With the ongoing rehabilitation of its Main Building, the Cultural Center of the Philippines (CCP) is actively recalibrating its programming, including its visual arts initiatives, in preparation for its public reopening next year.
From a broader perspective, what becomes evident is that this moment of transition is not only physical but also conceptual. The rehabilitation opens dialogue to reconsider what “institution-building” means within a contemporary cultural context.
Beyond infrastructure and programming, there is growing recognition that the CCP’s most critical foundation lies in its capacity to remain responsive, deepening its relationship with Filipino artists, expanding access to diverse practices, and sustaining an environment that allows experimentation reflective of today’s visual arts industry.
As part of this reflective process, the CCP recently convened the Philippine Arts Roundtable, bringing together experts to examine the current landscape and explore future directions of Philippine contemporary art.
The main premise of the discussion, “What is the most essential building block for the future of the Cultural Center of the Philippines in the visual arts?” set the tone for the conversation. It emerged less as a question seeking a single answer and more as an invitation to reconsider institutional priorities, considering shifting artistic, social, and cultural realities.
The roundtable brought together contemporary artists Alfredo and Isabel Aquilizan, Silverlens founder and co-director Isa Lorenzo, art historian-critic Carlos Quijon Jr., National Gallery Singapore curator Clarissa Chikiamco, Art Fair Philippines co-founder Dindin Araneta, Metropolitan Museum of Manila president Tina Colayco, business executive and art collector Sheila Ramos, and arts management educator Ana Maria Ortega.
Together, they unpacked pressing questions on institutional support, artistic practice, and cultural direction, offering insights that point to emerging possibilities for the CCP’s role in shaping the visual arts ecosystem in the years ahead.
Arts education as a foundation for the future
For Alfredo and Isabel Aquilizan, education remains central to the future of Philippine visual arts, with a call for stronger government support to expand arts curricula, especially in high schools.
“We have the Philippine High School for the Arts as the educational arm of the CCP, and I believe this model should be replicated across the country, perhaps through accessible educational modules and similar programs,” said Alfredo Aquilizan.
They also pointed to their workshops in remote Australian communities as a model that could be adapted locally to broaden access.
“We conduct workshops in remote communities, which help expand access to knowledge,” he said, adding that the CCP could further extend its reach to underserved areas.
The couple also underscored the need for stronger support systems for artists, including travel grants and mentorship programs.
Preservation and accessibility as pillars of the future
Chikiamco highlighted CCP programs such as the Thirteen Artists Award and the 21AM, which support emerging artists and help preserve the institution’s visual arts collection.
She stressed the need to improve access to archives and strengthen conservation efforts, citing the works of Roberto Chabet as an example of a legacy that should be more widely seen.
“I think sometimes this legacy is in danger of being lost because this history is not visible,” she said, noting that while research exists, access remains limited.
Chikiamco also urged stronger efforts to acquire and safeguard contemporary works, stressing the importance of working closely with artists to preserve intent and context.
Strategic promotion elevates Philippine visual arts
Lorenzo said the CCP must position itself as a leading exhibition institution in the region and take a more outward-looking approach.
“Your collection is amazing. But how do you get people to see it? And how do you broadcast this to the world? The CCP cannot afford to remain insular,” she said.
She emphasized stronger digital engagement through platforms like TikTok and Instagram, alongside broader audience-building strategies.
Lorenzo also called for expanded touring exhibitions, more publications, and stronger participation in international art events to elevate Philippine visual arts globally.
Institutional support for curators advances
Philippine visual arts
Quijon Jr. highlighted the need to strengthen institutional support not only for artists but also for curators, many of whom begin their careers locally but eventually move abroad due to limited opportunities.
“We have the talent, but how do we support that talent so they can stay here?” he said.
He stressed the importance of a well-functioning local ecosystem where institutions support one another, enabling curators and artists to thrive in the Philippines while engaging in global conversations.
