Art Review’s Power 100, the annual ranking of the art world’s most influential people, came out today and making the list for 2020 are two Filipino gallerists and one Filipino artist collective.
The gallerists are Isa Lorenzo and Rachel Rillo of Silverlens, the 16-year old gallery that represents an impressively diverse pool of artists whose works the women are known to showcase not just in their state of the art space but also in some of the most important venues in the world. Lorenzo and Rillo are at No. 92 on the Power 100 list.
Meanwhile, one of the artists Silverlens represents, Norberto “Peewee” Roldan, is at Number 99. Roldan is the prime mover behind the artist collective Green Papaya Projects which, since it opened 20 years ago, have pushed the boundaries of an artist’s role in art-making by expanding it to include participating in the discourse of art approaches and art’s role in society.
In her social media post acknowledging the honor, Lorenzo commented on how far the annual list has come in terms of the personalities chosen. “First time I saw this list in 2004, it was full of older white men. Over the years, women were added. And a few years ago, we started to see Asian friends and colleagues,” said the gallerist.
“The important thing is that the larger art world sees us 🇵🇭.” The list was first published in 2002 and has grown to become an important indicator of influence in the art world. Topping this year’s list is the Black Lives Matter Movement.
Silverlens was cited for “increasing the visibility of local Filipino artists from the diaspora” which includes Pio Abad, Martha Atienza, Maria Taniguchi and the estate of the late Pacita Abad; as well as for “finding ways to adapt their gallery to the current climate early on in the pandemic (their #AtHomeWith series resulted in their first online exhibition in June).” The list also mentioned the “live and recorded walkthroughs" of the Silverlens exhibitions.
Green Papaya, on the other hand, “Metro Manila’s oldest artist-run space and an influential model within the region,” was cited for its long record of “supporting and organising ‘actions and propositions that explore tactical approaches to the production, dissemination, research and presentation of contemporary practices in varied artistic and scholarly fields.’”
In a Facebook post, Roldan said, “Never in our wildest dreams could we have thought that we would make the list. It seems that the ‘Death is a Portal’ campaign that we launched at the height of extreme lockdown in Metro Manila last May caught the eyes of the ArtReview Asia editors, and eventually, the Power 100 Jury. Papaya persisting in the shadows of bigger names and institutions over the last 20 years may have also been factored in.”
For the full list, click here. https://artreview.com/power-100/
Banner photo courtesy of Silverlens