Life and Death in The Local Art Trade
Life and Death in The Local Art Trade
By Cesare A.X. Syjuco
Published in: The Manila Times, February 21, 1987
THE last few years have seen a record number of art galleries come and go. It seems that almost as soon as some disgruntled artmarket entrepreneur throws up his arms in surrender, another bright-eyed prospecting enthusiast is already prepared to take his place. Like sporadic outbreaks of the pox and shining heroism, new showrooms spring forth from out of nowhere, only to be swallowed by the earth in time. It is this virtual baton-passing from hand-to-hand that has kept both art and entrepreneurship alive through the ages, and through the most difficult of times.
Kulay-Diwa Art Galleries in Lopez Village, Sucat, Paranaque, is not the first showroom in south suburbia. To be sure, there have been others — among them, Justin Nuyda’s Artists’ Gallery on Aguirre Avenue (now under new management), and Agnes Galvez’s Village Art Center in Elizalde Street, both in BF Homes Subdivision. But the addition of new fuel to the ebbing fire is a most welcome development. It is said that close to two million people reside in homesteads south of Manila, and the artistic community currently flourishing there is probably second to none in strength of numbers.
Art galleries, in principle, are quite literally the lifeline of all artists actively engaged in the dissemination and sale of their work. But over and above the role they invariably play in artworld commerce and management, however, is the more dynamic purpose that better galleries must serve as venues for the active interchange of creative ideas. A true gallery is not merely a retail outlet by this definition, but a vital cultural forum as well. And this is precisely what Kulay-Diwa has the potential to become — a major cultural outpost in the suburban outback.
It is unbelievable but true, a fact that must be seen to be appreciated. Kulay-Diwa is literally the most spacious and well-appointed private art gallery in Metro Manila today, and quite possibly in the whole country. Five independent exhibition spaces, generous corridor and lounging areas, and two sprawling manicured gardens are among the facilities it has at its disposal. And yet, this may hardly be enough to get it off the ground.
Its energetic staff is virtually inexperienced, wonderfully idealistic but untrained. Its location leaves a lot to be desired, and this early, its curatorial policies seem to be in danger of falling prey to outside intervention and the art world machinations of busybody know-it-alls. Figuratively, flying an aeroplane of this size needs a lot of petrol and a steady hand, and Kulay-Diwa has yet to prove itself aerodynamically sound.
The inaugural exhibit — a dry-run at best — features mostly young upstarts from the University of the Philippines, a somewhat lopsided affair that should be corrected for the gallery’s good. The works of Francesca Enriquez, Sid Hildawa, Jr., Stella Rojas, and the ANG group are worth the trip, as are the pieces in participation by veterans like Junyee, Roderic Daroy, Popo San Pascual, Dan Raralio, and Julie Dalena; but the exhibited works serve best to show off the gallery’s generous appointments, which are the source of marvel in this case.
Sad to say, there are all-too-few success stories in the local gallery business. The ones that manage to survive beyond the first year or two do so as money-traps or as playthings of the rich and reckless. Not enough of the fallen are buried with distinction. And those that live to tell the tale often do so as shadows of their former selves.
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Cesare A.X. Syjuco, “Life and Death in The Local Art Trade” (page 1 of 1), The Manila Times, February 21, 1987
