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. 

– Gary-Ross Pastrana

*SLab was envisioned as a space for contemporary art and was eventually folded under the Silverlens umbrella.

** Gillman Barracks is a former British military camp that was turned into a contemporary art space. In September 2012, the Barracks was launched as a cluster of international art galleries and other art-related tenants. Silverlens was among the first galleries to open in the Barracks, where it remained in operation until 2016.

Martha Atienza (b. 1981, Manila, Philippines; lives and works in Bantayan Island Philippines) is a Dutch-Filipino video artist exploring the format’s ability to document and question issues related to the environment, community, and development. Her work, primarily composed of videos with an almost sociological nature, is rooted in ecological and cultural concerns as she studies the intricate interplay between local traditions, human subjectivity, and the natural world. She won the Baloise Art Prize in Art Basel for her seminal work Our Islands in 2017. Prior to this, she was twice awarded the Ateneo Art Awards in Manila (2012/2016) and the Cultural Center of the Philippines Thirteen Artist Award (2015). Recent biennales and triennials include the 17th Istanbul Biennial, Istanbul (2022), Bangkok Art Biennale: Escape Routes, BACC, Bangkok (2020), Honolulu Biennial: To Make Wrong / Right / Now, Oahu, Hawaii (2019); and the 9th Asia Pacific Triennial of Contemporary Art, QAGOMA, Brisbane (2018). 

Corinne De San Jose (b. 1977, Bacolod, Philippines; lives and works in Manila, Philippines) is an interdisciplinary media artist and award-winning sound designer based in the Philippines, known for her multimedia practice spanning printmaking, video, sculpture, and sound installation. Her work with acclaimed Filipino directors Lav Diaz, Erik Matti, and Raya Martin spurred her initial foray into visual storytelling through photography, animating still subjects like landscapes and objects. Much of her documentation centers around the female body, revealing her own domesticity and habitation within the nature of systemic social values of her own culture. De San Jose has shown her work in solo and group shows in the Philippines, Singapore, Indonesia, Taiwan, Paris, and New York.

Patricia Perez Eustaquio (b. 1977, Cebu Philippines; lives and works in Benguet Province, Philippines) is known for her multidisciplinary works that demonstrate contrasting sensibilities and provide commentary on the mutability of perception, as well as on the constructs of desirability and how it influences life and culture. Perez Eustaquio has gained recognition through several residencies abroad, including Art Omi in New York and Stichting Id11 of the Netherlands. She has been part of several notable exhibitions and presentations at the Museum of Contemporary Art and Design, Manila; the Palais de Tokyo in Paris, France; and in the 2016 Singapore Biennale.

Nona Garcia (b. 1978, Manila) probes into the essence of things, setting up a dichotomy between the transparent and concealed, framed and natural, the sublime and the everyday. In 2013, she relocated to mountainous Baguio City in Benguet Province. Since then she has responded to the immediacy of this landscape, creating large-scale, highly realistic paintings of scenes viewed in and around her new home. Garcia’s X-ray works are another key aspect of her practice. Focusing on Cordilleran and indigenous artefacts, reliquaries of saints, or delicate animal bones designed in the form of a mandala, she has created installations using lightboxes as well as window-based works. Paradoxically, the process of exposure results in images that are more mysterious — bathed in luminescent blue light, each flaw made visible, the bones and objects take on a new life.

Pow Martinez (b. 1983, Manila, Philippines; lives and works in Manila) is a Filipino artist known for his expressionistic style of painting, blending bold colors with demonic, mutant-like characters to create compelling canvases that often resemble a beautiful nightmare. Martinez has exhibited internationally, at Silverlens New York (2023), Palais de Tokyo in Paris (2019), Art Jakarta (2019), and Art Basel Hong Kong (2019).

Wawi Navarroza (b. 1979, Manila, Philippines) is a renowned Filipina lens-based artist known for her large format photographic tableaus and self-portraits. Informed by post-colonial dialogue and globalization, Navarroza employs her corporeal form as an artistic medium. Her in-studio collages serve as a testament to the various facets and stages of the women's narrative, portraying woman as creator. She is the recipient of the Asian Cultural Council Fellowship Grant New York and Lucas Artists Fellowship Award for Visual Arts San Francisco. Her work has been exhibited in museums internationally including the the National Museum of the Philippines, Hangaram Museum (Korea), National Museum of Fine Arts (Taiwan), Yogyakarta National Museum (Indonesia), Fries Museum of Contemporary Art & Museum Belvedere (Netherlands), Danubiana Museum (Slovakia), and in galleries in Australia, Japan, Malaysia, Singapore, Laos, Cambodia, London, Spain, and Italy. 

Gina Osterloh (b. 1973, San Antonio, Texas, USA; lives and works in Columbus, Ohio USA) is an interdisciplinary artist whose practice includes photography, video, performance art, and steel sculptures. Her photographic work and live performances explore the complexities of looking, addressing both pleasure and pain while challenging assumed notions of identity. Solo exhibitions and performances include Gina Osteroh: Mirror Shadow Shape at the Columbus Museum of Art, a survey of the artist’s work from 2005-2020 (Columbus, Ohio); Her Demilitarized Zone / Image Without Weapon at MOCA Detroit; her demilitarized zone at Silverlens (Manila, Philippines); Gina Osterloh at Higher Pictures Generation (NY); Shadow Woman as part of En Cuatro Patas at The Broad Museum (Los Angeles); ZONES at Silverlens, Manila; Group Dynamic at Los Angeles Contemporary Exhibitions (LACE), and Anonymous Front at Yerba Buena Center for the Arts (San Francisco). Awards include a Nancy Graves Foundation Grant for Visual Artists, an Ohio Arts Council Grant for Individual Excellence, the Wayne P. Lawson Columbus Museum of Art Acquisitions Award, a Fulbright in the Philippines, a Woodstock Center of Photography residency, a Headlands Center for the Arts Artist-In-Residence, and a Create Cultivate Grant with the LA County Arts Commission and LACE. She is an Associate Professor of Art at The Ohio State University.

Bernardo Pacquing (b. 1967, Tarlac, Philippines; lives and works in Parañaque City, Philippines and Singapore) is an artist broadening the expressive possibilities of abstraction in painting and sculpture. Incorporating diverse found objects that challenge conventional perceptions of aesthetic representation, form, and value, his work displaces the idea of unequivocal forms, introducing possibilities for the coexistence of affirmations and denials. He was twice awarded the Grand Prize for the Art Association of the Philippines Open Art Competition (Painting, Non-Representation) in 1992 and 1999. He is also a recipient of the Cultural Center of the Philippines Thirteen Artists Award in 2000, an award given to exemplary artists in the field of contemporary visual art.

Gary-Ross Pastrana’s (b. 1977, Manila, Philippines; lives and works in Manila) is an artist deeply immersed in the philosophies surrounding concepts, objects, and art. His highly conceptual pieces, rich with poetic intensity, maintain an unobtrusive subtlety. Incorporating dynamic and nonsequential images along with other modes of study such as music and science, his creations form a new textual narrative. In 2006, Pastrana received the Cultural Center of the Philippines’ Thirteen Artists Award. Since then, he has shown at the Singapore Art Museum, Metropolitan Museum of the Philippines, the Jorge B. Vargas Museum, and was part of the 2019 The Art Encounters Biennial in Romania, 2019 Singapore Biennale, 2012 New Museum Triennale in New York, 2010 Aichi Triennale, and 2008 Busan Biennale. In 2004, he co-founded Future Prospects art space.  Exhibitions include Erstwhile Maps, CASE Space Revolution, Bangkok, Thailand (2020); Every Step in the Right Direction, Singapore Biennale, Singapore (2019); The Art Encounters Biennial, Romania (2019); An Opera for Animals, Para Site, Hong Kong (2019), Rockbund Art Museum, Shanghai (2019); Utopia Hasn’t Failed Me Yet, Silverlens, Manila (2018, solo).

Norberto Roldan (b. 1953, Roxas City, Philippines; lives and works in Roxas City) has been a leading figure in the artistic landscape of the Philippines for decades. His installations, assemblages and paintings of found objects, text fragments, and found images address issues surrounding everyday life, history, and collective memory. In 1986, he founded the seminal artist group Black Artists in Asia—a Philippines-based group focused on socially and politically progressive practice—and in 1990 he established VIVA EXCON (Visayas Islands Visual Arts Exhibition and Conference), the region’s longest-running biennale. Presently, he is the Artistic Director of Green Papaya Art Projects, the longest running independent and multi-disciplinary platform in the country. He was represented in several landmark surveys like No Country: Contemporary Art for South/Southeast Asia, Solomon R Guggenheim Museum (2013); Between Declarations & Dreams: Art of Southeast Asia Since the 19th Century, National Gallery Singapore (2015); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, National Art Centre Tokyo (2017); and, Passion and Procession: Art of the Philippines, Art Gallery of New South Wales (2017). 

Yee I-Lann (b. 1971, Kota Kinabalu, Sabah, Malaysia; lives and works in Kota Kinabalu) is a prominent contemporary artist known for her photomedia-based practice. With acuity and wit, her work explores the dynamics of power, colonialism, and neo-colonialism in Southeast Asia, emphasizing the impact of historical memory on social experiences. Yee has exhibited widely in museums in Asia, Europe, Australia, and the United States, with notable retrospectives including Fluid World, a survey at Adelaide’s Contemporary Art Centre of South Australia; and Yee I-Lann: 2005-2016 at the Ayala Museum in Manila, the Philippines. Selected recent solo exhibitions include: Yee I-Lann & Collaborators: Borneo Heart, Sabah International Convention Centre, Kota Kinabalu, Malaysia (2021) and Yee I-Lann: Until We Hug Again, CHAT (Centre for Heritage, Arts & Textile), Hong Kong (2021), and At the Roof of the Mouth, Silverlens New York (2022).