Iloilo Variants by Antipas Delotavo localises his juxtapositions as he renders recognizable architectural landmarks in the industrial and commercial history of his hometown. This exhibit also depicts the impact of Antipas Delotavo's 5- decade recognizable practice through relevant observations and criticisms of social realities.

In the Visayas, “Kaon na ta!” is understood to be an invitation to share and partake a meal. It may be a simple phrase, yet it is satiated with mutual respect and generous hospitality. This utterance encourages a gathering – be it through mind, body or spirit. Hence, the artists involved in this exhibition, congregate and participate through their creations. It is a banquet composed of paintings, drawings, sculptures, photography, installations, videos, collage and other mixed media works.

Kaon Na Ta! | A Melding of Visual Flavors attempts to decentralize the artistic discourse prevailing in Manila through collaboration and grounded conversations between selected artists from Manila and Western Visayas. It focuses on the idea of an “aesthetic cuisine,” where the mixture of different “tastes” fuse as one – to produce something fresh and daring. “Food” is used as a metaphor for: cultural consumption, community and identity, and originality and invention. As a potluck that serves a diverse array of responses, it touches upon the ingestion of cultural stimuli to its excess and expenditure. Collectively, it explores the production of hybrids and multiple artistic tongues as it critiques official and conventional hierarchies.

Kaon Na Ta! | A Melding of Visual Flavors hopes to create a sustained engagement, where knowledge production, ethical practices and cultural capital are equitably  and meaningfully shared between artist communities. Each artist contributes their “dish” based on their own experiences, circumstances, ideas or perspectives; proffering to bring forth a buffet of visual dialogues towards reciprocal understanding.

Featured Artists:

Nunelucio Alvarado, Poklong Anading, Kristoffer Ardeña, Argie Bandoy, PJ Cabanalan, Valeria Cavestany,   Charlie Co, Lena Cobangbang, Eyecan Creatives, Mike Crisostomo, Jigger Cruz, Idan Cruz, Maria Cruz,   Patrick Cruz, Da Da, Marvin Dalisay, Tracie Anglo Dizon, Jeanroll Ejar, Noel Elicana, Orland Espinosa, Tyrone Dave Espinosa, Kinno Florentino, Arvin Flores, Robert Langenegger, Romeo Lee, Bryan Liao, Kat Malazarte, Pow Martinez, Barry Matthew Namo, Manny Montelibano, Arvin Nogueras, Jayson Oliveria, Neil Pasilan,     Roselle Perez, Carlo Ricafort, Jason Rufino, Geremy Samala, Gerardo Tan, Janine Tolores, Marija Vicente,    MM YU, Jeona Zoleta

BAKAS I Filipina Imprints

The printmaking tradition, while male-dominated, has always had significant contributions from women. “Printmakers had long fought the dominant view of their work as merely technical and craft-based. But women faced an added layer of bias since craft was seen as a “feminine domain,” as stated by the anthropologist Joanne B. Mulcahy.1 This reality is also apparent in the Philippines. As such, the exhibit BAKAS | Filipina Imprints is an effort to put the printmaking practice and Filipina printmakers front and center. 

Bakás in Tagalog means to mark, to impress, or to create an imprint. In Hiligaynon, bákas conveys perseverance or diligence; it can also mean to associate and partner with in Cebuano. In combining these definitions, BAKAS | Filipina Imprints demonstrates the consistent and collaborative efforts of twelve contemporary women artists to achieve proficiency, artistry, and recognition in printmaking. 

The prints in the exhibit are a visual record of various intergenerational perspectives and introspections. Running through the collection is a sense of temporality—be it the contemplation of time as subject, the recognition of the temporariness of existence, or the artists’ surrender to the measured pace and sequence intrinsic in the process of printmaking. Also rendered with sensitivity and deep thought are themes and ruminations that touch on history, folklore, economic issues, daily living, the environment, and the nature of life in general. As such, this exhibition makes visible—through their chosen techniques in printmaking—the artists’ voices, opinions, and impressions as Filipinas living and working today. As noted art critic Alice Guillermo pointed out: “Because art is not neutral and derives its energies from the dynamism and conflicts of society, it is also an agent of change.”2 

1 Mulcahy, Joanne B. “How Women Helped Revolutionize The Art of Printmaking,” Hyperallergic, 
https://hyperallergic.com/560448/the-women-of-atelier-17-christina-weyl/
2 Guillermo, Alice G. “Art and Society,” University of the Philippines Manila, 
https://vle.upm.edu.ph/pluginfile.php/176049/mod_resource/content/2/GUILLERMO_Art%20and%20S ociety.pdf 

In celebration of National Arts Month 2024, the Iloilo Museum of Contemporary Art is pleased to bring CCP’s Pasinaya: Sulong! in the region on February 3-4.

ILOMOCA will be a regional venue of the most anticipated multi-arts festival in the country with performers and workshops open to everyone to appreciate and collaborate with.

Watch out for Noel Galon de Leon, Al Gonzales, Novy Bereber, Chino So, John B. Lacson Foundation Maritime University Molo Inc. Kinaadman Chorale, Balay Bugay Creations, University of San Agustin Litter Theater, Claravall-Gonzalez School of Classical Ballet, UPV Living Room and many more.

Pasinaya is open to all! Visit us and immerse in a weekend of arts and culture!