By Giorgio Guglielmino
Since my arrival in Manila in 2017 as ambassador of Italy, a position I held until 2021, I have always been interested in the local art scene – visiting galleries, meeting artists, following the Ateneo Art Awards, of which the Italian Embassy has become an integral part through a regular purchase prize, and obviously visiting Art Fair Philippines every year.
The previous editions were held at a parking lot – a young and fun idea. However, I had always thought that at a certain moment it was necessary to make a leap in quality in terms of the organization and presentation of the fair.
When I visited Art Fair Philippines 2025, I literally could not believe my eyes and my mind went to the editions of Frieze London that I regularly visited in recent years. Anyone who has visited Frieze London would have noticed that this year, Manila was characterized by the same style: beautiful large white tents, wide spaces, attention to detail. Everything in this edition of Art Fair Philippines made the visit pleasant. There was a leap in quality and I have no doubt in saying that the 2025 edition of the Fair has reached such an international level that it could be included in that list of events that art lovers should consider visiting.
The rumor that the 2025 fair would be of a high level had spread even before its opening, and this explains the presence of international gallery owners and curators who came to Manila for the occasion.
Among the foreign presence, I am pleased to mention, was that of the Directors of the Hong Kong branch of the Italian gallery of Massimo De Carlo. In Asia, it is not only seen in China but also in Seoul, where it is among the top Italian galleries with a roster of extremely talented artists. The associate director, Riccardo Chesti, expressed his intention to bring his gallery next year to present top-level Italian artists, starting with Mimmo Paladino.
What struck me most in terms of the works exhibited here? One of the first galleries on the first floor at the beginning of the tour of the fair was Silverlens, which offered works of some of its best artists: from Nicole Coson (who will open a solo show next month) to Wawi Navarroza, from Pacita Abad – present with some splendid works on paper – to Leo Valledor, who had a large body of work worthy of a museum.
Continuing along the tour, Leon Gallery offered some of the great Filipino masters led by Fernando Zobel. At the end of the first floor, one could not help but be struck by the seven works of the young Filipino-Chinese Winna Go, all sold on the first day, a result that perhaps only the Gagosian Gallery manages to achieve when it participates in fairs.
A few steps in the park and a flight of stairs led to the second floor, which had even larger and brighter spaces. Here it was impossible not to notice Manuel Ocampo’s exhibition project: a dozen works characterized by images that were almost all sacred, reworked and integrated with collage elements (from superheroes to cartoon characters), which initially disoriented the viewer but later appeared integrated into the work in a mix of high and low culture typical of the Filipino artist.
It was a surprise to find a booth of the Cologne-based publishing house specializing in luxury art editions, Taschen, which, in addition to some of its publications, also sold prints by German artist André Butzer.
An even more unexpected surprise for me was to find an old acquaintance of mine, the Austrian Rudolf Kratochwill, former owner of the then 1335MABINI gallery located at Karrivin Plaza, which later closed. His own booth focused on the secondary market: from Dina Gadia to Manuel Ocampo—everything sold.
A large and interested Filipino audience, a growing foreign audience, a diversified program that also included numerous talks that were always crowded: Art Fair Philippines was an undoubted success.
Thanks to the three organizers Lisa Periquet, Dindin Araneta and Trickie Lopa, who did not look to the past and the somewhat childish positions taken by some galleries in Manila, but aimed at the future and the internationalization of the fair. They are certainly on the right track; we await the 2026 edition for a confirmation that we are sure will come.
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ABOUT THE AUTHOR
Giorgio Guglielmino, born in Genoa in 1957, has been a diplomat for the Italian Ministry for Foreign Affairs for 40 years. He served in London; Nairobi, Calcutta (Consul General); Buenos Aires (Minister Counsellor); and Dhaka, Bangladesh (Ambassador). His last foreign posting was Ambassador of Italy to the Republic of the Philippines from 2017 to 2021.
He is also known for his passion for the arts – particularly contemporary art. He has written several books on contemporary art, two of them published also in English. His last book titled “The Originals – 30 artists that shaped contemporary art” came out with “Anvil Publishing” and was released in Manila in January 2020. A new book is expected to come out before the end of 2025.
In early 2020 he organized the exhibition “Arte Povera: Italian landscape” curated by Danilo Eccher at the Metropolitan Museum of Manila.
He had a column for Il Giornale dell’Arte (The Art Newspaper – Italy) for more than 25 years.
