Arts & Culture (01/07/26)

1 of 4

Kundirana presents 2026’s maiden concert

KUNDIRANA, the award-winning music ministry of La Salle Green Hills (LSGH), is set to hold its first concert for the year this week. Performances are scheduled for Jan. 9 and Jan. 10, with shows at 7 p.m. They will be held at the Br. Donato Center for Performing Arts at La Salle Green Hills, Ortigas Ave., Mandaluyong City. For ticket (P150) reservations, e-mail is.principal@lsgh.edu.ph.

West Gallery opens 4 exhibits

RUNNING from Jan. 8 to Feb. 7 at West Gallery are four new exhibits. There’s Breathe, Sigh… by Geraldine Javier; How the Frame Decides by Audrey Lukban; Manual for Making Space by Julieanne Ng; and Existence through allusions by Joanolasco. The gallery will also have on display selections from the Soler and Mona Santos Collection, which includes works by Elmer Borlongan, Roberto Chabet, and many others.

NCCA celebrates art deco with 2026 calendar

THE National Commission for Culture and the Arts (NCCA) continues its tradition of releasing an artistic calendar this year. This time, it commemorates 100 years of Art Deco in the Philippines, coinciding with the global celebration of the architectural style and highlighting its beauty and enduring impact on the country’s landscapes. Titled “A Century of Art Deco in the Philippines,” the calendar features 12 notable structures from around the country that demonstrate how Art Deco influenced civic buildings, educational institutions, residences, and cultural landmarks across the archipelago during the 20th century. The calendar was conceptualized and designed by journalist, filmmaker, and cultural researcher Roel Hoang Manipon.

Kelli Maeshiro, Veronica Peralejo at MO_Space

TWO EXHIBITIONS are running at MO_Space from Jan. 10 to Feb. 8. At the Main Gallery is Kelli Maeshiro’s Vast when you’d expect Insular, which explores liminal and negative space as sites of meaning, intimacy, and distance. It is rooted in the artist’s research on Japanese theories of perceived empty space, using the installation of repurposed everyday objects to treat the gallery as a relational volume between artist and viewer. At Gallery, 2, Veronica Peralejo’s The Poets and the Mundane marks a continuation of the artist’s clay modeling and assemblage practice. It conjures random shapes and textures, creating fundamentally familiar images and birthing repetitive variations that preserve faint memories of interesting things.