Triangulum

Triangulum will be back this AFP26. Visit us from February 6-8, 2026 at 9/F, Booth 33, Circuit Corporate Center One, Makati as we continue to question the human condition in our digital reality. In The Perception of Self, the artists are tasked with effort of answering the existential question: “What is the true nature of myself?” Is it found in self-image or is it found in belonging? Discover a sliver of truth in this this increasingly fractured digital world. We are being forced to embrace emotion, to distrust ancient wisdom and above all, to endlessly consume. We are housing two pieces by @kjanejin and @ladyinred_w from Mothering Unmothering, curated by @vaninibelarmino in partnership with @ayalamuseum for #artwalkbyayalaland @10daysofartph See you all soon! Artists exhibited include: Ange Labyrinth E.S.L. Chen FreAK Jan Llegue Jane Jin Kaisen Janice Liuson-Young Li Cabangis Pitchapa Wangprasertkul Roedil “Joe” Geraldo Wipo Featuring Charlie Co Poster details: Acrylic, marker, spray paint, tape and paper collage on board by @e.s.l.chen

✨ Mothering/Unmothering ✨
TRIANGULUM’s first multidisciplinary festival is here! Artists:
Jane Jin Kaisen | Lilibeth Cuenca Rasmussen | Lynn Lu | Marah Arcilla | Moi Tran | Pitchapa Wangprasertkul | Sylvie Cox | Tekla Tamoria 🗓 26 Jan – 8 Feb 2026
Curated by Vanini Belarmino 📍 Venues:
Ayala Museum | Filipinas Heritage Library | Greenbelt
Ayala Triangle Gardens | Art Fair Philippines 2026 – Circuit Makati This project is presented under Art Walk by Ayala Land ✨ Everyday spaces become stages for bold, contemporary art.
🔗 Link in bio! About TRIANGULUM is an artist-run initiative and independent art space based in Quezon City, Philippines, exploring the evolving roles of art and culture in a rapidly changing world. Founded in 2023 by E. S. L. Chen in response to the monolithic nature of societies, the collective fosters open expression and collaboration, with significant contributions from Frelan “Pakz” Gonzaga, Karina Broce Gonzaga, and Wipo in shaping its vision of bringing artists together to freely share ideas. Photography and the physical print hold a special place in TRIANGULUM’s practice, representing its creative origins, and serving as tools for exploring identity and dialogue. The collective seeks to physically export Philippine art, culture, and talent through international exchange, publications, and public engagement, building a network of like-minded collaborators worldwide. 

With Mothering/Unmothering, TRIANGULUM embarks on its first multidisciplinary, multi-site program in the Philippines, presenting international artists across diverse contexts. The collective is also developing a modern printing workshop and artist residency program that examines the evolving role of print in contemporary art.

On 1 May, we mark Labour Day, a moment to recognise the dignity, complexity, and often invisible weight of work. In “The Standard,” Thai artist Pitchapa Wangprasertkul brings artistic labour into sharp focus. What does it mean to produce, to persist, to hold the fragile line between making and surviving? Her work resists the romanticisation of the artist’s life, revealing labour instead as durational, embodied, and deeply entangled with systems of value and visibility. Here, labour is not merely a process; it is a presence. It gathers in gestures, in repetition, in the quiet insistence of continuing. In her words: "I feel like durational performance art allows me to expand the feeling. It's not just about being there and performing for a few minutes, or even less than an hour. It can last for more than an hour, maybe four or eight hours, and it allows me to really contemplate the feeling that happened, maybe at that moment I felt before I developed the work. I feel oppressed, like I was suppressed by authority, and I feel these unfair things about my work. This is an example of the standard right, and to turn it into durational performance art, I really focus on that feeling, on the mood and the link it has to other people, to society, to the social issue, and then I make that feeling very tense, and panic comes out. I stayed with that feeling, with that moment, for eight hours, and in the end, it made me realise something about adapting my body in some kind of way.” You can watch and listen to her full video here.

Hope can sometimes arrive quietly. Felt in passing, yet lingering long after the moment has gone. If you were among those who shared a brief encounter or received an informal reading from the artist via handwritten inscriptions on a seashell during her performances at the Triangulum booth at Art Fair Philippines 2026, you were part of a fleeting, intimate exchange that unfolded only in those moments. In “Mussel and Renaissance Swirl,” Lilibeth Cuenca Rasmussen draws on the seashell as both form and symbol, evoking pilgrimage and rebirth. Rooted in Philippine coastal landscapes and traditions of journeying and devotion, the work suggests movement, guidance, and transformation. The performance unfolds as a contemplative encounter in which space is symbolically “healed,” inviting participants into a quiet engagement with both the physical environment and its spiritual undercurrents. It is a meditation on presence, passage, and renewal, offering moments of pause and reflection amid ongoing change. Video Credits:Lilibeth Cuenca Rasmussen, “Mussel and Renaissance Swirl,” presented by Triangulum for Mothering/Unmothering, Art Fair Philippines 2026, Circuit Makati, Philippines, 6 February 2026. Curated by Vanini Belarmino. Director and Producer: Simon Te Cinematographer: Lynyrd Matias Assistant Cameraman: Dome Plaza

If mending could begin anywhere, perhaps it starts with something as simple as one woman’s hands braiding another’s hair: gesture by gesture, quietly closing the distances that have kept us apart. A group of women of several generations sits in a circle, arranging each other’s hair, combing and braiding it in calm, almost meditative movements, as the camera revolves around them. Each is absorbed in the act, hands moving with care, touching the hair of the woman before her, forming an unbroken chain. In this quiet choreography, they become bound to one another in a continuous cycle of connection. In “Braiding and Mending”, the women include the artist alongside her sisters and nieces, whose lives have been shaped across different geographies, yet drawn together through this intimate, shared gesture. Presented as an installation during Art Fair Philippines 2026 in February as part of “Mothering/Unmothering,” the work situates this act of braiding as more than routine; it becomes a form of care, of remembering, of tending to what has been separated. Here, touch becomes a language, one that repairs, holds, and reconnects. Video credits:Jane Jin Kaisen, "Braiding and Mending," presented by Triangulum for Mothering/Unmothering, Makati, Philippines, 6–8 February 2026. Curated by Vanini Belarmino. Director & Producer: Simon Te Cinematographer: Lynyrd Matias Assistant Cameraman: Dome Plaza

Care is both a noun and a verb, something we hold, and something we do. In the quiet rhythms of daily life, care often goes unnoticed. It lives in small gestures: a steadying hand, a moment of support, the act of simply being there. Yet it is precisely these gestures that sustain us. In "Handling Act," artist Moi Tran magnifies these acts of care, literally and metaphorically. Enlarged hands, printed on textiles and placed across everyday objects, seem to rest, hold, lean, and wait. They do not declare meaning. Instead, they invite us to slow down, to read touch as a language of effort, presence, and relation. These hands echo the invisible labour of caregiving: the work that upholds others, often without recognition. Within the context of "Mothering/Unmothering," the installation opened a space to reflect not only on giving care, but on receiving it, or even on its absence. In a world that often demands urgency, "Handling Act" asks us to pause. To notice. To extend kindness, however small. May these hands remind us of the care we carry, and the care we owe one another. Video credits: Moi Tran, "Handling Act," presented by Triangulum for Mothering/Unmothering, Ayala Museum, Makati, Philippines, 26 January-8 February 2026. Curated by Vanini Belarmino. Director & Producer: Simon Te Cinematographer: Lynyrd Matias Assistant Cameraman, Dome Plaza

A look back into “Mothering/Unmothering.” Lynn Lu, "Be afraid only of standing still." On 29 January, Lynn Lu left traces of stories across the Ayala Museum, Greenbelt, Ayala Avenue, the Makati Stock Exchange, and the Ayala Triangle Gardens, fragments of text that hinted at journeys of migration. Encountering these dispersed elements became an act of piecing together narratives across space and time. "Be afraid only of standing still" explores nomadism, migration, and border-crossings in diasporic life. First presented in Venice in 2017, and later in Singapore and Santiago, the work was recontextualised in Manila as a reflection on lineage and inheritance. This edition recalls Lu’s grandmothers’ escapes from Communist China to the Philippines and Hong Kong, carrying jewels sewn into the hems of their ‘samfu.’ Over six hours, Lu moved across sites, placing fragments of ancestral journeys drawn from across Asia, Europe, and Latin America onto liminal spaces, using a mixture of sweat and tears from the artist and her daughter. As the moisture evaporated, the fragments loosened and drifted. Visitors encountered and repositioned them, becoming part of a living choreography of movement, memory, and migration where inherited stories echo, and new narratives emerge, fragile and in motion. Video Credits: Director and Producer, Simon Te Cinematographer, Lynyrd Matias Assistant Cameraman, Dome Plaza

Two months on, we’re still reflecting on the impact of "Mothering/Unmothering", TRIANGULUM’s inaugural multidisciplinary festival, curated by Vanini Belarmino and presented under Art Walk by Ayala Land as part of Art Fair Philippines 2026. In close partnership with Ayala Museum, the project unfolded across six sites in Makati, bringing the city to life through performance, installation, and dialogue. Over 14 days, we shared: 18 art happenings, 8 international artists, 7 special guests, 1 moderator and 72,545 audiences! With artists Jane Jin Kaisen, Lilibeth Cuenca Rasmussen, Lynn Lu, Marah Arcilla, Moi Tran, Pitchapa Wangprasertkul, Sylvie Cox, and Tekla Tamoria, the festival opened space for conversations around ageing, menopause, puberty, migration, transnational adoption, and living archives. Beyond quantitative outcomes, "Mothering/Unmothering" became a space for connection across generations, experiences, and communities. Thank you to everyone who was part of it. Video Credits: Director and Producer, Simon Te Cinematographer, Lynyrd Matias Assistant Cameraman, Dome Plaza

It’s a cat’s world. 🐾
 The felines rule the territories of the Ayala Museum, Greenbelt, and Ayala Triangle Gardens.
 If you plan to stage a performance, mount an intervention, or quietly slip an installation into their domain, you’d better be on their side. For “Mothering/Unmothering,” the artists learned to manoeuvre within spaces already claimed: weaving through walkways, inhabiting thresholds, negotiating with light, architecture, and yes, the watchful eyes of resident cats who seemed to understand territory better than any of us. 
Perhaps that’s the real lesson.

Before you occupy a space, you listen to it.

Before you intervene, you observe who already belongs. 
See how the works moved through the realms they rule. Image Credits: 1-3 Lynn Lu, “Be Afraid Only of Standing Still,” presented by Triangulum for “Mothering/Unmothering,” Ayala Museum, Greenbelt and Ayala Triangle Gardens, Makati City, Philippines, 29 January 2026. Curated by Vanini Belarmino. Photography: Geric Cruz. 4-5 Marah Arcilla and Sylvie Cox, “Dandelion Scream,” presented by Triangulum for “Mothering/Unmothering,” Makati City, Philippines, 31 January 2026. Curated by Vanini Belarmino. Photography: Geric Cruz. 6. Tekla Tamoria, “AlterBibo,” 2026 photographed with Goldie, the museum cat, presented by Triangulum for Mothering/Unmothering, Ayala Museum and Greenbelt, Makati, Philippines, 26 January-8 February 2026. Curated by Vanini Belarmino. Photography: Jei Enti

What? 12 babies? 👶🏽👶🏾👶🏻👶🏿 Here are 12 moments to mark the closing programme of TRIANGULUM’s "Mothering/Unmothering" at Ayala Museum. In "The Mitochondrial Eve," Lilibeth Cuenca Rasmussen slipped into the museum’s interstitial spaces: corridors, thresholds, in-betweens — moving through exhibitions, installations, and audiences alike. From inside to outside. From archive to body. From structure to breath. She carried the work through the museum as one carries lineage: embodied, cellular, ancestral. A fitting closing - porous, alive, and impossible to contain. Photography: Geric Cruz

Has it really only been a week since all that unfolded? Are you feeling the weight of it: the art overload, the quiet after the intensity, the urge to switch off, curl up, put your feet up? Take it from Pitchapa Wangprasertkul. Inside her fish tank, within the glass confines of The Standard, she stretched time — eight hours, to be exact. She claimed pauses. She napped. She curled into herself. While she worked, she also made rest visible, even within structures that ask us to perform, produce, comply. Perhaps that’s the real standard worth questioning. So… how about you?
Have you allowed yourself to curl up, even just for a moment? Image credit: Pitchapa Wangprasertkul, "The Standard," as part of TRIANGULUM's "Mothering/Unmothering," Makati City, Philippines, 5-8 February 2026. Photography: Geric Cruz

We packed an extraordinary amount into one afternoon last Saturday at the Ayala Museum for TRIANGULUM’s Mothering/Unmothering—from artist conversations and an activation to a screening with artists Moi Tran and Jane Jin Kaisen, moderated by Jei Ente and Vanini Belarmino. The exchanges opened up vital conversations on migration and transnational adoption, tracing experiences of otherness and the intimate gestures of care—from hands to hair—that shape how care is given, received, and understood. Our heartfelt thanks to everyone who joined us. Your presence, attentiveness, and openness shaped the afternoon into a generous space for shared reflection and exchange. Photography: Geric Cruz