In the heart of Venice, a city built upon a labyrinth of islands, the Philippine Pavilion at the 60th La Biennale di Venezia emerged as a tranquil sanctuary amidst the bustling art scene. Curated by Carlos Quijon Jr. and artist Mark Salvatus, the pavilion, entitled “Sa kabila ng tabing lamang sa panahong ito/Waiting just behind the curtain of this age,” transported visitors to the mystical slopes of Mt. Banahaw, a sacred mountain in the Philippines.
Inspired by the enigmatic figure of Hermano Puli, a lay priest and mystic who led pilgrimages to Mt. Banahaw in the 19th century, Salvatus’s installation evoked the spirit of the mountain and its profound influence on Filipino history and culture. Large fiberglass boulders, draped in ethereal white curtains, served as a physical manifestation of the mountain’s presence, while a soundscape captured the mesmerizing symphony of nature, a chorus of birdsong, insect chatter, and the occasional cough or meow, immersing visitors in the mountain’s vibrant soundscape.
Brass instruments, reminiscent of the marching bands that are a vibrant part of Lucban, the town at the foot of Mt. Banahaw, protruded from the rocks like surreal, organic growths. These instruments, along with a film featuring musicians playing their instruments amidst the mountain’s embrace, symbolized the transformative power of music and imagination, a testament to the belief in the unseen and the boundless possibilities that lie just beyond the veil of perception.
Salvatus’s work extended beyond the pavilion’s physical space, inviting visitors to reflect on the enduring legacy of Hermano Puli and the resilience of the Filipino spirit. Puli’s unfinished revolution, his belief in the power of collective action and faith, resonated with the country’s own journey of struggle and perseverance. The pavilion served as a poignant reminder of the interconnectedness of history, culture, and the human experience, transcending national boundaries and inviting visitors to embrace the enigmatic and the extraordinary that dwells within us all.
The return of the Philippines to the Venice Biennale after an absence of over five decades was a testament to the country’s growing presence in the international art scene. From the modest beginnings of a small room showcasing the works of two National Artists in 1964, to the ambitious and thought-provoking installation of 2024, the Philippine Pavilion has evolved into a platform for showcasing the country’s rich artistic heritage and engaging in a global dialogue about culture, identity, and the human condition.
