HOME OF CONTEMPORARY, MODERN ART

challenge because I didn’t know many artists,” she said. To widen her network, she attended exhibitions here and there, and joined conferences and workshops to learn. The foreigner had to be acquainted with Manila since she was an outsider coming in.

“I was supportive and was there all these times. The CCP came and then MET (Metropolitan Museum) came, and the other galleries. I would go to them and learn to see the practice. And then slowly I met people. It’s been gradual,” she said.

Ms. Diaz’s enthusiasm led her to artists like Mr. Nuyda and Onib Olmedo, who invited her to join the Saturday Group, an organization of artists. In 1975, she was also asked by National Artist Vicente Manansala to be the corporate secretary of Samahang Tubiglay (Watercolor Society of the Philippines), whose members included Edgar Doctor, Ang Kiukok, and Romulo Olazo.

“I am not from here,” she said, “my first priority was to get to know the artists, know their works, and understand their art. I wanted to understand their vision, their concept, what brought them to paint. Art was just a hobby for me, so I learned. I learned the ropes. I am very curious. I love the arts.”

She opened Duemila after she felt that she had enough experience and knowledge, after Martial Law was lifted, and after Miladay closed.

Ms. Diaz recalled the long journey she went through to get where she’s today: “I was a foreigner. Nobody knew me and each one has their own way of business. At that time, there were a lot of revolutions, coup d’etat, brownouts—setback after setback. It’s been two steps backward, one step forward. I would say that Madam Marcos [former first lady Imelda Marcos] in the arts provoked an awakening. She brought art to the fore when there was none before. People didn’t even know what’s a gallery or a museum. Pro or against Marcos, I don’t care at this point, but the thing is that the medium and the art and the culture were brought to the people.” Duemila is an Italian word that means “the 20th century.” While we are obviously in the 21st century—the age of technology and information—the idea behind the gallery remains relevant: “to cement contemporary and modern art,” said Ms. Diaz.

“The idea is modernity, to continue renewing attention in art. There is awakening. Art is like fashion, there are trends,” she said.

As a European, Ms. Diaz said “art is given to you,” meaning people in the West are exposed to museums, theater plays, dances, and music early on in life. But in Asia—to be specific, in the Philippines—it’s a different story. We’re not as invested in studying humanities, culture, and arts.

Was she frustrated by these cultural differences? “Yeah, I cried many times,” she said.

“It’s frustrating that I cannot share the beauty of art. Frustration for the artists who put effort and are not understood. Their work is beautiful and not appreciated. They put so much soul, effort, anything, and then the public doesn’t understand.”

But the Italian in Manila is upbeat about the Philippine scene. “Many artists are going out of the country to exhibit. They’re also getting didactic. I think we’re on the right track. I am very positive,” said Ms. Diaz, who sounded like a proud mother excited for her kids’ future.

An Italian in Manila: An Exhibition Tribute to Mrs. Silvana Diaz is on view at Galleria Duemila, 210 Loring St., Pasay, Metro Manila, until Sept. 29.