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Galleria Duemila Inc.

Galleria Duemila Inc.

Galleria Duemila Inc.

Galleria Duemila was established in 1975 by Italian-born Silvana Ancellotti-Diaz. Today it is the longest running commercial gallery in the Philippines and maintains a strong international profile. With the vision to expose Filipino artists locally and within the ASEAN region, Galleria Duemila specializes in contemporary paintings, sculptures, works on paper and installations, as well as rare secondary-market stock by modern Filipino masters. It handles rare works by modern masters of the early 20th century, including Fernando Amorsolo, Fernando Zobel, H.R. Ocampo, Vicente Manansala, Jose Joya and Cesar Legaspi and showcases local and foreign artists from the current generation. This mix of established and emerging artists presents a dynamic program of monthly art exhibitions complimented by performances, readings and musical events in its custom-built gallery in Pasay City, Manila.


Apart from these endeavors, Galleria Duemila significantly devotes much of its resources in the advocacy of art historical research and scholarship with the publication of the books ?Yuta: Earthworks by Julie Lluch?, ?Diosdado Magno Lorenzo: Art Rebel to Legend? and Messenger of the Gods: A Duddley Diaz Retrospective (Tentative Title) among others. Galleria Duemila also takes pride for being the only local gallery to do in depth research in order to mount Artists? Retrospective Exhibitions namely that of ?Julie Lluch?s? at the Cultural Center of the Philippines (CCP) in 2008 and that of ?Duddley Diaz?? at the Jorge B. Vargas Museum (UPVM) in 2009. Equally important projects include artist Pacita Abad?s ?Circles in my Mind? Exhibition in 2004 at the CCP and a collaborative work with the National Commission for Culture and the Arts and the UST Museum for the documentation and exhibition of ?L?orto dei Marni: Francesco Riccardo Monti Scultore 1888-1958? in 2005.


Working closely with the foremost private and corporate collectors of Philippine art here and abroad, the gallery also maintains close ties with museums throughout Asia, Australia, Europe and the United States. It has sold artworks to museums such as the Singapore Art Museum and the National Commission for Culture and the Arts in Manila and has engaged in collaborative work with the Metropolitan Museum. Corporate collectors acquiring art from the gallery include ABS-CBN, Bank of Tokyo, Bank of Philippine Islands and San Miguel Properties. Works of art have also been placed in a number of internationally recognized hotels, such as the Pacific Star Hotel in Guam, The Manila Hotel, The Hotel Intercontinental, and the Shangrila Hotels in Makati and Davao City to name a few.


Main Gallery/Offices

210 Loring Street
1300 Pasay City
Metro Manila, Philippines


Gallery Hours:
Tuesday to Saturday: 10:00am - 6:00pm

3D Ausstellungen

  • Galleria Duemila Inc.

    Conversations with my Masters

    10 Dec 2021 – 25 Jan 2022

    Phyllis Zaballero is an awarded and actively working visual artist/painter who has extensively studied, lectured, curated shows, and exhibited her works in Asia, Europe and the United States.   She received an Associate in Arts (first honors) degree from Marymount College, Spain in 1960, a Bachelor of Arts in Economics degree and a Bachelor of Fine Arts degree, (magna cum laude), from the University of the Philippines, Diliman in 1964 and 1978 respectively. In the same year she was given the Thirteen Artists Award by the Cultural Center of the Philippines, together with her first solo show.   From then on, Zaballero has been on the faculty of the UP College of Fine Arts, has received study and travel grants from the governments of the United States, England, France, Germany and China as well as from private foundations in Portugal and the United States.    Currently she continues to be involved in the membership and on the Boards of Trustees of cultural, museum and civic foundations while maintaining links with art organizations both in her native Philippines and abroad. CONVERSATIONS WITH MY MASTERS: DEGAS, BONNARD AND MATISSE  These paintings depict subjects which have had a special meaning for me throughout my life. They are acrylic mixed media works on canvas which are additions to what I baptized as my “homage and payback” series long ago, inspired by masterpieces in Art which have transcended the centuries.     They are dialogues or interactions with three art legends from the beyond but whose creative presences still inhabit my studio. More intimately, I also think of them as our private conversations.   I had previously connected with my idol, Pablo Picasso, in this manner by way of his incredible Spanish suites, “Pichones” and “Toros”, resulting in an exhibit some years ago which showed the results of our dialogues with the titles of “Pablo y Yo". Feeling so energized by them, I have returned to exploring the same concept from time to time.   Now I am daring to speak with yet more artists by merging my canvases with the works of three legendary Masters: Edgar Degas, Pierre Bonnard and Henri Matisse, again using their first names in the same cheeky manner for my titles, to wit: “Edgar et Moi”, “Pierre et Moi” and “Henri et Moi”!   To express my admiration of their geniuses I employ an ever evolving technique which painstakingly marries emulsion transfers of photographed portions of their works with my modern acrylic paint and materials. The canvas is then embellished by my personal fancies and gestural flourishes of related archival notations and drawings but always respecting the artists’ special language of colors and forms.   These sixteen interactive paintings render tribute and express gratitude to these three French immortals whose museum masterworks suffused my impressionable youth with their light, line and color. Today, in the twilight of my years, when I converse and paint “with” them, the excitement of my first seeing their paintings so long ago is as fresh as ever.   I hope I have learned well while I sat at the feet of their imaginary easels, closing my eyes to recall and recreate the scenes of their French lives which so inspired them, all the while moving with the rhythm of their brushes.   But most importantly for me now is realizing that they were actually teaching the child that I was and the woman I became, how to become a true artist. -Phyllis Zaballero

  • Galleria Duemila Inc.

    #exposedt

    08 Oct 2021 – 08 Nov 2021

    #exposedt In an age of alternative facts, fake news and malleable truths, artists gravitate toward truth, beauty, the poetry of constancy and endlessness. One of their go-to subjects is the nude figure in all its imperfect poignancy, what writer Nick Hilden characterizes as “both beautiful and grotesque, innocent and sexualized, free and controlled.” And artists salivate in investigating, exploring those mysterious rainbows in between, the country of the indefinable. In some cases, the artist obliterates the identity or the personality of the sitter to focus on the pureness of form of the nude figure—eternal in its chosen pose, the anatomy of changelessness. But during these interesting times, many changes are afoot. People are metamorphosing away from their assigned gender identities and roles, shaking away the cultural expectations assigned by society or practically those who hold power. Constructs are crumbling in our era. Old, dusty beliefs are giving way to new and shiny faiths. The hitherto unchangeable nude figure is rebelling against rigidity, embracing a liberating dynamism, transforming into, well, what it authentically is. In this regard, truth may not be malleable, but it can be fluid, becomes a more inclusive truth over time. This is the mindset behind Galleria Duemila’s “#exposedt” exhibition, which opens today and is on view until Nov. 8, 2021. With this show, Galleria Duemila not only wants to “feature the masterful artworks that depict the metamorphosis of the human body by the country’s top artists, but also to create a call to awareness of the rigid gender roles that are socially expected. How people are pressured to act, speak, dress and to conduct themselves based upon their assigned sex and, therefore, assumed gender identity.” There is a tinge of irony in the title of the exhibition. The hashtag “#exposedt” is cited on social media when nudes or other bits of embarrassing personal information are leaked online (another factoid of our engrossing era). But the nude paintings and drawings of the artists curated for the show do not so much expose as tease the viewer with graceful ambivalence and ambiguity, and, in certain cases, inadvertent androgyny. There lies the grandeur in the works of BenCab, Cesar Legaspi, Duddley Diaz, H.R. Ocampo, Helmuth Zotter Da Lavant, Jose Joya, Justin Nuyda, Lee Aguinaldo, Mauro “Malang” Santos, Onib Olmedo, Ramon Diaz, Rodolfo Samonte and Romulo Galicano which were specifically chosen to spark conversations about the issue of gender identity. These artists were simply meditating on and ruminating upon the human body in all its electric, wondrously irregular shapes and forms, but in so doing, they were unintentionally foreshadowing the discussions of the future about identity (not just in terms of gender but in a more philosophical, psychological manner), who gets to identify whom and how. BenCab’s piece, characterized by nudes and squiggles, depicts a harmonic tangle of bodies. A piece by Cesar Legaspi shows a shadowy nude; another is more abstract with figures disappearing into an angular world. Duddley Diaz’s subjects are masked, ceremonial, stripped of clothes and conventions. H.R. Ocampo’s pieces are all about lines and ambivalence. Helmuth Zotter Da Lavant goes the surreal route with an erotic amputee. Jose Joya’s males show off their muscular backs but conceal the more revealing fronts. Same with Rodolfo Samonte’s. One of Justin Nuyda’s pieces shows the subject embracing a rainbow. Lee Aguinaldo’s piece depicts a balancing woman, while Malang’s shows a woman bending to her bodily limits—can be metaphors for our unsteady, strenuous times. Onib Olmedo’s expressionist pieces are grotesque and yet heroic in their nudity. Ramon Diaz meditates on the human body and the summation of its parts. And Romulo Galicano depicts a subject who revels in the totality of her incompleteness. For Galleria Duemila, “These works focus on the human body, exposing them online not only for the purpose of exhibition but also as a demonstration of the way that beauty can take multiple forms, captured and expressed by bodies stripped of the need to know or fix one’s gender.” What great artworks do, no matter the time of their creation, is amplify what our current fears and desires are, the thoughts tempestuously thrashing in our heads. Artist, in effect, exposes more about us the viewers than the stripped figures on canvas or paper. — IGAN D’BAYAN

    neueste Werke

    • Phyllis Zaballero

      Pierre et Moi, Villa Castellamare #1, 2015
      38.1 x 48.2 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Pierre et Moi #7, Le Bol de Lair, 2021
      40.6 x 55.8 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Pierre et Moi #5, La Table, 2015
      38.1 x 48.2 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Pierre et Moi #2, La Lampe, 2015
      48.2 x 38.1 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Edgar et Moi #9, Les Blanchisseuses, 2021
      40.6 x 55.9 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Edgar et Moi #8, Les Danseuses a la Bare, 19568
      35.5 x 43.2 cm (h x w)
      Ink and Pencil on Paper
    • Phyllis Zaballero

      Edgar et Moi #7, Les Danseuses en Position, 2019
      35.5 x 43.2 cm (h x w)
      in and pencil on paper
    • Phyllis Zaballero

      Edgar et Moi #6, Les Chevaux de Course, 2019
      45.7 x 60.9 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Edgar et Moi #5, Longchamp , 2019
      45.7 x 60.9 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Edgar et Moi #4, L'Opera de Paris
      45.7 x 60.9 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Edgar et Moi #3, Le Foyer de la Danse, 2019
      45.7 x 60.9 cm (h x w)
      Mixed media on canvas / acrylic
    • Phyllis Zaballero

      Edgar et Moi #2, Le Bain, 2019
      45.7 x 60.9 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Edgar et Moi #1, Se Baignant, 2019
      45.7 x 60.9 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Henri et Moi 10, Grand Interieur Rouge, 2021
      55.8 x 40.6 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Henri et Moi 7, Les Huitres, 2016
      50.8 x 40.6 cm (h x w)
      Mixed Media on Canvas
    • Phyllis Zaballero

      Henri et Moi 6, Le Violiniste, 2016
      40.6 x 50.2 cm (h x w)
      Mixed Media on Canvas
    • Ramon Diaz

      Shapes & Forms, 2000
      21.5 x 31.6 cm (h x w)
      Mixed media on paper
    • Ramon Diaz

      Contemplation I, 2011
      55.8 x 43.3 cm (h x w)
      Mixed media on paper
    • Ramon Diaz

      Untitled, 2013
      45.8 x 30.5 cm (h x w)
      Mixed media on paper
    • Ramon Diaz

      Shapes & Forms, 2000
      20.2 x 13.8 cm (h x w)
      Mixed media on paper
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