At the heart of its base of operations in Intramuros, the National Commission for Culture and the Arts further fulfils its service to the Filipino Visual Arts community by opening its exhibition space known as the NCCA Gallery at the lobby of the NCCA Building in 2009. This was in response to the burgeoning contemporary art scene in the Philippines.

Dedicated to contemporary arts, the NCCA Gallery is a joint initiative of the National Committee on Art Galleries (NCAG) under the Subcommission on Cultural Heritage, and the National Committee on Visual Arts (NCVA) under the Subcommission on the Arts.

Through the gallery, both the NCAG and the NCVA aim to provide young and emerging artists a venue for exposure without curtailing creative exploration and expression. Likewise, established artists will have the opportunity to share their conceptual narratives to the audience and encourage engagements in the arts.

POLICY ON THE NCCA GALLERY AND THE  EXHIBITION PROGRAM 

ncca gallery

 

CALL FOR EXHIBITION PROPOSALS

Every year, the NCCA Gallery opens its Call for Exhibition Proposals to the public. The Call is an opportunity for Filipino artists from different backgrounds, different affiliations, and different regions to be able to showcase their work to a wider audience without compromising their creative vision. All proposals shall be deliberated by the Exhibition Committee and the chosen exhibitions shall be executed with the support of the NCCA.

Exhibition Committee Members

  • Head of the National Committee on Art Galleries, Mr. Danilo Rayos del Sol
  • Head of the National Committee on Visual Arts, Ms. Geraldine Araneta
  • Chief of the Policy/Plan, Formulation and Programming Division, Mr. Ferdinand Isleta
  • Officer-in-Charge of the Arts Section, Mr. Niño Selibio
  • Head of the Cultural Heritage Section, Mr. Lawrence Charles Salazar

Eligibility

  1. Exhibition proposals may be submitted by any Filipino citizen or any group or institution based in the Philippines. Exhibition proposals from foreign institutions or groups should be coursed through the NCCA International Affairs Office. These proposals should be made in consonance with a diplomatic milestone celebration, pursuant to an international commitment arising from Philippine membership to international organizations, or to implement the provisions of an executive program of a cultural agreement.
  2. Offices within the Commission may submit exhibition proposals as part of celebrations, such as but not limited to: National Arts Month (February), Women’s Month (March), National Literature Month (April), Filipino Food Month (April), National Heritage Month (May),  Indigenous Peoples Month (October), Museums and Galleries Month (October), and Library and Information Services Month (November).
  3. Officials, employees, and consultants of the Commission and the members of the executive councils of the national committees, including their relatives up to the fourth civil degree of consanguinity or affinity, are prohibited from submitting exhibition proposals.
  4. No exhibition proposal may be approved for more than three consecutive years. Following three years of approved exhibition, applicants must wait for a full exhibition cycle before applying again.

Application Procedures

Exhibition proposals shall be accepted only when these are submitted in writing and with proper supporting documentation, as follows:

  1. A cover page containing the (a) exhibit title, (b) name of applicant (individual or group), (c) type of exhibition (solo or group), and (d) contact details (email, cellphone number, other social media);
  2. A curatorial brief which shall contain the description and summary of the exhibition, and how the space will be utilized;
  3. Statement of the artist/s about the proposed exhibition;
  4. A complementary activity (in the form of a performance, talk, workshop, webinar, etc.) proposal to be executed alongside the exhibition; and
  5. Artist/s portfolio inclusive of updated bio data, digital photographs of sample artworks each properly labeled with details, and any previous write-up about the artist/s.

For any questions/more information about the gallery, please contact us:

NCCA GALLERY SECRETARIAT
Cultural Heritage Section, Room 3B, Third Floor
633 Gen. Luna St. Intramuros, Manila
Tel. No. +63 (2) 8527-2192 local 328
gallery@ncca.gov.ph and nccagallery09@gmail.com


2021 Exhibitions

June 2021

IMAGES OF OUR NATION
By Eleazar “Abe” Orobia, Solo Exhibition
June 07 – 30, 2021

In the midst of the pandemic, Abe Orobia, the artist, developed “hope muscles” and learned to find opportunities from these painful experiences. He now shares them with the public in this exhibition titled “Images of Our Nation” at the NCCA Gallery. His presentation of works of felt tip on watercolor paper and white ink on black paper are accompanied by his narratives written in prose. His documentation and archival videos are also showcased as part of the exhibit.

This pandemic has caused art and culture to be shunted to the sidelines – totally neglecting the pressing issue that art, deemed non-essential, was actually someone else’s means of livelihood.

With the onslaught of fear and helplessness brought about by COVID-19 came the unimaginable for Abe: the halting of his creation process. For one who believes that to create is to exist, to create is to survive, and to create is to heal, art is the ultimate form of critical care – and to lose its making is to lose life’s meaning.


EXHIBITION NOTE:
Art as a Form of Critical Care
By Delan Lopez Robillos


 

RAYWEN KAN HAMYAN
By Hangtay Artists, Group Exhibition
June 04 – 30, 2021

Deploying the idea of the changing seasons as a central motif, “Raywen kan Hamyan” is an exhibition that frames the poignancy of Batanes’ shifting seasons, seasonally altered states of its environment and the charms of a culture that is constantly affected by such predictable sequences and order in nature.  

Ivatans and their way of life is perhaps one of the most environmentally sensitive cultures in the country. The show is a celebration of that coexistence and ecology between man and nature.   

Hangtay Artists, the group behind this exhibition is a group of Ivatan artists which celebrates rootedness and empowerment as means and end to growth of Ivatan communities and an extent, the safeguarding and preservation of their unique cultural identity.


EXHIBITION NOTE: 
Of changing seasons, sense of place and shaped communities 


 

July 2021

BORDERLINE
Conscious & Sub-conscious
By Block Y, Group Exhibition
July 06 – 31, 2021

The NCCA Gallery presents Borderline, an exhibit by Block Y of the University of the Philippines Diliman’s College of Fine Arts. 

Formed in 2018, Block Y is a collective of young artists dedicated to exploring and pushing the boundaries of Philippine contemporary art. Through their works, they aim to generate discussion and awareness of various issues in Filipino culture, such as poverty, mental health, and political oppression— issues at the very heart of Borderline.

Through surrealist explorations of the subconscious, the artists of Borderline engage with the topic of mental health as impacted by the volatile conditions of Philippine society today. The exhibit is comprised of wall-bound paintings, mixed media art, and sculptures that illustrate the emotional experience of living through modern crises such as the COVID-19 pandemic, widespread destitution, and sociopolitical turmoil.

The participating artists are Paolo Gonzales, Georgina Pomarejos, Angelica Jacoba, Rexell Orencio, Asaliah Reiiel Reyes, Bianca Fabrigaras, Krister Isip, Ding Royales, Sophia Sotolombo, Cyrah Contreras, Yllang Montenegro, Alexis Matta, and Andree Tiongson.


EXHIBITION NOTE:
Borderline: Traversing the mind of the artist
By Camille Aguilar Rosas


SINING KATIPUNAN
The Arte Pintura Group Evolving with the Times
By Arte Pintura, Group Exhibition
July 05 – 31, 2021

The NCCA Gallery is proud to present SINING KATIPUNAN: The Arte Pintura Group Evolving with the Times.  Framed as an anticipated 25th anniversary celebration of the Arte Pintura Group, the exhibition features early works, as well as current works of Addie Cukingnan, Abelardo Pasigado, Antonio Yusi, Azor Pazcoguin, Flor Baradi, Margarita Lim, Rey Arelio, Reynaldo Ademis, Shirley Tan, Ronnie Lim, and Nena Frondoso which showcase their transition from Mabini Art to Contemporary Art as a response to various stimuli over the years. Curated by Ricky Francisco, the painting exhibition is complemented by an archival exhibition which tracks the various landmarks and accomplishments of the group over the years.  As an archival exhibition, it focuses on the groups various strategies in achieving sustainability, group cohesion, and growth.


EXHIBITION NOTE:
SINING KATIPUNAN:
Arte Pintura Group Evolving with the Times
By Ricky Francisco


August 2021

BAHAYSINING
By Fil Delacruz & Janos Delacruz
August 05 – 31, 2021

Filipino contemporary artists and father-son Fil Delacruz and Janos Delacruz present Bahaysining at the NCCA Gallery in August 2021. As an elaboration on the distinctions and synergy between Filipino contemporary artists, the selection of paintings, on-site mural, and records embolden and belabor the embedded syncopations and orchestration of the tandem as they create art at home as a comfort, challenge, and a lived experience.


EXHIBITION NOTE:
Bahaysining: Fil Delacruz and Janos Delacruz
By Randel Urbano 

 


September 2021

Ilonggo Republic
By Kristoffer Brasileño
September 04 – 30, 2021

Kristoffer Brasileño, Ilonggo artist, stages his second solo exhibition entitled “Ilonggo Republic” at the NCCA Gallery featuring 21 portraits of Ilonggos, mostly people he has interacted with during his art practice. 

His artworks explore identity and celebrate the beauty of his people.

Organized by the National Commission for Culture and the Arts, the exhibition brings forth a question of what Ilonggo art is, if there is one. Equal parts autobiographical and observational, the exhibition is the artist’s way of documenting his locality while celebrating its identity


EXHIBITION NOTE:
“Ilonggo Republic” is an exhibition of recent works from Ilonggo artist, Kristoffer Brasileño. The paintings featured in this exhibition explore the identity and celebrate the beauty of his subjects.    

Strangers, family, and friends – all lend their faces to the paintings. Ilonggo Republic is observational during the creative process when Brasileño tries to capture the essence of the subject through his own lens, painting the face with a recognizable likeness to its owner. But it turns into an experiment when he subsequently projects the portraits on the canvas and incorporates playful collages as an allusion to both his and the subject’s environment. The results are not just portraits but profiles of the people that inspired his artworks.    


Pharmasika 633@ Calle Heneral Luna
By Alwin Reamillo
September 12 – October 31, 2021

If many of Alwin Reamillo’s installation art pieces function as metaphorical musical compositions, the artist’s present show, Pharmasika 633 @ Calle Heneral Luna at the NCCA Gallery at 633 General Luna Street, Intramuros, Manila, could be called an enlargement of that intent. While inhabiting its present space in its present time, the show actually looks further back to his 2013 NCCA Gallery installation art show titled Tinubuang Lupa (about Andres Bonifacio). Reamillo asks us to regard the present show as a sort of sequel to that 2013 exhibit, or as the second panel to a mental diptych. 

Reamillo seeks to parody the musicality around people and things and history. Parody! Thus, in Pharmasika 633@ Calle Heneral Luna, the treatment of Luna both as a pharmacist (pharma) and artist (musika) presents the positive note of Luna’s real presence as a counterpoint to the negative note of the dissonant as well as silent products of noisy mythmaking and lies and quiet history-less-ness (memory-less-ness). Reamillo’s artmaking around our national heroes (who also happen to be artists) also becomes a paean/salute to their choice of a treatment for the Philippine social cancer of their time: not merely science or ilustrado knowledge, of which they were stalwart holders, but cultural art as well, whether through the novel, the poem, or music, or through the musicality of dark satire as tonal medicines to forgetfulness.


EXHIBITION NOTE:
OBJECTS. Fragments of objects. Their coming together. The resultant meeting of meanings. The consequent search and filtering of contexts. . . .     



Gallery ARCHIVES
Share