and
disco lights in his work to enhance visual perception and experience.
He thought support and means of communication are solutions to
feelings of detachment. He felt that mental struggle was a space you
can break free from and one can merit from emotional and mental
therapy. The Regional Art Forum, on the other hand, explored the
modalities of geography, to include environment, bioethics, politics
and engagement with geographical spaces. They looked into the
gentrification, displacement and slummification of areas within and
around metropolitan centers. They felt that underdevelopment
and dependency can benefit from the emancipatory promise of art
practice. This embraced collaboration and exhibitions which are
extensions of community engagement.
On to Region 6, curator Liby Limoso presented artists/collectives
Ron Espinosa, Farida Kabayao, and TM Malones, AR. Sculptura and
EyeCan Creatives. The project of Espinosa Kabayao and Malones
focused on the tangible heritage of Western Visayas. It touched
on the timeliness and timelessness of heritage and contemporary
cultures. It surfaced conversation on justice and equity, as well
as the continuous concern and urgency over the significance of
preservation of heritage sites. There is a race against time as threats
of decay and demolition rise. AR Sculptura invoked familiarity and
contrast among viewers. They employ microscale modelling of
the Sugidanon world with the use of resin as the primary medium
and acrylic sheets as alternative to glass. Their process included
goal setting, data gathering, proposal making, evaluating and
final proposal. These clarified the goal of transforming intangible
culture to tangible forms. They aimed to inspire and enliven cultural
characters by producing Sugidanon dolls as collectibles. They hoped
to counter massive pop culture and consumerism through the
storytelling and promotion of Visayan culture. EyeCan Creatives
explored digital illustrations and imaging. They aimed to preserve
and protect language, place, identity, memory and spirituality. Their
way was to redefine the pop culture trend of gaming and cosplay
and tap on online exhibitions and performances.
Region 5 curator Guenivere Decena was with artists Denli Chavez
and Perry Argel. Chavez’ medium was art film. She explored the
weight of confinement and connections and researched on women
and gender relations, as well as how Filipinos look at themselves.
She also examined folklore, their origins and societal impact and
attempted to translate this into a visual experience. Perry Argel
believed in sharing ideas and had a way of letting others transcend
from viewers into creatives. He comes from a generation of artists
who is more visual, not much virtual and less verbal. His creativity
is in tune with nature. He goes by the belief that how things start
matters more than how they will become, and what they are now
is a testament of where they came from, which may change only
because of perception. His Ilistaran was interactive and promised
to be immersive.
48

The Art Market Post COVID-19
April 17, 2021
A question that may cross an artist’s mind is whether he can make it
in the international scene. An accompanying inquiry would be on
the state of the art market so they can assess their chances especially
in the context of the present pandemic. VIVA ExCon V-CON 2
endeavored to shed light to this question through the moderatorship
of Tin-aw Art Management founder and director Dawn Atienza
and the valuable sharing of Jasdeep Sandhu of Gajah Gallery in
Singapore and Queena Chu of Mind Set Art Center (MSAC) in
Taipei.
Atienza started the virtual conference with a situationer that
pointed to difficult realities like exhibitions being postponed and
rescheduled, turning more and more to social media platforms
and how the art market in Asia has been coping. Sandhu shared
that he first focused on Southeast Asian art, found that reading is
important, and that resourcefulness and innovation factor in when
you are starting from scratch. He developed long-term relationships
with artists and recognized that they must not get distracted and
should stay focused. He learned that to make it in the international
market, an artist has to make his price by making his art valuable.
Queena Chu, on the other hand, emphasized the need to do
something more community-engaged, to strengthen visibility and
stay connected. She also discussed the art market in Asia in the
next few years and shared that MSAC was also doing online events
and utilizing online viewing rooms. They continue to nurture their
relationships with existing collectors. It was discussed that part of
the solution is creating different platforms to interact, implementing
social distancing in galleries and following health protocols, keeping
artists engaged, trying to carry on as normal as possible and it is
important to develop a wider market.
49

Kalibutan Node 3: Works Disclose
| Materialities of Art & Panay
Possibilities creating platforms
April 24, 2021
Depending on the kind of film one wants to create, one can indeed
start with a story and can also explore the potential of video festivals
to accommodate different art forms.
Part One | Leo Abaya and Joar Songcuya were the focus of Seminar
Node 3: Works Disclose | Materialities of Art featuring two of the
selections of its head curator Dr. Patrick Flores. Given the queries
on concept, medium and technique, Leo Abaya talked about his
work Unsang Dapita? which was durational and serial and intends
to capture the changes in a landscape, in his case the medium was
diorama and photography. He abided by the principle of camera
obscura with which he was looking to create an understanding of
the world. Abaya shared that he went through a lot of self-reflection
as he enhanced his practice and was more aware that the world is
an extension of us in much the same way as we are its extension.
Joar Songcuya’s Atlantiko, Pasipiko, Artiko was a biographical and
visual narrative of the physical world. He aimed to show the power
of the ocean to change and shape a person or a man’s aspirations.
Songcuya’s medium was oil on canvas and he was more interested
in impressionistic and expressionistic approaches, capitalizing on
feelings of softness and fragility.
and also going to where the audiences are. Acknowledged were the
need of being creative in addressing social issues, bridging the gaps
and supporting filmmakers in creating platforms. Depending on the
kind of film one wants to create, one can indeed start with a story
and can also explore the potential of video festivals to accommodate
different art forms.
Part Two | Panay Possibilities: Video Festivals as a Means to Interconnect
featured Jo Andrew Torlao and was facilitated by Island Coordinators
Marika Constantino, Aileen Quimpo-Hernandez, Bryan Liao and
Shiela Molato. Torlao discussed project management, film festival
as a project and key parts of a film festival. Key points of the input
included film festival as a multi-day event during which a selection
of films was played for audiences given the notion that a film can
change individual perceptions of the world. He discussed the nature
of videos which can take the form of vlogs, diary film, random
footages, short documentation of processes, interviews, home
movies and archive footages. The discussion touched on trying to
find the balance between mitigating the risk of piracy of the content
50

Kalibutan Seminar Node 3: Works
Disclosed - Materialities of Art
Region 7 | May 15, 2021
The webinar Kalibutan Seminar Node 3: Works Disclose – Materialities
of Art with Region 7 curators and moderators Jay Nathan Jore and
Maria Taniguchi, and art collective Solitaryo Cinco (Khriss Bajade,
Bastinuod, Mark “KDLT” Copino, and John Villoria), artists Mona
Alcudia, Retired Artist, and Gabi Nazareno was the twelfth session
of V-CON 2. The two previous nodes provided a walk-through
of the exhibition proposals from the artists along with details on
creative methods. Seminar Node 3 explored more on the artists’
materials and techniques, their project phases, and the link of such
to the pandemic and global spaces.
mimic the effects of Alzheimer’s disease. To materialize such, her
works were initially erased by exhibition guests. Typifying strangers,
Nazareno blindfolded herself to remove visual bias and proceeded to
rub out the drawing she had just completed. Her graphite works are
mostly based on Bohol’s landmarks and were drawn into the rough,
custom-made surface of Japanese paper and acrylic emulsion. Her
method is performative, additive, and subtractive. To Nazareno,
erasing is as much of an art as drawing is.
Solitaryo Cinco art collective talked about their hometown, Cebu,
as they shared drone shots of areas that were closed down in the
onset and course of the pandemic. In their project for Kalibutan, the
artists employed both digital and traditional media, with specifics
of advertising as the primary tool. Aside from interviews, physical
material production, streets deployment, and documentation, the
art collective made use of aerial footage, QR codes leading to research
data on the pandemic, and a website for better, wider reach. With
conviction on decolonialism and background on exotic trends, Mona
Alcudia sought to establish the Filipino identity in the global art
scene. Hence, for Kalibutan, she placed the pop culture icon Peacock
Chair and the karaoke machine into the spotlight. The peacock chair
was originally a Filipino product the design of which she considered
as a metaphor for anonymity in labor. Alcudia’s objective was to
investigate the evolving themes of authenticity in labor, colonialism
and decolonialism, orientalism and hybridity in the increasingly
globalized world of product design and manufacturing. Retired
Artist’s Kalibutan performance involved sculpting carrots and sweet
potatoes into flowers. She grew said crops herself, along with some
corn. Retired Artist also shared design studies for an aquaponic papag
or bamboo structure in that same arable land. She resolved that her
work is a homage to artists who grapple with daily tests. Her acts
allowed self-reflection, as she opened herself to sharing common
concerns, toiling, redefining, reviewing, and unpacking notions,
and rethinking of one’s definition of practice. Gabi Nazareno’s
Kalibutan project was centered on large-scale graphite drawings that
51

Insipiring New Generation
of Negros Artists
May 29, 2021
A strong offering of the Virtual Conference 2 are the island specials,
this one featured Negros Occidental. It was moderated by Negros
Occidental Island Coordinator Moreen Austria who tapped young
artists Brandon Braza and Bea Dolloso. Brandon Braza shared that
he had stayed committed to the arts ever since he was young, way
back when he was starting with calligraphy. He looks at art as an
outlet and a tool for self-expression. Art is not just about beauty, it’s
also about pain and sadness, this from an artist who has had 20 to
30 projects, mostly on body types. He aimed to be of help and work
at the same time. Bea Dolloso was exposed to visual arts during
childhood. She used doodle art and experimentation as a way to
focus on self-improvement. She expresses herself through art by
putting emotions to paper or artwork, whether it be music or visual
arts. She believes in the power of inspiring and motivating people,
especially the youth. She knows that it is important to have a sense
of generosity and the confidence to follow one’s personal taste.
52

Lockdown Art
June 5, 2021
This webinar with Mark Salvatus was moderated by Vincent Rose
Sarnate who highlighted how the art community grappled with
forms of confinement. In the new revolution of contemporary art, it
is imperative for artists to employ practices that will outlast physical
restraints, global health crises, or periods of creative lockdown.
Practicing artist and Load na Dito’s co-founder Mark Salvatus took
works, projects and innovations in and beyond walls as he began
citing impacts of the pandemic on his personal and professional
life. Salvatus mentioned Salvage Projects. The core idea of which
was going back and picking things up. He remarked that objects
are a symbol and extension of our time and lives, as gadgets an
extension of our hands, and shoes as that of our feet. Mundane
things at home became his starting point. The artist employed an
equivocal approach, specific on absurdity, ambiguity, and difference
in contexts. The discussion was tri-focal as it viewed Lockdown
Art in three lenses: the artist, the work, and the viewer or audience.
Seeing that the nature of the work is closely related to space,
Salvatus defined an ideal art space within context of the pandemic.
This dialogue on Lockdown Art proved that the latitude of practice
and liberal nature of art will eventually supersede isolation. One
redefines space, as art’s universality stretches farther or comes closer
at will, in clear opposition to rigidities of physical distance and
corners of isolation.
53

Kalibutan Seminar Node 4:
Exhibitions | Not Exhibitions -
Timing and Placing the Present
Seminar
Region 6, 7 & 8 | June 12, 2021
The V-CON 2 webinar Kalibutan Seminar Node 4: Exhibitions | Not
Exhibitions - Timing and Placing the Present with Kalibutan Head
Curator Patrick Flores and Visayan curators Guenivere Decena and
Liby Limoso of Region 6, Maria Taniguchi and Jay Jore of Region 7,
and Mars Briones and Nomar Miano of Region 8 was the fifteenth
in a series of virtual talks. Patrick Flores remarked that curatorial
work is not confined to exhibition-making. Possibilities are tackled
in anticipating a series or relays of calibrations along the way, in
light of the pandemic and the system put in place.
Curator-artist Guenivere Decena believes that the theme on
world and consciousness is a continuum that directs one towards
the significance and wisdom found in being there for others.
Consequently, her artists Denli Chavez and Perry Argel grew towards
recounting stories and answering global concerns. Chavez discussed
women and gender relations and the weight of confinement and
connections. Argel shared his proximity and intimacy with nature.
Liby Limoso’s devotion to indigenous and cultural heritage was
requited by his line of artists. EyeCan Creatives worked to preserve
and protect language, place, identity, memory and spirituality.
AR Sculptura promoted Visayan culture and ethnic design. Ron
Espinosa, Farida Kabayao and TM Malones focused on the tangible
heritage of Western Visayas. Cebu-based curator Jay Jore said that
curatorial practice is woven into a social fabric that conditions the
quality and kind of output. This social dimension of curatorial
practice became apparent in Solitaryo Cinco’s urban documentation,
street deployment and interviews and Mona Alcudia’s multimedia
installation of a peacock chair and Filipino karaoke. Both projects
permitted creating participatory, experiential activities in digital
and hybrid modes and allowed the exhibition of the process, not
just the product. Maria Taniguchi approached curation with an
open mind. Taniguchi viewed the pandemic as a destabilizing force
that restricted usual movements and usual approaches to being in a
project. Working with Retired Artist and Gabi Nazareno amplified
her concept of bounds and subtractions in the context of the
present. The artists’ techniques involved carving, cutting away or
erasing some parts of existing objects. This is akin to the pandemic
54
removing proximity and altering norms. There was restoration of
practice and a cycle of coping; a promise of recovery. Mars Briones
focused on bracing the roles and agencies of artist, curator and
audience in the simultaneous pull of distance and proximity. His
artists Popo Amascual and RV Sanchez proposed interaction and
collaboration in the early and final stages of their projects. Briones
talked about sharing readings with Popo Amascual in the concept
development phase for Hingalo. In Figure Drawings, RV Sanchez
places himself as a dynamic subject and his remote participants a
performing audience. Nomar Miano highlighted how curatorial
work makes one question the default assumptions of art. In his
conversations with Regional Art Forum (RAF) and Soika Vomiter,
Miano observed how collaborations shape mediation and redefine
classic notions of art. Practice starts as an independent set of studies,
and ends in modality of the flesh, of the human body. In this regard,
RAF physically engaged with geographical spaces and Soika shared
his Panic Box with a few locals, all while abiding by health protocols.

Museum Management Projections
from the Pandemic
June 19, 2021
This offering with moderator Maria Rosario “Rica” Estrada, head
of the Cultural Center of the Philippines Visual Arts and Museum
Division (CCP VAMD) were with resource persons June Yap of the
Singapore Art Museum (SAM) and Nikita Yingqian Cai of Times
Museum.
June Yap shared that they now saw the value of allowing for a virtual
experience in exhibitions seeing as planned exhibitions were affected
and there is a need to make connection in disconnection. Yap
believed that digital platforms will have a bigger role and only time
will tell if we keep the changes or we revert back to conventions,
although transitioning was considered. Nikita Yingqian Cai of
Times Museum, on the other hand, discussed a different kind
of institutional landscape. She talked of a long term strategic
planning of the organization from a great leap forward to low-end
globalization, “the transnational flow of people and goods involving
relatively small amounts of capital and informal, sometimes semilegal
or illegal transactions, often associated with ‘the developing
world’ but in fact apparent across the globe.” She said that this
affirms the global hierarchy and can initiate an exchange network.
Cai concluded with a comment on the break out from the temporal
spatial constraints, negotiating positionality in friction and thematic
online journals. Estrada contextualized the inputs with emphasis
in putting value into the curatorial work and for organizations to
go digital, especially given the uncertainties we need to deal with
now. She assessed that it might be a good time for the opening
of small spaces, engaging the public through different events and
most especially reducing the carbon footprint of biennales and art
festivals.
55

And Then
by Patrick Flores
VIVA ExCon, one of the most sustained artist-initiated biennales
in Southeast Asia, organized its 16th iteration in Bacolod City in
Negros Occidental. It opened on November 8, 2020 and evolved
patiently in phases until December 2021 for a hybrid exhibition
and discursive program. Formed in part in 1990 by the collective
Black Artists in Asia along with other groups and institutions, the
ambulant VIVA ExCon has since then striven to carve out a space
and perspective for artists in the central Philippine islands of the
Visayas. Through its efforts to foster an inter-island ecology distinct,
albeit not isolated from, the art world in the capital of Manila,
VIVA ExCon across thirty years has achieved a collaborative and
participatory ethos of art making, mutual support, and solidarity
unique in the Philippine archipelago. Facing the prospects of the
future, it held up in 2020 the name Dasun, a Hiligaynon word that
means “next” and an idiosyncratic connective in everyday language
to signify “and then.” It thus speculates on the things to come as it
narrates stories of an ever-turning present.
For the 2020 iteration of VIVA ExCon, I was appointed the head
curator and decided to work with six curators from the region. The
six curators were Mars Briones, Guenivere Decena, Jay Nathan Jore,
Liby Limoso, Nomar Miano, and Maria Taniguchi. The curatorium
selected the following artists: AR. SCULPTURA and EyeCan
Creatives; Charles Buenconsejo; Denli Chavez; Farida Kabayao, Ron
Espinosa, & TM Malones; Gabi Nazareno; Joar Songcuya; Joshua
Serafin; Lani Maestro; Leo Abaya; Mona Alcudia; Paolo Amascual;
Perry Argel; Regional Art Forum; Retired Artist; Rhine Bernardino;
RV Sanchez; Soika Vomiter; and Solitaryo Cinco (Khriss Bajade,
Bastinuod, Mark “KDLT” Copino, John Villoria).
Figure Drawings: Structures and Gestures
RV Sanchez work
Alongside collateral presentations and archives, VIVA ExCon,
chaired by the visual artist Charlie Co and directed by the inter-media
practitioner Manny Montelibano, organized as well exhibitions on
artists from the province of Negros Occidental who have enriched
the cultural field of the Visayas and beyond. They were Nunelucio
Alvarado, Brenda Fajardo, Leandro Locsin, and Lino Severino.
The exhibition component of VIVA ExCon 2020 titled Kalibutan:
The World in Mind took inspiration from the Visayan word
kalibutan, which refers to both the world and consciousness. It is
a dense and intricate term because it brings together world-making
and worldview. The world is embodied, on the one hand, and the
62

body is enworlded, on the other. It is rare for a word to register
simultaneously cosmos and cognition. This was the prompt for our
curatorial work on the Visayas: to create conditions for expressive
material that responds to the range of stimuli of an active ecology to
play out in space for VIVA. This expressive material may be translated
in many ways: object, sound, performance, image, moving image,
text, and so on.
The subsidiary title The World in Mind pertained to the state of
being in the world, thinking through the world, and finally looking
after it with care as well as with anxiety, affection, or even obsession.
Mindfulness of the world acknowledges complicity in its production
as well as the indeterminacy of its vastness.
In light of the global pandemic, I put in place a curatorial mode that
crawled from 2020 to 2021. Kalibutan was scheduled to open in
November 2020 and was protracted till December 2021. This gap of
time had to be curatorially filled, thus the initiation of A Seminar of
a Possible Exhibition to edge from 2020 towards 2021, comprising
increments from the projects of artists as well as discussions around
curatorial work through the following nodes: Curators Converse;
Artists Explore; Works Disclose; and Exhibitions/Not Exhibitions.
63

This seminar tried to attend to the reconstitutions of the chastened
world in pandemic time in the context of the viral and the vernacular.
To elaborate:
1. Curators Converse
What Happens In/To/With/Through the World
Curators reflected on the world of materials through the
work of making these materials present and addressing a
public through these materials. Curators basically discussed
concepts, criteria, interests, research processes.
2. Artists Explore
Intimacies and Communities of Practice
Artists walked through their context: how they made work
possible and for whom did they make this happen in specific
time and place
3. Works Disclose
Materialities of Art
Artists and curators processed the stages and phases of a
project’s becoming.
4. Exhibitions/Not Exhibitions
Timing and Placing the Present
Artists and curators sketched out ways of presenting the
projects, the techniques of curating them.
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I proposed the modalities above as a way to deepen discussion on the
current atmosphere shaped by the everyday and the emergency. The
theorist Ben Anderson in a chapter for the book Time: A Vocabulary
of the Present has written an instructive essay on the relationship
between the temporalities of the everyday and of the emergency,
which are thought to be of opposite tendencies. We realize, however,
that increasingly the two inform each other more intricately. The
pandemic makes this realization starker. The structures and agencies
embedded in everyday life have laid bare the current lifeworld as
precarious and therefore deserving of the term emergency. The
lines between the everyday and the emergency may have been more
“osmotic” or have “broken down.”
According to Anderson: “The contemporary condition of human
life is life lived in uncertainty. Recalling the roots of the term
‘emergency’ in emergere (‘arise, bring to light’), the lines that surround
and demarcate emergencies become blurred.” A key concept here
entwined with emergency is exception, and Anderson continues:
“The category of emergency does not, however, name only an exception
that interrupts ‘normal life’ and issues in a time out of time. ‘Emergency’
is a term that is inseparable from a series of temporalities…the claim
is that action is necessary immediately in order to meet the exception.”
65

The other part of the proposition is from the field of anthropology
by way of Jean-Paul Dumont’s Visayan Vignettes: Ethnographic
Traces of an Island. Dumont explicates the nuances of life in
Siquijor, and in doing so probes the very language of description.
According to Dumont: “I propose a plurality of images – vignettes
– that superimpose themselves upon each other to create an out-offocus
ensemble, since cultural contours are never sharp and stories
never straight.” The use of vignettes is interesting, because the word
is simultaneously about architecture and image: “an ornament
of leaves and tendrils” in buildings and a “portrait showing only
head and shoulders with background gradually shaded off;
character sketch.” I am drawn to this elaboration of form as well
as its sheerness, or mereness. To this rumination, he tosses over the
Visayan word hulagway, which is generally a picture (delineation,
imagination). It is composed from hulad, which means to depict
and to translate; and dagway, which pertains to face and appearance
as well as to subjunctive moments as signaled by the adverbs perhaps
or probably.
photos by Joar Songcuya
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The term kalibutan, aside from being remarkable for its nuanced
significations, would become a method as it references the tropic
nature of curatorial work, an attentiveness to how materials, contexts,
and sensibilities transpose from condition to condition. One of the
curators, Mars Briones, brought to my attention the Waray proverb
kalibutan dalunutan (The world is full of slippery turns). According
to Briones: “In the more literal sense of the proverb, the world is
reckoned as a wet surface. And this may make sense in the context of
a group of islands which has had a history of violent storm surges—
from the recent 2013 super typhoon to way back in the time of the
seventeenth century Jesuit priest and chronicler Francisco Alcina
who said that in Leyte and Samar, ‘tall mountains of water which
form devastating waves, enter, extend areas of the land.’ On an
interpretive level, the proverb is a particular articulation of resonant
tropes concerning fate: ‘gulong ng palad,’ ‘wheel of fortune,’ ‘twist of
fate,’ ‘turn of events,’ ‘turning the tide.’”
I cherish the word kalibutan because it overcomes the binarism
between world and consciousness, ecology and reflexivity. I notice
that there are other words in the Visayas that similarly transcend
certain rationalist dichotomies. Let me toss two into the mix: pamati
and butang. Pamati means feeling or sensing or conjecture based on
intuition. It also means hearing and listening, or paying attention. I
am attracted to this double coding of intellection and the auditory.
The other word is butang, which is thing. In another reckoning, it is
also state, condition, or nature or kabutangan or kahimtang.
This constellation of words in the Visayan languages enlivens the
curatorial method because they ensure porosity and intersubjectivity.
And such is the temper of our kalibutan.
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Curators Notes Eastern Visayas

Contingent Kalibutan:
Notes on Curating for
VIVA ExCon 2020
by Mars Edwenson Briones
As in most other endeavors, it is the volatility of the pandemic
that has been the source of most problems and challenges in the
exhibition component of VIVA ExCon 2020. Life has been at
the mercy of the unpredictable implementation and extension of
lockdowns and travel restrictions; the fear of contracting the virus or
infecting a loved one, a colleague, or someone more vulnerable; and
other sorts of emergency. But all these uncertainties did not simply
haunt the exhibition; in most cases, they became the basis for how
the project was designed and has eventually played out.
My selection of artists for the Kalibutan exhibition, for instance,
did not happen as planned. Because there was a perceived need to
search for artists and ideas outside centers like Tacloban, the capital
of Eastern Visayas, before the pandemic part of my plan to select
artists was—hoping to cover as much of the region—to actually
travel to cities and towns in Leyte, Samar, and Biliran. But, of
course, this was to become a logistical problem when the quarantines
started limiting people’s mobility between towns. My research and
selection process, therefore, largely involved combing through social
media and the internet, asking colleagues, and forwarding the VIVA
ExCon pubmat and open call to artists. It was challenging to do it
this way because I feel like there is something unique to the rapport
you get to build from speaking with people face-to-face. And with
searching for artists virtually, there’s also the other issue you have to
face—which is not all artists have had as strong an online presence
as others. Thus, there hasn’t been a single, uniform method in
researching and selecting the artists. Some of them submitted to
the open call; one artist was recommended to me; others I got to
speak with either in person, through phone calls, Messenger, or a
combination of these.
But whatever the process, one important consideration was
how the artists’ proposals would play out, not anymore just on a
conceptual level vis-à-vis the theme of “Kalibutan,” but also on a
pragmatic level, that is, through the virtual mode by which VIVA
has been recalibrated. The works or proposals of Popo Amascual
(Tacloban) and RV Sanchez (Maasin)—the artists I worked with for
Kalibutan—both engage the virtual mode in ways that are beyond
using the virtual as mode of circulation. For example, in Amascual’s
project entitled “Hingalo,” it is not just that the audio recording
of breathing sounds is made available online, but the audience are
also encouraged to record their own breathing sounds, upload the
recordings in a Google drive folder, and listen to the audio recording
where their recordings have been overlaid with those of others. Thus,
69

70
with the participatory nature of the project, the virtual modality is
not simply provisional but indispensable.
Another aspect of the exhibition on which I spent much time
ruminating is the collaborative nature of curation. By the word
itself, I am often reminded that collaboration involves the “laboring
together” of various people, with various and sometimes overlapping
roles and forms of agency—say as artist, curator, and audience.
Through my experience with VIVA, I have been reflecting upon
whether these agencies are being rethought or redescribed and in
what ways.
In one of the previous VIVA conferences we had early in 2021, I
shared my assessment of the art world and its production in my
locality. I said that it could benefit much from more circulation
of ideas, objects, practices, individuals and roles within the art
and culture scene and outside it. I said that I was—and still am—
looking forward to seeing more collaboration among various people
to possibly transform the structure that is the art world. Who knows
what could emerge from a collaboration between, say a visual artist,
a cartographer, and an activist?
However, in the thick of a pandemic, when most communication
and social interactions happen remotely, I’m not sure whether
collaboration among individuals with various backgrounds is
being made more or less possible. Take, for instance, face-to-face
interactions outside one’s existing social circle, which may be
impractical or even dangerous—because, as we know, our social
bubbles are permeable and in a pandemic we have to guard it more
vigilantly. And if you have a social circle of people whose interests,
skills, and views are broadly akin to yours—maybe, say, because you
work in the same place—then that could be limiting opportunities
to collaborate with others.
In the case of Popo Amascual’s project, for example, she originally
proposed to interact with healthcare workers and do some sort
of ethnographic work in hospitals, but this turned out to be
logistically impractical given the protocols. Yes, this instance
might be extreme because for sure in a pandemic this would be
a very high-risk methodology. Also, one could say that remote or
virtual communication is there anyway. But for other people who
are still not coming to terms with communicating online or are
struggling to communicate through virtual platforms—and there
are those people—how much agency do they really have in the more
collaborative and expansive art world that I was initially thinking

of? These are just musings and questions to which I have no clear
answer but which I feel must be part of reflecting on the curatorial
process in a time that has become more and more dependent upon
virtual space as a site of exhibition making and engagement.
Also part of my rumination on the relations between the collaborative
and the curatorial is the idea of caring. Etymologically, “curation”
from the Latin curatus, means “care” and caring is indeed an act of
“laboring together.” By this, I regard curation as an act of caring for
ideas. In our correspondences, I and the artists have been taking
care of ideas, from their germination from the artists’ imagination
to their development and recalibration through different phases
and through the changing circumstances of the last two years. For
this, the virtual mode provided an opportunity in the sense that our
conversations, chats and email threads become archives that record
the development of ideas. It was crucial to keep track of conceptual
developments because of the very elusiveness and volatility of ideas
vis-à-vis the concreteness and materiality of objects and face-toface
interactions. Throughout our correspondences, caring for ideas
also came in the form of research and the shared responsibility of
exploring concepts and perspectives related to the artists’ works.
These mostly involved suggesting readings or articles to them or
proposing to have reading sessions and exchange notes.
world is reckoned as a wet surface. And this may make sense in the
context of a group of islands which has had a history of violent
storm surges—from the recent 2013 super typhoon to way back in
the time of the 17th century Jesuit priest and chronicler Francisco
Alcina who said that in Leyte and Samar, “tall mountains of water
which form devastating waves, enter, extend areas of the land.” On an
interpretive level, the proverb is a particular articulation of resonant
tropes concerning fate: “gulong ng palad,” “wheel of fortune,”
“twist of fate,” “turn of events,” “turning the tide.” Permanence
and predictability are frustrated by the very circuitousness of
circumstances.
So aside from the circulation of ideas and roles, the exchanges and
reciprocal sympathies entailed by collaboration and caring, this idea
of “libot” signifying volatility, unpredictability, and “slippery turns”
may be engaged to think about ways of curating that develop the
sense of living with contingency.
Throughout my whole experience in VIVA ExCon, the exhibition
title Kalibutan: The World in Mind made sense more and more. How
the word kalibutan—the Visayan word for “world”—was unpacked
by head curator Patrick Flores struck me as really engaging. Any
other term for the word “world” would have been frustratingly too
broad. But the nuance of kalibutan is that it points to both “world”
and “consciousness.” In this perspective, the world is an ecology,
a set of processes and energies, and not simply a fixed, inert place.
The world takes place in the sense that it happens or comes around
through reciprocal forces. As Flores puts it, “The world is embodied,
on the one hand, and the body is enworlded, on the other.”
Thus, my response to the curatorial vision of Kalibutan has been
this rethinking of the “world” more in terms of processes than as
place. In one Waray proverb, the world is imagined not only as
geographic but choreographic: An kalibutan dalunutan (The world
is full of slippery turns). While “kalibutan” may refer to surrounding
and thus the consciousness of existence, of being in the world and
being surrounded by it, it also refers to the motion and trajectory
of “turns”—“kalibutan” as a noun translates as “turned-ness” or “the
condition of turning.” In the more literal sense of the proverb, the
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Regional Art Forum +
Community Art Archive
(RAF+CAA)
by Nomar Miano
Art is now deployed to interrogate the kind of space that power uses
to insinuate itself in everyday life. That is, instead of focusing on the
“public” or “publics” of art, the inquiry has shifted to the interrogation
of space that art occasions. The groundwork for this shift was laid by
seminal discourses on “new genre public art” and socially engaged
art in the 1990s. Artists are asked this question today: for whom
is the space that you create? If art promises inclusion, does your
practice emancipate the excluded? Does it empower the voiceless,
the unseen, the marginalized, or does it merely aid in the persistence
of unjust dominations and exclusions that are operative in art and,
by extension, in public life? At first, urban-based art practices appear
to be tailored-fit for this task: the contestation for and creation of
emancipatory spaces. But, in the last two decades, vanguardism in
art has moved away not only from the center (i.e. the cityscape)
but also from the original auteurism that shaped art practice for
over a century. Urban art, so it seems, remains ensconced within
an avant-gardist framework that sees artistic practice as an auteurist
affair. This kind of valuation and deployment of art may no longer
be responsive to present contexts that shape emancipatory practices.
For one, the self-critical reflex that characterizes vanguard art has led
to rural-based and community-engaged practices which yield the
very ‘authority’ of the artist to public negotiation. Hence, as noted
by scholars elsewhere, the community-based artist (in RAF+CAA’s
case, cultural and development worker) now functions as a facilitator
of the work rather than its author.
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In this sense, the project of RAF+CAA for Kalibutan is not merely a
“work” in the traditional sense. The project, rather, manifests a work of
development labor as a form of intervention in a particular planarity
that manifests a world (the artworld). Here, labor is intended to
mediate the biennale and development work as a critique of certain
pretensions that animate the world of art. This is not to say that the
practice of RAF+CAA represents a rupture or a new revelation in
art, or that the project manifests a dismantling (or deconstruction)
of the biennale form as an institutional interface of and for art. No.
Rather, the project merely points us to a patent revelation: that art
revels in mediations; that the emancipatory dimension of art practice
is anchored in a certain form of pre-understanding which enables us
to mediate different worlds (mga kalibutan). This is in line with
the realization that the rapprochement between communitarian
engagement and contemporary art practice has already been
consummated (i.e. new genre public art or socially engaged art in the
1990s). Whether or not this is a desirable development remains to
be seen. What is certain though is that the promise of development
(i.e. modernity) is implicit in the very notion of art. Therefore,

RAF+CAA’s project, which calls our attention to a rapprochement
that occurred in recent past between communitarian engagement
and contemporary art should be treated as an opportune event that
could compel us to ask important questions.
The notion of art has a history and, as such, this notion is also
subject to mediations. The shift from the fixation with the “public”
or “publics” of art to the space of inclusion that recent dialogical
works occasion liberates the valuation of art practice from its
original elitist orientation. This point is no longer controversial.
In fact, if precarity politics is to be believed, the counter-culture
values that have animated art in recent past (self-management,
collaboration, DIY, etc.) are now integral to the mechanism which
makes the neoliberal world go round. What is new today, rather,
is the reconfiguration and reframing of our encounter with art
in the here-and-now whereby emancipatory practice, as in art
practice, is also recognized as a form of labor (or work) and vice
versa. RAF+CAA realized that, when the world of art is made to
accommodate traditional communitarian interventions, art practice
takes an uncharacteristic regionalist attitude. This realization is
liberating to RAF+CAA because it means that the constitution of
Philippine art is spread-out. By being so, art can be approached
from different levels and angles of regional orientations.
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Conversations:
Papatag Cultural Group, Women of Palapag,
Carbon Ambulant Vendors
Archived conversations, two-channel screens,self-help manifestoes
Regional Art Forum + Community Art Archive
2021
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Regional Art Forum
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Figure Drawings: Structures and Gestures
Intermedia Projects
Variable dimensions
RV Sanchez
2021
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Hingalo
Sonic performance, Virtual interface/space,
audience participation, physical installation (of equipment)
Paolo Amascual
2021

PANIC BOX
SOIKA VOMITER
by Nomar Miano
The valuation of art is commonly couched in a historicist mold.
This tendency pushes features of artistic traditions to the margins
of discourse. That is, the value of art practices is usually pegged
on its contribution to the development of certain narratives. These
narratives help sustain notions or ideas that animate institutions—
notions like the “nation,” “culture,” a global community, ethnicity,
an “artworld,” etc. In effect, this tendency mutes certain aspects
in our encounter with art, aspects that are otherwise valuable and
insightful when given duly deserved attention.
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The inclusion of Soika Vomiter’s work in Kalibutan is partly a
corrective to reductive historicism. Whereas commentators in the
West see street art as an offshoot of institutional critique or the
conceptualist and do-it-yourself self-reflexivity that emanates from
punk subculture and counter-cultural interventions in the 60s and
70s, local artists do not necessarily think of such heritage as all
important. This is not necessarily a regrettable thing. Not that local
artists should not care about the heritage that shapes urban-based art
practice, which is completely understandable anyway considering
that street art started as anti-institutional and counter-expert. A
deeper reading of Soika’s work however suggests that there is more
to street art practice (and art in general) than its “sophisticated”
heritage.

Interative Box Installation
16 x 20 x 42 inches
Industrial paint, wood, found objects,
disco lights and red lights
Soika Vomiter
2021
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Street art transforms the urban landscape into a museum-withoutwalls.
In street art, the interior and exterior spaces of urban space
become interconnected galleries of everyday life, confusing the lines
that separate public spaces and private ones. It is partly in this light
that the media theorist, Martin Irvine, states that street art occupies
a mediatory role in bridging institutional reception and counterinstitutional
intervention. But there is more to street art’s mediatory
role in hybridizing spaces. Street art’s hybridity moves away from the
naive syncretism of earlier art practices in that it is able to converse
with modalities of space that are absent in other forms of urban
interventions. Street art activates a notion of space that is horizontal,
vertical, and intersubjective. It is a transmedia and a post-internet
practice. It codifies the “open-source” function of the World Wide
Web, which means that the “street” in street art functions more like
an analogical approximation of the digitized inter-connectivity of
the virtual world. In short, the space that street art produces is an
extension both in literal and virtual sense. The space in street art is
an entangled virtuality of ontologies and mentalscapes.
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Curators Notes Central Visayas

Necessary Actions to Kalibutan
by Jay Nathan T. Jore
To think about the many notions of the word Kalibutan, its layers
of meanings, its scope, time, and textures, one has to stand on some
ground – solid, porous, viscous. It requires a specific vantage point,
a designated coordinate in the complex cartography of circuitous
expansion and constriction of geographic, sociopolitical and
cultural realities. It is then important how Dr. Patrick Flores has
to ask us, collaborating curators, to reflect upon the art and culture
scenes where we move around and have access to. This grounding in
the personal allows us to take a more realistic hand in probing the
curatorial challenge at hand.
To proceed with the Kalibutan project one has to be introspectively
personal, and at the same time prudently relational. Personal, as
it requires the re-examination of lived experiences, a self-reflexive
assessment of how it is to live in a world. Relational, as it insists
on encountering and connecting with the ‘other’. The world in
question then is never stable. The world to be pondered breathes in
and out, into oneself and out into others.
Kalibutan as Personal and Relational
My engagement with the art scene in Cebu is hugely influenced
by my interactions with design practitioners considered to be part
of the concept of the creative economy. In the light of Cebu City
becoming a UNESCO Creative City of Design, designers and artists
have once again proved to be integral to and expressive of Cebuano
cultural life. The craft-based practices in Cebu, which have strong
ties to precolonial artisanal traditions, have been transformed into
full business ventures, from cottage industries to international
export manufacturing.
The positive reception of the accolade and the excitement for
economic opportunities however have downplayed critical
perspectives on the very notions of the creative industries and the
creative economy. The translation of indigenous craft practices to
materialize western aesthetic principles has created a volatile world
of material culture wherein Cebu as a site of creative production
transacts with foreign markets that dictate and romanticize the
notions of vernacularity and indigeneity. On one hand, this trade of
goods has saved to cultural memory traces of a forgotten world of
ancestral aesthetics while on the other hand, it perpetuates a colonial
superiority that overshadows indigenous creativity.
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The design-driven creative scene in Cebu has likewise created certain
conditions that nurtured a distinct art world, different from other
art centers in the Philippines. Cebu’s art world functions outside
of a gallery system. Local artists like home-grown designers mostly
engage in client-directed commissions rather than being represented
by art galleries and museums. Artists struggle to thrive in the context
of this system or the lack of it.
The user-centeredness and functionality of design differs considerably
in works that put premium in artistic intention and stylistic
expression. Client-oriented art-making has produced a strong
disposition of Cebuano art towards realist imitation, rendering
subjects as how clients see them, that is pictorially, realistically.
Bisaya realism of the Abellana School has become for the longest
time the formal visual language of Cebuano painters. Experimental
and avant-garde expression tend to have limited audiences.
Furthermore, art becomes almost exclusively accessible by a few
– only those who can commission and collect art for their private
estates. This lack of opportunities to exhibit their works has compelled
young spirited artists to bring art closer to the people, to the streets
of Cebu and showcase a different approach in art-making. Street art
in Cebu has helped balance out elitist inclinations. With street art
at the helm, the world of Cebuano art expanded to integrate new
approaches, new expressions.
Emergency and Normal Life
Responding to the curatorial vision for the Kalibutan exhibition,
I tried to ground my curatorial approach to the temporalities of
the Everyday and the Emergency. Theorist Ben Anderson in a
chapter in the book Time: A Vocabulary of the Present describes
the current lifeworld as precarious and therefore deserving of the
term emergency. He further contends, “the category of emergency
does not, however, name only an exception that interrupts ‘normal
life’…the claim is that action is necessary immediately to meet the
exception (2016, 177).”
To look into the structures of the kalibutan, the temporality of the
everyday becomes immediately necessary as it proscribes to what
Anderson may define as the ‘normal life’ –the monotonous, circular
affairs that downplay meaning as one awaits for the next eventful
moment. The everyday lays bare the grandness that Cebuano
creativity especially works of design has been branded to become

–products that appeal to a discriminating notion of taste. The
emergency as the exception that interrupts everyday life can be the
emergency needed to chart alternative directions to art-making in
Cebu.
Anderson however does not only end in diagnosing the emergency
rather he prompts the need for a range of actions to meet immediately
the exception to ‘normal life’. This idea becomes a compelling guide
for me in selecting and engaging with artists and art groups for the
Kalibutan project.
The COVID pandemic becomes the very emergency that reshaped
the direction of VIVA ExCon 2020. The normal modes of artistic
production, as well as the methods of exhibitions and knowledge
dissemination, were put into serious rethinking. The ‘emergency’
has provided unexpected challenges and surprising opportunities for
curators and festival organizers to shift programing and to reinvent
the normal conduct of the biennale.
For us in Cebu, the sudden naming of Cebu City as a COVID
epicenter had compelled us to realize that art and artists have the
responsibility to harness creativity to meet the exception. For Mona
Alcudia, her immediate response was to design and produce PPEs
for front liners and community organizers when these protective
gears were very difficult to procure. Bastinuod of Solitaryo Cinco
led an illustration project in social media to honor the hard work of
pandemic front liners and direct attention to the difficult and unjust
conditions that they are in.
Actions to Meet the Exception
In consideration of the character of Cebu’s creative scene, it
becomes imperative that the Kalibutan project should look into the
world of its creative industry as well as the world of its burgeoning
contemporary art scene. We decided to collaborate with Mona
Alcudia, a design practitioner who has extensive experience working
with Cebu’s furniture and home accessories industry and with the
art collective, Solitaryo Cinco which had considerable experience
in street art production. Their interdisciplinary modes of practice
hope to elucidate Cebu’s creative Kalibutan both as a field of ideas
in mind, and a space-time reality that molds social relationships.
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Mona Alcudia’s Peacock Chair
Mona Alcudia is a professor of Fine Arts at the University of the
Philippines Cebu where she teaches product design subjects and
manages the operations and programs of the Fablab UP Cebu. In her
project The Peacock Chair, she pieces together insights and reflections
around her practice as a product designer and interrogates the place
of the Philippines in the expansive landscape of the design world
and how the country plays its role in the export-import commodity
exchange.
Examining the historical, cultural and economic value of the
Peacock Chair, Alcudia cast a critical eye on the very industry that
she happened to be in by tracing the modes of production of the
iconic peacock chair and elaborating on its eventual exoticized
reception in the West. Alcudia aims to decolonize Filipino design by
questioning normalized valuation of Filipino craftsmanship that has
created unjust labor conditions for local artisans, relegating them as
mere laborers rather than cultural bearers.
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Solitaryo Cinco, The Urban in Kalibutan
Solitaryo Cinco is a Cebu-based art collective and studio of visual
artists Mark Anthony Copino (Kidlat), John Villoria (NARK),
Sebastian Dequina Peyanes III (Bastinuod) and Khriss Ihmmanuelle
Bajade (BAHK). The collective was first formed in 2015 as Asylum
38 aimed to transform dirty and torn streets of the city into creative
spaces for personal work and social commentaries.
Solitrayo Cinco’s 10.3157 ° N, 123.8854 ° E Project is derived from
the geographic coordinates of Cebu City using its longitudinal and
latitudinal location in the world map. Instantly, it points out to a
geophysical entity wherein the city occupies a specific point in the
globe. More so, the project responds to how Cebu City as space is
assessed, described and formed using surveillance methods taken
from above, taken from a position of height.
Solitaryo’s critical approach to the Kalibutan project scrutinizes
government authority’s methods in assessing Cebu City’s sudden
surge of covid cases in the early part of the pandemic that made
it the country’s epicenter. The unprecedented number of cases
prompted the national government to send more military personnel
to guard border controls. The national pandemic team surveyed
the city and its environs using helicopter surveillance to assess the
impact of the covid outbreak in densely populated areas in the city.
This approach proved to be impersonal and unpopular. The project
resounds people’s sentiments against the government’s unscientific
approach in handling pandemic issues. Its lack of on-the-ground
data and community-oriented engagement was said to result in slow
and detached pandemic response.
By using google map images and drone videos of the city, the project
utilizes distant images of highly urbanized and compact communities
superimposing them on silhouettes of people in mobility. Scaling
up the figures to fit street walls, the composition borrows street art
aesthetics. In an attempt to humanize statistical data, the project
follows a mindfulness of the daily affairs of people disrupted by the
pandemic. The imposing scale of the silhouettes highlights the need
to project people beyond numbers and portray them as actual living
people that tow the intricate and complicated web of urban life.
Alcudia and Solitrayo Cinco’s subsequent projects attempts to
respond to the emergency of the pandemic and make sense of what
was left behind of the ‘normal life’ as people toil forward to what is
popularly believed to be the ‘new normal’.
To be mindful of the precarious conditions of the world today, VIVA
ExCon 2020 challenges cultural producers to respond to the everchanging
dynamics of the world and actively engage in bringing it
forward to a more humane condition where creativity and thought
could flourish. The art of VIVA ExCon 2020 can only hope to see
an abundance of critically-engaged works that allows audiences to
renew a world in many different ways, at different speed, in different
directions.
Reference:
Anderson, B. (2016). “Emergency/Everyday.” in Time: A Vocabulary of the Present, edited by Joel Burges and Amy Elias, 177-191.
New York: New York University Press.
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Curator’s Notes
by Maria Tanaguchi
I think our current preoccupation is to achieve some sense of
certainty on a global scale, for example in guarantees of the vaccine’s
efficacy. Artists have always had the freedom to be a bit counter
intuitive. I would like to think about the more diminutive meanings
of the keywords kalibutan - inkling: a vague notion, or a slight
impression, that is related to the words cognition and speculation;
and libut, a word contained within the word kalibutan that may
mean “to wander”, as well as “to surround.” These terms point to the
keywords speculation and the universe, and yet allow us to think in
much smaller scales.
`What follows is an image of a painting by my mother, Kitty
Taniguchi. I think telling you this story might serve to enliven the
key terms by illustrating complexity in human scale. This painting
was made in 1989, it’s an oil on canvas. You’re looking at it from
the wrong side up. They recently found it rolled up so it was cleaned
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and photographed hanging on our clothesline in the garden. I
didn’t crop the photo to keep to one plane of orientation because I
thought that this might be the most appropriate way to look at this
painting - slightly disoriented. What you’re looking at is a girl in a
forest, who looks like she’s engaged in a telepathic conversation with
a seated figure in a white dress made of a kind of translucent fabric.
The gauzy and veiled quality of the fabric might indicate that she’s
not from around here. Behind the girl, deeper in the woods, looking
a bit disinterested behind the trees, is a somewhat scary half-man,
half- horse from folk lore, a tikbalang. There are also two small green
beings in the grass. Duendes, perhaps.The girl is holding blue fruit,
while the fruit on a the grass is painted turning golden brown to
colder blues as they recede from the foreground.
Place I - XVI
Video (looped, time lapse, no sound) 28:22
Graphite on Reconstructed Paper
Gabi Nazareno
2021
An artist’s capacity to organize matter into world is something to
think about, in our consideration of the concept of kalibutan. I have
always found this painting remarkable because I remember that
standing infront of the finished painting was an early moment of
self-reflexivity. I use the term self-reflexivity and not, for example,
self-awareness, because through the experience of looking at myself
painted into this scene at the edge of a forest a kind of structural
foreknowledge became available to me.
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With regards to the selection of work, it was important to me that
that the works have a time-based approaches to responding to the
present state of things. There’s a challenge to materiality because
of what’s happening, and not just in art making. In the art world,
the experience of having to find novel ways to communicate or
even transmit the substance of a work was almost universal. In the
case of the projects that I chose for VIVA, both have a resistance to
standard modes of transmission and display, and so were uniquely
suited to a more fragmented approach of exhibition making. And
though they are translatable and have often been shown within an
exhibition space, the works of Gabi Nazareno and Retired Artist
both configure and resolve themselves outside of it.
Lastly, it was also important to me at the start to have something
interesting to offer the artists in return, wether it was a chance
to revisit a longstanding body of work through the distribution
strategies of the internet as in the case of Retired Artist, or to
generate new materialities for an existing series of work in terms of
Gabi Nazareno. The beginning of the pandemic was a difficult time
to be making work, and I’m truly thankful to both artists for being
so generous with their time and effort.
HARANA 14 (to Bobby, David & Christian)
Live performances at 58 E.J. Blanco,
Dumaguete City, Negros Oriental
at dusk on September 18, 25, October 2, 9, 16
Retired Artist aka Sandra Palomar (b.1971)
2020-2021
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10.3157° N, 123.8854° E
Variable dimensions
Multimedia Installation
Solitaryo Cinco
2021

Papanek’s Peacock Chair
Variable dimensions
Multimedia installation
Mona Alcudia
2021
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Curators Notes Western Visayas

On Seeing the Kalibutan
by Liby Limoso
In 2018, I worked on Conjunctions of Meaning and Place for
VIVA ExCon Capiz. It was during my research on the present-day
places that were the settings of the stories of the Sugidanun (Pan-ay,
Halawod, Madya-as and Kanlaon) as well as my exposure to the harsh
realities being faced by the people in these areas that prompted me
to choose themes that revolve on surundon or heritage. It is quite
ironic that the people of these spaces that supposedly set the stage
for the stories of grandeur and heroism are and have been subject to
poverty, landlessness, displacement, and oppression – dehumanizing
conditions which have deprived them of any opportunity to look
back, much less appreciate, this heritage which is also rightfully
theirs. Such contradictions also exist in the structures that represent
colonial heritage, as it is from the people’s invisible labor that these
representations are built by. It is from these images that I have begun
to ask myself: for whom is this art that we do, this kalibutan that we
try to make sense of?
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The art scene in Panay Island and Negros, young as it may be, is
full of potential. Like seedlings in a garden, it is in need of constant
cultivation and nourishment for it to grow well and bear fruit. The
repository of tangible and intangible cultural heritage that has been
handed down from generation to generation and the fusion of
indigenous elements and colonial themes through the phenomenon
of transculturation offers a variety of good seeds. While most of our
artists and audiences are still in the realist and expressionist phases,
still yet to digest and appreciate the plurality of contemporary
artistic expressions, the scene has nevertheless experienced a radical
transformation. The presence, for example, of Rock Drilon in Iloilo,
Norberto Roldan and Marika Constantino in Capiz and other
young returning artists has energized the scene in Panay Island
in the past eight years. Meanwhile, collector Edwin Valencia has
partnered with Megaworld Corporation to exhibit his collection at
the Iloilo Museum of Contemporary Art. Moreover, the provinces
of Iloilo and Capiz have hosted the two previous VIVA ExCons,
with Antique being groomed to host the next.
At first glance, an explicit element in the art and cultural scene of
Western Visayas, particularly in the centers of Iloilo and Negros, is
the predominance of colonial heritage – from the Baroque churches,
mansions, estates of sugar barons, literature, to the performing arts.
The grandeur of this heritage, which is highlighted in tourism as
well as in academic circles, is the product of societal and historical
forces. Iloilo City, was once named the Queen City of the South;
the cultural, academic, commercial, and political center of the
Western Visayas by the mid-19th century during the zenith of the

sugar industry. This colonial experience together with the resistance
or the negotiation of indigenous meanings constitutes a large part of
the Western Visayan experience and worldview, through which its
people view, understand, and value art and heritage.
However, as John Berger had pointed out, the current social milieu
and the prominence of mass media has in one way or another
mythicized the art forms which sprang from the traditions of the
centers, further engendering a sense of alienation on the part of
today’s viewers to the actual essence and true value of art. Thus my
question: why is our world like this, ngaa amo sini aton Kalibutan?
Our way of seeing art and the world are shaped by the subtle
yet persistent inflow of western and dominant representations –
dictating to us what is to be considered valuable and authentic. This
way of seeing art and our world has further relegated the tangible and
intangible cultures of our indigenous peoples, rural communities,
and local artisans to the peripheries, as usual or mundane objects in
contrast to the fetishism over high and valuable art. Furthermore,
there is a fissure in our present view of the world through art and our
lived experiences that draws us farther away from the connectedness
and spontaneity of experiencing art.
ideas which need to be recorded, as they are imbibed with potential
which may not have been recognizable in the past. Having been
drawn from the themes of intangible cultural heritage in Panay, AR
Sculptura’s Sugidanun retablo and EyeCan’s Sugidanun Cosplay are
similar projects which are yet to be achieved – with the lengthy
process of acquiring the FPIC from the NCIP and the current
pandemic as temporal obstacles to this realization. Same is true with
Ron Espinosa, Farida Kabayao and TM Malones’ documentary
on Western Visayas’ built heritage. In line with this optimism in
realizing artists’ unrealized projects, I have come to reflect upon
the work of a curator in orchestrating and facilitating various
artists and different worlds, to converge into an intersection. The
communicating of this convergence does not only include visual
artists but individuals coming from various disciplines like literature
or the social sciences who may be able, together with artists, look
into and analyze the praxis of art, culture, and history in Panay
through the central theme of heritage or our surundon.
I believe this problem of seeing the world can be addressed if we
develop a critical consciousness of the impacts of mass media, our
history, culture, and collective experience. Of particular importance
would be the conscious effort to emphasize on the intangible culture
and the embodied art of those in the peripheries – from the wealth
of our languages and memories, as in the Panay Sugidanun and
the multi-layered Kalibutan to the unique identities reflected in
our material culture in the form of traditional tools and textiles.
This comes in the realization that the worker, rural folk, and the
indigenous peoples live in a completely different lifeworld, with
perspectives on the Kalibutan that grounds us to our roots as a
people. These perspectives and meanings may not always be static
but are rather dynamic, such as the concept of the barangay – whose
journey from becoming a status symbol of datus and a means of
exploring the Kalibutan of the Sugidanun to being, at present, an
underrated basic political unit in Philippine society.
Apart from this yearning to highlight these issues, Hans Ulrich
Obrist’s concept of unrealized projects and his thoughts on the ways
of curating are also key influences in my choice of themes, artworks,
and projects. In curating, as Obrist had emphasized, one ought to
aid in the realization of an artist’s unrealized project(s); they are
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Artists as Synthesizing Agents
in a Hyperdimensional
Network
by Guenivere Decena
Depending on which syllable the stress is placed, the word bilog
in Hiligaynon may either refer to the particular with the numeric
equivalence of one, or to the complete whole with the numeric
approximation of totality. It may also either mean something linear
such as a string or something solid and circular such as a sphere.
Within the periphery of these contrasting definitions embodied
in a single text is a mirror of a participatory society; a complexity
of individuals accomplishing particular tasks yet each affecting the
turning of events within the context of their experienced realities.
Often, these connections are mapped out as dots and lines in a
growing web. But this is only the surface of human interconnections.
A single lifetime is unfathomably filled with its own timeline of
emotions, thoughts and experiences. And each timeline connects
to other timelines, so that the evolution of the dot becoming a
line moves further to become part of a hyperdimension of human
interconnections.
Artwork by Perry Argel
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This manner of rippling out yet remaining gathered is consistent,
too, with how matter manifests in the universe. A debris of small
objects in space, for instance, gathers and emerges as spherical
formations. But they do not fall into one another unstoppably. The
merging reaches a point of temporary wholeness. The force that
causes the merging is the same force that creates distance barriers so
that there is a simultaneous occurrence of imploding and exploding,
attracting and repelling, becoming one together and being counted
as one amongst the many. This concurrence is consistent and
observable everywhere around us, from the infinitesimal atom of
which we are made up of to the colossal heavenly bodies that include
the planet we live in. Negros Occidental’s curatorial proposition for
Kalibutan: The World in Mind is ignited by this unified valuation of
the particular and the universal, the linear and the spherical.
Back in 2018, when asked how VIVA ExCon 2020 will be delivered,
Charlie Co, one of the biennale’s founding members, responded;
“like a blank canvas.”
Looking at the circumstances that unfolded with the pandemic in
2020, a blank canvas accurately describes where we were. Humanity
was caught at a standstill. We were weighing the possibilities;
anticipating the next series of attempts to survive, with the vaccine
still out of sight. VIVA suddenly became more than what it already
is. An art biennale transformed into an opportunity to animate a
portion of this standstill into an investment of time by migrating
into a virtual platform. Without this organization already existing,

the isolation of artists would probably have come and gone
unaccounted. It would not have been deciphered as thoroughly as
it was in an online seminar, furnished by talks, conversations and
solution-driven discussions. What is creative and what is logical
began to morph into one. The virtual VIVA ushered different points
of view in a unicentric channel, and was accessed as a single source.
The recalibrated biennale held a great importance in the history
of art in the Visayas. VIVA ExCon’s 30th year was set in a time
when its core objective of bringing artists together, united and
strong, is both most challenging and most vital. The pandemic
struck the Philippines at a time when the polarization of people’s
socio-economic status was greatly highlighted. The virus began to
spread at a time when there were so many things to be cleared out:
the mistrust of the people towards its government, the staggering
revelation of the percentage of science illiteracy of the populationincluding
leaders, the role of myths and religion in the positioning
of the collective psyche and the punctuated need of preserving
nature, to name a few. Creativity became an extremely essential
resource in this time of scarcity and deprivation. It brought to light
many views on art, its contributions and functions beyond the
artworks and outside a gallery. The insights from the art community
gathered during this long pause is instrumental in adapting to the
new societal conditions. The constructive interference against the
waves of the virus was attained through reinforcing consciousness
and reflection.
A majority of the proposals submitted by artists and art groups across
the thirteen cities and nineteen municipalities of Negros Occidental
were saturated with elements of public interaction as they were all
conceived before the pandemic was noticed. This became the main
obstacle faced by both the submitting and receiving ends of the
proposals. Merely translating their projects into a version fit in a
virtual space was inconsistent with their main objectives and defeats
the intentions of their conceptual framework.
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Sometimes, the best step forward is really a step back. Just as we step
back a bit to see fully a vast work of art, the same humble step is
required in beholding the grand scheme of things. Only then were
we able to effectively ponder on the question “now what, and what
next?”
The artists appointed to represent Negros Occidental for the
exhibition component of the biennale are Denli Chavez (film) and
Perry Argel (performative installation). The two artists articulate
practices that do not only attend to the need of relating to the theme
(Kalibutan: The World in Mind) but also address the experiences of
the community during the dawn of the pandemic. Their artforms,
most importantly, possess a sense of confrontation with the self
and an advocacy to seek healing more than comfort. They are both
interventional and didactic in their methods without failing to
remain efficient with their individual artistry.
Perry Argel on consciousness as inner and outer space:
Perry Argel describes himself as a functioning organism, clearing
and fixing the space around him to reveal the purity of nature.
In every assemblage, Argel presents different specimens linked to
society’s overall concept of what is and is no longer useful.
Artwork by Perry Argel
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It is not strange for Filipinos to see objects shapeshift depending
on the need and situation. It became an alternative way to makedo
with available resources in order to avoid unnecessary disposal/
purchase of more objects. Argel, however, superadds layers of content

to this process through ritualistic creativism. The artist extends this
by sharing his Ritual of Daily Living Philosophy. It encompasses his
way of making. The ritualistic gathering of encountered objects is as
vital to his practice as the artforms themselves. While others’ tracks
are identifiable by a trail of discarded objects, Argel’s is one donned
by intimate clearings and the unannounced recovery of spaces.
In certain cultures, objects are believed to possess in-dwelling spirits.
This kind of animism has been present in precolonial Philippines.
The tribal wisdom that everything has an equivalent spirit in a
parallel world envelopes ethnic concept of keeping nature pristine
out of respect; acknowledging everything as an equal presence.
His contribution for VIVA titled Ilistaran (dwelling place) focused
on the artist’s house and a glimpse of his life during isolation.
Emphasizing the dweller and the dwelling place as one demonstrates
the complimentary roles of being and doing.
Denli Chavez on the rising and falling of consciousness: She
immerses herself in the diverse yet unified roles of the writer, actor,
and director in her film Pagbutwa Halin Sa Kaidalman.
This film displays the all-embracing realm of Chavez as a storyteller.
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The multiple positions she occupies makes way for a uniquely
spherical point of view; the actor assuming the experiences of the
character-at the center, the writer overseeing the plot at the horizon,
and the director within the circumnavigation.
Seeing from both sides of the lens, Chavez reveals and demonstrates
a woman’s cry for renewal within the rigid contours of society.
The artistic depiction of a truth-based predicament is balanced by
a pulsating occurrence of fantasy. Each frame functions as a door
through which the real and the unreal pass and intersect. The
watcher inevitably gets caught within the knots of truth-telling and
truth-seeking.
What does it really mean to be a human being in a certain part of
the world... And to be one interconnected network of human beings
in this shared space?
In an expanded view, Argel articulates consciousness as manifested
by the individual being; the coming home to the self. This may
later form a ripple because perhaps, consciousness is something
contagious. This is culminated by Denli Chavez’s feminist film
titled Pagbutwa Halin Sa Kaidalman (Rise from the Depths). The
term raise consciousness originates from a feminist movement
in the 1960’s (United States). It translates how, in certain cases,
consciousness cannot thrive individually, but together. Hence, the
term connotes it as something to be raised, like the image of the
bayanihan, individuals in solidarity, connected, moving and being
with one another.
Pagbutwa Halin sa Kaidalman
Film, 15 minutes, 28 seconds
Denli Chavez
2021
The manner of rippling out yet remaining gathered of the myriad
of interconnections is consistent, too, with how matter manifests
in the universe. A debris of small objects in space, for instance,
gathers and emerge as spherical formations. The forces that cause
the They occurrence is consistent and observable everywhere around
us, from the infinitesimal atom of which we are made up of to the
colossal heavenly bodies including the planet we live in. This unified
valuation of the particular, the universal and the constructs of the
sphere ignited Negro.
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Manugsaulog
8.3 x 11.7 inches
Digital and printed
EyeCan Creatives
2020
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Dinun-an Sang Aton Ginikanan (The World of Our Ancestors)
A. 55cm (W) x 60cm (L) x 150cm (H)
B. 55 cm (W) x 60cm (L) x 170cm (H)
C. 55cm (W) x 60cm (L) x 190cm (H)
Construction materials retaso (wood, acrylic, steel, paper,
resin, polyurethane)
AR SCULPTURA (art+architecture)
2021
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106

107
Bahandi
Multimedia Documentary
Farida Kabayao, TM Malones and Ron Matthews Espinosa
2020-2022

Performance installation
Variable dimensions
2021
Bug’s Life Transformed
Variable dimensions
2019
Ilistaran (artist’s dwelling space)
Variable dimensions
2021
Perry Argel
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Visayas Elsewhere
by Patrick Flores
The artists I chose for the exhibition Kalibutan: The World in Mind
signify practices that locate and migrate the Visayas elsewhere,
away from the islands, but threaded through them, redolent of
them, distanced from them, approaching them, missing them, reencountering
them.
The poetics of distance is the politics of memory: how to evoke
the Visayas at sea, in the erstwhile colonial empire of Europe, in
the vicinity of a copious Pacific, through queer folklore and the
proverbial neon, reciprocity of gifts, changing dioramas crafted in
Manila but reminiscent of Bohol.
A case in point: Joar Songcuya. His work in the field of painting is
part of a larger context of rendition. It is a rendition of his remarkable
lifeworld as a sailor, a marine engineer, and an overseas contract
worker, alongside his being a son and a brother. He has had the rare
opportunity to navigate three of the world’s most prominent bodies
of water: the Pacific, the Atlantic, and the Arctic. This exceptional
oceanography surrounds what can only be the liquescent practice of
Songcuya.
It is in this light that in order to round out our understanding of
his work, we need to look into the other materials in the repertoire
of his sensible production, or the production of sensuous particulars
such as diary entries; photographs; videos; and early painting. This
repertoire is not just a mere backdrop. It is, in fact, both the ecology
and subject of his paintings. Songcuya is an autodidact artist who
has recently decided to formally learn the fine arts after already
gathering a corpus of pieces and exhibiting in galleries.
The relationship between these forms and his painting is intricate.
It complicates the typology of these materials and the curatorial
method with which to flesh it out. These materials lend themselves
to both proto- and para-curatorial schemes in the sense that they
provide research milieu, on the one hand, and they initiate more
conversations beyond the exhibitionary object, on the other.
These then are the context and constitution of Songcuya’s lively
work.
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Rhine Bernardino for her part holds out an invitation. In her own
words:
As part of the process of getting my head around notions of abstraction
and the arbitrary designation of ‘value’ in our day to day life — concerns
ranging from trivial everyday objects such as toilet paper to the human
life, I want to extend my About 30,000 work series for VIVA Excon
2020. I started this work series as About 7000, a controversial figure
attached to the Philippines’s “war on drugs” which has now transitioned
to About 30,000 – lives, deaths, people.
For VIVA Excon, I want to collect 30,000 peso coins to be sent to Bacolod
from different sources in the Philippines. I want to use this opportunity
to connect and check-in with friends, families and colleagues and ask
for their participation in the project in the form of sending any amount
of peso coins to a space or address in Bacolod that will receive all of the
coins. In return, I will give them the option to either receive an artwork
for their contribution, reimbursement of their expenses or a meal or
treat that we can share in person when we meet sometime in the future.
The idea is to create a wishing well in the form of a tomb in Bacolod
wherein the peso coins collected will be utilized. 1 peso is equal to one
wish. The peso coins will be made available for the public to insert into
the wishing tomb slot in exchange for a wish.
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Lani Maestro, who is currently living and working in France, offers
ways to intuit her work. According to her:
the neon installation, “her” reads: “for her the smallest act of pure love
was greater than all of her works combined.” i had scribbled this text
in my notebook in the early eighties. it was a line lifted from dictée, a
book, by the late korean artist, theresa hak kyung cha whose work had
left a profound impact on me. i was transfixed by cha’s sculpting of
words in a white page, as she wrote with the new language that she had
struggled to speak with. an immigrant tongue sorting its way out of a
humiliated stammering towards an embodied utterance. this particular
text provoked the question for me, of the value of art, of what art is, of
what art could be at that time. this same question continues to resonate
for me now.
while setting up the exhibition at calle wright in malate, a strange
incident was happening across the street, a few meters from the wall
where we were setting up the neon. people were gathering and dispersing,
muddled and dismayed as they lingered around a parked jeepney. the
driver mumbled dispiritedly how his vehicle had been cursed and that
he will not be able to earn his wages. inside, the bloodstained floor
beneath the passenger seats wreaked with a disturbing odor. someone
had tossed a plastic bag containing an aborted fetus. i stood still and
watched but was not participating. at the same moment, the group of
neon words illuminated its phrase. “for her the smallest act of pure love
was greater than all of her works combined.
the worker who fabricated the neon suggested that i make another
neon piece so he could earn a bit more for the christmas season. he had
surveyed the site and already had a space in mind. in the back garden
there was a tucked-away enclosure walled with climbing plants that
opened up to the sky. i smiled at how appropriate his choice was and i
agreed. i decided the three words for the second installation. “It is this.”
these two neon installations were like a parenthesis to the other works
in the exhibition entitled ‘school of love’ at calle wright in 2018. several
pieces resonated with things seen and unseen, presences which were also
absences felt and manifested.
it feels true that now, we cannot speak only in the convention of the
five senses as we develop other kinds of interactions and relationships
virtually. there are other waves or energy fields that are being explored
digitally, scientifically and so other kinds of awareness are being born as
new subjectivities. i often feel unequipped or slow in relation to the speed
generated by new technologies, that is, in the way we acquire knowledge
and relate to ourselves, to the world. ‘kalibutan’ feels like an ancient but
essential wisdom for being in this 21st century. how could we define an
ecological self at a time when voracity for knowledge is also driven by
voracity for power. how could we begin to see the power of- what is at
any given moment in time. how do we retrieve the compassion that we
are at this pure moment without past or future?
LM, normandy, 7. 2021
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Charles Buenconsejo, who has moved to New Zealand, shares the
history of his project:
2016 – 2020
1. Living in the Philippines before 2016 felt relatively peaceful, a
different time, in which most of the people I knew were focused on
global clothing brands, #selfies, ‘likes’ and the potential of corporate
sponsorship.
In 2014 Time magazine declared that Makati city should not only
be known as the financial capital of the Philippines, but also boast
the title, ‘Selfie Capital of the World’. It was a period in which
everyone I knew – friends, families, neighbors, schoolmates – had
migrated to social media. This is when I started to become skeptical
of internet culture.
2. Philippine society had become homogeneous: everything was
about the projection and validation of the self on social media.
Taking photos, location tagging, hashtags; recording every action
and reporting on our lives, all in the ephemeral peek-a-boo
universe of Instagram, Facebook, Snapchat and Twitter. Everyone
was becoming a tourist, in our own and other people’s projected
[un]realities. Digital life had become synonymous with breathing,
eating, being.
But at that time digital life – in social networks and mainstream
media – was not yet flooded with the issues that now compete for our
attention. These include the propagation of ‘fake news’; extrajudicial
killings of drug addicts, farmers, indigenous communities,
environmental activists and journalists; human rights’ violations;
the war on drugs; the COVID-19 pandemic, #junkterrorlaw,
#freemasstesting and #oustdutertenow.
3. Social media has become the arena for political propaganda, and
back home in the Philippines, the weaponizing of this arena has
given rise to the fascist regime under ‘Dutertopia’. Rodrigo Duterte’s
presidential campaign manufactured internet bots and paid trolls to
construct and spread fake news, to manipulate people’s beliefs and
emotions by exploiting the algorithms that power social media.
In a country that suffers severe social injustices and extreme
wealth inequality, created by the corruption of both public and
private institutions, the people have consistently been deprived of
the radical political change they desire. This made fertile soil for
a heavy- handed populist tyrant, who mobilized fear, uncertainty
and doubt. An army of ‘Dutertard’ trolls destroyed the fabric of
Philippine society.
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Our gut bacteria sensed that our country was heading on a dystopian
path. In July 2016 my wife and I were forced to become nomads. We
managed to escape Dutertopia just before he was elected to power.
4. My last solo exhibition in the Philippines, in 2016, was entitled
Name, Kind, Application, Date Last Opened, Date Added, Date
Modified, Date Created, Size, Tags – the list of categories used to
arrange the files on one’s computer. The endlessness of this show’s
title is a playful jab at the impossible volume of information
accumulated in the attention and projection economy.
It was a sentimental farewell show in which I decided to print all of the
files archived on my hard drives, starting from 2003 (when I started
taking photographs and first had access to a personal computer),
until 2016 (when my wife and I migrated from the Philippines
to Aotearoa New Zealand). These files comprised thousands of
personal and commercial photos, web images, documents, emails
and internet cookies.
My brother, a software engineer, helped me to develop a computer
application that automated, collected, and arranged these images
based on the date they were taken and created. What resulted was
an enormous scroll titled 2003 – 2016, a visual diary of thumbnails
which in aggregate resembled pixels. A timeline of my pre-migration
existence hung from the ceiling and spread across the floor of the
gallery space.
5. In Aotearoa New Zealand life became a blank canvas, an
accumulation of fresh data as we immersed ourselves in our new
environment. This canvas slowly filled as time moved forward. I
continued to accumulate and record thousands of images on hard
drives, preserving the digital traces of our experiences. The images
that populate this mural, taken between 2016 and 2020, represent
every moment since we stepped foot on this whenua.
Many significant events have occurred during this time. Initially I
was dealing with the internal and external chaos brought about by
the displacement and disconnection from family and community
that accompanies migration, in conjunction with the difficulty of
finding a home and employment in a foreign land. However, this
mural also reveals the journey of self-transformation which emerged
as we adapted to survive in this unfamiliar territory. Repeating the
process of my brother’s app with these new images illustrates that as
new roots grew, my mind and gut started a process of decolonization.
6. When we found our current home, we were introduced to the
idea of growing our food rather than grass on our front lawn. This
could be seen as the antithesis of the aspiration of progress, but with
my hands in the dirt, I was immediately transported back to my preinternet
provincial life in the Philippines. When I removed the lens
of modernity, I was left with the community of life: friends, seeds,
birds, bees, worms, microbes, fungi, clouds, water, the sun – in
collaboration. It reminded me that this is what constitutes true value
and meaning in life. Walking into the future, I was rediscovering my
past. I learnt to wash my hands by building soil, and the dirtier
my hands got the more my community grew: in my yard, in my
neighborhood, and eventually, as a full-time volunteer in the māra
at Papatūānuku Kōkiri Marae.
This work – paradoxically, generated digitally and presented as a
communal selfie – has revealed that regenerating the culture of
abundance is an antidote to hyper-individualistic modernity and
selfie culture. And the culture of abundance reveals itself as a radical
political transformation and a viable alternative to the tyranny of
convenience and the populism offered through the internet and by
Duterte, Modi, Bolsonaro, Johnson, Putin and Trump.
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Finally, Joshua Serafin, conjures a cosmology:
A series of visual studies on embodying gods and creating
environment. Referencing spiritual background as a child, and
the early knowledge of Philippine (mainly Visayas) mythology,
traditions, and precolonial gender belief systems passed down
through generational knowledge. Transfiguring local experiences to
global consciousness and designing entities.
The impetus of working on “Cosmological Gangbang” is to
decolonize oneself and to question heteronormative cultural and
historical iconographies and ideologies that were implemented
by western colonizers in the Philippines, but also in all colonized
nations. Further, to decolonize the body by using the lens of precolonial
Philippines ideology on gender fluidity to introduce this
queer aspect, and also in relation to other parallel narratives of
indigenous spiritual and culture practices that have existed from
around the world and throughout history.
What came out from the invitation of VIVA: it has set a condition
for me to visualize and materialize a certain narrative.
I wanted to create this new world, this new cosmology in which I
design four different gods coming from different portals which in
the works take the form of a vulva. Which I believe is one of the
most powerful portals existing in our universe. A place where life is
created and comes out. An entity that is powerful enough to give
life. Besides this I believe in this grounded power of woman.
Together with the four gods I created two creatures that serve this
god as a protector, a guardian/assistance; or can also be read as their
own child.
These four gods coming from different worlds who sustain and
maintain a specific realm and take care of specific conditions. One
as the light (sinag), dark (dulom), the all reflection of oneself (Ikaunang
gawang), and the void or the emptiness (ika-duwa na gawang).
These four gods would soon then give a ritual that comes in a form
of, dance, song, text, and nothingness as offering to the pearl mother.
Hence the Gangbang, a Gangbang of rituals. The mother pear who
is the central force will soon then gather all of these practices to be
able to procreate the new god coming from other gods. This new
creature, this new god will soon then need to live in the mortal
world to better understand what humanity needs from a god at this
time.
This is basically the narrative of the work but it is also coming from
my own personal journey. Having been coming from Bacolod, then
moving to Manila, Los Baños, then back to Manila, Hong Kong,
and now Belgium or Europe. This work hopes to encompass all
narratives and cultures I have accumulated from all these places. My
own personal journey as a human framed in another fantasy world.
A fantasy of becoming, and a fantasy of global knowledge put into
one body. A body that is not defined by a specific religion, a body
that is not defined by color of the skin, a body that can become
whatever it wants to serve a bigger purpose in our society.
The kalibutan in the way it constantly turns is mediated by memory,
which gathers its own subjectivity in relation to the perceived
historical event and its historical account. The contingency of
remembering speaks to the vacillation of kalibutan between the
reflection of consciousness and the trace of sensing that does not
seem to stray into cognition. The work of Leo Abaya nurtures this
inclination and the specificity of its articulation in digital space.
According to him: “I envision the Internet site to only show the
“present view” of the landscape every week, not so unlike an episode
of a TV series or the single frame of the time-lapse sequence of an
unfolding event. I may also include handwritten text in the tableau
to complement the varying tones conveyed by the images. This
site can be featured as part of the online presence of VIVA ExCon
2020. To eventually show the evolution of the landscape after nine
months, as a continuum, is contingent on the conditions emerging
as the project unfolds.” Abaya’s diorama digitally dilates over time,
disseminated scene by scene. He calls it Unsang Dapita? This means
which place or location? The goal of Leo was to “shoot, process, and
upload on the website, photographs of this landscape-world that I
fabricated in my home studio, under the COVID-19 lockdown. As
a serialized narrative, one photograph per week will be shown on
this page, each bearing subtle or distinct changes from the previous
one, exemplifying or describing our footprint on this world.” While
the diorama was the main form of the project, photography played
a critical role in conveying the image to cyberspace and in zeroing in
on the minutiae of an incipient world. Vernacular poetry would then
layer the diorama and photography, alluding to personal narrative
and local wisdom.
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Artiko II
Pasipiko II
Atlantiko II
Artiko I
Pasipiko I
Atlantiko I
48 x 72 inches
Oil on canvas
Joar Songcuya
2021

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Wishing Tomb
1m x 0.95m x 2m
Wood
Rhine Bernardino
2021

it is this
Neon
Lani Maestro
2018

her
Neon
Lani Maestro
2018
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Cosmological Gangbang
Video Installation
Joshua Serafin
2020-2021
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Lifted from unfinished diorama slide deck
Leo Abaya
2021
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2003-2016
HP Matte Print
279 inches x 48 inches
2016
2016-2020
Silk matte, acid-free
57 inches x 110 inches
2020
Charles Buenconsejo
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Tribute Exhibition

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Four Artists and an Island
by Patrick Flores
Nunelucio Alvarado, Brenda Fajardo, Leandro Locsin, and Lino
Severino are artists from the Visayas, specifically Negros Occidental,
who have contributed immensely to the history of art and the
contemporary culture of the island, the region, the nation, and the
world. In their respective fields of expression, they have shared a
creative language that both deepens the tone and widens the scope
of the imagination not only through the formal qualities of their
work but through the sharpness and poignancy of their response
to the changing world around them. In the milieu of the visual arts
and architecture, they resonate and inspire.
These artists have also not confined their work to their studios and
professions. They have worked with communities and organizations,
collectives and institutions. They have become teachers and cultural
workers. They can be considered citizen-artists who through their
rootedness in the island and their awareness of a broader context
have revealed the promise of art. They have performed this promise
through artistic endeavor and social commitment.
The exhibition on them for VIVA ExCon was meant to bear
witness and further stir up the sensibility of both art history and
contemporary art. Fajardo’s exploration of historical memory
through the medieval tarot recast in local livery and figurations of
movement, dream, struggle in allegory and epic has kindled interest
in and fascination with a post-colonial imaginarium. Alvarado’s
strident and incendiary depiction of the inequities in plantations
in Negros and its roots in colonialism, imperialism, and neoliberal
political economies is haunting, if not compelling; it is an imperative
aesthetic. The modernism of Locsin, internationalist and yet sensitive
to the local natural and cultural environment, foregrounds a practice
that is thoughtful and elegant. And finally, Lino Severino’s quiet
observations on the telltale signs of heritage in houses, landscapes,
and even political news attest to the artist’s abiding curiosity about
what comes and goes and what must prevail as values for life. To
them the artists of the Visayas can only be grateful.
The initiative to curate an exhibition within VIVA of modernist
artists from the site of the biennale was a way to let modernity
and contemporaneity interanimate. In 2014, it was Jess Ayco in
Bacolod; and in 2016, it was Timoteo Jumayao in Iloilo. In 2021,
Alvarado, Fajardo, Locsin, and Severino generously graced current
art and history.
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Brenda Fajardo
Siya, Ikaw, At Ako (1/15) intaglio (etching), 59 x 78 cm, 1976
Brenda Fajardo (b. 1940, Manila) is a painter, printmaker, theater
set designer, art educator, scholar, and community organizer. She is
Professor Emerita at the Department of Art Studies in the University
of the Philippines (UP) in Diliman. She received her bachelor’s
degree in Agriculture from UP Los Banos in 1959 and her master’s
in Art Education from the University of Wisconsin in Madison
in 1967, where she wrote the thesis “A basis for art education in
the Philippines.” In the same year, with fellow artist and educator
Araceli Dans, she founded the Philippine Art Educators Association
(PAEA), which spearheaded training programs and resource
development for visual arts teachers in the country. In 1970, she
joined the Philippine Educational Theater Association (PETA)
as set designer and eventually became the curriculum head for its
workshops. She was one of the founding members of the Kasibulan
(Kababaihan sa Sining at Bagong Sibol na Kamalayan) in 1987.
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She received the Thirteen Artists grant from the Cultural Center of
the Philippines (CCP) in 1992 and the CCP Centennial Honors for
the Arts in 1999. She has been teaching with the UP Department
of Art Studies (formerly Department of Humanities [established
1959]) since 1976 and eventually became its Chairperson. She
was the curator of the UP Vargas Museum from 1995 to 2001.
She became the Vice-Chairperson of the National Commission for
Culture and the Arts Committee on Visual Arts (NCCA-CVA) in
1995 and its Chairperson in 1998. In 1996, as a member of NCCA-
CVA’s education subcommittee, she directed the 1st Sungdu-an, a
national travelling exhibition. She received her PhD in Philippine
Studies from UP in 1997. Throughout her career, she founded
other arts and cultural organizations such as the Baglan Art and
Culture Initiatives for Community Development in 1993 and the
Dalubhasan sa Sining at Kultura (DESK) in 2002.

a. b. c.
h.
d.
g.
f.
e.
(clockwise) a.Of Gods And Goddesses (4/10) intaglio (etching) 53 x 45 cm 1972 | b. Anxiety Circa 1970 (9/10) intaglio (etching) 75.7 x 53 cm 1970
c. Figures In Motion VI (11/15) intaglio (etching) 53 x 45 cm 1970 | d. Moon God (13/15) intaglio (etching) 53 x 78 cm 1976
e. Monument (5/10) engraving, aquatint 30.5 x 40 cm 1970 | f. Buka Ngunit Tikom (1/13) intaglio (etching) 45.5 x 54.5 cm 1974
g. Sarili Sa Kahon (10/15) intaglio (etching) 37 x 50 cm 1974 | h. Battle Of The Sea Gods (3/15) intaglio (etching) 53 x 78 cm 1976
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a. b.
c. d.
(clockwise) a. Nang Sumilip Ang Buwa Pumasok Ang Dilim (5/10) intaglio (etching), 47 x 45 cm, 1974 | b. Contrapposto (2/9), collograph, 43.5 x 30.5 cm, 1976
c. Pakikipagsapalaran (1/12) intaglio (etching) 35 x 27.5cm 1978 | d. Liwanag At Panahon (4/10) intaglio (etching) 37 x 45 cm 1974
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a.
b. c.
d.
e. f.
(clockwise) a. Baraha (Araw, Buwan, Bituin, Daigdig) colored ink on paper 48.2 x 24.13 cm 2021| b. Baraha (Ang Araw, Ang Buwan, Ang Bituin) colored ink on
paper 37.85 x 72.39 cm 2021 c. Baraha (Babaylan, Kahinahunan, Ang Gaga, Salamankero) colored ink on paper 38.1 x 28.45 cm 2021 | d. Baraha (Magkasuyo,
Ang Sasakyan, Ermitanyo, Taong Binigti) colored ink on paper 37.85 x 24.89 cm 2021 | e. Baraha (Ang Buwan, Ang Bituin, Ang Araw, Daigdig) colored ink on
paper 38.86 x 25.91 cm 2021 | f. Baraha (Salamangkero, Emperatris, Emperador, Ang Papa) colored ink on paper 38.1 x 24.38 cm 2021
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Nunelucio Alvarado
Untitled 45.5” x 101” acrylic on canvas
Nunelucio Alvarado (b. 1950, Sagay City) finished his bachelor’s
degree in Advertising at the La Consolacion College School of
Architecture and Fine Arts in Bacolod City in 1968 and went to
Manila to pursue Fine Arts at the University of the Philippines
the following year as a scholar of Purita Kalaw-Ledesma. While in
Manila he became an active member of the activist organization
Nagkakaisang Progresibong Arkitekto at Artista (NPAA) and
became Chairperson of the organization’s Western Visayas chapter
soon after. After the declaration of Martial Law, he was drawn
to Kaisahan, a group of painters that cultivated a strong political
and social orientation. He returned to Bacolod in 1979 and cofounded
the collective Pamilya Pintura in 1980. In Bacolod, he
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became president of the Art Association of Bacolod and was one of
the founding members of the Concerned Artists of the Philippines-
Negros when it was established in 1983. He joined the artist
collective Black Artists of Asia in 1987.
In Alvarado’s paintings, as critic Alice Guillermo describes them,
we see “not a land of sweetness and light as Amorsolo evoked [but
a] Bacolod fraught with dark shadows and sinister presences against
passages of blazing light in a harsh landscape.” He received the 13
Artists grant from the Cultural Center of the Philippines in 1992
and was part of the inaugural Asia-Pacific Triennial of Contemporary
Art in Brisbane in 1993.

a. b. c.
f.
e.
(clockwise) a. Mahal na Hari 77.5” x 53.5” acrylic on canvas | b. Mahjong 78.5” x 53.5”acrylic on canvas | c. Palangga Ka Namon 79” x 53.5” acrylic on canvas
d. Dynamite Fishing 78” x 53.5” acrylic on canvas | e. All the Way 78” x 53.5” acrylic on canvas
139

a.
b.
a. Tiempo Muertos 9.5” x 67” acrylic on canvas
b. Katawhay sang Pangabuhi 58” x 67” acrylic on canvas
140

Curator’s Notes
by Patrick Flores
The film Ang Kalibutan ni Nunelucio
Alvarado takes us to the lively shore, the
encompassing horizon, and the copious
sky of the artist’s universe, or kalibutan in
the Visayas. It is a heartfelt film that offers
details of Alvarado’s history as a political
artist and his everyday life today in Sagay
in Negros Occidental. While intimate in
its portrayal of a full-bodied practice, it is
also at the same time elaborate as it lays
out the extensive context of Alvarado’s
generous involvement in the community,
his relationships with family and cultural
and government workers, his workshops
with aspiring artists, and his effort to
adorn the neighborhood with vivid
paintings. Across the film, we discern a
sense of play in the animation within the
documentary mode, alternating with the
seriousness of commitment, the urgencies
of society, and the poignant inspiration
for a future. Alvarado’s kalibutan dwells
deeply in Sagay and enlivens the universe
around and within it. The film evokes this
microcosmos.

Leandro Locsin
Leandro Locsin (1928-1994, Silay City) received the National
Artist award for Architecture in 1990. He obtained a bachelor’s
degree in Architecture from the University of Santo Tomas in 1953,
and founded the architecture firm Leandro V. Locsin Partners. He
was a Ten Outstanding Young Men (TOYM) awardee in 1959 and
a recipient of the Fukuoka Asian Culture Prize in 1992. Among
his notable works are the Church of Holy Sacrifice in 1955, the
Doña Corazon L. Montelibano Chapel inside the University of St.
La Salle in Bacolod in 1966, the Cultural Center of the Philippines
in 1969, the Folk Arts Theater in 1974, the Philippine International
Convention Center in 1976, and the the National Arts Center in
Los Banos in 1976. His last work is the Church of the Monastery of
the Transfiguration in Malaybalay, Bukidnon, completed in 1983.
He designed the Philippine Pavilion for the Expo ’70 in Osaka
142
in 1970 and the New Istana Nurul Iman State Palace and Seat of
Government for the Sultan of Brunei in Bandar Seri Begawan in
1984, commissioned through an international design competition
in 1980.
Locsin is known for a brutalist sensibility in exploring the
simultaneous malleability and durability of concrete, and a
modernist idiom of cantilevers, lattices and trellises, pyramid and
dome roofs, robustly informed by vernacular design elements. As
architecture historian Gerard Lico describes his work: “His works
are characterized by pure, rational compositions that demonstrate
a mastery of the minimalist elemental geometry of floating mass.
His works possess enigmatic qualities—floating volumes, light and
heavy, massive yet buoyant.”

143

144

145

Lino Severino
Untitled 24 x 30 inches acrylic on canvas 1967
Lino Severino (1932-2004, Silay City) is a pilot and a painter. He
joined the Philippine Air Force in 1952 and became a commercial
pilot after he retired from military service. He was a member of
a number of painting groups in the 1970s, such as the Saturday
Group, the Thursday Group, the Antipolo Group, and the Samahang
Tubiglay organized by Vicente Manansala. He participated in
numerous group exhibitions, such as the Art Association of the
Philippines Annual Competition in 1955 and the CCP Annual in
1978. He was the art director of the Miladay Art Center in Makati
in the 1970s.
Severino is best known for his Vanishing Scene series, hyperrealist
paintings of facades of turn-of-the-century heritage houses in Ilocos
Norte, Vigan, Iloilo, and Silay City. In his work, he captures the
weathered grain of wood, grit of stone, and detail of ironwork
window ornaments and verandillas. Critic Alice Guillermo has
described his works as having a “somber, elegiac atmosphere that
distinguishes them from similar works by other artists which, while
skillfully executed, have a literal quality that does not rise above
material detail.”
146

a.
b.
a. Vanishing Scene #243 47.5 x 31.5 inches acrylic on canvas 1994
b. Vanishing Scene #271 31 x 47.5 inches acrylic on canvas 1996
147

#667 19.5 x 14 inches watercolor on paper 1979 | #1842 14 x 21 inches watercolor on paper
148

#1234 21.5 x 14 inches collage on canvas 1986
149

Essay Divider

Essays

My VIVA ExCon
by Raymund L. Fernandez
Nobody owns the VIVA ExCon. And because of that everybody
owns it in his or her own way. VIVA is a theoretical construct that
can’t be fully defined in the sense of people, place, or even affinity.
It was never an organization, nor was it ever a movement. It is an
occurrence deriving from a specific history. The totality of which is
still being written. It is a feast with an open-ended schedule, more
or less two years. It is a movable fiesta in more ways than one. Every
VIVA that was ever held seemed like it would be the last one. And
yet, inevitably, people looked forward to the next. From experience,
we remember it sowed extremes of strife and division but along with
that: fulfillment and pride. It kept us together. It is weed. It grows
that way. And yet, it is also as amorphous as ether, as ethereal as
smoke, impossible to put one’s head around.
It began in Bacolod as a project of Black Artists of Asia (BAA). We
missed the first one but attended the second held still in Bacolod
where it would return several times.
It is impossible to talk about VIVA with perfect honesty. Even with
limited honesty one takes a risk. So put it on record that I was
invited, nay, half-obligated to write this by Manny Montelibano
from Bacolod. He bears half of the burden of guilt if this should
offend. The other half, mine. And start with the premise that the
best way for me to write about VIVA is not to write about it in
its entirety nor as history. Much better to write about it as tiny
microcosms. There would be a number of VIVA ExCons that would
be organized by Cebu. I was actively involved only with one, the
first. I still call it to myself “My VIVA ExCon.”
VIVA ExCon 2008, Cebu City
But it wasn’t mine exclusively. There were so many people involved
that were they not there the event would not have happened as it
did. They are too many to mention here. I admit only that I was
some sort of figurehead of a community that at that time had only
innocence for its greatest strength. I was teaching in the Fine Arts
Program of UP Cebu. There was Roy Lumagbas who should have
been teaching in UP but chose not to. Then there were the leaders
of the Fine Arts Students Organization. We organized PUSOD
Incorporated, with the longer name: Open Organization of Cebu
Visual Artists, which organization would be the formal proprietor
of that event.
152
Roylu had been a consistent leader and organizer of the artist
communities here. He was a founding member of the Fine Arts
Students Organization of the Fine Arts Program of the University
of the Philippines College Cebu. This college would later become

UP Cebu, an autonomous unit of the UP System. Roylu and this
writer wrote the first FASO Constitution. Roylu was also a founding
member of Pusod.
I was some sort of ambassador to Manila of that community. Before
the NCCA was even founded I was elected to represent Cebu in art
conventions on the instance of the late National Artist Jose Joya.
When VIVA was held in Dumaguete I became Cebu’s representative
to the Committee of the Visual Arts (CVA) of the National
Commission of Culture and the Arts (NCCA). Brenda Fajardo,
Imelda Cajipe “Mepz” Indaya, Pandy Aviado, Charlie Co, Reggie
Yuson, Karen Flores, were also members of that committee. The
CVA saw VIVA as a success story inside the larger narrative of the
social interfaces between government and artist communities all
over the country. In our case particularly the Visayas.
So imagine at this point the difficulty of having artists deal with
government bureaucracy, filling up government forms, filing receipts,
and properly liquidating funds after each project. That was one of
the greatest challenges of the event. And so the Cebu community
organized a “Secretariat,” which rehearsed and learned as much
of the process from agents of the NCCA. The social organization
seemed to be the easier part. The network of communities all over
the Visayas was relatively well set. The majority of PUSOD members
came from UP Cebu but there was an active effort to bring in other
artists affiliated with other schools - University of San Carlos - and
other artists as well who were not affiliated with the academe. This
effort met some amount of resistance. UP represented “new” art.
The established artists were of a more “conservative” bent. They
continued the stylistic legacy of Martino A. Abellana who passed
away in 1988. He lectured at UP Cebu and the Cebu Institute of
Technology.
Jose Joya together with Prof. Julian Jumalon and Martino Abellana
founded the Fine Arts Program of UP Cebu in 1975. Joya passed
away in 1995. And so the people who led the first Cebu VIVA
were the generation of artists who came after them. In the mid-
1980s, Jose Joya organized an election in UP Cebu to elect a
representative to the Commission on the Arts based at the National
Capital. This institution preceded the NCCA. I was elected. And
so I travelled regularly to Manila for conventions and meetings.
There I met leading figures of Philippine arts, Ben Cab, the late
Roberto Villanueva, Santi Bose, and many others. These trips were
always funny experiences for me. I spoke only Sugbuanong Binisaya
and English. Everyone else spoke Tagalog, which I only marginally
speak. I soon developed the reputation of being the “Englisero’’ who
did not know how to say po. This last point was raised pointedly
by the late Bobi Valenzuela, well known curator, whose dedicated
guidance would prove invaluable to us who would later organize the
first VIVA ExCon in Cebu.
153

VIVA ExCon Cebu, which we called “Tagay Bisaya” was the fifth
time ever that VIVA ExCon was held. “Tagay” literally means to
pass the cup around. The cup presumably containing an alcoholic
beverage. The first two in Bacolod and the third in Dumaguete. Cebu
attended the two latter ExCons as a large delegation of professionals
and students. At the second VIVA held in Bacolod it was decided
that VIVA ExCon should travel from island to island. It was in
Dumaguete where the network of artists from Bacolod, Dumaguete,
Iloilo, and Cebu were solidified. Cebu’s VIVA came after Iloilo’s.
Months after that, as a preparation for the Cebu VIVA, artists from
these four cities exhibited at SM Cebu Art Center in a show entitled,
Adlaw, Bulan, Kalibutan. This show was a big success and prepared
the local community for the bigger event that would happen months
after. This bigger event would be joined by delegations from Bohol,
Leyte, Samar, and Panay. VIVA Cebu focused itself on the local.
One of the critical points raised especially by Bacolod was that it
was too local. Bacolod envisioned a more international event. But
Cebu was very inwardly focused at that stage in its developments.
It placed a high priority to goals of integration and strengthening
its own as well as the Visayas network. It was just learning how to
strengthen itself as a community with the rest of the Visayas. The
idea of globalism was not high in its priorities.
The artist community of UP Cebu began as a tight knit community
that was rather isolated from the bigger world out there. The Fine Arts
Program went through a period of critical decline with the death of
Abellana and the retirement of its older faculty. It was almost closed
down by UP bureaucrats for having too small a student population.
The Fine Arts Student Organization and faculty of the program
solved this problem by proactively organizing exhibits all over the
Visayas to advertise itself. These exhibits were called “Tabo,” which
word in Sugbuanon means “market day” in the rural communities.
The sellers and buyers of the traditional Tabo were always itinerant.
This effort to announce itself and reach out to other cities in the
Visayas was succeeding by the time Cebu organized its first VIVA.
In a profound sense Cebu’s VIVA only continued this agendum.
Quite certainly, Cebu would consequently be more conscious of
the outside world, which outside world included especially Manila.
It would become more street-smart especially where dealing with
the NCCA was concerned. For better or worse, it lost much of its
innocence.
VIVA ExCon 2008, Cebu City
154

At one time in the many fora of VIVA I had warned how VIVA
and NCCA were also political arenas for artists. But this was an
arena without ground rules. Any sense of order herein was mainly
accidental and intuitive. I suggested there ought be ground rules for
these engagements otherwise it would always be hard to consolidate
any achievements. It was unable to do this, but perhaps not for
the lack of trying. Internal struggle became inevitable and obvious.
Without ground rules, the center would always be contested ground
that favored those who were already positioned there. I decided for
myself that the only way I can personally deal with it was to operate
at the margins.
I stayed with the CVA for only a full term and then Estela Ocampo-
Fernandez would replace me. She served her full term of three years.
Knowing the political nature of that position we felt we should set
a good example of not staying too long in that position. It was good
training ground best reserved for young people. You would have to
judge for yourself if this example was even noticed by those who
followed.
But before all that, 1998 and the Cebu VIVA ExCon held at the Boys
Scout Camp in Beverley Hills. This was camping ground lacking
hotel amenities. Those requiring this were billeted in hotels nearby.
It was a young-person’s VIVA held in camping grounds with a small
pool and a large covered court for assemblies and lectures. There
were camp-fire meetings every night. Workshops and exhibits in the
day time. Students and alumni of the various art schools joined and
pitched-in with the work; all these working towards a culmination
- the last evening of celebration after all the assessments had been
done, the paperwork signed, the final official words of goodbye. The
ritual length of rope was passed around until everyone present held
a part of it. And then the promise to keep it going and see you again
in two years, more or less.
And then it began. First the drums, then any sound-making device
that could join and bring us into the edge of cacophony, including
the late Rudy Manero’s motorcycle screaming close by. All these
noise bringing us to the edge of something as ill-defined as VIVA
itself. Before the darkness took me, I remember Nune Alvarado and
his kids and the crash of something sounding like cymbals. Only the
next morning would we find out we would have to replace most the
silver serving trays. But no one died nor ended in the hospital. We
all returned home feeling quite fulfilled and pleased. We thought we
did a good job.
155
References:
VIVA ExCon Community Artchives,
Conversations with Estela Ocampo-Fernandez
Personal Recollection
Roylu’s corrections to the original article:

From Bacolod to Roxas:
LOOKING BACKWARD,
SURGING FORWARD
by Ma. Cecilia Locsin-Nava, Ph.D.
After three past hostings (1990, 1992, 2014) Bacolod welcomed
back on November 13-16,2020 the fourth VIVA ExCon to its
shores. A local self-help effort designed to level the playing field for
provincial artists, VIVA ExCon was mainly the handiwork of Black
Artists of Asia (BAA), a handful of dynamic, socially committed
visual artists still active in the art scene. Originally composed of
Norberto “Peewee” Roldan, Charlie Co, Nunelucio Alvarado and
Dennis Ascalon, the group traces its roots to Pamilya Pintura, a
loose aggrupation of artists that banded together in 1980 initially
based in La Consolacion College. Although VIVA ExCon has since
then been adopted by the National Commission for Culture and
the Arts (NCCA) as the basis for local initiatives, it did not initially
get government support until it succeeded in taking its baby steps
in 1990, then CCP extended support in 1992 for the 2nd VIVA in
Bacolod and NCCA in 1996 for the 4th VIVA in Iloilo.
Organized as both an exhibition and conference, the first component
was meant not only to “showcase contemporary works of visual arts
from the different islands” but also to” promote visual art forms
reflective of the islands’ cultural influences, historical traditions
and current social situations aside from encouraging innovative,
experimental or collaborative works among Visayan visual artists.”
Jamming Session at VIVA ExCon 2, Bacolod City
On the other hand, the second component was meant to provide
a “mechanics for the discussion and assessment of parallel artistic
development in the islands, give an opportunity for analyses of
academic theories and other relevant issues and serve as the context
for a better understanding of various aspects of contemporary art
practices.” It is likewise meant to provide a “historical perspective
on the various art and craft traditions of the islands and generate
resolutions.”
156
Given this heavy burden, VIVA ExCon’s 28-year peregrinations
from Bacolod (1990, 1992, 2014) to Dumaguete (1994, 2012)
to Iloilo (1996, 2016) to Roxas City (2018) to Cebu (1998,2008,
2010) to Tacloban, Leyte (2000) to Tagbilaran, Bohol (2002)
and to Calbayog, Samar (2006) had been anything but smooth.
Nevertheless, it has endured.
Designed to update and upgrade Visayan artists, the conference/
exhibit is a work in progress that continues to fine-tune its varied
elements as it builds on its past experiences, looking backward in
order to surge forward. Significantly, noting the recommendation
in NCCA’s 2008 report of the need to subsidize the attendance of
more struggling artists, the first thing the organizers of the 2014

Bacolod VIVA ExCon did when it was their turn to host was to
ensure through fund raising the totally free attendance of one artist
/representative for each of the eight participating island provinces.
In the course of its over two decade-long evolution, VIVA ExCon
has gone beyond what its original conceptualizer, Peewee Roldan
conceived of by taking on dimensions it originally did not have. For
instance, although not an award giving body, it has instituted the
Garbo sa Bisaya, a bi-annual award conferred on “artists and cultural
workers in the Visayas who have demonstrated remarkable practice
in their respective fields…to sharply profile the contributions of
colleagues in the field so that they could inspire both peers and
the succeeding generation” (Flores 2014). Furthermore, expanding
Garbo’s scope of coverage, it has awarded not just visual artists but”
other agents in the field of culture and humanities who sustain the
ecology of art.” Thus, in 2012 the awardees included in addition
to visual artists Antipas Delotavo, Mark Justiniani and Raymund
Fernandez, film and theater director Maurice “Peque” Gallaga, art
administrator and cultural documentor Victorino Manalo as well as
publisher and book designer Florentina Colayco. Continuing this
innovation, the organizers of the 2014 VIVA ExCon in Bacolod
awarded not only painter/sculptor Rafael Paderna and painters Jose
Yap and Raul Agner, but also filmmaker Nic Deocampo and art
historian and critic Patrick Flores.
VIVA ExCon 2014 Bacolod
157
On the other, hand, although at one point in its history VIVA
ExCon closed its doors to non-Visayan participants from both local
and foreign parts in 1994, true to Roldan’s original suggestion “to
link up beyond Black Artists of Asia (BAA),” VIVA ExCon 2014
showcased not only the best of cutting-edge Visayan art in an exhibit
entitled LIFEFORCE at the Orange Gallery, but brought in strong
foreign participation in three collaborative exhibits. These were
KATALISTA at Museo Negrense de la Salle, a joint effort between
Ilonggo artists who were graduates of the University of St. La Salle
ranging from hobbyist Dino Cajili to award-winning theater and
film director Peque Gallaga to square off with a powerhouse cast
of Korean artists with their multiple degrees and crowded resumes
and two shows that showcased the works of local artists and SAGE
(South East Asia Assistance Art Group Exchange) participants. These
were: IMPARTIAL ORIGINS at the newly-opened House of Frida
Gallery and another show at the new Bacolod Government Center.
The result was a much richer canvass of experiences that “reiterates
the shared geography of participating countries, Indonesia, Malaysia
and the Philippines.” Among the participating artists was Raoul
Ignacio Mallilin Rodriguez, Philippine 13 Artists awardee for 2009.

Despite differences in styles and techniques due to their individual
histories, the artists threw into relief, particularly in the KATALISTA
exhibit, the Philippines and South Korea’s “shared experiences of the
Cold War, colonial rule, and rapid social change “as well as a glimpse
of how the Philippine’s People Power Revolution has impacted on
the rest of Asia.
Nevertheless, whether local or foreign, 2014 foregrounded many
front liners in contemporary arts’ progressive shift to art that
transcends borders. Epitomizing this were Russ Ligtas’ opening
night live theatrical performance (with corresponding digital
version) at the Orange Gallery of Madam Binayaan regarding the
travails of unrequited homosexual love in a homophobic society
that combined opera, kabuki, and mime a la Marcel Marceau as
well as Korean artist Black Jaguar’s Bath at Noon, a video recording
of a presentation at the Museo Negrense de la Salle that combined
photography, painting, and artist’s performance in front of the
old Jeollanamdo Provincial Office in Gwangju, where she ritually
washed her body upon which a target pattern was drawn to evoke a
Ssitgimgut, a shamanistic ritual for “washing away the grudges and
bitter feelings of the dead” for the anonymous victims of” bloody
gun fights between civilian militias and the army who were killed
“near that historic spot.
Meanwhile in the wake of the recent earthquake in Bohol and supertyphoon
Yolanda in Leyte, the 2014 VIVA ExCon presented an
exhibit at Orange Gallery curated by art historian and critic Patrick
Flores entitled LIFEFORCE, that showcased the destructive as well
as the healing quality of art.
Focusing on reflections on “the vitality and the vulnerability of
the socialworld, shaped by a range of efforts and structures and
opportunities from people to state power to culture, collectives
and solidarities,” the exhibition showed how varied forms of art
produce “forms of life.” They were represented among others by
Alma Lacorte’s lyrically idyllic and perpetually-renewing paper
forest Ig-uli in the face of attempts to refuse or disrupt these forms
through the violence of nature (eerily evoked by P.G. Zuloaga’s
Dalimu-os (Tempest) and the inhumanity of man (viscerally shown
by Iggy Rodriguez’s Into the Realm of Anxieties). On the other
hand, because the artist, according to the show’s curatorial notes
“inevitably reflects on these life forms that are offered up to the
public in exhibitions,” they may be interpreted as “biographies” or
“narratives of becoming and prevailing, of failure and exhaustion.”
Thus, using a gamut of materials from papier mache (Jana Jumalon’s
158
Fortress) to scrap metal (Sam Penaso’s Metalscape I and 2), artists
grappled with “ the politics of survival, the limits of human talent
and discernment, the species of a changing life world, inventions
and technologies, suffering, wellbeing.“ A number of them attested
(as photographs of survivors picking up the pieces of their shattered
lives show), to what extent the great American novelist William
Faulkner called man’s capacity “not just to endure but to prevail.”
Meanwhile, the choice of Jess Ayco for a retrospective was
serendipitous because if there was an artist who transcended
boundaries, it was Jess. Given his many-sided talent, it was not
surprising that Jess’ retrospective covered works that ranged, among
others, from photographs to paintings; from sculptures to set and
lighting designs pf plays he directed. Hence, it was apt that the
usherettes in the show at the storied ancestral house museum Balay
ni Tana Dicang in Talisay wore costumes he designed for his many
productions with color combinations only Jess could dream of.
In his curatorial note to the Ayco retrospective entitled Fugue Frolic,
art historian and critic Patrick Flores decried the fact that while the
heroes in the history of the struggle for modernism in Philippine
art are those based in Manila, accounts gloss over figures based in
the provinces who nevertheless played a significant role in giving the
art scene a “more robust and textured character.”
Jess Ayco was certainly one of them for though born in Manila he
traced his roots to Bacolod. Flores contends Ayco deserves to be
“more sharply profiled as a modern artist whose artistic sympathy
was broad and inspiring” because “his medium and range of themes
were diverse and his vision was ample and venturesome.” Jess, for
whom no artistic work was too humble, refused to dumb down his
art works for the Bacolod provincial audience and brought friends
like Paris-based Nena Saguil to Bacolod to exhibit her works and to
lecture. Consequently when La Consolacion College colleagues like
Luisa Medel Reyes used to tease him about his audience’s inability
to pronounce the esoteric titles of his art works like Fugue Frolic, let
alone, understand them, his characteristic response was an eloquent
shrug and an enigmatic smile.
No such esoteric treat awaited participants to the 14th VIVA ExCon
that a rejuvenated Iloilo City waited twenty years to re-host. Its
former glory restored by a vibrant economy, the once “Queen City of
the South” welcomed the 2014 Biennale with a bang that showcased
its many museums, galleries and old structures that had undergone
adaptive re-use. Its pride in its history and traditions reflected in

VIVA ExCon 2018- Roxas City, Capiz
159

the abundance of murals that dotted the city’s scape (courtesy of,
among others, corporate giants with deep social responsibility and
equally deep pockets like Ayala and Megaworld), VIVA ExCon
Iloilo encouraged delegates to view these either through a bike or a
jeepney tour.
As articulated by the design of the biennale’s souvenir T-shirt, the
delegates were invited to embrace (Hakus) the arts of the island
as entertainment galore was provided from the first night at the
University of San Agustin auditorium where visitors were treated to
an evening of Ilonggo songs, dances and drama (that left many of
us, Bacoleños green with envy for not knowing our culture better)
to the last night where the award-winning chorale of John B. Lacson
Maritime Foundation University serenaded the visitors with a select
repertoire during the farewell dinner at Casa Real hosted by Mayor
Jed Mabilog who personally welcomed the delegates.
Ilonggo hospitality was likewise extended by the provincial
government when Governor Arthur Defensor opened the doors of
his home to a dinner where visual artist Ed Defensor stood in for
his absent brother.
Pavia abstract sculptor Timoteo Jumayaw reigned alone the next
night at the Iloilo Museum in a retrospective of his works while
fellow visual artists shared the limelight with other Garbo awardees at
the Casa Real. Two of them were from Cebu: Antonio Alcoseba and
Javy Villacin, one from Iloilo, Alain Hablo and one from Bacolod,
Manny Montelibano. On the other hand, Ilonggo filmmaker Elvert
Banares and Canadian-based film animator Alex Exmundo raised
the host city’s win to three while Tacloban claimed the lone female
awardee in teacher/artist Dulce Anacion.
The book fascinated Peter no end because like most Western Visayans,
he believed in the veracity of the Maragtas. Convinced of a Visayan
“birth of the nation” tracing its roots to the Madjapahit empire,
Peter bought wholesale the account of the mass migration from
Borneo to Panay of our Visayan ancestors and the barter of Panay
from the Ati chief Marikudo. For the artwork Peter and Moreen
conceived of a sculptural structure consisting of bamboo splints
and rattan in the shape of a jar evoking the Manunggul jar with its
concept of navigating another world but capped this with a sailboatlike
structure that alluded to the caracoa or the Western–Visayan
warship which was manned in the olden days by the artist who
as navigator determined the direction of the trip. The installation
aimed to evoke a time when the artist as the multifaceted babaylan
played a central role in society not just as” keeper and transmitter of
racial memory” or as adviser or counselor the way Bangotbanwa in
Shri-Bishaya did to Datu Sumakwel but as “healer, historian, artist,
ritual-producer, priestess, proto-scientist and mediator between the
material and spiritual world.”
As VIVA ExCon moved from two highly urbanized cities to a less
urbanized one, its focus shifted to the rural which the organization
admitted had been neglected. Consequently, aspiring to return to
its roots, VIVA ExCon Capiz reimagined the rural as the source
of inspiration articulated by the lullaby Dandansoy. This nostalgic
theme was faithfully carried out from the opening ceremony
where a Panay Bukidnon chanter arrayed in traditional panubok
performed a ritual to bring good luck to the conference /exhibit
down to an exhibit entitled Bulad at Baybay Beach, Roxas City by
Karay-a Koliktib (Pearl Diano. Alexander Espanola, and Brian Liao)
which refers to the humblest fare in Western Visayan cuisine that
cuts across all linguistic groups: Ilonggo, Akeanon, Karay-a.
My recollections of the 2014 Iloilo VIVA ExCon are colored by
the fact that I came both as participant as well as observer, having
teamed up with two young, talented artists: James Peter Fantinalgo
and Moreen Austria with whom I worked previously in a sculptural
exhibit entitled LAWIG which opened May 19, 2016 at the Cultural
Center of the Philippines. The show explored the search for roots
inspired by my first book History and Society in the Novels of
Ramon Muzones (2001).
On the other hand, our entry for the Iloilo VIVA ExCon took its
cue from award-winning Hiligaynon novelist Ramon Muzones’
recasting of Monteclaro’s controversial Maragtas which he entitled
Shri-Bishaya, whose translation into English I did the year before.
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The Panay Bukidnons likewise took center stage in Liby Limoso’s
Conjunctions of Meaning and Place at the Water tank Museum where
the face of Manlilikha ng Bayan Federico Caballero was projected
on the wall as his chanting of the Panay epics or sugidanun (now
taught at the School of Living Traditions) was played. Reinforcing
the nostalgia for the past also at the Water Tank Museum was a
tribute to pioneering artists, a number of them with unfinished
degrees, who laid the groundwork for visual arts in Capiz. Among
these were: Lino Villaruz and Ricardo Lauz, founders and initiators
of the Art Association of Capiz, the oldest and largest art group
in the province; instructors Arcadio Apolinario, Nelson Sorillo and
archetypes: Terry Gavino and Mike Cartujano.

Meanwhile, raising the quotidian to the level of art, interviews
with and images of ten habitues of an actual coffee shop called
Maricel café were chronicled and tacked on the walls of a newly
built bamboo hut called Balay Sugilanon (Story House) near the
Ang Panublion Museum which simulated the ambiance of a coffee
shop, a traditional meeting place in Philippine culture where people
gather to exchange, analyze, and disseminate news. The concept
came from Japanese artist Tatsuo Inagaki who worked with people
“who made social contributions through art like students, local
painters, artists and educators from the town of Pila.” Inagaki first
came to the Philippines in 1992 during the second VIVA ExCon
and had been in and out of the country ever since.
As in past VIVA ExCons, one of the best-attended sessions was the
Island Reports because of the updates on the artists’ situations. This
year’s Island Reports reveal the same problems continue to bedevil
the provincial artists. These are the high cost and inaccessibility of
art materials, the lack of exhibition venues and spaces, the absence of
an art market, the lack of training programs for artists, indifference
of local government to art, the shabby treatment of artists by
government officials, etc. Veteran artists who have it down pat like
Irma Lacorte suggested to her colleagues not to limit themselves to
traditional art but instead explore nontraditional materials of which
there are plenty in the environment. Artists from Dumangas have
done this. So have student artists of John B. Lacson Foundation
Maritime University who during the Iloilo VIVA in 2014 exhibited
sand paintings in their school’s art gallery. Other artists have pointed
out the use of alternative materials like pina and abaca fabrics,
coffee, clay, driftwood, stones, graffiti, digital media and recyclable
electronic trash. If I recall right the last was done years ago by visual
artist Ral Arogante who taught it in one VIVA ExCon workshop).
Getting my vote for the most moving island report was Siquijor
poet, visual artist. Mystic, masseuse Jonel Tumarong who delivered
his in the form of a poem entitled The Legend of Molave Island
regarding how foreign intrusion destroyed their culture breeding
inequalities and reducing him from artist to mere craftsman. Thus,
describing his works on which he made money, he confesses with
perfect candor: “I don’t know if it’s art or just plain hunger.”
VIVA ExCon 2014 Bacolod
Impressed by the success of past VIVAs, participants were one
during the island report session in their suggestion that VIVA be
institutionalized within the NCCA so that among other things, the
release of funds for the conference exhibit every two years can be
expedited. Considering the present dynamism of VIVA, NCCA
commissioner Teddy Co said this was possible but it will take time
161

and some intense lobbying. I warned however that based on my
own experience in dealing with NCCA one has to be prepared to
fork out one’s own money because NCCA funding always comes
late. Commissioner Teddy Co tried to belie this shifting the blame
to COA and contending this was only true of individual grants like
mine since they are based on reimbursements but not of groups
or organizations like VIVA. Older hands at the game however like
Rock Drilon and Charlie Co however supported my contention
when they shared their own experiences on how they had to hastily
raise funds prior to the opening of the exhibit/conference because
the money from NCCA came late. Rock said, in a way this was good
because it taught the Iloilo group to raise their own funds which
they called VIVA ExCon Beyond because their fundraising was so
successful it did not just fund VIVA ExCon 2014, it underwrote the
cost of participation of 50 participants to the Capiz VIVA ExCon to
which Iloilo contributed P100,000. Furthermore, with their leftover
money they have since then sponsored fora, workshops and talks
and have extended grants not only to visual artists but to musicians
and writers. Because of Iloilo’s success the moderator, Angel Shaw
urged Rock to share their experience with participants from other
provinces who might want to host VIVA.
were the artists, they even favored creating a party list called Partylist
Pintor with Charlie Co as representative. Throwing cold water to
these suggestions was Melanio Olano, a development planner who
had experience working with government people. Olano revealed
that one cannot compel local government officials to work on one’s
project because if it is not in their plans, it will not happen.
Getting the subject back on track was Pewee Roldan who called the
body’s attention to the fact that VIVA ExCon is “not just about end
products like putting up an exhibition or running a conference, it is
also a process.” Thus, despite VIVA ExCon Capiz’s success because
of a well-spent P10,000,000 from donors, it also had the support of
both the provincial and the local government. So, he advised artists
to learn how to engage local government because in the final analysis
it boils down to “whom you know.” Danni Sollesta of Dumaguete
reinforced this point by sharing his own heartbreaking attempts to
elicit local government support for arts and culture which he finally
did after two decades of trying when a governor of their province
who admitted knowing nothing about art and culture nevertheless
donated out of his own pocket five thousand pesos out of sympathy
for his cause.
There was no doubt that in Iloilo’s case success bred further success
because the construction boom in the city which had fueled the
local economy brought more projects for local artists (50 shows for
2017!) who in turn proved their mettle by winning national awards.
These included John Paul Cabanalan, Alex Ordoyo, Ronald Llanera,
Jeanroll Ejar and John Orland Espinosa and Philippine Art awards
finalist James Salarda.
However, participants were undecided on whether they needed more
legislation to help artists or more opportunities to work with local
government. There were those who threatened to force their public
officials to give in to their demands while some others wanted to
aggressively push for the creation of local art councils. So embattled
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Meanwhile because of the climate of fear extrajudicial killings bred
a delegate from Bohol asked whether in other provinces’ artists have
responded to this development as they did by mirroring it in their
art. Those from Cebu and Dumaguete answered in the affirmative.
The subject of the artist’s responsibility to his public came up
especially when a participant from Sagay reported how, following
the recent Sagay 9 killings, she and her fellow artists put up a show
about the event in Café Albarako owned by activist visual artist
Nunelucio Alvarado (who was the most militant among the original
Black Artists).
Considering how recent events have conspired to create an
atmosphere reminiscent of the Marcos years thirty years ago, I asked

VIVA ExCon 2018 Exhibtion - Roxas City, Capiz
VIVA ExCon 2018 Conference - Roxas City, Capiz
how were the original Black Artists responding to the situation when
they previously were in the forefront? Believing he has done his part
by making VIVA not only a national but an international event and
by persevering in his art work, Taking Water at the Dinggoy Roxas
stadium, Charlie tossed the question to the millennials, whose turn
he said it was to respond. This was echoed by Dennis Ascalon whose
entry entitled A New World Order referred to the Sagay killings.
In the case of Peewee Roldan, he contended holding VIVA ExCon
throughout these twenty eight years whether or not it had sufficient
resources was an activist act because it was a commitment to make
their generation remember what they went through. On the other
hand, there were participants who did not want to dwell on the
“nightmare of the past” but wanted to move on prompting the
moderator to comment that the advantage of VIVA is that people
are able to collaborate despite differing perspectives.
Getting back to the present, moderator Diana Campbell Betancourt
started the session on biennales with the rhetorical question: What
kind of biennales do we need? Exploring the consequences and
importance of the biennale phenomenon and its seeming necessity
to persist, Diana called attention to the resilience and durability of
the term, such that no matter how much we bash it in these times
of excess, we cannot seem to let go of it. Noting how artists seem to
get the short end of the stick when it comes to biennales because it
was the curators and the galleries/companies they represent that get
all the attention, she raised the idea of doing something different
- a biennale for emerging talents, considering that talents are not
produced on a two or three year timelines which was why the same
works appear to be circulated in different biennales.
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In introducing the speakers for the biennale session, Diana noted
that they were individuals who had catalyzed biennales or were
dealing with existing ones in the Philippines and the wider region.
These were: Ratia Mufida of Jogja Biennale, Unchalee Anantawat of
Bangkok Biennale and Carlos Celdran of Manila Biennale.

Ratia Mufida (Biennale Jogja) revealed that Biennale Jogja started
as one of Yogyakarta’s provincial government programs. It evolved
through numerous names and models of implementation. Following
the dynamics of the Yogyakarta art scene its format changed from
painting to installation. In 1992 there was an event called Binal
Express put up by young people who did not agree with the format of
an earlier biennale organized by the government. In the 90s the artist
went international when they got invited to Australia and Japan. In
order to transform Biennale Jogja into an international one, some
people took up the initiative of setting up an organization called
Yogyakarta Biennale Foundation. As a result of which, discourse on
art became more dynamic.
Unchalee contended theirs was the first biennale in Bangkok. After
they set up one came a deluge of biennales. These were: Bangkok
Art Biennale, Thailand Biennale, Triennial or Ghost 2561, and
Painnale. The reason why there were so many was because when
Apina Posyanada, an important figure in local part announced
Bangkok Art Biennale everybody else said, “We’re gonna resist”
because they considered this “a challenge to the authorities of access
to representation in art.”
Easily the most colorful among the three speakers was wearer of
many hats, Carlos Celdran (Manila Biennale) the self-proclaimed
Intramuros artist- in- residence, who believed that the amount
of money the biennale earned as well as the acceptance of the
community it served was the measure of its success, not the amount
of reviews from art magazines. In terms of these, he believed he was
successful because he changed the lives of the community he served
for the better. Thus, the Intramuros calesa drivers earned so much
money they were able to buy a horse from their earnings which
they named Biennale. The vendors were also able to increase their
earnings until a writer spread the fake news that Manila Biennale
was charging P5,000 per person. This, despite the fact that if one
researched there were days where one could get in for free while
for a P80.00 ticket one could actually watch movies, do immersive
theater, attend an arts or performance art festival and see attractions
like Felix Bacolor’s Thirty thousand Liters on Duterte’s drug war or
Latvian artist Aljars Bikse’s The Red Slide.
Unfortunately, because the Supreme Court’s upheld his prison
sentence of a year, a month and eleven days in jail, his Manila
Biennale might very well be his last since he was leaving the country.
Consequently, he was passing on his Manila Biennale to Patrick
Flores who believed a good biennale was one that was sympathetic
with what was good for a better world.
Considering its controversial subject matter, the session on
Censorship, Conflict and Complicity drew one of the biggest
attendees from its 400 participants. Moderated by Merv Espina of
Green Papaya, it called attention to the “pursuance of independent
cultural initiatives, particularly of the festival format, despite
the internal challenges and external contradictions, including
interactions with institutions like the government and the market.”
Its speakers were Nguyen Quoc Thanh and Thanh Qui Chi of
Nha San Collective, Cheryl Anne del Rosario of Ang Panublion
and Alejandro Deoma of Escalante Massacre Commemorative
Foundation.
Nguyen Quoc Thanh focused on two things in their presentation:
negotiation with the state and the art and culture institutions that
belong to the state and exchange of knowledge between all parties.
Thanh Qui Chi on the other hand, zeroed in on the success and
failures of three of their larger projects. These were In: Act, a
performance art festival, Skylines With Flying People, and their most
complex project: Queer Forever. He contended that censorship
did not define their work and it concerned them only when they
needed to find ways to present the work to the public. From their
experience they had always found ways to navigate the organization
of the exhibit because their laws and the actual implementation of
censorship were quite ambiguous and depended on content and
situation. He pointed out that their presentations were based on
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Collaborative performance VIVA ExCon 2014 - Bacolod
their own experiences and did not reflect the perspective of the
Nha San collective, the oldest-run collective in Northern Vietnam
and Hanoi. When they organized events in a private home, they
didn’t have to ask permission but when they had plays sponsored
by the British Council or the Goethe Institute they had to ask the
permission of the Ministry of Culture. Despite the censorship,
they were able to do their work illegally by just changing location,
although this limited their audience.
In the case of the Aswang Festival of Capiz, the organization started
with Dugo Capiznon, Inc, a private organization composed of
young Capiznons duly registered with the Securities and Exchange
Commission whose major goal was to boost social and cultural
activity in Capiz through tourism-oriented activities. Since in reality
people mislabel Capiznons as aswangs or mythical creatures, they
thought they might just as well capitalize on the misconception
and turn it into a tourism activity to educate Capiznons as well as
non-Capiznons. On the level of reality, the festival drew inspiration
from two freedom fighters during the Spanish period from Bailan,
Capiz, named Canitnit and Cauayuay who were demonized by the
Spaniards as mga aswang together with people who suffered from a
disease called “lubag”(X-linked Dystonia Parkinonism Panay).
Although the organizers tried to mollify the church and compromised
on many points, attempts to project a wholesome image of the
festival by opening with a torch parade (Pasundayag); showcasing
the best of Capiz through a trade fair (Bewitching Capiz); holding
165
a symposium on folklore, anthropology and history (Pagtukib Sang
Aswang); and featuring a cultural show, etc. failed. Instead, the
church demonized the festival by leading the biggest caravan in the
history of the province against it, earning the group four pastoral
letters that were read in every church on Sundays. While it got the
group media mileage with Brigada Siete and TV Patrol dropping in
on them without being invited, it put an end to the festival. Since
then, its organizers have been haunted by the question: Is it worth
reviving?
No such question haunts the organizers of the Escalante Massacre
re-enactment. Started in 1986, to celebrate, remember, and protest
the loss of over twenty lives of hunger-driven sugar cane workers
who were staging a protest rally on the anniversary of Martial Law.
Its annual re-enactment thirty-four years after continues to be
participated in by residents as well as visitors, some like National
Artist Bienvenido Lumbera coming all the way from Manila. The
re- enactment had become a tourist attraction of sorts seeing that
the family of the dead vowed to sustain its re-enactment for as long
as justice was not served its victims. Committed to its celebration,
the families of the victims prepare three to six months before the
event hoarding food to feed visitors who come not only from all
over the province but all over the country.
Meanwhile, no two papers could be more unlike than that of Dr.
Christine Muyco’s and mine though both dealt with festivals and fell
under the heading: “Unpacking Rituals and Festival Histories: the

VIVA Excon 1990 at Mambukal Resort, Negros Occidental
social, cultural and political underpinings of some local festivals, why
did they start and what do they mean to their local communities?”
While the festival assigned me was meant to earn tourism dollars as
early as the 70s as part of First Lady Imelda Marcos and Tourism
Minister Jose Aspiras’ Kasaysayan ng Lahi project through an
invented tradition called MassKara, Christine’s was a very young arts
and crafts festival. For it was only recently whereby a community of
Panay Bukidnons in the mountains of Tapaz and Calinog regained
enthusiasm and pride for their traditional ambahan chants , binanog
dance, panubok embroidery doll-making, which they previously
rejected because lowlanders branded these buki or backward.
the people who invented it and does not resemble any mask festival
in the Philippines or anywhere else in the world, though it is artistinitiated
because the ones who started it were visual artists Ely
Santiago and George Macainan.
While all other mask festivals in the world are rooted in ancient,
usually religious tradition as in the case of the Philippines and other
Spanish possessions since Spain used it for cultural imperialism
to replace the old religion, Bacolod’s MassKara is something of
an anachronism because of it is purely secular roots and its solely
economic motivation.
Widely touted as a celebration of the Negrenses’ rise from the
ashes afterthe MV Don Juan tragedy as well as the sugar industry’s
reincarnation following its worst sugar crisis in the 80s after the
Marcos administration’s takeover over of sugar trading, MassKara
is a combination of Rio de Janeiro’s carnavale and Germany’s
Oktoberfest, neither of which it resembles. The only major
Philippine festival that is not religious in origin, it is a hybrid like
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An “invented tradition” of relatively recent vintage, MassKara
likewise bears no resemblance to one other local mask festival in the
Philippines, the Moriones festival of Marinduque which is rooted in
the Holy Week celebration of the passion and death of Jesus Christ.
Nor for that matter, does it resemble any other mask festival in the
world which are usually centuries old such as La Diablada of Bolivia
or Carnaval da Bince of Belgium. An expression of the Negrense’s

joie de vivre, MassKara is said to image us, a migrant people coming
from Panay, Cebu and Bohol with no known tradition. Accustomed
as we are to growing a crop where the good year alternates with the
bad, we are famous for our great resilience and indomitability.
Lastly, in a session entitled Wrong Turns, False Starts which took into
consideration government-supported festivals vis-a-vis privately
initiated ones, Gina Jocson of Gallery Orange raised the question:
does it necessarily follow that government- supported festivals
succeed more than privately initiated ones? Based on VIVA’s
checkered experience, I think not. Because there were occasions in the
past when certain places hosted but without the right combination
of infrastructure, organization, and leadership to ensure its success,
they failed. Which is why to my mind the heading: Wrong Turns,
False Starts might very well describe VIVA ExCon’s rough patches as
it travels from one island to another. So, however much each island
might hanker to host VIVA ExCon. It remains to find out who will
succeed.
I end this article with Peewee’s two announcements during the
plenary that called for ratification: one was on VIVA ExCon’s
statement on the assault on nine farmers/members of the National
Federation of Sugarcane workers (NFSW) by ten to fifteen members
of some private army while breaking ground for the lean months on
the 20th of September at Barangay Bulanon, Sagay City which must
be “called out, critiqued and acted upon.” The other was the notice
that the giving of awards was never part of the original agenda of
VIVA ExCon. Rather it was conceived unilaterally by the late Dr.
Reuben Cañete during the Cebu VIVA in 2010 without consulting
anybody. So, until the next VIVA ExCon host decides, the Garbo
awards will be on hold as it was in VIVA ExCon Capiz 2018 because
while the word “garbo” in Bisaya means pride, in Ilonggo it means
“ostentatious,” “vain” or frivolous.” Hence, it sends the wrong
signals.
Collaborative Installation Work VIVA ExCon 2014 - Sta. Fe Resort
Sources:
Fajardo, Brenda, ed., VIVA EXCON 1990-1996
Manila: National Commission for Culture and the Arts, 1998,
Flores, Patrick, LIFEFORCE Program
Flores, Patrick, Fugue Frolic: An Ayco Retrospective
Katalista, brochure
167

Finding Inspiration
in VIVA ExCon
by Rica Estrada
A blessing in the midst of what felt like a never-ending pandemic
was the chance to scour through the Cultural Center of the
Philippines’ (CCP) Visual Arts archives in a more methodical and
thorough manner. In it we found a typewritten document, a few
pages long, detailing the beginnings of VIVA ExCon, its header
reading “Visayas Islands Visual Arts Exhibition and Conference
(VIVA ExCon) A concept paper prepared by the Black Artists
in Asia.” It made mention of the impetus for VIVA, two muralmaking
workshops held in Negros Occidental in 1987 which were
sponsored by the CCP Coordinating Center for the Visual Arts and
Outreach Program.
Reading through it, a few of its intentions hold true. Artists today
would still find value in “promoting contemporary visual art forms
reflective of its (Visayan) cultural influences, historical traditions,
and current social situations.” Artists still continue to search for
ways to “discuss regional cultural situations, inter-act on a range of
issues that affect our (Visayan) basic perception of the visual arts.”
Other objectives related to finding a “regional identity” and the
“distinct characteristics of the Visayan visual language,” might not
have aged quite as well. Is there still a need for the articulation of
“identity”? Is there such a thing as a common visual language in the
twenty-first century?
VIVA ExCon 1990 Endorsement Letter
Courtesy of the CCP Visual Arts and Museum Division Archives.
168
It was hard not to view two documents side by side, the 1989
concept paper and the 2020 project design, also submitted to the
CCP admin and budget managers could zero in on the vast change
in costing allocations (Php 1300+ for roundtrip airfare to Bacolod!
Php 17.50 terminal fees!), project managers and programmers
could scrutinize the program schedules and timelines (why is it that
three hours on Zoom felt more tiring than the twelve-hour long
conference days?). What was once a Php 15,000 grant from CCP in
1990 became Php135,000 in 2021. Thirty years have certainly gone
by, and with it came changes and challenges that are documented
and discussed in the various writings on VIVA ExCon, a number
also found in the CCP Visual Arts archives.
Another unexpectedly helpful (and necessary) byproduct of the
COVID-19 pandemic era was the ubiquitousness of congregating
online. Just a few weeks before VIVA ExCon 2020 was launched,
the CCP Visual Art and Museum Division (CCP VAMD) brought
together representatives from artist initiatives, art spaces, and
regional museums from outside Metro Manila for an introductory
session on the CCP’s new museum, 21AM, and to plot the needs

of the sector. Undoubtedly indirectly inspired by the efforts and
intentions of VIVA ExCon, as well as other CCP-adjacent programs
such as the Baguio Arts Festival and Sungduan, the 21AM session
with regional representatives was also a chance to gather and share
at a time when most were on lockdown. Participants were asked to
answer a questionnaire on their pandemic experience, and an open
discussion concluded the program. A common sentiment among
those present was the need to continue the discussion, to find ways
to communicate in a sustained manner, and to collaborate and work
together across geographical divides.
As a participant of VIVA for a few iterations now, and with roots
in the Visayas myself, I am always inspired by the island reports.
I am always impressed by the lectures and presentations. But the
real testament of VIVA ExCon is in the coming together. It is in
the gathering, the communing, that one is able to truly experience
the Visayan art community. Whether it is a space for art, or for
artists, and if those two things are mutually exclusive, is perhaps
another topic altogether. From the forty-eight participants of the
three-day VIVA ExCon in Negros in 1990, to VIVA 16’s over threehundred
participants per day in the conference’s six-day run, one
can mark success and merit in creating and coming together, despite
the challenges of time and all that comes with it.
Artists from the Visayas are lucky to have a platform like VIVA
ExCon. Some luckier than others, one might say, since VIVA is not
immune to the hierarchal power struggles. But VIVA ExCon was
born at a time of hope. It was a new decade. It was a new CCP. And
it is with this sense of hope in mind that we move forward together,
to learn from the past through a study of archives and history, and to
embark on the future with the intention to work with one another
and to support each other as best we can.
169
VIVA ExCon 1990 Concept Paper, page 1
Courtesy of the CCP Visual Arts and Museum Division Archives.

Patrick Flores
Guinevere Decena
Liby Limoso
Jay Nathan Jore
Maria Taniguchi
Mars Briones
Nomar Miano
Moreen Austria
Shiela Molato
Bryan Liao
Marika Constantino
Aileen Quimpo Hernandez
Onna Rhea Quizo
Jeffrey Sisican
Jay Nathan Jore
Jake Atienza
Maria Katrina de la Cruz
Jesus Benjamin Pore
Gershon Destora
Mary Ann Broderick-Abalos and Francis Abalos
VIVA ExCon Core Team
Charlie Co
Manny Montelibano
Jade Snow Dionzon
Moreen Austria
Dennis Ascalon
Gina Jocson
Ida Vecino
Kathryn Baynosa
Vincent Sarnate
Rhoderick Samonte
Alyssa Ravadilla
Aeson Baldevia
Barry Cervantes
Curatorial Team
Head Curator
Region 6
Region 6
Region 7
Region 7
Region 8
Region 8
Island Coordinators
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Chairman
ExCon Director
Conference Head
Secretariat Head
Core Team Member
Core Team Member
Secretariat
Secretariat
Conference Assistant
V-CON 1 Moderator
V-CON 1 Assistant
Photographer/Layout Artist
Graphic Designer
Negros Occidental
Iloilo
Antique
Capiz
Aklan
Negros Oriental
Bohol
Cebu
Bantayan Island
Eastern Leyte
Western Leyte
Southern Leyte
Western Samar

Billy Boy Abonado
Ayla August
Elmer Borlongan
Melquiades Gregorio Camarines
Hilario Campos III
Barry Cervantes
Daniel dela Cruz
Jay-R Delleva
Antipas “Biboy” Delotavo
Emmanuel “Manny” Garibay
Friends of VIVA
Ana Abaya
Raul and Marita Arambulo
Ann Co
Gov. Eugenio Jose “Bong” Lacson
Ar. Antonio Legaspi and family
Raymond Legaspi
Benjamin Lopue III
Rodney Martinez
Marianne Magalona and family
Carolina de la Paz and family
Aboy Severino and family
Toto Tarrosa
Cesar Villanueva
Maya Van Leemput and World Futures Studies Federation Philippines
Vicky A. Gasper
Roedil “Joe” Geraldo
Karina Broce-Gonzaga
Frelan “Pakz” Gonzaga
Ryn Paul N. Gonzales
Jovito Hecita
Darel Javier
Ma. Victoria S. Jimenez
Mark Justiniani
Tristram Miravalles
Alan Ong
Orange Project Team
Carmel Hibaler
Jemaimah Campos
Junjun Montelibano
Luigi Maghari
Luigi de Guzman
Rolf Baynosa
Nonie Gallenero
Gelli Breñola
Rolly Cabusog
Zanna Jamili
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Godofredo P. Orig
Rafael “Paeng” Paderna
Michael John “Mikiboy” Pama
Maria Leah D. Samson
Svetlana Tan Sevilleno
Jeff Tan
Beethoven M. Tiano
RA Tijing
Dennis Castañeda Valenciano
Revo Edward U. Yanson

Partner Viewing Spaces
172

Partner Viewing Spaces
173

Major Sponsors
Mercedes U. Zobel
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