COVID-19 Closed Down Galleries, So This Artist Is Bringing the Exhibition to You

With its neutral colors of white and gray, and labeled with only a small square sticker, this box looks nothing too out of the ordinary. But it’s meant to pique your interest.

What does it hold? What is it for? Like Schrödinger’s cat that could be dead or alive — or both — no one really knows for sure. Only by lifting the lid will you find out. 

Inside is an unusual mix of items. There are canvas drawstring bags, a resealable bag with disinfectants, smaller boxes, and lots of paper.

How do all of these tie together? 

Conceptualized and curated by 29-year-old Filipino artist Pam Quinto, “Parcel Exhibitions” is a gallery on wheels — one born during the COVID-19 pandemic, when museums and art galleries in the Philippines were suddenly shut down. 

“It’s a travelling exhibition, and it would go from one viewer to another. I’ve had the idea for quite some time, but it’s only during this pandemic that I was able to iron out the details,” Quinto told VICE. 

With all the curveballs that 2020 has thrown, “Parcel Exhibitions”— Quinto’s first foray into curating — can be a much-needed respite from noise, stress, and trauma.

The exhibit functions through a mailing list, where interested individuals are invited to sign up for free. Each person may view and enjoy the pieces for three to four days, before the 47 x 34 x 22 box is passed on to the next one on the list. For the safety of both the artworks and participants, the number of viewers is limited to 15.

Its inaugural show “Fiat Lux” launched on Oct. 23 and featured eight multidisciplinary Filipino artists and seven mixed-media pieces.  

“I think the phrase fiat lux, or ‘let light be made,’ not only speaks of its biblical reference; it goes beyond that. It speaks of a practice of agency in finding light, not just for yourself, but for others as well,” Quinto said.

“[One of] the prompts I gave the artists was ‘What does light mean to you, especially at this time?’ It seemed even more resonant to show that, because we’re all struggling to find light or some sense of peace [during such chaotic times].”

The first two in the seven-piece set — Gale Encarnacion’s “Outside Shoes” and Ralph Barrientos and Veronica Lazo’s “Surya Namaskar A”— frame light as a state of mind.

Encarnacion hopes to give the audience a spot of fun while they try on her creation, a pair of odd, green, furry boots that are, as the artist called them, “a little bit ridiculous and lighthearted.” 

Barrientos and Lazo’s contribution is an illustrated step-by-step guide of sun salutations printed on the backs of postcards, with an accompanying video available through a QR code. It aims to promote healthier physical and mental health.

Viewers will, on the other hand, experience light as something tangible and visible in Miguel Lorenzo Uy’s simulation video “Mirage (Mirror),” Wipo’s “Eye Level” — a series of four folded photographs (of boxes enveloped in light and shadows) that the observer can view in any order — and Ren Lopez III’s “Existing Exits” signage.

The last two in the exhibition are Celine Lee’s “Borrowed Light,” a black dye print that will reveal an image once submerged in a solution of water and bleach, and Miguel Puyat’s “portable collage maker,” a wooden handle with cardboard cutouts that observers can rotate and position any way they want, like tools on a Swiss Army knife.

“It was important for me to have a diverse interpretation of the concept,” said Quinto. “Light has many possible applications. So, I thought there’s a lot of possibilities for the artists to explore.”

The different interpretations of the subject keeps the set interesting, and the shift from one masterpiece to another gives the audience a semblance of walking through an actual gallery.

The end result is a dynamic, multimedia private show. 

What sets “Parcel Exhibitions” apart from other art projects is that it can be taken anywhere, at any time. You can be at home alone or in a cafe with friends.  

Francisco Lee, a 28-year-old gallery staff and one of those who signed up for the exhibit, said that he shared the artworks with 12 other people. 

“I ended up sharing [it] with the people I encountered wherever I went,” Lee said.

One of these people is Pin Calacal, a Filipino visual artist and avid attendee of art shows.

“The show visits you, which is a pretty good response to the current situation we are all in. I think this also has potential in getting art shows to areas and communities that have less access to these to begin with,” she said.

Quinto’s nomadic exhibition serves as an alternative source of art for Filipino enthusiasts, while most galleries, museums, and other creative spaces are slowly getting back on their feet.

And here lies the beauty of Quinto’s chosen format. It has inspired its participants to share the experience with others through small get-togethers that still follow safety protocols, allowing for a wider reach and more interpretations of the works.

“I really just wanted [people] to be able to enjoy the physical experience of art again,” said Quinto. “It’s a way of processing: It can verbalize whatever we’re feeling, and it can also provide relief.”