Memories as glimpses of what can be
Benjie Mallari on how Manila's golden age impacts his works
Benjie Mallari on how Manila's golden age impacts his works
Benjie Mallari remembers it like it was yesterday. “I had very fond memories of Manila,” he says, pulling on the thread of nostalgia as he conjures up images from the city’s golden age. “It was a big deal for me, and for all the kids, when our parents would take us to Quiapo or Escolta,” says Mallari. “We would eat some palabok and halo-halo in Quinta or Central market—it felt like going to Disneyland!”
The sights, sounds, and smells of the city during its prime remains embedded in Mallari’s mind. More than that, he also recalls with great affection the simplicity in the way of life during that period, before technology changed our everyday routine. “During those days, there were no cell phones yet,” he says. “And people were more punctual. We had to meet at a certain place and at a certain time and we had to be there since there were no other means of communication. At most we had a landline, and not everyone had a telephone. When someone was late we would all worry.”
Mallari’s strong appreciation for the past has revealed itself to be a driving force across his celebrated artistic portfolio, evident even with just the title of his past shows such as “Walks of life,” “When life was simple,” and “Time passing.” Mallari continues in this train of thought in his latest show, “If I Had a Time Machine” with Galerie Joaquin.
In this recent collection, Mallari once again fleshes out his contemplations on history and how our appreciation for it ties closely with culture and our identity. To add a layer of authenticity to his work, aside from his own personal visual recollections, Mallari heavily relied on dated photographs of old Manila from the turn of the century as a reference point, particularly those from the 1950s, which he stresses to be the Golden Years, and the 1960s as well. “I don’t like the ‘70s,” Mallari adds. “For most Filipinos, they were the dark years.”
Through his aesthetic approach, Mallari transports us to some of the iconic landmarks that lie hidden in the chaos of modern Manila. Aiming to restore the city to its former glory, even if only for a brief moment in art, Mallari celebrates nostalgia in an emotionally immersive manner.
The scope of issues Mallari tackles in his collection is not only meant to move the mind and heart, it is also a call to action, to conserve and care for our national landmarks and, by extension, our history and identity. “We the artists, and writers of course, we would like to preserve our cultural identity,” says Mallari. “In terms of architecture, I prefer old buildings and houses because of their designs, they are so beautiful!”
Mallari laments that the momentum of modern progress no longer gives way for these delicate and historical facades. “Progress won’t allow it anymore!” he says. “They would rather put up condos and highrise buildings. They don’t even call it a building anymore, they call it a tower. In case you did want to see a histori- cal area, you could go to Vigan, Batangas, or Iloilo—there are only a very few old structures that remain standing. And of those, many are soon to be demolished.” Mallari believes that a certain measure of restraint should be implemented in view of the mushrooming of condominiums. “We are over supplied with condominiums,” Mallari says. “Even the provinces are being urbanized, it’s like you’re also in Metro Manila.”
Mallari’s art serves as a vehicle for his passionate advocacy, although, instead of a message of condemnation, he uses that of celebration. More than ever, he says, it is a blessed time to be an artist, expressing his immense gratitude. “Before, there were very few of us artists,” Mallari recalls. “Now there are so many young artists. I have three kids and they all took up Fine Arts. The local art scene is so alive!”
Mallari continues painting old images in a modern technique, elevating the subject matter and making it even more timeless. In doing so, his art does not only serve the purpose of remembering what was, it serves as a reminder of what can be.
“If I Had a Time Machine” is part of the continuation of the 15th anniversary celebrations of Galerie Joaquin through its second branch in the new wing of The Podium Mall. The gallery is located on the 3rd level of The Podium, ADB Avenue, OrtigasCenter, Mandaluyong City.
In this recent collection, Mallari once again fleshes out his contemplations on history and how our appreciation for it ties closely with culture and our identity.