Paragamâ

22/05/2026

HERE'S YOUR ORDER MAMSIR

Halo-Halo Espesyal exhibits the artworks of 3rd year Fine Arts Studio Arts students under the advisory of Sir Efren Enolva in the SFA 131 Oil Painting Class.

The exhibit show reflects the coming together of different artists, practices, and perspectives within one shared exhibition. Like the Filipino dessert— Halo-halo Espesyal, it embraces variety with each artwork acting as a distinct ingredient that contributes to a larger collective experience.

The artworks featured here are only few of the displayed works from the exhibit, the Halo-Halo Espesyal Exhibit is available for viewing at the Rizal Memorial Library and Museum until June 5, 2026. Let's support our local artists by showing up to their exhibitions and appreciating their artwork.

The entrance for the exhibit is free, you are more than welcome to invite your friends and family to view the artworks!

15/05/2026

𝙃𝘼𝙇𝙊-𝙃𝘼𝙇𝙊 𝙀𝙨𝙥𝙚𝙨𝙮𝙖𝙖𝙖𝙖𝙡! 𝘼𝙣𝙤, 𝙩𝙖𝙧𝙖?🥵🍨

YOU ARE INVITED! Showcasing the works of the students of Sir Efren Enolva, join us this afternoon at the Rizal Public Library and Museum for , , and !

🚌FREE SHUTTLE SERVICE (UP Bus) 🚌
📌𝟮:𝟬𝟬 𝗣𝗠| UP Cebu ~> Rizal Museum
📌𝟰:𝟯𝟬 𝗣𝗠 | Rizal Museum

14/05/2026

HALO-HALO ESPESYAL IS TOMORROW! 🍦

Come celebrate Filipino culture and identity through the exhibit by A ColektiB, under the advisory of Sir Efren Enolva for their SFA 131 Oil Painting class.

Look forward to meet the artists of the artworks, an afternoon of music jam session, and to enjoy our well-loved Filipino miryenda!

Date: May 15, 2026 (Friday) | 2:00 PM
Venue: Rizal Memorial Library and Museum, Osmeña Boulevard

𝘋𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘩𝘢𝘯𝘥𝘴, 𝘥𝘰𝘻𝘦𝘯𝘴 𝘰𝘧 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘮𝘪𝘯𝘥𝘴, 𝘪𝘯𝘥𝘪𝘷𝘪𝘥𝘶𝘢𝘭 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘤𝘰𝘮𝘦 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘴𝘩𝘢𝘳𝘪𝘯𝘨 𝘵𝘩𝘦𝘪𝘳 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘭𝘦𝘯𝘴 𝘰𝘧 𝘭𝘪𝘧𝘦 𝘪𝘯 𝘰𝘯𝘦 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘴𝘱𝘢𝘤𝘦 🌟

“𝗛𝗮𝗹𝗼-𝗵𝗮𝗹𝗼 𝗘𝘀𝗽𝗲𝘀𝘆𝗮𝗹: 𝗔 𝗖𝗼𝗹𝗲𝗸𝘁𝗶𝗕” is an exhibition brought to you by the 3rd year Fine Arts - Studio Arts students, 𝗔 𝗖𝗼𝗹𝗲𝗸𝘁𝗶𝗕. The theme of the exhibit embraces variety and mixture, with each artwork functioning as a distinct “ingredient” that contributes to a larger collective experience.

Opening this 𝗙𝗿𝗶𝗱𝗮𝘆, 𝗠𝗮𝘆 𝟭𝟱, at the 𝗥𝗶𝘇𝗮𝗹 𝗠𝗲𝗺𝗼𝗿𝗶𝗮𝗹 𝗟𝗶𝗯𝗿𝗮𝗿𝘆 𝗮𝗻𝗱 𝗠𝘂𝘀𝗲𝘂𝗺 🖼
Exhibition runs until June 5.

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𝘍𝘳𝘰𝘮 𝘍𝘪𝘭𝘪𝘱𝘪𝘯𝘰 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳𝘪𝘵𝘺, 𝘶𝘴𝘪𝘯𝘨 𝘵𝘩𝘦 𝘤𝘰𝘯𝘤𝘦𝘱𝘵 𝘰𝘧 𝘩𝘢𝘭𝘰-𝘩𝘢𝘭𝘰 𝘢𝘴 𝘢 𝘮𝘦𝘵𝘢𝘱𝘩𝘰𝘳 𝘧𝘰𝘳 𝘥𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘺 𝘢𝘯𝘥 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘨𝘢𝘵𝘩𝘦𝘳𝘪𝘯𝘨.

𝗜𝗻 𝗰𝗼𝗼𝗽𝗲𝗿𝗮𝘁𝗶𝗼𝗻 𝘄𝗶𝘁𝗵 𝗖𝗲𝗯𝘂 𝗖𝗶𝘁𝘆 𝗠𝘂𝘀𝗲𝘂𝗺.

12/05/2026

𝘋𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘩𝘢𝘯𝘥𝘴, 𝘥𝘰𝘻𝘦𝘯𝘴 𝘰𝘧 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘮𝘪𝘯𝘥𝘴, 𝘪𝘯𝘥𝘪𝘷𝘪𝘥𝘶𝘢𝘭 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘤𝘰𝘮𝘦 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘴𝘩𝘢𝘳𝘪𝘯𝘨 𝘵𝘩𝘦𝘪𝘳 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘭𝘦𝘯𝘴 𝘰𝘧 𝘭𝘪𝘧𝘦 𝘪𝘯 𝘰𝘯𝘦 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘴𝘱𝘢𝘤𝘦 🌟

“𝗛𝗮𝗹𝗼-𝗵𝗮𝗹𝗼 𝗘𝘀𝗽𝗲𝘀𝘆𝗮𝗹: 𝗔 𝗖𝗼𝗹𝗲𝗸𝘁𝗶𝗕” is an exhibition brought to you by the 3rd year Fine Arts - Studio Arts students, 𝗔 𝗖𝗼𝗹𝗲𝗸𝘁𝗶𝗕. The theme of the exhibit embraces variety and mixture, with each artwork functioning as a distinct “ingredient” that contributes to a larger collective experience.

Opening this 𝗙𝗿𝗶𝗱𝗮𝘆, 𝗠𝗮𝘆 𝟭𝟱, at the 𝗥𝗶𝘇𝗮𝗹 𝗠𝗲𝗺𝗼𝗿𝗶𝗮𝗹 𝗟𝗶𝗯𝗿𝗮𝗿𝘆 𝗮𝗻𝗱 𝗠𝘂𝘀𝗲𝘂𝗺 🖼
Exhibition runs until June 5.

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𝘍𝘳𝘰𝘮 𝘍𝘪𝘭𝘪𝘱𝘪𝘯𝘰 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳𝘪𝘵𝘺, 𝘶𝘴𝘪𝘯𝘨 𝘵𝘩𝘦 𝘤𝘰𝘯𝘤𝘦𝘱𝘵 𝘰𝘧 𝘩𝘢𝘭𝘰-𝘩𝘢𝘭𝘰 𝘢𝘴 𝘢 𝘮𝘦𝘵𝘢𝘱𝘩𝘰𝘳 𝘧𝘰𝘳 𝘥𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘺 𝘢𝘯𝘥 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘨𝘢𝘵𝘩𝘦𝘳𝘪𝘯𝘨.

𝗜𝗻 𝗰𝗼𝗼𝗽𝗲𝗿𝗮𝘁𝗶𝗼𝗻 𝘄𝗶𝘁𝗵 𝗖𝗲𝗯𝘂 𝗖𝗶𝘁𝘆 𝗠𝘂𝘀𝗲𝘂𝗺.

08/05/2026

🌟𝙉𝙊𝙒 𝙎𝙃𝙊𝙒𝙄𝙉𝙂! 𝘽𝙍𝙊𝙐𝙂𝙃𝙏 𝘽𝙔 𝙃𝙐𝙈𝘼𝙉 𝘼𝙍𝙏𝙄𝙎𝙏𝙎 𝙉𝙀𝘼𝙍 𝙔𝙊𝙐🌟

We proudly present the first half of the upcoming thesis exhibits for this month of May from our dearest graduating batch of seniors, Akuliktib. To recognize and appreciate their hard work, we openly invite everyone to attend their solo thesis exhibits. Please be guided with the schedule below:

📌𝗠𝗮𝘆 𝟵, 𝟮𝟬𝟮𝟲 (𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆)
‣ Gin-Halinan by JM Valenciano
‣ KUNGPUSILONTIKAAA by KOMPOZTIKA

📌𝗠𝗮𝘆 𝟭𝟬, 𝟮𝟬𝟮𝟲 (𝗦𝘂𝗻𝗱𝗮𝘆)
‣ amuma by Annalyn Labra

📌 𝗠𝗮𝘆 𝟭𝟭, 𝟮𝟬𝟮𝟲 (𝗠𝗼𝗻𝗱𝗮𝘆)
‣ ARIYA by Candy Regine Casinillo
‣ Lim-aw by April Maureen Burcila
‣ Black Box by Josephine Marie Gentallan
‣ afterhOURS by Ehd Aiken Calaguas

📌 𝗠𝗮𝘆 𝟭𝟯, 𝟮𝟬𝟮𝟲 (𝗪𝗲𝗱𝗻𝗲𝘀𝗱𝗮𝘆)
‣ RAMIBOI by COSMO
‣ remnants by Phil Angelo Sevilla

📌 𝗠𝗮𝘆 𝟭𝟱, 𝟮𝟬𝟮𝟲 (𝗙𝗿𝗶𝗱𝗮𝘆)
‣ imminent/immanent by Giela Ann Delleva

📌 𝗠𝗮𝘆 𝟭𝟲, 𝟮𝟬𝟮𝟲 (𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆)
‣ Demiurgency by Jasper Villacin

And that is only the half of it! Stay tuned for the second batch of upcoming thesis exhibit in May from our very own AkuliktiB!

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30/04/2026

𝗟𝗜𝗧𝗔𝗡𝗜𝗬𝗔: Dugok (Featured Sculptures)
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Each sculpture gathered here kept going when the system gave them little reason to. Each work carries the distinct vision, material, and personal intention of its maker, and yet together they form a single archive of what it looks like to sustain a creative practice inside a system that does not prioritize the sustaining of that practice, or the passion that drives it.

Not because the conditions were right. Not because support was given. But because stopping was not an option ,and because what they carried was too urgent to set down.

That is not a triumph. That is a record. And a record, here, is its own form of insistence.

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30/04/2026

𝗟𝗜𝗧𝗔𝗡𝗜𝗬𝗔: Fragments
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The work centers on the figure of my father, a person I have never truly known and whose presence in my life exists primarily through fragments of testimony, speculation, and imagination. Rather than attempting to recover an accurate image of him, the project examines how identity can be constructed through partial memories, mediated descriptions, and the unstable processes of visual reconstruction.

The primary method used in this project is the production of multiple forensic-style portrait sketches based on eyewitness testimony. In forensic investigations, artists often work with witnesses to reconstruct the appearance of a suspect by gathering descriptive information about facial features such as the eyes, nose, jawline, and hair. These sketches are not intended to be perfect representations but rather approximations constructed through dialogue between the artist and the witness. Similarly, this project draws upon descriptions provided by my mother, who once knew my father and recalls aspects of his appearance. Through this process I produce between multiple sketches, each attempting to translate verbal descriptions into visual form.

Best Regards,
Van Aaron Cinco

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Featuring selections from the artworks of the third-year Studio Arts students, Litaniya features a variety of installations that negotiate sites, whether "site" refers to physical space, institutions, the artworld, or the state. What exactly is freely given, what is afforded as part of obligation, and what can easily be taken away? The works engage with this conversation as a form of reckoning. They reflect on the nature of installative artworks, in that their scale demands attention to ruminate on the very structures that we think are untaintable, indestructible, and absolute.

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30/04/2026

𝗟𝗜𝗧𝗔𝗡𝗜𝗬𝗔: Chimes with no Return
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What is a chime that does not ring? It is a promise without a pulse. Chimes with no Return is a piece that reimagines the idea of a chime as a symbol of lingering presence, an enduring promise that someone's essence still occupies the room even when their voice has faded.
The soft, subtle sounds that linger when glass shards collide remain a memory. The piece imagines the stillness of a home waiting for a sound that will not come, marking the space where a purpose exists yet remains unfulfilled.

With urgency,
Johna Louren Come

—

Featuring selections from the artworks of the third-year Studio Arts students, Litaniya features a variety of installations that negotiate sites, whether "site" refers to physical space, institutions, the artworld, or the state. What exactly is freely given, what is afforded as part of obligation, and what can easily be taken away? The works engage with this conversation as a form of reckoning. They reflect on the nature of installative artworks, in that their scale demands attention to ruminate on the very structures that we think are untaintable, indestructible, and absolute.

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29/04/2026

𝗟𝗜𝗧𝗔𝗡𝗜𝗬𝗔: Embrace
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Embrace is a tensegrity sculpture that explores the fragile yet resilient relationship between body and soul. Constructed from wires, yarn, and plaster of Paris bandage, the work forms a skeletal spine and ribcage gently enclosing a biomorphic figure that serves as a visual embodiment of the soul in distress. Suspended within an orbit of hanging yarns that suggest breath, wind, or unseen forces, the installation becomes a living space of tension and balance. Through this interplay, Embrace presents healing as an act of holding oneself together. The body is not just a container, but a quiet support for the wounded soul. In this embrace, a bond is formed, one that endures pain and allows healing to begin.

Earnestly,
EJ Vincent Quilo

—

Featuring selections from the artworks of the third-year Studio Arts students, Litaniya features a variety of installations that negotiate sites, whether "site" refers to physical space, institutions, the artworld, or the state. What exactly is freely given, what is afforded as part of obligation, and what can easily be taken away? The works engage with this conversation as a form of reckoning. They reflect on the nature of installative artworks, in that their scale demands attention to ruminate on the very structures that we think are untaintable, indestructible, and absolute.

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29/04/2026

𝗟𝗜𝗧𝗔𝗡𝗜𝗬𝗔: Kumpisalan
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Kumpisalan is a sound installation inspired by the confessional ritual. The installation serves as an extension of Lintanya's advocacy for accountability and action. The installation imagines a confession room involving the listener and the confessor. The repetitive cycle of monotonous incantation is based on the cyclical plea of prayer & forgiveness. However, the confession here gives space for grievances, confidentiality, unheard monologues & narratives, etc. The confessional was constructed out of the excess materials from Mindworks: Antosantos Freedom wall, thus giving it an afterlife, or perhaps, a reincarnation, albeit in a different form.

Faithfully,
C:Cube

—

Featuring selections from the artworks of the third-year Studio Arts students, Litaniya features a variety of installations that negotiate sites, whether "site" refers to physical space, institutions, the artworld, or the state. What exactly is freely given, what is afforded as part of obligation, and what can easily be taken away? The works engage with this conversation as a form of reckoning. They reflect on the nature of installative artworks, in that their scale demands attention to ruminate on the very structures that we think are untaintable, indestructible, and absolute.

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29/04/2026

𝗟𝗜𝗧𝗔𝗡𝗜𝗬𝗔: Grounds
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This installation reflects on what happens after breaking, which is the slow, uneven process of becoming. A large white fabric is cut into root-like forms and extends outward like a body searching for ground. It is no longer restrained, but also not yet settled. It reaches and learns where it can belong. Rust stains are visible across the surface, these are marks that do not disappear as easily as the pressure that caused them. They linger as quiet reminders of what the body has carried. Fragments of the self pool and stretch along the roots, suggesting a state of transition, where identity is still shifting and taking form. Behind it, a black plastic surface subtly responds to movement, producing a soft, uneasy sound. It holds a quiet tension that echoes the persistence of memory even in such moments of release. This work sits in that in-between process of grounding oneself and in becoming.

With Conviction,
Kaye Plasquita

—

Featuring selections from the artworks of the third-year Studio Arts students, Litaniya features a variety of installations that negotiate sites, whether "site" refers to physical space, institutions, the artworld, or the state. What exactly is freely given, what is afforded as part of obligation, and what can easily be taken away? The works engage with this conversation as a form of reckoning. They reflect on the nature of installative artworks, in that their scale demands attention to ruminate on the very structures that we think are untaintable, indestructible, and absolute.

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