The Space Called Tambayang Makiling

The Space Called Tambayang Makiling
March 28, 2003


I was at Tambayang Makiling located at Sct. Santiago cor. Roces Sts., Quezon City for its inaugural show last March 1, 2003. A new venue for the plural art disciplines with not quite a definite vision but of a definite space and artists. One wonders of the more than five hundred graduates of Makiling High School since the early eighties. We would find some of them at this new aptly named venue. The earlier student works of alumnus under former Makiling teachers, Bob Feleo and Benjie Cabangis, were exhibited in one striking piece a bit maudlin. The collaborative effort was on the first floor left wall and a directed video of alumni, Jon Red and Raymond Red, was being shown on an impromptu video set up. Future film making shows and viewing are also in the offing and is more stable as some members are internationally renowned. The Anino group also performed with their more experimental work that was rudely interrupted by inattentive older audiences. There seems to be a bit of tense camaraderie with both older and younger groups. The groups seem to be a diversified lot and were quite impressively talented in their own respective contemporary fields. The space is a two-storey structure with an ample-sized patio for outdoor sculpture. A viewing window was maintained and at the opening were displaying the typical handmade masks of Makiling. From the entrance there are wide walls on both sides leading to a closed off kitchen. Enough space for a major exhibit for visual artists or a suitable performance venue for dancers. Stairs led up to a portioned off room for a smaller exhibiting space intended for drawings. Here were some smaller works of other Makiling's painters and visual artists led by Don Salubayba and Ian Victoriano. Another wider room opens on the second floor for another major exhibit space. The bigger works of artists Alwin Reamillo, Pablo Biglang-awa, Dindo Llana, Jon Red et al were hung side by side with an accommodating ceiling for these different formats (6′ x 4′ the biggest by painter Juanito Torres). A table and chairs were on the far side for consultations and other formal discussions. According to Pablo Biglang-awa who with Ian Victoriano and Jon Red lead albeit informally the visual arts committee of Tambayan Makiling, the space was created for most functions of the members and immediate family. Being mostly painters themselves they made more practical plans for the walls and over-all structure of the place. The ambiance was mostly created through years of refining and improving the place before its inaugural opening. Some future improvements were in the making like the signage structure, lighting and a more definite patio. Like Pablo, Jon Red and Ian Victoriano are planning on solo shows in more prominent spaces and galleries. These plans, they say would complement for a stronger practice in their respective art careers. The TM would serve at times as studios and residencies for practicing artists. Most of the members are in their mid-thirties and early forties and are quite settled in family and financial matters. The thrust for visual and painting shows and also directing were more for personal satisfaction and pursuit. The venue keeps most of the alumni in touch as it also serves as a common financial venture. For the younger alumni, the place offers more opportunities to hold exhibits. Hopefully it would be an equally viable place for all artist groups or individuals be they older or younger or an alumnus or not. It was quite early to predict on a successful outcome and since it was presumed a loosely and workable structure it offers a novel approach albeit an unpredictable one. After a few years and a number of exhibitions, Tambayan Makiling had to close down and trim down on its activities. Like artists run spaces (ARS) before them, the gallery has exhausted its possibilities and its audiences found other new venues to follow. It proved to be timely for its few artists as it paved the way for emerging artists to empower themselves and be independent for a few years before embarking on their separate ways. It lost heart and steam as its members and pioneers made other priorities available within the extended peripheral of artmaking.




Amiel Gerald A. Roldan
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Mandaluyong City, Philippines

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