ILOILO CITY—In celebration of Asean Month, Iloilo is presenting a powerful display of Southeast Asian art and the region’s rich artistic heritage.

At the heart of the event is the unveiling of “Connecting Borders: A Collection of Southeast Asian Art” at the Iloilo Museum of Contemporary Art (Ilomoca). The landmark exhibition launched on Aug. 9 trains the spotlight on works from across the Asean (Association of Southeast Asian Nations), and showcases the diverse yet interconnected narratives shaping the region’s identity today.

Top diplomats attended the launch to underscore the spirit of regional solidarity that the exhibition seeks to embody. Among them were Ambassadors to the Philippines Dato’ Malik Melvin Castelino of Malaysia, Constance See of Singapore, and Lai Thai Binh of Vietnam, and Deputy Chief of Mission Victorina Hesti Deway, representing Indonesian Ambassador Agus Widjojo.

From left: deputy Chief of Mission Victorina Hesti Deway, representing Indonesian Ambassador Agus Widjojo; Ambassadors Lai Thai Binh of Vietnam, Constance See of Singapore and Dato’ Malik Melvin Castelino of Malaysia; and Edwin V. Valencia, art collector and benefactor of Ilomoca.

Also present were local leaders, including Iloilo Vice Gov. Nathalie Ann Debuque, Jay Treñas of Iloilo City’s MICE (Meetings, Incentives, Conventions, and Exhibitions) office, former Iloilo Mayor Jerry P. Treñas, and Edwin V. Valencia, art collector and benefactor of Ilomoca.

In her remarks, Cristal Esguerra, curatorial officer of Megaworld Museums, said: “’Connecting Borders’ explores the thematic intersections of culture, identity, and imagination, featuring works from an impressive roster of artists representing Malaysia, Singapore, Indonesia, Thailand, Vietnam, and the Philippines.”

She added: “The exhibit challenges conventional notions of artistic borders—foregrounding the connections that transcend tradition, language, and geography. In doing so, it reflects a broader regional consciousness rooted in collaboration, nuance, and shared humanity.”

The featured artists are Syahbandi Samat, Tajuddin Ismail, SC Shekar, and Ajim Juxta of Malaysia; Denise Jillian Tan of Singapore; and Anton Subiyanto, Roby Dwi Antono, and Taufik Ermas of Indonesia.

Cristal Esguerra, curatorial officer of Megaworld Museums, explains the Southeast Asian countries’ rich, diverse, and interconnected cultural identity.

Thailand is represented by Verapong Sritrakulkitjakarn and Pat Yingcharoen; Vietnam by Hoai Huong, Nguyen Quang Trung, and Bui Van Hoan; and the Philippines by Renz Baluyot, Monica Delgado, Frelan Gonzaga, and Raffy Napay.

“Through this regional gathering of artistic voices, Ilomoca continues to cultivate Iloilo’s cultural character—fostering a space where creative exchange thrives, and contemporary art contributes to a broader, more connected vision for Iloilo’s cultural landscape,” said Ilomoca director Maricel Montero.

Asean Month is celebrated every August in the Philippines to commemorate the founding of Asean on Aug. 8, 1967. The monthlong observance highlights the Philippines’ commitment to regional cooperation, unity, and cultural exchange among Asean member-states.

Through various events and initiatives, Asean Month promotes greater public awareness and appreciation of Southeast Asia’s shared history, identity, and aspirations for inclusive and sustainable development.

First published in CoverStory – August 12, 2025

ILOILO CITY—The artist Marrz Capanang opens “Mga Kalibutan/Realms,” his sixth solo exhibition, today, July 19, at the Iloilo Museum of Contemporary Art.

“Kalibutan,” a Visayan term meaning “world,” “universe,” or “realm of existence,” sets the tone for a collection rooted in mysticism, animism, and cosmology.

Known for weaving the Hiligaynon language with visual poetics, Capanang again blurs the lines between the spiritual and the material, the intimate and the universal. His new show continues his exploration of layered realities and fluid identities, reflecting his roles as artist, collective member, and deeply feeling human being.

“Mga Kalibutan/Realms,” which is steeped in indigenous thought and animist philosophy, comes four months after his acclaimed exhibition in Alabang, titled “Bioluminescence,” and promises a deeper dive into the metaphysical territories that shape his practice.

The artist with one of his works.

It extends a lineage of conceptually rich exhibitions, from “Pangut-angut” (2016) to “Tahud” (2022), building a consistent narrative centered on reverence, connectivity, and transformation. With it, Capanang further affirms his place in contemporary Filipino art, where language, spirit, and image converge.

Nationwide art sale

At SM City Iloilo, the nationwide art sale dubbed “Art for Everyone 2025” is ongoing until July 31.

It is part of the second edition of the “Art Market” in July-October 2024, which featured more than 1,200 Filipino artists and over 4,000 artworks, and won for SM Supermalls the Gold Stevie Award for Innovation in the use of events.

‘Art for Everyone 2025’ exhibition

That exhibit highlighted 13 of Iloilo’s most respected and acclaimed artists and was held at SM City’s Northpoint entrance. It displayed works of Jonathan Arro, Ed Defensor, Vic Fario, Kevin Fernandez, Joy Fernando, Joel Ferraris, Nelson Ferraris, Harry Mark Gonzales, Nick Lanes, Paolo Gabriel Nabor, Vic Nabor, Ariel Pineda, and Querbyn.

“Art for Everyone 2025” provides a platform for both established and emerging artists to present their work to a broader audience for appreciation, education, and patronage. Many of last year’s featured artists are returning with new pieces.

This year, 18 SM Malls nationwide will participate in the program, offering an immersive experience across a variety of artistic media—from paintings and photography to digital art, mixed media, and sculpture.

First published in CoverStory – July 19, 2025

“Halángdon” at the Fine Arts Gallery of the National Museum of the Philippines-Iloilo showcases the profound and multifaceted legacy of National Artist Jerry Elizalde Navarro.

The exhibit demonstrates Navarro’s experimentation in and mastery of sculpture, painting, and a variety of printmaking methods. It embodies a fusion of his modernist sensibilities and evolving style, conveying themes of Asian and Filipino cultural identity.

Born on May 22, 1924, in San Jose de Buenavista, Antique, Jeremias “Jerry” Elizalde Navarro completed his primary and secondary education at San Jose Central School and Antique National High School, respectively. He was affectionately known among family and friends as “Nene” or “Mías.”

“Halángdon” at the Fine Arts Gallery of the National Museum of the Philippines-Iloilo

A mural at the entrance hall of the museum—a reproduction on woven polyethylene of his 1982 oil-on-canvas painting, “Ang Bulawan nga Sadok” (The Golden Salakot), honors his hometown. The original piece is displayed in the lobby area of the Antique Provincial Capitol.

Navarro’s connection to his birthplace is also highlighted by a watercolor-on-paper masterpiece, “San Jose de Buenavista.” 

Navarro was a prominent figure in Philippine arts during the 1950s, recognized for his ability to shift from calligraphic and expressionist abstraction to constructivist assemblages and sculptures, owing to his discipline and modernist orientation. The 1960s were considered a blooming period for his modernist work. He passed away on June 10, 1999, and was proclaimed National Artist for Visual Arts on Dec. 1 of the same year.

Influences 

The National Artist, Jerry Elizalde Navarro —PHOTO FROM PINOYAUTOBIOGRAPHY.COM

Halángdon offers a visual survey of Navarro’s artistic journey and history, reflecting his education, influences, involvement in local and international art movements, and interactions with Filipino masters, many of whom became National Artists. 

He was a Ramon Roces art scholar at the University of the Philippines Manila, but he later transferred to the University of Santo Tomas (UST), where he completed his degree in fine arts in 1951. He was among the top students at UST and served as a columnist, later becoming the art editor, of The Varsitarian, its official student publication and considered one of the oldest student publications in the country. 

Navarro transferred to UST to meet his childhood idol, Carlos “Botong” Francisco, who later became a National Artist for Painting. He refined his skills under Francisco’s mentorship, studying alongside eminent artists of the time, including Victorio Edades, Diosdado Lorenzo, Alejandro Celis, Bonifacio Cristobal, and Francesco Monti. His brushstrokes, techniques, and color palettes clearly reflect the influence of these masters, yet his studies and innovative approaches led to breakthroughs, shaping a style uniquely his.

In addition to his academic pursuits, Navarro worked as an illustrator in the Roces publishing network, collaborating with other major figures in Philippine art history, such as Iloilo-born Romeo Tabuena and Vicente Manansala, also a National Artist for Painting. The modernist styles of both Tabuena and Manansala likely influenced his evolution into neorealism, as demonstrated through abstraction, cubism, and distorted figurative art and sculptures. 

A pivotal chapter in Navarro’s artistic development came with his travels to Indonesia, where he became a resident artist along with Cornelius Choy in Ubud, Bali, from 1987 to 1997. This decade-long sojourn led to a series of works that celebrate Balinese culture and landscape.

All these experiences with the greats of Philippine art significantly impacted his artistic life and work, leading him to reflect on subjects such as geopolitics, socioeconomic realities, and the struggles of daily life. He mirrored these themes between Bali and his home country, leaving a distinctive imprint of his artistic vision.

Comprehensive survey

“Musicians” (untitled)

The exhibition at the Fine Arts Gallery in Iloilo serves as a comprehensive survey of Navarro’s body of work, showcasing paintings, prints, and sculptures that span his artistic career. 

Among the featured prints are rare pieces, mostly untitled and undated, drawn from the personal portfolio of Navarro’s wife, Emma Navarro, as well as contributions from Pearl Navarro and Dora C. Afable—gifts to the National Fine Arts Collection of the National Museum. Selected pieces, such as “Inveterate Conversationalist,” “The Women I Knew,” “Meow Woman,” “Mechanical Installation,” “Caliraya Moon,” and “The Bali Woman,” reflect his deep memories of Ubud, Bali, and his engagement with the world around him. 

Navarro’s proficiency in and mastery of printmaking techniques—including woodcut, serigraphy, and steel plate—are evident in works such as “Musicians” (51/188, circa 1960s), “Igorot and Muslim,” and “Harana.” Copperplate or steel plate printing is considered one of the most challenging methods in printmaking, and his skill in it is undeniable. An engraving plate displayed in a glass case at the exhibition showcases his precision and technical prowess in intaglio printing. 

Mixed media on paper collection

In addition to his printmaking, Navarro’s early exposure to European modernist art is reflected in works like “Untitled 1” and “Untitled 2,” two mixed-media pieces on paper that feature his distinctive calligraphic style. The sharp, gestural brushstrokes and vibrant colors of these pieces reveal a Japanese influence stemming from his travels to Japan in the late 1950s. This influence is further made evident in his piece “Sunday at the Park” (acrylic on canvas, December 1994), which exemplifies modernist aesthetics through the bold use of color and form, creating dynamic compositions that evoke both emotion and movement. 

Navarro’s works also contain political commentary. In two collages on paper, “Don’t Mess With These Guys” and “Time To Orbit” (1969), he addresses sociopolitical issues, offering a stark critique of his time. Despite being created over five decades ago, these works remain relevant today, resonating with the current political and social climate, and showcasing the timelessness of his artistic vision. 

Constructivism

“Desaparecidos”

One of the defining aspects of Navarro’s career is his exploration of constructivism, an art movement that emerged in 1915. This exploration is vividly embodied in Desaparecidos (bronze, 1996), a three-dimensional piece that invites viewers to engage with themes of form, space, and political commentary. The artwork captures a dynamic interaction between structure and movement, as well as a delicate balance of fluidity and tension.

Beyond its formal elements, Desaparecidos conveys a poignant message addressing the issue of missing persons. This could be interpreted as a reflection on the disappearances of Filipino activists and youth leaders during the martial law era under Ferdinand Marcos Sr. or as a tribute to those who vanished without resolution in the aftermath of the Edsa People Power uprising a decade later. 

Assemblages with a constructivist orientation became a hallmark of Navarro’s work, where he highlighted geometric shapes using industrial materials—sometimes even repurposed waste materials like wood and metal—up until his death in 1999. 

His innovative creations across various mediums reflect his firm commitment to exploring the intersection of form, material, and meaning. His work transcends traditional boundaries, and his legacy ensures his place as a key figure in Philippine contemporary art, one whose influence continues to inspire generations of artists.

Read more: Rare paintings by Filipino masters on view in Iloilo City

First published in CoverStory – March 3, 2025