9 must-see art exhibitions this July: From Ged Merino and Aze Ong to National Artist Arturo Luz

The installation is open to contributions from the public in the spirit of interconnectedness and support, reflecting the nature of fibre and fabric art itself as it is bonded into one. Crochet enthusiasts are encouraged to place their contributions in the designated drop box or to approach museum staff.

The Renaissance Art Gallery presents an exhibition of National Artist Arturo Luz titled Streamlined: The National Artist Arturo Luz Exhibition.

Corazon Alvina, former executive director of the National Museum, extols his lifetime work, writing: “His art is expertly crafted, and his treatment of themes, both Philippine and universal, is eloquent and clear. Though logic prevails, visual pleasure is evident. No artist in the Philippine landscape has ever had such a profound influence on the pursuit of excellence and artistic integrity across such a broad spectrum while maintaining the intellectual independence required of all true artists.”

Despite widespread praise and admiration, Luz, the man who streamlined contemporary Philippine art, maintained a humble demeanour. He remarked, “In my little world, I know precisely what I want to do. And for me, the greatest satisfaction comes from creating works of art. Nothing can compare to it.”

Read more: Revisiting Arturo Luz 2017 retrospective exhibition through Ayala Museum’s virtual platform

Causal Loops showcases Bernardo Pacquing’s collection of paintings, mixed media collages, and sculptures, reflecting his three-decade-long exploration of abstraction, time, and ruins. Known for his expansive, pared-down canvases featuring geometric forms and muted colours, Pacquing incorporates found objects to create what some describe as “ugly” or “messy” abstractions. These gritty textures, inspired by his childhood in Sampaloc, Manila, embody what philosopher Bernard Bosenquet calls “difficult beauty”, which demands patience and time to appreciate fully.

Meanwhile, Land Poetics by Dina Gadia presents seven new acrylic paintings on canvas, drawing from her own photographs. Diverging from typical sources like books and magazines, Gadia replaces her usual clever juxtapositions and shrewd wit with a profound depth of feeling for her intimate works. She rescues images from nostalgia through specific detail, addressing the overwhelming context of images in the digital age, especially as they are ingested into generative AI models.

Fotomoto and Qube Gallery presented Subtle Alchemy last month, a photography exhibition featuring fine art photographers from across the Philippines. The exhibit, curated by Gio Panlilio, explored the nuances of transformation and the volatility of change through various photographic techniques, from inkjet archival prints to experimental analogue methods like cyanotypes and polaroid emulsion lifts.

“The show explores different ways photography can be presented, touching on the entire spectrum from printed to experimental mediums,” says Panlilio. The opening reception included artists Tom Epperson, Neal Oshima, Angela Panlilio, Eric Bico, and Jack Kapuno. Another day was dedicated to Fotomoto’s programming, featuring a Photography Project and Portfolio Development session with Veejay Villafranca, portfolio reviews, and an artist talk.

Read more: Neal Oshima’s advice for young photographers: Think outside the box

Wonder Wander invites viewers to embark on a journey of curiosity and discovery through a collaborative exhibit by Art Underground and Village Art Gallery. Featuring the dynamic duo of artists Demi Padua and AR Manalo, the show embodies the concept of “wonder to wander”. It encourages us to embrace curiosity as a guiding force, leading us to explore new perspectives and realms of artistic expression.

Read more: Demi Padua proves that talent and skill are two different things

Integrating technology into daily life blurs the line between nature and artificiality in our rapidly evolving world. Artist Anna Bautista explores this convergence through traditional painting techniques with a contemporary vision. Her work juxtaposes familiar natural imagery—fruits, flowers, birds, and bees—with ubiquitous symbols of our modern reality, such as electronic charger cables.

Bautista reflects, “This show explores my feelings and questions about technology and artificial intelligence in today’s landscape. Their pervasive presence in our lives makes them almost feel innate, like part of nature itself. This sparks both excitement and anxiety for me... As lines blur, it’s increasingly difficult to distinguish between what is natural and what is artificial.”

Read more: Art in the Park 2021: Anna Bautista’s unique take on the concept of time

The Museum of Contemporary Art and Design (MCAD) Manila will open And Pull Yesterday Into Today, showcasing Swiss artist Heidi Bucher’s (1926–1993) works as part of the Benilde Open Design + Art launch. This exhibition concludes Bucher’s Asian tour, following successful shows in Seoul, Korea, and Beijing, China. 

Bucher, a pioneer of the neo-avant-garde movement, initially studied fashion and textiles under Bauhaus member Johannes Itten. Her diverse practice encompassed architecture, installations, drawings, sculptures, and collaborative performances, challenging traditional artistic boundaries by integrating natural elements.

Trained as a dressmaker, Bucher’s exploration of art and fashion is evident in her gender-neutral body sculptures, Bodyshells and Bodywrappings, which originated in California in the early 1970s. In collaboration with The Estate of Heidi Bucher, MCAD and DLS-CSB Production Design students will recreate these sculptures for the exhibition. 

Related: Everything you need to know about Benilde Open Design and Art 2024

Beyond Brass: Life and Imagination through Sculpture is Rizal-based abstractionist Cameron Castrillo’s debut solo exhibition. Born in Manila in 1967, Castrillo specialises in the transformative potential of brass, exploring its shapeshifting qualities through abstract gestures. His works, such as Stronghold, Fortitude, and Treasure Trove, baptise final materials with enduring names that resonate with human values and aspirations.

Read also: This artist residency in Siargao is making waves in the local art scene by inviting foreign artists

For Castrillo, abstraction transcends specific experiences, offering viewers varied interactions and interpretations. By cutting, shaping, welding, and finishing brass into wall-bound reliefs and standing sculptures, he seeks kinship with his medium, aiming to expand and elucidate its forms. 

Castrillo’s career transitioned from industries like semiconductors and retail to the fine arts, showcasing his works in various local exhibitions and creating fine art trophies for festivals and awards. Beyond Brass marks a milestone in his artistic journey, supported by the NCCA Competitive Arts Grants for NCCA Gallery 2024 exhibitions.

Read more: Jonathan Matti opens Vetted, Makati’s newest creative space

Les Voyages de Bougainvilliers: Triptych Series A, B, C by Todd B. Richmond is a new series of paintings exploring the migration of imagery from specific origins to global ubiquity. Inspired by a bougainvillaea arbour on a mango farm in Pampanga during his first visit to the Philippines in the mid-1990s, each painting centres around a bougainvillaea blossom. These works reflect on the plant’s global journey, discovered during Admiral Louise-Antoine de Bougainville’s 1766 French expedition, collected by botanist Jeanne Baret disguised as a man.

Richmond’s paintings also feature plumeria from Central and South America and mangoes from South Asia, symbolising cultural exchanges across continents. The artist’s use of woodgrain imagery pays homage to his mentor, the late artist Richard Artschwager, whose influence continues shaping Richmond’s painting approach.

Reflecting on his time with Artschwager, Richmond recalls their shared techniques: “‘Add, take away, add, take away’—this phrase still guides my painting process, emphasising freedom in mark-making and artistic decisions. Painting wood grain feels like a continuation of our artistic dialogue.”

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