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10daysofartph

@10daysofartph

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Celebrate the best in Philippine contemporary art for 10 days with our partners all around the city! #10DaysofArtPH

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We are proud to share this year’s Earth Report — a way to track metrics for our actions in five impact areas.

We chose these areas because they are areas that need transformation in the Philippines, and in the world. 🌏

Swipe to see. 🌸

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A look back into “Mothering/Unmothering.”
Lynn Lu, “Maiden, Mother, Crone: The Human Library”

At the Filipinas Heritage Library, the space was temporarily reconfigured through Lynn Lu’s work, “Maiden, Mother, Crone: The Human Library,” into an intimate setting for exchange.

Together with Alma Cruz Miclat, Eir Sotelo, Karina Africa Bolasco, Kyle Christa de la Cruz, Marian Pastor Roces, Milette Orosa, and Zoe Suganob, the performance took shape as one-to-one encounters in which participants engaged directly in conversation rather than passively viewing.

Drawing on the archetype of the Triple Goddess, the work considers the Maiden, Mother, and Crone as stages of a continuum across female life. While youth and fertility are often foregrounded, the Crone—associated with post-menopausal wisdom—remains under-recognised despite her enduring role in many traditions as healer, midwife, and bearer of knowledge.

In the Philippine iteration, Lu extended the framework beyond her own family, bringing together participants outside her lineage. This expanded the work from a personal narrative into a collective space of shared experience, where listening and dialogue became the primary medium of exchange.

Video Credits:
Director and Producer, Simon Te
Cinematographer, Lynyrd Matias
Assistant Cameraman, Dome Plaza

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A look back into “Mothering/Unmothering.”
Lynn Lu, "Be afraid only of standing still."

On 29 January, Lynn Lu left traces of stories across the Ayala Museum, Greenbelt, Ayala Avenue, the Makati Stock Exchange, and the Ayala Triangle Gardens, fragments of text that hinted at journeys of migration. Encountering these dispersed elements became an act of piecing together narratives across space and time.

"Be afraid only of standing still" explores nomadism, migration, and border-crossings in diasporic life. First presented in Venice in 2017, and later in Singapore and Santiago, the work was recontextualised in Manila as a reflection on lineage and inheritance.

This edition recalls Lu’s grandmothers’ escapes from Communist China to the Philippines and Hong Kong, carrying jewels sewn into the hems of their ‘samfu.’

Over six hours, Lu moved across sites, placing fragments of ancestral journeys drawn from across Asia, Europe, and Latin America onto liminal spaces, using a mixture of sweat and tears from the artist and her daughter. As the moisture evaporated, the fragments loosened and drifted.

Visitors encountered and repositioned them, becoming part of a living choreography of movement, memory, and migration where inherited stories echo, and new narratives emerge, fragile and in motion.

Video Credits:
Director and Producer, Simon Te
Cinematographer, Lynyrd Matias
Assistant Cameraman, Dome Plaza

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A look back into “Mothering/Unmothering.”
Marah Arcilla and Sylvie Cox, "Dandelion Scream"

On Good Friday, a moment often associated with reflection and heaviness, “Dandelion Scream” by Marah Arcilla and Sylvie Cox offers a quiet response: an embodied negotiation of weight, endurance, and ascent.

Performed along the expansive staircase of Ayala Triangle Gardens, the work brings the physical and emotional dimensions of struggle into dialogue with architectural space. The performers begin at the base, their bodies sharing and supporting weight, gradually moving upward in a slow, continuous exchange of balance and tension.

Inspired by the ways trauma is held and expressed through the body, “Dandelion Scream” unfolds like roots pushing through concrete upward in search of light. As the performers ascend, their forms shift and intertwine, reflecting transitions between states of pressure, fragility, and release. Each level of the staircase becomes both a marker and a threshold, mirroring internal shifts through movement and proximity.

Through deliberate and attentive gestures, the work traces a path of transformation—where ascent is neither linear nor resolved, but sustained through persistence, care, and shared vulnerability.

Video Credits:
Director and Producer, Simon Te
Cinematographer, Lynyrd Matias
Assistant Cameraman, Dome Plaza

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A look back into “Mothering/Unmothering.”
Pitchapa Wangprasertkul, “The Standard.”

🏠 The Philippines is now ranked among the world’s most unaffordable housing markets, alongside Thailand and Indonesia. Against this backdrop, Pitchapa Wangprasertkul’s “The Standard,” presented at Triangulum’s booth at Art Fair Philippines 2026, struck a chord with both on-site and online audiences.
📱 To date, documentation of the work has reached over 4.7 million views across five TikTok accounts alone, with strong engagement from viewers in the Philippines and Indonesia.

💼 In “The Standard,” Wangprasertkul explores how unequal living and working conditions are normalised. Inside a glass enclosure, working for eight hours a day and attending meetings with only essential objects, the artist blurs the line between artistic labour and wage labour.

⚖️ The performance recreates a worker’s environment, highlighting the tension between productivity and precarity, and questioning the systems that make such conditions acceptable. Originally presented at the Bangkok Art Biennale (2022), the work is recontextualised for the Philippines, where its themes of labour, housing, and livable conditions resonate urgently.

🌐 Beyond debates over whether it is “art,” “The Standard” has sparked wider conversations about workers’ realities amplified by its circulation in digital spaces.

Video Credits:
Director and Producer, Simon Te
Cinematographer, Lynyrd Matias
Assistant Cameraman, Dome Plaza

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A look back into Triangulum’s “Mothering/Unmothering”
Tekla Tamoria, “AlterBibo, 2026.”

In the Philippines, the balete tree is often perceived as a site of unseen energies and presence, occupying a liminal space between the material and the metaphysical. Installed in front of the Ayala Museum, Tekla Tamoria’s “AlterBibo, 2026” entered into a quiet dialogue with the tree that had long stood on the site—acknowledging it not as a backdrop, but as an interlocutor that hosts the work.

Tracing the evolution of Tamoria’s “firstborn,” begun in 2017, “AlterBibo” unfolds as a sustained inquiry into care, mothering, and becoming. Across textiles, performance, photography, and video, the work takes shape as a child-like figure navigating the tensions between play and labour, intimacy and autonomy.

Suspended beneath the balete tree, its elongated hair responds to shifts in environment, while layers of discarded fabrics and clothing carry traces of memory and use. Cast from the artist’s younger sister, the sculptural body folds familial intimacy into its form, holding a presence that is at once tender, public, and quietly self-contained.

Video Credits:
Director and Producer, Simon Te
Cinematographer, Lynyrd Matias
Assistant Cameraman, Dome Plaza

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Two months on, we’re still reflecting on the impact of "Mothering/Unmothering", TRIANGULUM’s inaugural multidisciplinary festival, curated by Vanini Belarmino and presented under Art Walk by Ayala Land as part of Art Fair Philippines 2026.

In close partnership with Ayala Museum, the project unfolded across six sites in Makati, bringing the city to life through performance, installation, and dialogue.

Over 14 days, we shared: 18 art happenings, 8 international artists, 7 special guests, 1 moderator and 72,545 audiences!

With artists Jane Jin Kaisen, Lilibeth Cuenca Rasmussen, Lynn Lu, Marah Arcilla, Moi Tran, Pitchapa Wangprasertkul, Sylvie Cox, and Tekla Tamoria, the festival opened space for conversations around ageing, menopause, puberty, migration, transnational adoption, and living archives.

Beyond quantitative outcomes, "Mothering/Unmothering" became a space for connection across generations, experiences, and communities.

Thank you to everyone who was part of it.

Video Credits:
Director and Producer, Simon Te
Cinematographer, Lynyrd Matias
Assistant Cameraman, Dome Plaza

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As we culminate National Arts Month, we look back on a weekend when creativity moved through every corner of Circuit.

Ayala Malls Circuit became part of the canvas of @artfairph with public installations, creative corners, and spaces that carried the energy of art beyond the galleries.

The spirit of creativity continues here.

#AyalaMallsCircuit #WhereCreativityIs #ArtFairPH

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Something I Meant to Remember
Glorietta Activity Center

A part of my “Between Thoughts” series of installations for @10daysofartph

From January 30 to February 28, 2026

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So ito na yung kwento about sa work ko

You can see my work “Daydream” at @_circuitmakati along with other installations until Feb. 28 for @10daysofartph

Shot by @giosanpedro

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During Art Walk 2026, Circuit becomes part of the walk.

From immersive installations to large-scale digital works, experience art woven into everyday spaces around the mall.

Whether you’re between galleries or taking a pause, Circuit is a stop worth making during Art Fair Philippines.

#AyalaMallsCircuit #WhereCreativityIs #ArtFairPH

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Bobeng in Repose: Redux

Part bakya, part okobo, with a wink to the Victorian dandy and just a dash of Filipino gothic romance. Wooden platforms hide lattices of solihiya, piña and leather traced in decadent gold embroidery, finished with ribbons of chocolate satin. Shoes for elegant mischief... the sort worn while winning a lover’s confidence or quietly orchestrating a rival’s social demise.

Still on view during the extended 10 Days of Art exhibit at Greenbelt 5 (near Adora) until February 15, 2025.

For orders, please DM.

@artfairph @10daysofartph

#joelwijangco #joelwijangcoshoes #artfairphilippines #10daysofartph #artfair

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