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GMA posts 71.5% income decline, blames absence of political ads

GMA NETWORK, Inc. suffered a 71.5% decline in net income attributable to shareholders to P603.57 million in the first quarter from P2.12 billion a year ago when political advertisements abound.

“The absence this year of almost P1.5-billion worth of political advocacies and advertisements in the first quarter of 2022 factored considerably into the company’s top-line reduction,” GMA said in a statement.

The profit cut came about after the company booked 31.5% lower revenues to P4.02 billion in the first three months of 2023, from P5.86 billion in 2022.

Revenues from advertisements went down to P3.7 billion in the first quarter, down 71.5% from P5.53 billion in 2022.

“Advertising revenues remained the lifeblood of GMA, comprising more than 90% of the total revenue pie,” the company said.

“It was also the biggest source of the drag, with a contraction of P1.83 billion, mainly due to the absence of incremental sales from last year’s elections placements,” it added.

Despite the 12.3% drop in the sales of its services to P210.42 million during the quarter from P240.55 million a year ago, the company said its operations returned to the pre-pandemic level.

“Despite lukewarm sales performance during the quarter, operations have returned to pre-pandemic levels, with costs also rising due to more fresh episodes produced as well as the resumption of face-to-face activities,” GMA said.

Meanwhile, the company’s total operating expenses during the period went up by 6% to 3.26 billion from P3.08 billion in 2022.

GMA said that it recorded an increase in production, other direct, general, and administrative costs in the first quarter, as well as an increase in the cost of goods.

“Management has made a concerted effort to keep spending at bay given the economic challenges, nonetheless ensuring that commitment of the company to its viewers and stakeholders are at the forefront,” it said.

GMA is primarily involved in the business of radio and television broadcasting. It also produces films and other information-related businesses.

In 2023, the company earmarked around P1.78 billion for capital expenditure, which will be funded internally.

On Tuesday, shares in GMA declined by 31 centavos or 3.02% to P9.95 each. — Justine Irish D. Tabile

AG&P says unit secures contracts for five projects

A SUBSIDIARY of AG&P International Pte. Ltd. has secured contracts for five projects across the Philippines, Australia, the Middle East, and Europe, said its top official, who expects a busy 2023 with a focus on liquefied natural gas (LNG).

“AG&P is proud to be delivering clean fuel upgrades to leading, international refineries and petrochemical plants, digital infrastructure and another state-of-the-art LNG terminal, plus critical facilities to continue the rapid development of the Philippines economy,” Joseph Sigelman, chairman and chief executive officer of AG&P, said in a statement on Tuesday.

The contracts secured by the unit — AG&P Industrial — were forged in the first quarter of the year and amounted to $360 million.

“It is our greatest privilege to be awarded five marquee projects within the first quarter of the year, a record for AG&P industrial. It is a testament to the confidence and trust we have built over the years, delivering projects to top clients globally with world-leading quality and safety standards,” said Alex Gamboa, president of AG&P Industrial.

AG&P Industrial is involved in industrial, modular infrastructure and services for LNG projects, terminals, refineries, and LNG liquefaction modules.

“AG&P’s Industrial goes from strength to strength with the award of five major contracts in [the first quarter] of 2023, all from blue chip, global corporations for mission-critical projects in Europe, the Middle East, Australia and, of course, in the Philippines,” Mr. Sigelman said. — Ashley Erika O. Jose

Fruitas swings to profitability with P82-M net income

FRUITAS Holdings, Inc. reported on Tuesday a consolidated net income of P82.36 million in 2022, a reversal of its net loss of P16.32 million incurred in the prior year.

The company’s attributable earnings reached P77.24 million, turning around from the net loss it previously reported the prior year.

“The exceptional performance of the entire Fruitas Holdings Group in 2022 inspires [us] to do even better in the coming years,” said Fruitas President and Chief Executive Officer Lester C. Yu in a disclosure.

Revenues increased by 63.6% to P1.8 billion from P1.1 billion the previous year driven by higher same-store sales growth during the year.

“Despite having just over 770 stores as of end-2022, compared to more than 1,000 stores as of end-2019, [Fruitas] already achieved 92.5% of 2019 pre-pandemic revenues in 2022,” the company said.

It said that revenues for 2022 did not include contributions from its newly acquired restaurant brand Ling Nam, which was completed in March 2023. The acquisition included Ling Nam’s trademark, recipes, equipment, store improvements, and inventory from the previous owner.

Fruitas’ earnings before interest, taxes, depreciation, and amortization amounted to P287 million, more than double the P131 million booked the previous year.

“We were able to unlock the value of [Balai Ni Fruitas Inc.] via listing. We expect all Fruitas brands to perform better this year and we will strongly invest in our recent acquisitions, Balai Pandesal and Ling Nam, to achieve our growth targets,” Mr. Yu added.

Balai debuted on the Philippine Stock Exchange in 2022 with 1.49 billion primary and secondary shares listed on the small, medium, and emerging board at P0.70 apiece.

On Tuesday, Fruitas shares closed unchanged at P1.12 each. — Adrian H. Halili

RFM net income falls nearly 60%

RFM Corp. registered an attributable net income of P135 million in the first quarter, down 59.6% from P332 million last year, due to the company incurring higher expenses.

The company’s top line increased by 10.3% to P4.3 billion during the quarter from P3.9 billion reported the prior year.

In the three-month period, RFM’s gross profits went down by 15.7% to P1.13 billion from the P1.34 billion recorded the previous year. Its direct costs and expenses were higher by 23.4% at P 3.16 billion from P2.56 billion a year earlier.

The company’s selling and marketing expenses climbed by 8.26% to P747 million in the three months that ended March from P690 million. General expenses decreased by 27.9% to P172 million from P197 million the previous year.

RFM is mainly involved in two segments: its institutional business, which manufactures and processes wheat, flour and flour products; and its consumer segment, which manufactures and sells ice cream, pasta, milk, juices, and margarine.

The company is known for brands such as Selecta Moo, Sunkist Orange Pulp, Vitwater, Selecta Magnum, Selecta Cornetto, Selecta Paddle Pop, White King All-Purpose Flour, Fiesta Spaghetti, and Royal Spaghetti.

On Tuesday, its shares declined by 0.31% or a centavo, closing at P3.24 apiece. — Adrian H. Halili

Seeing Red

JC SANTOS (left) and Bart Guingona, both acclaimed actors, will be in the limited 10-show run for Red from June 9 to 18 at the PETA Theater Center. —TOOTS O. TOLENTINO

GIVEN that Red’s debut in Manila was produced and starred in by Bart Guingona in 2013, it would be easy to assume that he was also responsible for its upcoming restaging again by The Necessary Theater. But bringing back John Logan’s masterpiece was not on his mind at all. The culprit was fellow actor JC Santos.

Arguable best known for his TV and movie roles — he played the lead in ABS CBN’s Til I Met You in 2016-17, the lead in ABS-CBN’s 24/7 in 2020, and is the protagonist in TV 5’s Dirty Linen this year — theater is his love.

“Over 10 years ago, 2011, I was working in Disneyland and my friend gave me a script. It’s Red by John Logan. I read it and then I kept asking people to read it with me! I was obsessed with that material,” Mr. Santos shared.

When he heard that it was being staged in the Philippines, he was so jealous. But now, the opportunity finally presented itself and he is excited to work with Mr. Guingona whom he considers a master.

“Ito ang may sala eh (It’s this guy’s fault)!” the “master” laughed. “We were together in Dirty Linen, and I was minding my own business in the tents, lounging around, waiting for my cue then this guy comes in and says, ‘Kuya Bart, Kuya Bart! Red?’ And at first, I didn’t even think about it. But then, Dramatists Play Service popped up on my Instagram timeline showing a photograph of our production of Red. So I said, “Oh! Is this some kind of a sign?” And then I texted him and said, ‘Uy! Seryoso ka ba? (Hey! Are you serious?) Get the rights!’ He was dead serious so here we are.”

Written in 2009, Red is John Logan’s take on artist Mark Rothko’s career. He focused on that point in his life when he accepted a commission for several murals for the Four Seasons restaurant. As the artworks were completed, he came to realize that the commercial space meant only for the world’s wealthiest patrons was not the right space for his work.

The play runs for just over an hour and is an intense discourse between two characters: Rothko and his assistant, Ken. While Rothko is a historical figure, Ken is not. He is a representative character of all of the artist’s assistants through the years. The pair was first performed by Alfred Molina and Eddie Redmayne.

“After 10 years have passed, I realized that there was so much about the first time that I missed out on,” Mr. Guingona admitted. “I think that I understand Rothko much better now. And I think I can defend him better to a world that’s going to be… because, in truth, he is not a very likable man. We can accuse him of intellectual snobbery. We can accuse him of so many things, but like someone who is uncompromising, he sacrificed being likable for sticking to his principles. I think we can do better now, right?”

His Rothko was previously partnered with Joaquin Valdes’ Ken. But a new Ken is not just what will make the 2023 run different. The staging will be different too.

“This is going to be a fuller production,” explained associate director Mark Daniel Dalacat. “We’ll see much more of the world than before. It was very pared back when they first did it and I think it was appropriate for the time but for now we really wanted to bring the world alive. You get to see it. It’s a working studio on stage.”

Admittedly, this “fuller stage” is still quite modest when compared to the gigantic productions of musicals that have returned to the stage since the lockdowns have lifted. But Mr. Guingona is confident that small, quiet productions such as Red will always have a place in the Philippines’ theater landscape.

“In an age when smart-shaming is a thing, this guy actually wore his erudition like a badge of honor,” he said. “And you could hate him for it because he was exacting. And I’m thinking, ‘Oh! You know what? It’s so relevant for today. I think we should start getting attracted again to intellectual expansion rather than populism. So, the musicals, I am so happy that the scene is alive again. The musicals have their place, and the entertainments have their place, but there is theater that’s necessary. And I’m glad I have the opportunity to bring it.”

The confidence is clearly present. And more importantly, the trust. A play with only two characters talking for an hour will require complete faith in the fellow actors on stage. And this is why Mr. Santos was adamant in performing the piece with Mr. Guingona.

“Gusto ko siyang makatrabaho eh! Wala akong makitang ibang gagawa kundi siya lang (I wanted to work with him. I can’t imagine anyone doing it except him),” he declared. “Nami-miss ko yung pinapa-isip ko yung audience. Gusto ko ulit mag-disturb ng tao. Tara, isip muna tayo ulit. Lumayo muna tayo sa swipe-swipe. Manood tayo ng live (I miss making people think. I want to disturb people again. Come, let’s think again. Let’s move away from swiping. Let’s watch a live performance)! Let’s appreciate art work again.”

He added that performing on stage is helping him improve his acting. He has learned to be more vulnerable, laughingly claiming that he can now cry at the drop of a hat. He returns to television feeling refreshed, extra confident, and armed with more technique.

“Nung sabi ko na babalik ako ng theater, kailangan kong mag software update (When I said I was returning to theater, I needed a software update)!” Mr. Santos reiterated. “Kinakalawang eh! Magre-rehearse ako ulit (I’m rusty! I will rehearse again). And I love that! I love the whole rehearsal process, that we’re thinking about the script and how to make it extra natural, memorable, and papaano pa natin mapapa-isip yung audience. Lalo itong play na ito (how else we can make the audience think. Especially with this play). This is lecture! You’re listening to Mark Rothko! Papaano natin gagawing interesting sa audience (How do we make this interesting for the audience)? I love the whole challenge of it! So for me, it’s a software update.”

If there is one aspect of Rothko’s life that the two men can relate to, it is the struggle that every artist must face in the pursuit of their craft: the struggle between art and commercial viability.

For Mr. Santos, it is always a gamble when accepting projects either for commercial or artistic gain. He is very conscious that he needs to make a choice.

“This is my first producer job,” he shared. “Ako kasi, gusto kong gumawa ng play then, sige, mag-produce na ‘ko. Gagawin ko na ito. Hindi na ‘ko maghihintay ng iba na may magha-hire sa akin. Let’s do it na! (Me, I wanted to make a play so I produced it. I’m doing this. I won’t wait for someone else to hire me. Let’s do it)!”

To which Mr. Guingona agreed wholeheartedly.

“It really is a struggle. JC’s right. You really have to make a choice. So, ako, I tell them already, ‘I know you’re paying me better. I know that it’s a living. But sometimes you have to make a sacrifice because the commerce is not worth the value of your soul.’”

Red will have a will have a limited 10-show run from June 9 to 18 at the PETA Theater Center.

Medilines posts 53% net income growth, remains ‘bullish’ this year

MEDILINES Distributors, Inc. recorded P214 million in core income for 2022, up 53% from the previous year driven by higher revenues, the listed medical equipment distributor said on Tuesday.

In a disclosure, the company said revenues increased 24% to P1.9 billion mainly due to the distribution and delivery of its cancer therapy devices totaling at P1.1 billion. Its linear accelerator devices were delivered to major hospitals in the Philippines.

“We are happy with our 2022 results which is a banner year for the company,” Medilines President and Chief Executive Officer Patricia V. Yambing said in a statement.

Medilines said that its dialysis segment saw a 76% year-on-year growth on the back of an increase in its distribution.

“The expansion of its dialysis consumables line of products is one of the pillars of Medilines’ growth strategy,” the company said.

Sales of its diagnostic imaging equipment grew by 5% to P306 million as imaging devices were distributed to multiple healthcare facilities.

“We remain bullish with the industry for this year, and we believe that we are in the right position to take on more opportunities as we sustain our leadership in the medical equipment and consumables distribution market,” Ms. Yambing added.

Meanwhile, the company is planning on participating in the government’s plan to improve healthcare facilities and expand dialysis wards in state-owned hospitals.

“Our focus remains on business strategies that will deliver profitable and sustainable growth over time. We are looking at a steady growth in 2023, as the government implements its Philippine Health Facility Development Plan,” Ms. Yambing said.

Medilines shares increased by 3.39% or two centavos to close at P0.61 each on Tuesday. — Adrian H. Halili

The importance of honoring our heritage

BAYANIHAN PHILIPPINES performs during the announcement of Heritage Month events. —GISELLE P. KASILAG

NCCA launches Heritage Month activities

WITH the urgency of honoring the past and preserving its legacy, the National Commission for Culture and the Arts (NCCA) unveiled the events for National Heritage Month that highlight the dynamic nature of the national patrimony.

“Our Filipino heritage is the legacy that our ancestors left us. From buildings and structures to social practices, oral traditions, and living expressions, our heritage speaks of what we have been through as a country and it speaks of the resilience of those who came before us. Our Filipino heritage also speaks of who we are as a nation. It indicates what we value as a society,” said Oscar Casaysay, executive director of the NCCA.

“It signals the direction of who we will be and, that said, we should continuously learn about our heritage and preserve it. By doing so, we honor the sacrifices of our forefathers. We honor their blood and sweat that shape the nation’s identity.”

Slated for the month of May — which Filipino Heritage Festival Inc. president Armita Rufino pointed out is the month with the most festivals in the Philippines — the celebrations will focus on four aspects: sustainable heritage management, heritage science, intangible cultural heritage, and urban heritage.

The kick-off event was held on May 2 at the Capiz Provincial Capitol in Roxas City. Apart from presentations of folk songs and dancing, the event featured the launch of the commemorative stamp entitled “Kalayaan ay Pamana: 125th Anniversary of the First Philippine Republic and Democracy.”

A webinar through Facebook focusing on the role of librarians in preserving traditions called the “Aklatan Series: Role of Librarians in Cultural Heritage Preservation,” will be held on May 5.

“Sinupan Kamustahan 3: Pangangalaga at Pagpapalaganap sa Komunidad” on May 17 is a Facebook Live event that will discuss online the different archival projects in the country.

An audio-visual presentation, Tahanan ng Kasaysayan: The Aguinaldo Shrine’s Legacy to Philippine Independence, will premiere on May 18 through Facebook. It highlights the transition of Emilio Aguinaldo’s home into a historical landmark that is vital in understanding the story of the nation.

“Tourism and Heritage: Enemies or Partners in Progress” is the theme of the Capacity Building in Heritage Management Clinic 2023-2024 to be held on May 23 to 30 at San Carlos in Pangasinan. The event will bring together experts in tourism and cultural management to guide strategies and best practices that tourism stakeholders may implement.

And finally, opening this month will be the Virtual 360° Heritage Site Tour: Museo de San Agustin, an online portal with high-definition photography and videography of the iconic San Agustin Church in Intramuros, Manila.

Alongside the NCCA events is the Filipino Heritage Festival 2023 with its complimenting calendar of activities. This includes an essay writing competition, a heritage quiz, an exhibition on plazas at the Metropolitan Museum entitled “Places of Memory, Place of the Heart: Plazas in the Philippines,” a touring exhibit of National Artist Larry Alcala’s cartoons entitled “Larry Alcala: Slices of Life, Wit and Humor,” a Bacolod Heritage Tour, and many more.

“This year’s National Heritage Month, with its theme of change and continuity, reminds us that we should continue to develop what our forebearers have founded which is our Filipino heritage,” reiterated Victorino Manalo, chairman of the NCCA. “It is something we can hold on to in our changing world. But our task isn’t easy and it continues through the years.”

AllHome income falls 35% to P934M

VILLAR-LED AllHome Corp.’s attributable net income for 2022 fell by 35% to P933.77 million from P1.44 billion the prior year, the company said on Tuesday.

In its annual financial statement, the seller of home improvement products reported a 12.3% decline in revenues to P12.56 billion from P14.32 billion due to weakened sales since the second quarter of 2022.

“AllHome’s 2022 performance is one that still bears the hallmarks of the many changes of the post-pandemic scenario,” AllHome Chairman Manuel B. Villar, Jr. said in a statement.

“The ‘revenge spending’ phenomenon that marked the inevitable end of the pandemic has shifted to travel and leisure with the lowering of restrictions on these activities. Despite the business challenges, AllHome will continue to push efficiencies where we can, such as our recorded improvements on our gross and net profit margins,” Mr. Villar added.

The company’s gross profits declined by 8% to P4.62 billion from P5.02 billion the prior year. Its costs decreased by 14.7% to P7.94 billion from the P9.31 billion reported the previous year as goods were purchased in advance at lower costs.

Last year, the company’s store outlet in Alabang was damaged by fire. As a result, it wrote off inventories and property and equipment valued at P83.8 million and P219.3 million, respectively.

As such, the bottom line for the year excluded the damage caused by the fire, bringing its core net profits to P1.17 billion.

“By ensuring significant visibility with organizations and industry events such as UAP, Worldbex and continuing to tap building and home improvement professionals with our signature events such as Coffee Connections and Home Design Inspirations, we believe AllHome only stands to gain even more confidence from the industry at large,” President and Chief Executive Officer Benjamarie Therese N. Serrano said.

AllHome shares rose by 1.9% or four centavos to end at P2.14 apiece. — Adrian H. Halili

Adjoa Andoh reimagines Richard III’s ‘otherness’ in new version of play

LONDON — When actress Adjoa Andoh read William Shakespeare’s Richard III as a child, she was struck by how he was treated.

“I’m sort of nine or ten… I was outraged in the sort of way that children get outraged about the way that Shakespeare had unfairly represented this man and had people be vile to this man because of the way he looked,” Ms. Andoh told Reuters.

“As a child growing up in the Cotswolds in the 1960s, it was something I resonated with.”

Decades later, Ms. Andoh is starring in the lead role and directing her iteration of the play, set in the Cotswolds and in which Richard’s “otherness” is race rather than disability.

She is the only Black actress among the cast and rather than focus on the stereotypical evil character, she wanted to look at someone “who has been pushed and pulled in a certain way … and at a certain point goes ‘Ok no more of this. I will make my mark’.”

She emphasized she was not changing the language or the text of the play or playing Richard as a woman, but “doing it in this frame and through this lens.”

Ms. Andoh, whose portrayal of Richard comes to London’s Rose Theatre after a run in Liverpool, shot to global fame as Lady Danbury in Netflix period drama Bridgerton, a role she reprises in the spin-off Queen Charlotte released next week.

Bridgerton was a huge hit upon its release in 2020 and won praise for its diverse cast.

“It’s a style of drama that people may be familiar with … it’s a style of costume drama that some people may have swerved mightily and this has given an extra little edge to it… that may draw people in a different way,” she said. — Reuters

Isuzu Philippines presents new PUV Class 2 design 

ISUZU PHILIPPINES Corp. has presented to the government its new public utility vehicle (PUV) Class 2 design aimed at modernizing local public transportation.

In a statement on Tuesday, the company that it presented the PUV on April 28 to the Department of Transportation, and the Land Transportation Franchising and Regulatory Board.

According to Isuzu Philippines, the vehicle complies with the Philippine National Standard guidelines for Class 2 PUV, and features redesigned panoramic windows, cushioned seats, and new luggage compartments for passenger convenience.

The car manufacturer added that the new design has two side doors for the driver and front passenger, similar to old jeepneys.

Isuzu Philippines Vice-President for Sales Yasuhiko Oyama said the old jeepney is loved for its durability and reliability and that the company is providing “the same core values plus more.”

“With the new Isuzu PUV you don’t just get durability, reliability, and fuel efficiency but also an elevated comfort and convenience,” the official said.

Some of the interior features of the new Isuzu PUV Class 2 include a GPS unit, automated payment system, built-in monitor and digital signboards.

Meanwhile, the company said that it is also offering “extensive” aftersales support to those who will buy the vehicle.

“With its 48 outlets nationwide which are all capable of servicing light to heavy-duty trucks and nationwide parts availability, transport cooperatives will not have to worry about vehicle maintenance and operation downtime,” it said.

It added that dealers will make sure transport cooperatives will get the most out of their Isuzu PUV.

Some of the participants during the company presentation include Pasang Masda Jeepney Transport Service Corp., other transport cooperatives, suppliers, and partner banks. — Revin Mikhael D. Ochave 

Arts&Culture (05/03/23)

BSP receives award for museum webpage, calendar

The Bangko Sentral ng Pilipinas (BSP) has received international recognition for the BSP Museum webpage and its 2023 calendar in the 10th Annual Asia-Pacific Stevie Awards. The Asia-Pacific Stevie Awards recognize innovation in the workplace in all 29 nations of the Asia-Pacific region. Over 800 nominations from the Asia-Pacific region were considered in various categories for this year’s awards. The BSP won the Gold Stevie Award under the “Innovation in Government Websites” category for the BSP Museum webpage which features virtual exhibitions of its four collections: Fine Arts, Pre-Colonial Gold and Pottery, Numismatic, and Decorative Arts. This interactive gallery allows viewers to immerse themselves in the exhibit, get a closer look at the pieces, and learn about the featured artists and their works. The central bank developed the webpage to continue making the BSP Museum collections accessible to the public during the pandemic lockdowns. It also features its newest collection in celebration of the 125th anniversary of the Philippine Independence. Meanwhile, the 2023 BSP calendar received the Bronze Stevie Award under the “Innovation in Community Relations or Public Service Communications” category. Themed “Handog: Mother Nature’s Gift to Humanity,” the calendar features flora and fauna-themed works of national artists such as Hernando R. Ocampo and Ang Kiukok and emphasizes the need to protect nature’s handog or gifts to mankind. The BSP also launched a dedicated webpage for the calendar to promote environmental protection and conservation. The Gold, Silver, and Bronze Stevie Award winners were determined by the average scores of more than 100 executives around the world acting as judges in February and March. The winners of the 2023 Asia-Pacific Stevie Awards will be recognized during a virtual awards ceremony on June 27.

2 Pinoy works in Smithsonian’s newest exhibit

Two artworks by Filipinos which were previously on display at the National Museum of Fine Arts were loaned to the National Portrait Gallery in Washington, D.C. as part of their newest exhibition, “1898: US Imperial Visions & Revisions”. The Portrait of Felipe Agoncillo by Félix Resurrección Hidalgo (from the National Fine Arts Collection) and the Portrait of Apolinario Mabini by Fabián de la Rosa (from the National Library of the Philippines’ Collection) are temporarily being showcased at the “1898” exhibition, marking the first time that artworks from the National Museum and National Library have been featured in a major exhibition by the Smithsonian. Inaugurated on April 27, the “1898” exhibition focuses on American wartime imperialism at the turn of the 20th century and the lasting effects that it had on the annexed territories of Cuba, Puerto Rico, Hawaii, Guam, and the Philippines. The exhibition will also be accompanied by a website that will provide supplementary educational resources and digital access to information about the exhibition, including Filipino translations of select texts. The exhibition, co-curated by Taína Caragol and Kate Clarke Lemay, with assistance from Carolina Maestre, will run from April 28 to Feb. 25, 2024.

ARTablado exhibit focuses on auspicious objects on canvas

For her second exhibit at ARTablado, called “All the Luck in the World,” artist Valerie Teng has 40 artworks that are a collection of symbols that represent good luck such as water, fish, and mythical creatures. The show runs from May 1 to 15 at ARTablado in Robinsons Galleria. In June 2022, she held her first solo show was held at ARTablado in June 2022. While her first solo show focused on flowers, there is a similar thread running through this collection of auspicious items, which is one of overwhelming positivity and brightness. “My first solo show focused mainly on florals and the idea of getting lost in a sea of flowers. I’ve always enjoyed being surrounded by light and happy colors for it gives you a sense of tranquility which my works represent,” Ms. Teng said. “In the almost one year since then, my love for pastels hasn’t diminished but this time, I’ve incorporated more elements and adjusted the hues a bit, made them deeper. I also used ‘lucky symbols’ that I hope bring luck and peace to the homes of whoever buys the pieces,” she said. “Since I am a huge fan of Feng Shui, I decided to showcase artworks that I feel could bring good luck, peace and happiness. The collection, I might say, is quiet but speaks volumes. It is what I’ve always wanted to achieve in life: to be calm, to be peaceful and to be loved.”

Tate Modern acquires works by Maria Taniguchi, Yee I-Lann

Silverlens has announced that The Tate Modern in London has acquired one of Maria Taniguchi’s “brick paintings,” part of a body of work that has been ongoing since 2008. Each brick painting consists of thousands of meticulously hand painted cells that accumulate on the surface of the canvas to form grey-black monoliths. The series is exceptional in its ever-expanding volume, accruing methodically for over 15 years. On May 4, Taniguchi will be opening her first New York gallery exhibition titled “Figure Study,” featuring nine new large-scale brick paintings at Silverlens’ New York branch (505 W 24th Street, New York City). Also in the Tate collection now is Yee I-Lann’s “Mansau Ansau” (“To walk and walk without knowing where you are headed”) (2021), a tikar (woven mat) made in collaboration with Dusun and Murut weavers from Sabah. This weave, mansau ansau, was accidentally invented by I-Lann and her weavers in 2018. In the Murut language, it means “to keep journeying without knowing where you’re headed” and perfectly captures I-Lann’s journey with her community of weavers since 2017. Silverlens represents both Maria Taniguchi and Yee I-Lann.

VLF turns 18 with new plays and a new home

As it turns 18 this year, the Virgin Labfest (VLF), a festival of untried, untested and unstaged plays, will present 12 new plays from both veteran and upcoming playwrights from June 7 to 25, at its brand-new home, the Tanghalang Ignacio Gimenez (the Cultural Center of the Philippines’ Blackbox Theater). Following the theme “Hitik,” the festival opens the curtains with four thematic sets of new one-act plays — Adulting 101 (Set A), REBELasyon (Set B), Y.O.LO. (Set C), and Muwang (Set D). The festival will also present one set of revisited plays (Hinog / Set E), and two sets of staged readings. The three plays from 2022 to be revisited are Nay May Dala Akong Pansit by playwright Juan Ekis and director Karl Jingco, Punks Not Dead by playwright Andrew Bonifacio Clete and director Roobak Valle, and Fermata by playwright Dustin Celestino and director Antonette Go-Yadao. After three years, the staged readings make a comeback this year, featuring selected scripts from the VLF18 submissions. There will also be Theater Talks featuring speakers on topics of interest to theater actors, practitioners and enthusiasts and a Playwrights’ Fair with young and veteran playwrights speaking about their experiences and writing journeys. The Staged Readings, Theater Talks and Playwrights’ Fair will be held at the VLF Lounge at the TIG Basement. These events are free to the public. For tickets and other inquiries, contact the CCP Box Office at salesandpromotions@culturalcenter.gov.ph. Follow the official CCP, VLF, Writer’s Bloc and Tanghalang Pilipino social media accounts on Facebook, Twitter, Instagram and Tiktok for more updates.

Video of lecture on collecting indigenous art released

The Ortigas Foundation Library has released the video of Floy Quintos’ lecture, “Perspective and Directions for Starting a Collection of Philippine Indigenous Art.” The full lecture can be found on the library’s YouTube channel: https://youtu.be/WZytl65HOYc . The viewing of the associated exhibit has been extended to May 15. “For me, we’re living in an age where we’re all beginning to discover the culture again, and if wanting a piece of it is our way of supporting local craft, by all means, go ahead and do it (collecting),” says Mr. Quintos. “But, ‘learn, learn, learn,’ for me that’s the most important thing — to simply own an object, without knowing about it, without learning about it, without knowing the dark side and the lighter side of things… [is not enough].”

Pianist Montesclaros in fund-raising recital

The LAMDAG Foundation for Women Projects, in cooperation with the Insular Life, presents pianist Inna Montesclaros in a solo piano recital on May 21, 4 p.m., at the Insular Life Auditorium in Filinvest Corporate City in Alabang. The concert proceeds are earmarked for the construction of the Dayao Center in Davao City that will house the foundation, which is dedicated to the total development of young professionals, female students, and lady helpers in Davao and the nearby provinces. Ms. Montesclaros will play Chopin pieces in the first part of the program, while the second part will feature Beethoven’s Piano Sonata No. 21 in C Major Op. 53, F. Buencamino’s Mayon Fantasia de Concierto, and Liszt’s Hungarian Rhapsody No. 10 in E major. For inquiries and tickets, contact 0917-862-7100 and 0917-523-6646.

Imahica offers rare prints by Imelda Cajipe Endaya

Imahica Art gallery now offers artworks from the acclaimed artist Imelda Cajipe Endaya. These pieces are part of the artist’s personal collection, selected by the gallery for their colors and abstraction. Dating back to 1970, 1972, and 1976, these works showcase the artist’s masterful use of complex processes and sophisticated printmaking techniques, such as etching, aquatint, and collagraph, which she often combines in laborious and intricate ways. Imahica Art is at 2-A Lee Gardens, Lee St., Wack-Wack, Mandaluyong City. For details visit www.imahica.art or call 0917-894-5646 or 7622-4008.

GCash introduces GCrypto NFT Hub

Finance app GCash has launched an NFT platform — the GCrypto NFT Hub — through an exclusive partnership with contemporary Filipino artist Reen Barrera. GCash partnered with homegrown non-fungible token (NFT) marketplace, Likha, and art gallery Vinyl on Vinyl, for the release of its first GCrypto NFT collection, “The House of Ohlala,” from Reen Barrera. “We are thrilled to partner with the esteemed artist, Reen Barrera, for his first ever NFT collection as we unveil the new GCrypto NFT Hub,” said Jong Layug, GCash Head of Wealth Management. “Through the GCrypto NFT Hub, we hope to provide Filipino artists a platform to bring their digital art to a wider audience, while also enabling more Filipinos access to buy their first NFT art.” During the House of Ohlala launch in The Astbury, Makati, hosted by NFT enthusiast Mikael Daez, members of the NFT and art community came together to celebrate and get first dibs on Mr. Barrera’s first NFT collection.

Globe saves energy as it transitions to fiber optics

GLOBE Telecom, Inc. said it has saved a total of 84,288 kilowatt-hours of energy after it migrated its site backhaul from using microwave antennas to fiber optic cable solution.

“The move lessens power consumption since most long-haul microwave sites are composed of multiple big antennas and outdoor units that contribute to higher power consumption,” Globe said.

The initiative is also seen to boost Globe’s network capacity to higher bandwidth, which will support the increasing demand for data in the Philippines. To date, the company has been able to convert 151 of its sites.

The company said that it will expand the initiative through more site conversions and exploring other microwave solutions and equipment that are sustainable and have lower power consumption and footprint.

“We are dedicated to creating a sustainable future through technology. Our conversion of microwave radio sites to fiber optic cable is a step towards reducing our carbon impact while ensuring backhaul efficiency,” said Gerhard Tan, director for network strategy and technology enablement at Globe.

Last week, the company said that by the second quarter, its broadband service Globe at Home will have a recyclable and upcyclable packaging design for its fiber product as part of its goal of shifting 100% of its modem packaging to recyclable material by end-2023.

“By closely engaging our vendors, we are able to make this significant move with our partners and collectively create a more sustainable value chain,” said Jepay Vallejo, assistant vice-president for product management at Globe at Home Broadband Business.

To date, it has deployed over 9,000 green network solutions since it started the initiative in 2014 and has put in investments in electric vehicles (EVs) through the launch of employee EVs and electric scooters. It currently has 25 key sites operating on renewable energy through power purchase agreements. — Justine Irish D. Tabile

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