DELGADO PÉREZ YAMAGATA
FORM OUT OF MATERIAL MATERIAL OUT OF FORM
N OV 11 - D E C 29, 2017
A RT D I R E C T O R
Silvana Ancellotti-Diaz
EXHIBITION TEAM
Johanna Labitoria Vicente Amancio, Jr. Jose Jeoffrey Baba Gabriel Abalos Dianne Ong
Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista
EXHIBITION NOTES
Jonathan Olazo
GRAPHIC DESIGN
Anna Rafanan
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From Form Out of Material, Material Out of Form W O R D S BY J O N AT H A N O L A Z O
D
uring the late 1980s, and in the dour season of contemporary abstract painting, a very promising female painter by the name of Moira Dryer broke into the American painting scene and produced one of the most resonant painting images in any era. The use of abstract idiom quotations, like drips and splatters, calligraphic lines and a host of abstract devices – not only produced paintings of sheer beauty but, seemingly, turned the question mark on painting itself. It was a considerable turning point. Dryer’s provocative point of view moves the singular and traditional act of making a painting (a brush creating an image on a canvas) into something more complex. The artist seemingly has taken to the backdoor, taking a few steps back, reconsiders what abstract painting has done before and said, and then re-assembles what was broken down – a “reverse” creativity of sorts. The exhibition Form Out of Material, Material Out of Form has three women artists of considerable mileage who take on an onerous pursuit. Considering and contributing to the line of past and current abstraction, Monica Delgado, Michelle Pérez and Atsuko Yamagata infuse fresh takes on its idioms, pictorial devices and stylistic languages.
Monica Delgado
With intricately constructed abstract surfaces, Monica Delgado’s paintings are keepsakes for visceral pleasure and emotional wonderment. Carried by its sensuous texture and color, Delgado’s ingenious process takes her to an indirect approach instead of directly creating a surface by applying paint on a painting support. In a painting aptly titled What’s a Painting Vol. 13, the artist allows paint to flow and coagulate into lines and strips. Once dried out, she assembles these on their sides showing – rather than its normal, frontal surface. The procedure provides a new way of making pictures and investigates what constitutes a work of art. In another work, Delgado finds another use for the coagulated forms of paint she uses and makes a small abstract work that is fitted to scale onto an art magazine cover (the artist utilizes rummaged and classic Art in America materials.) Given the title Erased Painting No. 2, the artist supplanted the small abstraction and removed the existing image. The incursion, for the artist, is a coming to terms with the radical appropriation of American Pop Artist Robert Rauschenberg, which had the famed artist erase dutifully one of the drawings he procured from the Abstract Expressionist giant Willem de Kooning. For Delgado, it is a natural course of action to appropriate a work or works from a previous generation, thus signifying the proverbial “changing of the guard.”
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Michelle Pérez
In Michelle Pérez’ abstractions, the case for the abstract format’s autonomy is optimized with the use of geometric shapes used as painting grounds. Paint applications and gestures are made to inhabit these formations. The use of shaped canvas makes for a riskier approach. It extends and solidifies the idea of abstract painting, where it is about its own materials. In using and and manipulating painting mediums, they yield their own implied allegories. It can be argued that the first use of a formalist shape, like a square floating in a pictorial space, first appeared in the paintings of Kazimir Malevich. Its incarnations are apparent in the “Boogie-Woogie” paintings of Piet Mondrian, and more recently, in the formats and grid systems of the Minimalists. Pérez interpretation has a romantic and nostalgic angle, while still relishing in the factualness of its materiality. A series of paintings on hand has geometric shapes seemingly embedded unto the surface of Pérez’ painting surfaces. Its forms are subtly defined by the paint applications that follow the indention of its line and contour. The silhouette produced makes for an interesting effect, recalling architectural forms and portals – maybe to another utopian place? Or, perhaps, in its manner of pouring and blotching, it contends its negation? A tondo format is present in Pérez’ collection. The circle image has been engaged by artists in different contexts and has connoted matters pertaining to wholeness, spirituality, and the eternal. Pérez use of color and texture offers a new take on the theme. Though done in acrylic and appearing opaque, it is, perhaps, a deliberate strategy that enhances the non-illusion of the surface – and contributes to the steadfastness of a painting that only purports to be a twodimensional painting for its own pleasure, and nothing else.
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Atsuko Yamagata
Asuko Yamagata’s abstraction flows from an introspective hearth, and guides the onlooker to a feeling of warmth; opposite an abstraction that is cold and resolute. Yamagata’s masterful control of her water-based mediums – washes and viscosities, are fully understood and placed on her pictorial space in a predetermined manner, though much of her process is spirited with spontaneity and adroit bravura. In one of her paintings, entitled “Greedy but Beautiful,” a white amorphous shape lingers in the composition, suspended in its own power and light. Uncannily, it may be mistaken for an abstracted Symbolist painting – in which psychological themes are expressed using abstract compositions in delivering mysterious effects. The layers of washes in Yamagata’s pieces suggest abstract landscapes and regions. As such, these quasi-places imply internal, psychological spaces that need to be dissected and understood. Using paper as grounds for most, the work is immediate and honest. The artist, at times, uses the pulp and fibers of the paper in creating textures, and enhances the exotic atmosphere of the images portrayed. As such, the artist’s abstractions go in the manner of the spiritual, akin to Kandinsky and the generation of artists who pushed for a stance and endured the challenge of bringing change to society – in the way of producing models of equilibrium that contrast anxiety-filled realities that dominate the modern era.
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DETAIL OF MONICA DELGADO’S “MIXING BOWLS AND SPATULAS” (2017)
With the varying, yet, related approaches on hand, it is an exciting time to see a new breed of artists take to the fore in engaging abstraction, risking safety zones and treading new grounds. Delgado, Pérez, and Yamagata have each solved the problem of renewing abstraction’s quandaries in their own unique way. In terms of shared experiences, all have risen to the task; while in their considerable adult years, and having dealt with finding their way through the rigors of artistic style and mediums. This fortuitous circumstance works to their advantage in having a richer spring of inspiration to draw from. Perhaps, also another commonality shared by each of the artist is the preference for water-based mediums – such as ink and acrylic, which somewhat offers another alternative to the male-associated machismo of lacquer and oil paint. It is perhaps a more sensible choice, as each artist negotiates her own ideas and concepts with so much intricacy, planning and foresight. •
JONATHAN OLAZO GRADUATED FROM THE UNIVERSITY OF THE PHILIPPINES COLLEGE OF FINE ARTS. HIS INTEREST IN CRITICISM WAS SPARKED WHEN HE TOOK AN ELECTIVE COURSE UNDER ART HISTORIAN, AUTHOR AND ART CRITIC, PROFESSOR SANTIAGO PILAR. WRITING NOTES ON HIS OWN CONCEPTS CONTINUES TO BE AN INTEGRAL PART OF OLAZO’S WORK PROCESS IN PAINTING. IN THE SUMMER OF THE MID 1990S, HE JOINED A VERY INFORMAL WRITING WORKSHOP CONDUCTED BY MS. JOY DAYRIT, AND CONSIDERS WORKSHOP CLASSMATE, ARTIST AND WRITER RONALD ACHACOSO AS MENTOR IN HIS WRITING – AMONG OTHER ARTISTIC INTERESTS. OLAZO CONTINUES TO WRITE EXHIBITION NOTES FOR COLLEAGUES AND ADMITS THE LENGTHIEST OF THESE IS THE 13 ARTIST AWARDS NOTES HE WROTE IN 2015.
Index 1
Monica Delgado Bowl of Chips (2017) Acrylic paint on magazine
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30.50 × 23 × 8 CM / 12.02 × 9.06 × 3.15 IN
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Monica Delgado The End (2017) Acrylic paint on magazine
30.50 × 23 × 2 CM / 12.02 × 9.06 × 0.79 IN
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30.50 × 23 × 3 CM / 12.02 × 9.06 × 1.18 IN
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Monica Delgado Paint Surrey (2017) Acrylic paint on magazine
Monica Delgado 5.5 Gallons (2017) Acrylic paint, bottle lids on magazine
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Monica Delgado Thought Process (2017) Bulb & acrylic paint on magazine
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Monica Delgado The Missing Piece (2017) Acrylic paint on magazine
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Monica Delgado Erased Painting No. 2 (2017) Acrylic paint on magazine
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Monica Delgado The Whitney then, now Met Breuer (2017) Acrylic paint on magazine
Monica Delgado What’s a Painting Vol. 13 (2017) Acrylic paint mounted on wood 61 × 52 × 4 CM / 24.03 × 20.49 × 1.58 IN
16
30.50 × 23 × 3 CM / 12.02 × 9.06 × 1.18 IN
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Monica Delgado What’s a Painting Vol. 16 (2017) Acrylic paint mounted on wood 61 × 52 × 4 CM / 24.03 × 20.49 × 1.58 IN
30.50 × 23 × 2 CM / 12.02 × 9.06 × 0.79 IN
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Monica Delgado What’s a Painting Vol. 15 (2017) Acrylic paint mounted on wood 61 × 52 × 4 CM / 24.03 × 20.49 × 1.58 IN
30.50 × 23 × 10 CM / 12.02 × 9.06 × 3.94 IN
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Monica Delgado Survival Tools (2017) Acrylic paint on magazine 35.50 × 23 × 6 CM / 13.99 × 9.06 × 2.36 IN
30.50 × 23 × 3 CM / 12.02 × 9.06 × 1.18 IN
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Monica Delgado Mixing Bowls and Spatulas (2017) Acrylic paint on magazine 30.50 × 23 × 10 CM / 12.02 × 9.06 × 3.94 IN
30.50 × 23 × 8.50 CM / 12.02 × 9.06 × 3.35 IN
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Monica Delgado Ektachrome Paint Film (2017) Acrylic paint on magazine
Monica Delgado What’s a Painting Vol. 14 (2017) Acrylic paint mounted on wood 61 × 52 × 4 CM / 24.03 × 20.49 × 1.58 IN
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Monica Delgado What’s a Painting Vol. 18 (2017) Acrylic paint mounted on wood 61 × 52 × 4 CM / 24.03 × 20.49 × 1.58 IN
30.50 × 23 × 2 CM / 12.02 × 9.06 × 0.79 IN
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Monica Delgado Continuum (2017) Acrylic paint on magazine 45 × 26 × 4 CM / 17.73 × 10.24 × 1.58 IN
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Monica Delgado What’s a Painting Vol. 17 (2017) Acrylic paint mounted on wood 61 × 52 × 4 CM / 24.03 × 20.49 × 1.58 IN
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Michelle Pérez A Little Bit of Madness (2017) Elastomeric paint on canvas
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243.9 × 91.5 CM / 96.10 × 36.05 IN (DYPTYCH)
Atsuko Yamagata Pulse and Chain (2017) Handmade paper, indian ink, acrylic, glue, nail polish on canvas 91.5 × 91.5 CM / 36.05 × 36.05 IN
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Michelle Pérez Poured Black Series 6 (2017) Elastomeric paint on canvas
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27 × 33 × 2 CM / 10.64 × 13 × 0.79 IN
Atsuko Yamagata Under Cloud of Tapies (2017) handmade paper, indian ink, acrylic, glue, nail polish on canvas 91.5 × 91.5 CM / 36.05 × 36.05 IN
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Michelle Pérez Poured Black Series 4 (2017) Elastomeric paint on canvas
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31 × 37 × 2 CM / 12.21 × 14.58 × 0.79 IN
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Michelle Pérez Poured Black Series 7 (2017) Elastomeric paint on canvas
53.30 × 63.45 CM / 21 × 25 IN
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30 × 26 × 2 CM / 11.82 × 10.24 × 0.79 IN
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Michelle Pérez Poured Black Series 5 (2017) Elastomeric paint on canvas 35 × 36 × 2 CM / 13.79 × 14.18 × 0.79 IN
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Michelle Pérez Poured Black Series 1 (2017) Elastomeric paint on canvas 28 × 33 × 2 CM / 11.03 × 13 × 0.79 IN
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Atsuko Yamagata Greedy but beautiful 1 (2017) Handmade paper, indian ink, acrylic, glue, nail polish on canvas 55.85 × 71.06 CM / 22 × 28 IN
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Atsuko Yamagata Greedy but beautiful 2 (2017) Handmade paper, indian ink, acrylic, glue, nail polish on canvas 55.85 × 71.06 CM / 22 × 28 IN
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Michelle Pérez Poured Black Series 3 (2017) Elastomeric paint on canvas 28 × 33 × 2 CM / 11.03 × 13 × 0.79 IN
Atsuko Yamagata Being updated 2 (2017) Glue, handmade paper, indian ink, gofun, acrylic on plexiglass 53.30 × 63.45 CM / 21 × 25 IN
Michelle Pérez Poured Black Series 2 (2017) Elastomeric paint on canvas 33 × 34 × 2 CM / 13 × 13.40 × 0.79 IN
Atsuko Yamagata Being updated 1 (2017) Glue, handmade paper, indian ink, gofun, acrylic on plexiglass
Atsuko Yamagata Compose a poem of nothing 2 (2017) Handmade paper, indian ink, acrylic, glue on canvas 57.10 × 40.60 CM / 22.5 × 16 IN
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Michelle Pérez Circle with holes (2017) Elastomeric paint on wood
Atsuko Yamagata Compose a poem of nothing 1 (2017) Handmade paper, indian ink, acrylic, glue on canvas 57.10 × 40.60 CM / 22.5 × 16 IN
121.90 × 121.90 CM / 48.03 × 48.03 IN
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Michelle Pérez Square with holes (2017) Elastomeric paint on wood 121.90 × 121.90 CM / 48.03 × 48.03 IN
Atsuko Yamagata Invisible (2017) Glue, handmade paper, indian ink, gofun, acrylic on plexiglass 30.46 × 22.84 × 7.62 CM / 12 × 9 × 3 IN
Monica Delgado Born in 1979 in Manila, Philippines; Lives and works in New York City ARTIST STATEMENT
Trained as a painter, I have always used paint. My interest however gravitated more towards the physicality of paint, and away from the traditional practice of painting. I am interested in seeing how far I can stretch the use the medium without actually painting. My work aims to question the conventional perceptions of painting, explore the possibilities of what painting can be, and to obscure the boundaries between painting, sculpture, and object. My process involves acrylic paint that is variedly dried in layers or drips, and individual strips or sheets. Paint is squeezed out of condiment bottles, dripped from paint sticks or knifes, or spread with putty knives and scrapers. Once dried, the paint will go through various actions and forms such as being stacked or layered, rolled into coil, draped or hung like fabric, wrapped around objects, cut into multiple tiNew York pieces, or collaged. I am interested in using paint to create actual three dimensionality instead of the traditional confines of using it to render an illusion of three-dimensionality on a two dimensional plane. I invite the viewer to visually explore the physically of paint where its purpose is reduced to being the end in itself, rather than the means to an end. 1999 - 2003 BFA Painting, Cum Laude, University of the Philippines, Diliman
EDUCATION
2015 School of Visual Arts Summer Residency in Painting and Mixed Media, New York City; 2014 School of Visual Arts Summer Residency in Painting and Mixed Media, New York City
RESIDENCIES
S O LO E X H I B IT I O N S
2015 2007 2002
“Used Paint” FINALE ART FILE, MANILA, PHILIPPINES “Scratching the Surface” FINALE ART FILE, MANILA, PHILIPPINES “Links” FINALE ART FILE, MANILA, PHILIPPINES
TWO-PERSON AND THREE-PERSON EXHIBITIONS
2017
A RT FA I R S
“Painting in Trouble (Is a Temporary Thing)” FINALE ART FILE, MANILA, PHILIPPINES; “Form Out of Material. Material Out of Form” GALLERIA DUEMILA, PASAY CITY, PHILIPPINES 2017
Art Fair Philippines MANILA, PHILIPPINES Art Fair NEW YORK CITY, NEW YORK 2016 Art Fair Philippines MANILA, PHILIPPINES 2013 Times Square Art Fair DACIA GALLERY, NEW YORK CITY
Clio
SELECTED GROUP EXHIBITIONS
2017
“I Hope So”
PG ART GALLERY, ISTANBUL; “Geoform” JAN KOSSEN CONTEMPORARY ART GALLERY, NEW YORK CITY; “Unexpected: What is Painting?” HEINZ W. OTTO GALLERY, WATCHUNG, NEW JERSEY; “A Collage Show” UNDERGROUND GALLERY, MANILA, PHILIPPINES
2015
“We Saw Things that Others Didn’t” TAKSU GALLERY, SINGAPORE; “If Aristotle Can’t Be Your Teacher Then You Have To Teach Yourself” GALLERIA DUEMILA, MANILA, PHILIPPINES; “The Mix” NOOSPHERE ARTS, NEW YORK CITY; “Whispering Eye” NOOSPHERE ARTS, NEW YORK
2014 2010 2006
Oxheart/Destination Moon LIGHTSPACE STUDIOS, BROOKLYN, NEW YORK Art on the Avenue WINTER STREET STUDIOS, HOUSTON, TEXAS; Asian Pacific Heritage Show ART INSTITUTE, HOUSTON, TEXAS “It’s Your Deal” WINTER STREET STUDIOS, HOUSTON, TEXAS; Art on the Avenue 2006 WINTER
2005
“Cinco”
CITY
STREET STUDIOS, HOUSTON, TEXAS
BERING & JAMES GALLERY, HOUSTON, TEXAS; Asian Pacific Heritage Show ART INSTITUTE OF HOUSTON; “Texas 10” ANA JULIA AGUADO GALLERY, SAN MIGUEL DE ALLENDE,
2003
MEXICO; “Two by Two” BERING & JAMES GALLERY, HOUSTON, TEXAS “The $100 Box” BERING & JAMES GALLERY, HOUSTON, TEXAS; “Dia de los Muertos” LAWNDALE ART CENTER, HOUSTON, TEXAS; “ConsulARTE” ARTE LAS AMERICAS GALERIA, HOUSTON, TEXAS “Picture This” ART CENTER, MEGAMALL, MANILA, PHILIPPINES; “2003 Thesis” COLLEGE OF FINE
2002 1999
“Unfinished Overworked” CROWDED HOUSE, QUEZON CITY, PHILIPPINES “Maskara” MSG GALLERY, QUEZON CITY, PHILIPPINES; “3 Generations of Art”
1998
“Fits”
2004
ARTS, QUEZON CITY, PHILIPPINES
ART CENTER,
MEGAMALL, MANILA PHILIPPINES
THIRD SPACE GALLERY, QUEZON CITY, PHILIPPINES
PERMANENT COLLECTIONS
2017 Andaz Hotel, Singapore; 2016 Conrad Hotel, Manila Philippines 2017 Art Zealous, 14 Standout Artists at Clio Art Fair; Hyperallergic, Clio Art Fair Adds October Edition; 2016 Studio Visit, Volume 31, pages 46 - 47; Open15 Publication, Front Art Space, New York City
PUBLICATIONS
Michelle Pérez Born in Manila, Philippines ARTIST STATEMENT
I feel like I am just scratching the surface of the potential that the material and process offer. I am beginning to develop an intimate relationship with them. The nuances and versatility of this combination allow endless possibilities. Although I don’t limit myself to this process and material, I will continue to explore them and go where they take me.
E D U C AT I O N
2009-2013 1987 1982-1986
Kuring-gai Art Centre, Sydney, Australia; various courses in drawing, mixed media, Impressionist Painting Enamel on Copper; apprenticed under artist Angela Crespo de Pereira Madrid, Spain Ateneo de Manila University, Interdisciplinary Studies with electives in Drawing and Photography
S O LO E X H I B IT I O N S
2017 “If Thought Bubbles Appeared Over My Head, I’d Be Screwed” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES
2016 “Pure Sun Pure Rain (The 3am Paintings)” FINALE ART FILE, MAKATI CITY, PHILIPPINES 2014 “Essential” NOW GALLERY, MAKATI CITY, PHILIPPINES GROUP EXHIBITIONS
2017 Art Fair Philippines FINALE ART FILE
Art Fair Philippines TAKSU GALLERY “Painting in Trouble is a Temporary Thing (Monica Delgado and Michelle Perez)”
TALL
GALLERY, FINALE ART FILE, MAKATI CITY, PHILIPPINES
“A Drawing Show” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES “A Collage Show” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES 2016 Art Fair Philippines TAKSU GALLERY Art Fair Philippines GALLERIA DUEMILA “SMALLS” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES “So let’s sink another drink ‘cause it’ll give me time to think” MAKATI CITY, PHILIPPINES
UNDERGROUND GALLERY,
2015 “If Aristotle cant be your teacher, you have to teach yourself” GALLERIA DUEMILA, PASAY CITY, PHILIPPINES
2015 “We Saw Things That Others Didn’t” TAKSU GALLERY, SINGAPORE
End of Year Group Exhibit
FINALE ART FILE, MAKATI CITY, PHILIPPINES
2014 “Embodied Narratives” NOW GALLERY, MAKATI CITY, PHILIPPINES
Atsuko Yamagata Born 1982 in Sapporo City, Hokkaido, Japan Lives and works in Manila, Philippines ARTIST STATEMENT
I have been making artworks with processing materials like a handmade paper or glue. Through experiments of materials, I like to find out new expressions. And in the process of creation, I pass between forms which arise contingently (such a bleeding of Indian ink forms while glue is drying and move of paper thread) and my intent. My concept changes depends on the situation however the common theme is how people seek for the identity under the influence from place and society.
S O LO E X H I B IT I O N S
2017 “made roots here” TOWER’S GALLERY, JR, TOWER HOTEL NIKKO SAPPORO, HOKKAIDO, JAPAN
“breathing, breeding, blowout” ARTINFORMAL GALLERY, MANDALUYONG, PHILIPPINES “borrowed scenery” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES 2015 “Between Place” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES “Fragmented Histology” SM CITY BALIWAG, BULACAN, PHILIPPINES 2013 “Sibuyas” THE ARTCOMPLEX CENTER OF TOKYO, TOKYO, JAPAN 2012 “Ka-Cho-Fu-Getsu” THE ARTCOMPLEX CENTER OF TOKYO, TOKYO, JAPAN SELECTED GROUP EXHIBITIONS
2017 Nakanojo Biennale 2017 GUNMA PREFECTURE, JAPAN “sheer” curated by Renato Habulan ESKINITA GALLERY, MAKATI CITY, PHILIPPINES
2016 2015
“A Collage Show” curated by Nilo Ilarde UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES “recent works” curated by Gerry Tan ART ANTON, PASAY CITY, PHILIPPINES Art Fair Philippines 2017 TAKSU GALLERY “SMALLS” curated by Nilo Ilarde UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES “NASI CAMPUR” TAKSU BALI, INDONESIA Art in the Park 2016 ARTINFORMAL Art Fair Philippines 2016 TAKSU gallery “Christmas Wishes!” Finale Art File “SPEAK SOFT, LISTEN HARD” UNDERGROUND GALLERY, MAKATI CITY, PHILIPPINES “We saw things that others didn’t” TAKSU SINGAPORE, SINGAPORE “If Aristotle can’t be your teacher, you have to teach yourself” GALLERIA DUEMILA, PASAY CITY, PHILIPPINES
“Far East Alliance” EREHWON CENTER FOR THE ARTS, QUEZON CITY, PHILIPPINES “unEARTH” ALTRO MONDO AT THE PICASSO, MAKATI CITY, PHILIPPINES 2014 “Gen/Ngayon2” MUSEO ORLINA, TAGAYTAY CITY, PHILIPPINES “Childhood Artifacts” MUSEO PAMBATA, MANILA, PHILIPPINES “Gen現:Ngayon” NOVA GALLERY, MAKATI CITY, PHILIPPINES 2013 “hugot” a project of Back to Square 1 SINING MAKILING GALLERY, UNIVERSITY OF THE
PHILIPPINES - LOS BANOS, LAGUNA, PHILIPPINES
“domestiCITY” AWA R D S
JSTUDIO, TAGUIG CITY, PHILIPPINES
2013 Audience prize at Liquitex Art Prize 2013 (Japan) 2012 ACT prize for ARTLABOX2012 award
g al leria duem ila was established in 1975 by Italian born Silvana AncellottiDiaz. Duemila means “twentieth century”, and it was this vision that inspired Duemila’s advocacy in promoting and preserving Philippine contemporary art. To date, it is the longest running commercial art gallery in the Philippines maintaining a strong international profile. With the vision to expose its artists locally and within the ASEAN region, Duemila complements its exhibits with performances, readings and musical events in its custom-built gallery in Pasay City, Manila. Galleria Duemila takes pride in being the only local gallery to publish and mount retrospectives of artists as part of its advocacy in pursuing art historical research and scholarship. With the collaboration of institutions, Duemila has mounted the retrospectives of
Roberto M.A. Robles (Ateneo Art Gallery, 2011), Duddley Diaz (Vargas Museum, 2009), Julie Lluch Dalena (Cultural Center of the Philippines, 2008). It has also published a book on Diosdado Magno Lorenzo (National Library of the Philippines, 2009) and produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004. The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cuttingedge of Philippine art, making and archiving history as it happens.
s e rv i ce s : conservation an d r e s t or ation of p a i n t i n g s , consu ltancy s e rv i ce s , c om m issions and i n s t a llat i on