The dust has settled and the victors stand triumphant. At the end of the most competitive Puregold CinePanalo awards season ever, “Mono No Aware” and “Limlim” took home the top prizes in their respective categories.

In the full-length category, the Japan-set drama “Mono No Aware” was far and away the most awarded film. The film landed nine awards including Pinakapanalong Pelikula, Panalo sa International Jury, Panalong Direktor for BC Amparado, Panalong Aktor for Juan Karlos Labajo, Panalong Pangalawang Aktres for Momoko Kobayashi, Best Ensemble, Panalo sa Cinematography for TM Malones, Panalo sa Editing for Edmund Telmo, and Panalo sa Sound Design for Willie Apa Jr.

“Apol of my Ai,” “Multwoh (Patay na Patay Sa’yo),” and “Patay Gutom” took home four awards each, while “Stuck on You” left with two.

Notable wins include Xyriel Manabat taking home Panalong Aktres for her comedic turn in “Stuck on You,” young Zion Cruz of “Apol of my Ai” taking home the Panalong Child Performer award, and Zanjoe Marudo winning the Panalong Pangalawang Aktor award.

In the student shorts category, “Limlim” and “Kun Hain, Bisan Diin.” found themselves in a neck-and-neck race best highlighted when Samantha Palaje and Jomarie Corro-Reyes, respectively, took home Panalong Direktor in a tie for the award. Both films ended the night with four awards each, with “Limlim” taking home the top honor of Pinakapanalong Maikling Pelikula.”

The complete list of 2026 Puregold CinePanalo award winners is as follows:

PINAKAPANALONG PELIKULA

Full-Length: “Mono No Aware”

Student Shorts: “Limlim”

PANALONG KARANGALAN MULA SA HURADO

Full-Length: “Apol of my Ai”

Student Shorts: “Kun Hain, Bisan Diin.”

PUREGOLD ALWAYS PANALO FILM

Full-Length: “Multwoh (Patay na Patay Sa’yo)” & “Patay Gutom (Dead Hungry)”

Student Shorts: “Miss Intrams” & “Pulis Dunggab”

PANALO SA INTERNATIONAL JURY

Full-Length: “Mono No Aware”

Student Shorts: “Alumahan”

PANALONG DIRECTOR

Full-Length: BC Amparado – “Mono No Aware”

Student Shorts: Jomarie Corro-Reyes – “Kun Hain, Bisan Diin.” &

Samantha Palaje – “Limlim”

PINAKA PANALONG MAIKLING PELIKULA (PANORAMA SECTION)

“The Other Side of Reality” – Zig Dulay

PANALONG AKTRESS

Full-Length: Xyriel Manabat – “Stuck on You”

Student Shorts: Jonalyn Mateo – “Ang Huling Banlaw ni Susan”

PANALONG CHILD PERFORMER

Full-Length: Zion Cruz – “Apol of My Ai”

Student Shorts: Zoey Madison Lim – “Limlim”

PANALONG AKTOR

Full-Length: Juan Karlos Labajo – “Mono No Aware”

Student Shorts: Jay Gabriel Cañada – “The Sound of K”

PANALONG PANGALAWANG AKTRESS

Full-Length: Momoko Kobayashi – “Mono No Aware”

Student Shorts: Nour Hooshmand – “Starfish”

PANALONG PANGALAWANG AKTOR

Full-Length: Zanjoe Marudo – “Apol of My Ai”

Student Shorts: Nor Domingo – “12 Shots”

BEST ENSEMBLE

“Mono No Aware”

PANALO SA MGA MANONOOD

Full-Length: “Multwoh (Patay na Patay Sa’yo)”

Student Shorts: “Ang Huling Banlaw ni Susan”

PANALONG KWENTO

Full-Length: Carl Joseph E. Papa, Yvonne Garcia – “Patay Gutom”

Student Shorts: Jomarie Corro-Reyes, William Roberts – “Kun Hain, Bisan Diin.”

PANALO SA CINEMATOGRAPHY

Full-Length: TM Malones – “Mono No Aware”

Student Shorts: Geia de Vera – “Limlim”

PANALO SA PRODUCTION DESIGN

Full-Length: Rodrigo Ricio – “Multwoh (Patay na Patay Sa’yo)”

Student Shorts: Jim Flores, Minnesota Flores, Sol Samodio – “12 Shots”

PANALO SA MUSICAL SCORING

Full-Length: Emerzon Texon – “Apol of My Ai”

Student Shorts: Lenard Kent Villanueva – “Miss Intrams”

PANALO SA VISUAL EFFECTS

Full-Length: “Patay Gutom” Animation Team

Student Shorts: Junelle Bacho Tecson, Luis Martin Mañalac – “Starfish”

PANALO SA EDITING

Full-Length: Edmund Telmo – “Mono No Aware”

Student Shorts: Brian Spencer Reyes – “Kun Hain, Bisan Diin.”

PANALO SA SOUND DESIGN

Full-Length: Willie Apa Jr. – “Mono No Aware”

Student Shorts: Hannah Gagalac – “Bumtak Sara ti Nuangen”

PANALONG AWITIN

Full-Length: “Reyna ng Quezon City” by Juana – “Stuck on You”

Student Shorts: “Game Na!” by Kier Mosquito, Edlyn Icao, John Dave Brion – “Teks Battle: Shoot Pati Pato!”

PANALONG POSTER

Full-Length: Denver Balbaboco – “Patay Gutom”

Student Shorts: Keith Ian Serfino – “Alumahan” & Eidan Maninang – “Nang Matakasan ang Tagay”

PINAKAPANALONG PROMOSYON NG PELIKULA

“When Heaven Inched Towards Earth”

PANALO SA BRAND INTRUSION

Full-Length: “Multwoh (Patay na Patay Sa’yo”)

Student Shorts: “Alumahan”

Puregold CinePanalo festival chair Ivy Hayagan-Piedad spoke on the importance of the occasion. “Each year, we gather to honor the brave artistry, and passion of Filipino filmmakers who continue to make a statement in Philippine cinema,” she said. “We proudly celebrate their achievements and we will continue to push this new voice and new perspective that move, inspire, and resonate with our panalo cinema audience.”

The Puregold CinePanalo continues to run until October 4 at Gateway Cineplex 18, TriNoma, Fairview Terraces, Ayala Malls Feliz, Ayala Malls Circuit, Ayala Malls Manila Bay and Market! Market!

Regular tickets are priced at Php250, while PWDs, senior citizens, students, national athletes, and Aling Puring and Puregold Perks cardholders can purchase discounted Php200 tickets.

A Php2,000 festival pass provides access to all seven full-length films and four sets featuring the festival’s 19 student shorts. Festival passes are available at Gateway Cineplex 18 and TriNoma.

The Puregold CinePanalo Film Festival 2026 is supported by Alaska, Angel, Argentina, Ariel, Bingo, Birch Tree Fortified, Bear Brand, C2, Century Tuna, Champion, Chuckie, Coca-Cola, Colgate, Creamsilk, Datu Puti, Downy, GoodNom Fresh, Great Taste, Del Monte, Jack’N Jill, Knorr, Lucky Me!, Maggi, Magnolia Real Mayonnaise, Milo, Monde, MY San, Nestea, Nissin, Nivea, Palmolive Naturals, Pantene, Purefoods, Rebisco, Royal, Safeguard, Sprite, Surf, Wilkins and Zonrox.

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The premier hotel along Manila Bay unveils a compelling 22-piece collection at Gallery C, inviting guests into a contemplative journey through gesture, texture, and light.

Conrad Manila presents the 43rd edition of its acclaimed “Of Art and Wine” series with “Between Layers of Stillness,” a new exhibition by seasoned abstract artist Benjie Cabangis, thoughtfully curated by resident curator Nestor Jardin. On view at Gallery C until November 28, 2026, the exhibition features 22 evocative works that explore the subtle interplay of gesture, texture, and light, offering viewers a contemplative visual experience.

“As 2026 nears its conclusion, ‘Between Layers of Stillness’ invites us to step back from the pace of the year, reflect on all that has unfolded, and appreciate the present moment,” said Rupert Hallam, General Manager of Conrad Manila. “Through this exhibition, we continue our commitment to creating meaningful and enriching experiences that inspire reflection and foster deeper connections through art.”

In “Between Layers of Stillness,” Cabangis continues his exploration of texture, light, and layered forms, creating works that encourage quiet reflection. Built through layers of pigment that are applied, scraped, and subtly revealed, each painting unfolds gradually, allowing traces of earlier marks and colors to emerge beneath the surface. Through these compositions, the artist invites viewers to slow down, be present, and discover moments of calm amid the pace of everyday life.

“This collection, presented in my solo exhibition at Conrad Manila, reflects my ongoing concerns with painting as an act of presence and perception,” shared Cabangis. “Across these works, muted tones, layered surfaces, texture, and light come together gradually, allowing each painting to find its own balance between control and spontaneity. The process of layering and erasure becomes a way of slowing down and paying attention, of allowing the materials to speak and the image to emerge between what is seen and what is sensed. In their quietness and luminosity, these paintings invite viewers to pause, dwell in the present moment, and become more attentive to the subtle shifts of perception.”

The exhibition was formally launched in the presence of distinguished guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation; Cathy Nepomuceno, Senior Vice President for Operations of SM Hotels and Conventions Corporation; Akshat Sinha, Hotel Manager of Conrad Manila; Mary Lou Hilado, art collector and guest of honor; Tina Colayco, President of the Metropolitan Museum of Manila and guest of honor; and featured artist Benjie Cabangis. All artworks exhibited at Gallery C are available for acquisition. For inquiries and more information, guests and collectors may call (+632) 8833-9999 or email Conrad.Manila.info@conradhotels.com.

The post Embrace the present with Conrad Manila’s ‘Of Art and Wine Series: Between Layers of Stillness’ by Benjie Cabangis appeared first on Lakbay Magazine.

The luxury bayside property welcomes master floral artists and delegates across the region to celebrate harmony, nature, and the timeless art of Ikebana.

Conrad Manila is the home of the 16th Asian Regional Conference of Ikebana International, bringing together floral artists and international delegates to showcase the traditional art of Japanese flower arrangement. Organized by Ikebana International Manila Chapter 108 in collaboration with chapters from Cagayan de Oro, Cebu, and Davao, the event features a public exhibition running until October 3, 2026, from 10 AM to 6 PM at the hotel’s Taft Ballrooms on level 3.

The two-day exhibition features floral arrangements created by regional masters and international delegates, focusing on themes of harmony, balance, and natural design. Alongside the main display, visitors can access the Friendship Room and Bazaar, which offers Japanese floral supplies, ceramics, and cultural items. The broader conference schedule also includes master demonstrations, highlighted by a presentation by Headmaster Hiroki Ohara of the Ohara School of Ikebana on October 4.

As the host venue, Conrad Manila provides a central setting for this international cultural exchange, connecting local visitors and hotel guests with traditional Japanese floral art. The public exhibition is open to all visitors at the Taft Ballrooms, Conrad Manila, located at Seaside Boulevard and Coral Way, Mall of Asia Complex, Pasay City.

For the latest updates on Conrad Manila, please call (+632) 8833-9999, visit www.conradmanila.com or email ConradManila@ConradHotels.com.

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That’s usually how it goes for a lot of us who grew up between two worlds, or who married into a Filipino family, or who are just now old enough to want the stories our lolas and titos used to tell over merienda. You don’t need a textbook. You need someone to walk you through what’s still actually happening, right now, in real Filipino households — not what happened a hundred years ago.

So here’s a straightforward look at the traditions that are still very much alive, why they’ve lasted, and where you might start if you want to understand them a little better — or bring them into your own life. If you want to go further afterward, Lakbay Magazine’s Arts and Culture section regularly covers stories like this in more depth.

What Are the Most Important Filipino Traditions People Still Practice Today?

These aren’t museum pieces. They show up at birthdays, funerals, Sunday lunches, and ordinary Tuesday afternoons. Here are a few of the ones that have held on the strongest.

What Is Bayanihan and Why Do Filipinos Still Practice It?

Bayanihan is the practice of neighbors pitching in, without being asked twice, when someone needs help — historically pictured as a group of men literally carrying a neighbor’s house to a new location.

You don’t see too many houses being carried down the street anymore, but the spirit hasn’t gone anywhere. It shows up when a barangay organizes relief after a typhoon, when relatives chip in for a cousin’s hospital bill, or when an entire street shows up to help set up for a wedding. It’s less a single event and more a reflex — the assumption that your neighbor’s problem is, to some degree, also yours. For a lot of Filipino communities abroad, this is also the instinct behind informal support networks that spring up whenever someone new arrives in a foreign city.

What Is Pagmamano and When Do Filipinos Still Use It?

Pagmamano is the gesture of taking an elder’s hand and pressing it lightly to your forehead, as a sign of respect and a way of asking for their blessing.

It’s one of the first things Filipino kids learn, often before they can fully explain why they’re doing it, and it’s still standard practice at family gatherings, especially with lolo, lola, ninong, and ninang. What makes it last is that it isn’t performative — it’s quick, quiet, and expected, which is exactly why it still means something. If you’re marrying into a Filipino family or meeting elders for the first time, this is one of the simplest ways to show you understand the room.

What Is Simbang Gabi and Why Do People Still Wake Up for It?

Simbang Gabi is a nine-day series of dawn Masses leading up to Christmas, traditionally attended before sunrise.

Waking up at four in the morning for nine straight days sounds like a hard sell, and yet churches — both in the Philippines and in Filipino communities overseas — still fill up for it every December. Part of it is faith, but part of it is also the atmosphere: the smell of puto bumbong and bibingka being sold outside, the half-awake camaraderie of showing up with everyone else who also didn’t want to get out of bed. It’s less about perfect attendance and more about being part of something collective, even briefly.

How Do Filipino Families Still Celebrate Fiesta Season?

A fiesta is a town or barangay’s annual celebration, usually tied to a patron saint, marked by open houses, shared food, and visiting relatives and strangers alike.

What’s remarkable about fiesta culture is the open-door part — houses are genuinely open, and it’s completely normal for someone you’ve never met to sit down and eat at your table. That hospitality is arguably the real tradition being practiced, more than any specific ritual. Communities that have moved abroad often recreate smaller versions of this, organizing potlucks or town-specific gatherings that carry the same “everyone’s welcome” energy, even without the original setting. If you want a sense of how varied these celebrations get across the country, Lakbay Magazine’s Festivals coverage is a good place to see how different regions mark the occasion.

Which Filipino Tradition Should You Look Into First?

If you’re not sure where to start, start with the one that matches your actual situation, not the one that sounds most impressive.

If you’re reconnecting with family you’ve grown distant from, pagmamano is a low-pressure entry point — it’s small, physical, and immediately understood by any elder in the room. If you’re trying to understand a community rather than a single household, bayanihan will teach you more about how Filipinos actually relate to each other day to day. And if you’re looking for something to actually experience rather than read about, Simbang Gabi or a local fiesta will give you that firsthand. You don’t need to take all of this on at once — pick the one tradition that’s actually in front of you right now, and let the rest follow. If you’re planning to experience any of these in person, Lakbay Magazine’s Travel section is a solid starting point for figuring out where and when.

How Do These Traditions Actually Show Up in Everyday Filipino Life?

Picture a Sunday afternoon in a mid-sized Filipino household. Lunch runs long because someone’s cousin dropped by unannounced, and there’s automatically a plate for them. An older relative arrives, and without anyone prompting them, the youngest kids line up to do mano. Later, a neighbor mentions their roof is leaking, and by the following weekend, three or four households have shown up with tools and spare materials, no invoice involved.

None of this is staged for anyone’s benefit. It’s just what a normal weekend looks like, and that’s precisely the point — these traditions have survived because they were never really “traditions” in the ceremonial sense. They’re just how people continue to treat each other. For families living outside the Philippines, this often means adapting the form — a group chat instead of a literal neighborhood, a potluck instead of a house-to-house fiesta — while keeping the underlying instinct fully intact.

That instinct is really what’s being passed down, more than any single custom. For a closer look at how one community keeps its own version of this alive, Lakbay Magazine’s feature on Pagkamboan in Tabawan Island, Tawi-Tawi shows how honoring ancestors still shapes daily life in a very specific, very real place.

Understanding these traditions isn’t really about memorizing what they’re called. It’s about recognizing the pattern underneath all of them — showing up, sharing what you have, and treating your community like an extension of your own family. Once you see that pattern, the rest starts to make a lot more sense.

The post What Filipino Cultural Traditions Are Still Practiced Today? appeared first on Lakbay Magazine.

Photos by Fernan Nebres

Emerging Filipino contemporary artist Benedicta “Dick” Du-Baladad formally enters the Philippine art scene with her first solo exhibition, “A Blissful Coexistence,” a substantial collection of nearly 80 works celebrating the beauty, vitality, and interconnectedness of the natural world.

The exhibition, which opened on September 9, 2026 at the Level 2 Atrium of The Podium, brings together years of Du-Baladad’s quiet and deeply personal artistic practice. The collection spans oil, acrylic, mixed media, works on paper, and smaller-format pieces, offering audiences an intimate look into an artistic language shaped by nature, intuition, color, and texture.

Curated by Randel Urbano, “A Blissful Coexistence” explores the relationship between humanity and the organic world, reflecting on how people inhabit shared spaces and how seemingly opposing forces can exist together in harmony.

Du-Baladad draws much of her inspiration from the Philippines’ rich tropical environment. Flowers, foliage, birds, butterflies, and pollinators recur throughout her compositions, transformed through vivid colors, layered textures, expressive brushwork, and an interplay of light and shadow.

“Even when I try painting something subdued or muted, I eventually find myself adding more color. I want the work to feel alive,” Du-Baladad shares. “To me, flowers are living beings with their own voice, and vibrant color is how I allow that voice to be heard.”

Where discipline meets creative freedom

Du-Baladad brings an unusual perspective to contemporary art. A practicing accountant and lawyer, she has spent decades working in professions defined by precision, structure, logic, and discipline. Yet it is this highly analytical background that provides a counterpoint to the intuitive freedom of her artistic practice.

Largely self-taught, Du-Baladad has also pursued international organizations and professional development opportunities to further refine her craft. Her paintings reveal a balance between calculated composition and spontaneity—between structure and instinct.

Rather than separating these two aspects of her life, she embraces their coexistence.

“My creative process is intuitive and contemplative,” Du-Baladad explains. “I build each painting gradually, allowing layers of color, texture, and form to evolve organically. I’m drawn to the balance between structure and freedom—the discipline that gives a work direction and the creative instinct that allows it to take on a life of its own.”

The exhibition includes several bodies of work, among them the “Where Petals Breathe Series,” which explores flowers and organic forms in motion, and the “Garden of Thoughts Series,” where female figures, floral imagery, and pollinators come together in richly layered compositions.

Working with both acrylic and oil allows Du-Baladad to combine immediacy and depth. Acrylic captures spontaneous gestures and establishes structural layers, while oil introduces luminosity, richness, and tactile dimension.

A reflection on interdependence

Beyond its visual celebration of nature, “A Blissful Coexistence” carries a broader message about humanity’s relationship with the environment.

For Du-Baladad, nature is neither merely decorative nor something to be possessed. It represents a larger living system to which humanity belongs.

“We are surrounded by life that is not ours to possess, but ours to appreciate, respect and protect,” she says. “Nature reminds us that we are part of something far greater than ourselves—an intricate world in which every living form has its own purpose, beauty and place.”

At a time increasingly marked by environmental concerns, fragmentation, and digital isolation, the exhibition offers a meditation on connection and coexistence. Its flowerscapes, figures, birds, and pollinators become reminders of the interdependence that sustains the natural world.

“’A Blissful Coexistence’ is ultimately about more than simply living alongside nature,” Du-Baladad adds. “It is about recognizing that we belong to the same living world and that its beauty, vitality and future are something we all share and have a responsibility to protect.”

Through her debut exhibition, Du-Baladad invites audiences to rediscover the natural world not simply as something to observe, but as something of which humanity is an inseparable part.

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Photos by Roel Hoang Manipon

At the Cultural Center of the Philippines Complex, on reclaimed land between Manila Bay and Roxas Boulevard in Pasay City, the Philippine International Convention Center (PICC) rises as a monumental composition of concrete. For five decades, it has witnessed diplomatic gatherings, graduation and oath-taking ceremonies, corporate events, forums, exhibitions, concerts and celebrations.

Its exterior is stark and muscular, but its interiors are unexpectedly sumptuous, their monumental scale softened by artworks, warm wood and intricate architectural details. Like the nearby Cultural Center of the Philippines, the complex displays National Artist for architecture Leandro V. Locsin’s mastery of Brutalism—an architecture of massive forms made to appear light, even floating.

Set on a 12-hectare site and encompassing more than 70,000 sq.m. of floor area, the PICC consists of five interconnected modules: the Delegation Building, Secretariat Building, Plenary Hall, Reception Hall, and The Forum. Instead of treating the convention center as a single monolith, Locsin divided it into distinct yet connected zones, linked by bridgeways, courtyards, and reflecting pools. The arrangement allows large occasions and smaller gatherings to take place within the complex at the same time.

The PICC formally opened on September 5, 1976, as Asia’s first international convention center. Its first major event was the annual meeting of the boards of governors of the International Monetary Fund and the World Bank, held from October 4 to 8 that year.

National Cultural Treasures

The National Museum of the Philippines recognized the PICC Complex and four intrinsic artworks as National Cultural Treasures on June 27, 2019. Their status was formally presented to the public on September 27, 2022, affirming the site’s exceptional historical, cultural, and artistic value.

Through the years, the PICC has remained a favored venue for major conferences and celebrations. It hosted meetings connected with the Asia-Pacific Economic Cooperation and the Association of Southeast Asian Nations, while also becoming the setting for graduations, oath-taking ceremonies, weddings and other milestones of generations of Filipinos. It is thus both an architectural monument and a repository of personal and national memory.

Time, however, had left visible wear on the five-decade-old complex despite periodic repairs and earlier renovations.

In 2025, the PICC closed for several months for an extensive renovation in preparation for its 50th anniversary and the Philippines’ hosting of ASEAN meetings in 2026. President Ferdinand R. Marcos Jr. led its reopening on September 30, 2025.

The occasion inevitably recalled the building’s complicated origins. Authorized during the administration of Ferdinand E. Marcos Sr. and closely associated with Imelda Marcos’ state-sponsored building program, the PICC emerged from the Martial Law period and has long invited debate over cultural ambition, political power and public spending, amid turmoil and abuses.

Restoration

Its restoration required more than cosmetic renewal but careful conservation of a protected landmark while modernizing and adapting it to contemporary use.

Leandro V. Locsin Partners, led by the architect’s son Andy Locsin, took part in the project, helping ensure that new engineering, security and audiovisual systems remained faithful to the original architectural language. Archival research guided many of the interventions, from the treatment of concrete and marble to the restoration of landscaping and lighting. Cultural agencies were also consulted for the project.

The front lawn, altered by previous renovations, was returned to its 1976 landscape design. Some palm trees were uprooted to make the facade more visible. From it, the five-story Delegation Building appears to hover—a characteristic Locsin illusion of weight suspended above the ground.

The building’s entrance was widened to improve circulation and event flow without compromising security. Inside, the main lobby has regained its glow: all 3,068 droplights were fitted with new bulbs, the ceiling was hand-painted with metallic powder, the marble floors were refinished, and the concrete walls were laser-cleaned.

To the right of the lobby, the refurbished Delegation Lounge offers greater privacy and security for high-level guests. Conference rooms on the third and fourth floors now combine modern amenities with details sympathetic to the PICC’s architecture, while offices on the fifth floor have been redesigned with contemporary layouts and furnishings.

The three-story Secretariat Building contains additional meeting rooms, a banquet hall, exhibition areas, a restaurant and a cafeteria. Its meeting rooms retain their wooden lattice walls and high ceilings but now have LED screens and upgraded audio systems for hybrid meetings and multi-session conventions. The Secretariat Lounge extends these rooms with plush seating and warm, restrained lighting.

Plenary Hall and Reception Hall

The PICC’s best-known venues, the Plenary Hall and Reception Hall, likewise preserve their identities while incorporating new technology. Both now have large LED screens, improved audio systems and dimmable lighting.

Designed for conventions, commencement exercises and stage productions, the tiered Plenary Hall can accommodate more than 3,500 guests in a theater-style arrangement. Its wood-paneled walls, ceilings and doors were refurbished, its seats reupholstered and fitted with new brass numbers, and its lighting and acoustics upgraded.

The pillarless Reception Hall, used for banquets, galas and large assemblies, remains distinguished by its broad red carpeting, high concrete ceiling and uninterrupted sight lines. Thousands of polished globe-like chandeliers illuminate its ornamented ceiling, refreshed fabric walls and refinished woodwork.

At the heart of the complex is the 3,400-sq.m. Courtyard, an open-air counterpoint to the surrounding concrete masses. Natural light, tropical greenery, and water give the monumental architecture room to breathe.

The Courtyard is now an open-air gallery for 20 sculptures donated by APEC member economies and transferred from the front lawn. They are joined by “Anito,” National Artist Arturo R. Luz’s monumental concrete sculpture. Restored to its original pebble-wash flooring, the space also features renewed ponds and landscaping, an infinity waterfall, ambient lighting and a 30-speaker audio system. This area took the longest time to restore, at five months.

New brass signs and improved wayfinding complement the interiors throughout the complex, while high-speed Wi-Fi and upgraded electrical and audiovisual systems support the technical demands of contemporary events.

Art remains integral to the PICC. The National Cultural Treasure designation covers the complex and four works created for and permanently associated with it: Luz’s concrete “Anito” in the Courtyard and steel “Grid” at the Plenary and Reception halls’ lobby; National Artist José T. Joya’s abstract painting “Pagdiriwang” in the Delegation Upper Lobby; and National Artist Napoleon V. Abueva’s carved wooden chairs and lounge furniture distributed through the lobbies and hallways.

More than a hundred artwork

The complex also houses works by National Artists Carlos “Botong” Francisco, Hernando R. Ocampo, Ang Kiukok and Abdulmari Asia Imao, among others. More than a hundred works from the Bangko Sentral ng Pilipinas collection are displayed across its halls. During the renovation, artworks were protected or relocated, and museum-grade lighting and mounts were introduced to bring greater attention to pieces that visitors might once have passed without noticing.

As the PICC celebrates its golden anniversary in 2026, it faces both backward and forward. It remains a monument born of a brutal political era, but it is also an enduring showcase of Filipino architecture, art and hospitality—one continually reclaimed by the public through the memories made within it.

PICC General Manager Nicolette Ann P. Cruz has emphasized that institutional and personal milestones in Filipino life are celebrated at the center.

“We hope to have that continuous honor of being part of the core memories of each and every one of our countrymen,” she said.

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Belmont Hotel Manila continues its commitment to championing Filipino creativity with “Hiraya: Beyond the Gallery,” featuring the first solo exhibition of Filipino landscape photographer Brix Tan.

The exhibition brings Tan’s collection of fine art landscape photography into the hotel, offering guests and visitors an opportunity to experience the beauty of the Philippines through his lens.

The exhibition is the latest chapter of “Hiraya,” the hotel’s platform for Filipino artists and creatives. Since its inception, “Hiraya” has provided a space for local talent to showcase their work and connect with new audiences, bringing Filipino art beyond the traditional gallery setting.

For Tan, the exhibition marks an important milestone in his photography journey.

“As a fine art landscape photographer, this is my Hiraya. To have my own solo exhibit, to share and showcase the beautiful landscapes of the Philippines,” Tan shared.

The collection presents Tan’s perspective of the Philippine landscape, featuring photographs from destinations including Batanes, Zambales, Mt. Pulag, Quezon, Batangas, Baler, Albay, and SOCCSKSARGEN.

Among the featured works are “Tenacious,” capturing the rugged coastline of Ivana, Batanes; “Gatekeeper,” featuring the Sabtang Lighthouse and its connection to Ivatan heritage; and “Generations,” which uses mangroves along Sarangani Bay to reflect on environmental responsibility and the future.

Adding another dimension to the exhibition is Tan’s LUMIBOX Series, where selected photographs are presented as illuminated fine art pieces, offering a distinctive way of experiencing the Philippine landscape.

An accomplished HR executive and entrepreneur, Tan has developed his photography practice over the years and has been recognized in international competitions for landscape and cityscape photography. His work combines technical composition with personal connection, using photography to tell stories through the places he encounters.

His commitment to the arts also extends beyond his own practice. Tan founded Montage Art Collective in 2021, an initiative that supports local painters, sculptors, and fine art photographers by helping them gain opportunities to enter the art scene and showcase their work.

This shared advocacy for Filipino artists is at the heart of “Hiraya.” By opening its spaces to creative collaborations and exhibitions, Belmont Hotel Manila continues to create opportunities for local artists while allowing guests, travelers, and the wider community to discover Filipino art in an accessible setting.

The featured artworks are available for purchase in limited editions, giving collectors and art enthusiasts the opportunity to own selected pieces from Tan’s first solo exhibition. Several works, including pieces from the LUMIBOX Series, are produced in editions of only 10.

“Hiraya: Beyond the Gallery” featuring Brix Tan is open for viewing at the hotel lobby until September 30, 2026.

The complete collection and artwork details are available through the digital catalogue at qrco.de/HirayaBeyondTheGallery.

For inquiries and purchases, guests may approach the hotel team during their visit.

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In partnership with Solaire Resort Quezon City, seasoned visual artist and event curator Ycoy Sitchon unveiled Heliora on August 7 through an exclusive artist reception. The evening commenced with a ribbon-cutting ceremony and celebratory toast marking the exhibit’s official opening. Joining the occasion were Damian Quayle, Chief Operating Officer of Solaire Resort Quezon City, Sam Wilkes, Vice President for Food & Beverage of Solaire Resort, Joaquin Teotico, Owner and President of Galerie Joaquin Group, and the artist herself, Ycoy Sitchon, who fittingly celebrated her birthday on the same day.

Defined by flourishing florals, vibrant butterflies, and richly layered textures, Heliora showcases a compelling collection of paintings and large-scale installations that invite guests into Sitchon’s dynamic artistic world. The exhibition will be open to the public from August 8 to October 31, 2026, with featured works available for purchase. Solaire Rewards members may enjoy exclusive rates of up to 20-percent off on selected artworks.

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Luxent Hotel officially opened Pamumukadkad: An August Blossom Hallway Art Exhibit, a month-long celebration of Filipino artistry presented in partnership with Daloy Likha Art Gallery, reaffirming the hotel’s commitment to supporting local artists and creating meaningful cultural experiences for its guests.

Held at the hotel’s Blossom Hallway, the exhibit transforms the space into a vibrant gallery featuring the inspiring works of four talented Filipino artists—Rebie Abas, Noel P. Bueza, Rinaldi de Guzman, and Vincent Bueza—each presenting unique artistic perspectives through a diverse collection of contemporary artworks.

The exhibit officially opened with a ribbon-cutting ceremony attended by hotel executives, representatives from the Quezon City Tourism Department (QCTD), members of the media, corporate partners, sponsors, distinguished guests, and members of the local art community.

Derived from the Filipino word meaning “to bloom,” Pamumukadkad symbolizes growth, creativity, and new beginnings. Inspired by Luxent Hotel’s Blossom Hallway, the exhibit reflects the flourishing of Filipino talent while providing artists with a platform to share their stories and creative expressions with a wider audience.

The opening reception was made possible through the generous support of the hotel’s valued partners, including Styled by Quinn as the Official Event Styling Partner, Happy Burritos as the Official Grazing Table Partner, Destileria Limtuaco & Co. Inc. as the Official Cocktail Partner, and Patrick Garillo as the Official Photography Partner.

Guests were also treated to a guided gallery walk, allowing them to engage with the featured artists and gain deeper insight into the inspiration behind each artwork.

As part of its ongoing commitment to promoting local arts and culture, Luxent Hotel invites guests, art enthusiasts, and the public to visit Pamumukadkad: An August Blossom Hallway Art Exhibit throughout the month of August and experience a thoughtfully curated showcase of Filipino creativity.

The exhibit is open daily at the Blossom Hallway, Luxent Hotel, Quezon City.

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Conrad Manila proudly presents the 42nd edition of its signature Of Art and Wine series with Intimate Reflections by Spencer Ozo, currently on exhibit at Gallery C until September 26, 2026. Curated by resident curator Nestor Jardin, the 25-piece exhibition offers a deeply personal exploration of vulnerability, resilience, and the evolving journey of self-understanding.

“Through Intimate Reflections, our very own Spencer Ozo invites viewers to reflect on their own journeys of growth and self-discovery,” said Rupert Hallam, General Manager of Conrad Manila. “As a valued member of our team, Spencer embodies our commitment to nurturing an environment where team members are empowered to pursue their passions, unlock their potential, and express their creativity both within and beyond the workplace.”

Spencer Ozo has been a valued member of the Conrad Manila team since 2017. While serving as the hotel’s front office manager, ensuring seamless stays and inspiring experiences for guests, he has also established himself as a distinguished artist. His artistic journey gained momentum with his first exhibition at Gallery C in 2022, marking the beginning of a growing presence in the local art scene.

In Intimate Reflections, Ozo creates a compelling dialogue between abstract and figurative forms, revealing the intersection between inner consciousness and external experience. His abstract works harness color, texture, and movement to express emotions beyond words, while his figurative pieces ground these sentiments in lived realities and human connections. Together, the collection presents a nuanced visual narrative of personal transformation and self-awareness.

“Art has been instrumental in shaping my understanding of who I am,” shared featured artist Spencer Ozo. “It allows me to navigate personal histories, cultural influences, and emotional truths with honesty and intention. The interplay of light and color throughout my works reflects my belief that clarity and hope can emerge even amidst uncertainty. Through this collection, I hope to encourage reflection and meaningful conversations about identity, growth, and the shared human experience,” he added.

The exhibition opened in the presence of esteemed guests, including Elizabeth Sy, President of SM Hotels and Conventions Corporation; Peggy Angeles, Executive Vice President of SM Hotels and Conventions Corporation; Rupert Hallam, General Manager of Conrad Manila; and featured artist Spencer Ozo.

All artworks on exhibit at Gallery C are available for acquisition. For inquiries and more information, guests and art collectors may contact (+632) 8833-9999 or email Conrad.Manila.info@conradhotels.com.

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