My dear buddy Santi Bose would have turned 76 last week had he not left us early in 2002. One wonders how this singular magician who climaxed his tricks before kids and fellow oldies with his mantric incantation of “Sprikitiks Marabunta Smortskens!” would have fared well into the present, when his antic glossary of enchantments would have had to contend with AI and its own Pandora’s Box of disruptions.

In this video, artist Corinne de San Jose discusses her first major exhibition dedicated to sound installations, Everyday is Like Sunday, on view at Silverlens Manila until 12 July 2025. Everyday is Like Sunday is a collection of sound-based works that transcend conventional notions of narrative and composition. Through the exhibition, Corinne de San Jose proposes an alternative way of holding belief, allowing silence to create the space where a shared sense of meaning might be recovered in an increasingly loud and fragmented world.

Elevating daily elements to extraordinary symbols, Navarroza’s photography aims toward an introspective experience—where internal dialogues become entangled with external histories. Navarroza’s self-portraits thus function at the intersection of access and expulsion.

The country’s crippled economy also forced her to become resourceful by incorporating materials that were locally sourced and readily available into her works. May Bukas Pa, Inay (There is Still Tomorrow, Mother), 1982—from which the current survey of Cajipe Endaya’s work at Silverlens in New York, curated by Eugenie Tsai, takes its title—exemplifies her paintings of this period. The ground of the painting is a collage of canvas and sawali, a bamboo-matted panel traditionally used as partitions and window coverings in rural parts of the Philippines.