Silverlens, nestled in the vibrant cultural landscape of Manila, is celebrating a significant milestone: its 20th anniversary. For two decades, Silverlens has served as an essential platform for artists, dedicated to showcasing their diverse talents and pushing the boundaries of artistic expression. Additionally, the gallery has been instrumental in raising exhibition-making standards and fostering professionalism within the industry. As the gallery celebrates this remarkable achievement, it offers an opportunity to reflect on its journey, impact, and enduring legacy.
Founded in 2004 by Isa Lorenzo and Rachel Rillo, Silverlens quickly established itself as a trailblazer in the Philippine art scene. Driven by a shared vision to provide a platform for contemporary Filipino artists to flourish, what began as a modest photography gallery has since evolved into a dynamic institution dedicated to securing a global presence and actively participating in the broader artistic dialogue.
The gallery's early years were characterized by a deep appreciation for photography and a strong belief in its ability to transcend boundaries and forge meaningful connections. During this formative period, Silverlens distinguished itself by showcasing works from emerging and established photographers who pushed the limits of the medium, challenging conventional distinctions between commercial and fine art.
As Silverlens evolved, so too did its scope and ambition. Guided by a commitment to growth and the pursuit of new horizons, the gallery soon expanded its reach to encompass a wider range of artistic practices, from painting and sculpture to installation and multimedia works. This evolution mirrored the dynamic landscape of Philippine contemporary art, reflecting the myriad influences and cultural currents shaping the country's artistic identity.
Central to Silverlens' ethos is its steadfast commitment to amplifying the voices of Filipino artists globally. Through strategic partnerships, participation in major art fairs such as Art Basel and Frieze, and supporting international opportunities, the gallery has expanded the reach and influence of Philippine contemporary art, connecting artists with diverse audiences and cultural contexts worldwide. In a historic move, Silverlens recently expanded its footprint by opening a gallery in New York, marking a significant milestone for Filipino art on the world stage. This bold venture underscores Silverlens' dedication to promoting Filipino artistry globally and further solidifies its position as a trailblazer in the art community.
In addition, Silverlens has undertaken the profound responsibility of representing esteemed artist estates, including those of Santiago Bose, Pacita Abad, Leo Valledor, and Carlos Villa. By preserving and promoting the legacies of these influential artists, the gallery pays homage to their contributions to art history while ensuring that their work resonates with contemporary audiences. Furthermore, the gallery has embraced a new challenge by expanding its representation to artists beyond its country's boundaries. While it has consistently showcased artists from the Filipino diaspora, Silverlens now proudly represents individuals such as Yee I-lann, Taloi Havini, and Mit Jai Inn, who, despite being outside the Filipino experience, have joined the gallery due to a shared belief in artistic vision and commitment to excellence. This development underscores Silverlens' increasingly global perspective, highlighting its evolving role on the international art stage.
Not to get too philosophical, but weighing the gravity of this occasion could prompt one to question where the essence of a gallery truly resides. I know it transcends mere architecture and extends beyond the confines of physical spaces, as evidenced by our farewells to previous locations in the Yupangco Bldg. and Gillman Barracks in Singapore. A semblance of a gallery can also be recreated, temporarily in 3-day art fairs or more permanently, with outposts in other cities and locales. The roster of artists has evolved over time, with some transitioning to new affiliations and seeking fortunes elsewhere. Perhaps at the core of it all, amidst all these layers, Isa and Rach persist, steadfastly holding down the fort and envisioning new challenges to undertake.
In this light, I think it's fitting to commemorate the past 20 years with a selection of works personally handpicked by Isa and Rach, with some pieces sourced from their own collection, in the special exhibition Markers: Silverlens @ 20. This presentation is not a scholarly, thoroughly researched survey but rather a personal, intimate offering that grants a rare glimpse into the gallery's narrative from a specific point of view. Tasked with providing accompanying words for this occasion, I feel a slight unease as my understanding of the precise reasons behind the selection of each piece would always be an approximation. Still, I remain duty-bound and will do my part in shaping this story.
In place of a map, allow me to sketch a potential route: One might begin with Letters Unsent, an early monochrome print by Wawi Navarroza, a subtle nod to Silverlen's initial incarnation as a photography gallery. From here, you may choose to explore Patricia Perez Eustaquio's Reprise 1, one of her first shaped canvases, was exhibited at her memorable inaugural exhibition at SLab*. Nona Garcia's Study for a Painting I could be an interesting next stop; as you stand in front of this self-interrogating 'portrait' of a space and contemplate notions of emptiness, you could shift your gaze to Gina Osterloh's Grid #4, and squint your eyes as you read the enigmatic message: NOTHING TO SEE HERE, THERE NEVER WAS. A slight detour may lead to my work, 99% shown at the erstwhile Gillman Barracks** space in Singapore, signaling the gallery's early forays into expansion. Here, we could stay a while and catch Endless Hours at Sea, first shown in Singapore and exemplifies Martha Atienza's affinity for water, makeshift technology, and working with the local community. Venturing beyond borders, you may encounter KIPAS by Yee I-Lann, a handwoven mat steeped in communal initiatives that empower indigenous craft. Similarly, Norberto Roldan's adorned patadyong skirts celebrate the artistry and creative spirit of the local people of his native Capiz. A set of my early works on paper, created around the time of the gallery's founding, comes into view, revealing a forgotten link to painting and the graphic image. On the way back, walk alongside Bernardo Pacquing's Damp Mortar, an expansive multi-panel piece that seemingly reinterprets Brutalist tendencies using a builder's hand. The ghostly presence of Swim Team (Blue), Pow Martinez's imposing take on group portraiture, lingers as we attempt to find our way back. In the end, the permeating presence of Corinne de San Jose's 4-7-8 guides us home, proving to be the antidote to jarring frequencies, calmly stoking our will to remember.
Markers invites viewers to reflect on Silverlens' remarkable trajectory thus far, offering insights into its evolution and ongoing journey. As the gallery commemorates two decades of creative vision and persistence, it reaffirms its commitment to championing artists and its unwavering drive to forge new paths.
Press release courtesy SILVERLENS.
2263 Don Chino Roces Avenue Extension
Makati City
Manila, 1231
Philippines
www.silverlensgalleries.com
+63 2 88160044
+63 917 587 4011 (Fax)
Tuesday – Saturday
10am – 5pm