Famous for his free-spirited approach to sharing Manila’s history, Carlos Celdran embarks on a new mission to remind us of our country’s past with the Manila Biennale
Carlos Celdran is known for being a number of things, including a performance artist and a tour guide. But what he is arguably most famous for is his cultural activism, something that prevails in all his works. The whimsicality he injects in his walking tours is just one of the many ways by which he makes history interesting and memorable for his audience, in the hopes of instilling in them an interest and appreciation for local culture. These hopes are put on a grander scale in his latest endeavour— the Manila Biennale. The event, which runs throughout the whole month of February, brings Intramuros to life with the many exhibitions and activities set in place.
PT: What sparked the deep appreciation you have for all things Old Manila?
CC: The obsession I have for Manila is a direct reaction to my sheltered and insular upbringing in Makati. I grew up in Dasmariñas Village, unapologetically upper middle class. I studied in the village, I socialised in the village, and my whole world revolved around the village. It was a comfortable and safe upbringing but an absolute nightmare for any creative spirit. I knew there was more to my city than gated communities, social clubs, and malls. So, when I graduated from high school in 1990, took up Fine Arts at UP Diliman, and began roaming the streets of Intramuros and Malate during my free time. I discovered another side to my city, one that wasn’t so controlled and precious; a city that was exciting, unpredictable, and full of life and culture. Since then, I never looked back.
PT: How did you come up with Manila’s first biennale?
CC: It wasn’t a solo decision. I came up with the idea along with a few artist friends of mine while we were doing a residency at Santiago Bose’s house in Baguio. We were expressing our frustrations with the current art scene in the Philippines. We felt that Manila’s art scene needed something more than just gallery openings, sales fairs, and the ever-growing culture of patronage and commerce. Not that there is anything wrong with the status quo; I’m absolutely grateful that the museums, galleries, and patrons support and promote artists, keeping this creative industry alive. But we felt that it was time for artists do something for themselves. It was time to mount an artist-run, artist-centric, artist-focused exposition mounted in an authentic setting that would create a larger context. So, I went online and bought the name ‘Manila Biennale’ by credit card.
PT: What does its theme ‘OPENCITY’ hope to convey?
CC: The current theme OPENCITY references Intramuros. It brings to mind its histories as a trading port, as a spiritual and cultural touchstone, and its importance in the development of the capital that we live in. It also refers to World War II, the 1945 destruction of Intramuros and the loss of over three centuries of culture. The loss of Intramuros—its churches, architecture, and art—is one of the biggest tragedies we’ve ever had as a people and we hope to invite people back to the city in order to revive it both in form and in thought. We hope to open up the city through art and culture and authentic experiences. Consider the Manila Biennale an intangible memorial to the destruction of our walled city and the 100,000 civilians who were lost in the Battle of Manila.