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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.
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VIVA ExCon 1990 Concept Paper, page 1
Courtesy of the CCP Visual Arts and Museum Division Archives.