'Private Art, Public Lives': Exploring the Bautista collection with Floy Quintos
Salcedo Auctions, through its gallery and exhibition arm Salcedo Private View, debuts a new program that provides exclusive access to the personal art collection of esteemed banker Edwin Riego Bautista and Professor Aileen Beltrano Bautista.
An exciting addition to the auction house's offerings, the collection is curated by Floy Quintos, a leading figure in Philippine art as a playwright, director, and curator. Chairman and chief specialist Richie Lerma introduces Private Art, Public Lives, a series of exhibitions showcasing privately-held collections.
This partnership between the auction house and the private sector signifies a noteworthy achievement, involving the unveiling of collections like the Bautistas', much of which has remained unseen by the public. The objective is to cultivate a richer understanding and regard for our cultural heritage.
Lerma's connection to the roots of this initiative extends to his extensive involvement in the realm of Philippine museums, where he dedicated more than a decade of his professional journey. For him, this program reflects his unwavering commitment to supporting educational institutions, as he believes that diverse collections enrich the country's cultural landscape. The decision to introduce this innovative program, allowing an intimate view of the Bautistas' private art collection, was prompted by his perception that the couple embodies the essence of Salcedo.
Floy Quintos’ role in shaping the Bautista collection
Given the extensive Bautista collection, a curator becomes crucial. This is where Floy Quintos' invaluable expertise comes into play, offering profound insights and significance.
Quintos, a versatile artist renowned for directing, playwriting, and content creation, boasts an acclaimed portfolio featuring works such as "The Kundiman Party" and "Angry Christ," as well as the hit one-act play The Reconciliation Dinner. Beyond theater, he adeptly curates exhibitions across museums, highlighting traditional culture. Noteworthy is his curation of Anting-Anting: The Secret Soul of the Filipino at Paris's Musée du Quai Branly–Jacques Chirac, and exhibitions at Yuchengco, Ayala, and Vargas museums. With a remarkable decades-long collecting journey, Quintos stands as a pivotal figure in Philippine indigenous art.
Quintos finds the Bautista collection distinctive from others due to its diverse and tasteful assortment of objects acquired over time. He highlighted that collaborating with Edwin considerably streamlines the process, given Edwin's holistic understanding of the objects, encompassing their narratives, historical importance, and interconnections.
The Bautistas' collection and its revelations
Edwin embarked on his collection journey during the 1980s, focusing on antique ceramics sparked by his Iloilo upbringing. His fascination quickly grew into an enduring passion. In contrast, Aileen's collecting journey started later, influenced in part by her husband, while she also pursued European-American vintage jewelry. During a visit to La’O Center, Aileen encountered legendary dealer Kit Roxas, introducing her to Philippine colonial jewelry.
Despite their distinct interests—Aileen's specialization in pre-Hispanic and colonial jewelry and Edwin's more eclectic range—they've amassed a comprehensive collection that significantly contributes to understanding the nation's history and past.
As they worked on the exhibit, Edwin revealed that there was a continuous debate with Floy Quintos, who aimed to streamline and omit several elements from the intended public presentation. Ultimately, the emphasis was on selecting objects that best conveyed the narrative. While Edwin sought to include personal favorites, Floy prioritized storytelling. However, they eventually found common ground to align with the exhibit's overarching intention.
Among the cherished pieces, the rare maps stand out, showcasing one of the earliest depictions of the Philippines on the world map. The Bautistas humorously nicknamed these maps the “birth certificates,” symbolizing the Philippines' introduction to the global stage. Aileen finds intrigue in the jewelry collection, noting how it reflects the abundance of gold in regions like Butuan and Samar. Additionally, the collection attests to Filipinos' exceptional craftsmanship in jewelry design.
Edwin also mentioned that he and Quintos have additional favorites (using "another" because they acknowledged the challenge of choosing just one), which include the "Mamarrachos" and "Imagenes Repulsivas" (repulsive icons). As described by Quintos in the exhibit notes, “These dramatic and powerful reinterpretations of Catholic iconography were carved by unschooled artisans working outside of established ateliers and workshops that produced the more commonly known folk types so coveted by santo collectors.”
Their profound appreciation for these pieces stems not only from their rarity, but also from the accompanying stories—some eccentric and amusing, yet deeply captivating.
The path to acquiring and amassing these pieces was far from effortless. Numerous negotiations were necessary to secure them, often involving travels to various locations. As they mentioned, the hunt itself provides a thrill. However, their intention is not to keep this collection concealed; quite the contrary. They are eager to share it with the public, believing that a wider audience should have the opportunity to appreciate their amassed treasures.
Quintos' curatorial exploration
Exploring the curatorial perspective, Quintos raised the pivotal question: "How do these objects interconnect in an unfolding narrative of our ongoing quest for nationhood?"
Similar to resolving a narrative challenge or restructuring a play, this task is complicated by the diverse array of items—from rare maps to ecclesiastical arts to colonial jewelry. Quintos, in his note, mentions that "these items showcase the escalating refinement and social stratification prevalent in the decorative arts of 18th and 19th century colonial Philippines."
Moreover, Quintos identifies an additional layer to the collection that "adds depth and resonance to the narrative of evolving nationhood." This pertains to Edwin’s dedication to lesser-known realms, such as his assortment of indigenous weapons (now contributed to the Museo ng Kaalaman Filipino) and anting-antings, crafted from brass, paper, textiles, sacred wood, and natural materials. Quintos affirms that the Bautista collection is the nation's most extensive, featuring numerous examples from key regions.
Beyond artifacts
Quintos underscores the objects' ability to form narratives that transcend their physical presence when in dialogue with one another. These narratives delve into historical moments and the intricate evolution of perspectives, enhancing the collection's importance.
The stories these objects convey provide a profound journey into Edwin and Aileen's varied passions and the wider cultural backdrop. This exhibition serves as a platform, not just for conserving objects, but for weaving a rich tapestry of narratives that shape our comprehension of both the past and the present.
In essence, this exhibition surpasses mere presentation of valuable artifacts; it urges us to confront historical biases and embark on self-reflection. According to Richie Lerma, it offers a chance for discovery and self-examination, honoring Edwin and Aileen's astute curation and the profound potential of their collection to inspire and illuminate aspects of identity.
Within this exhibition, the objects serve not merely as remnants of the past, but as conduits of storytelling, igniting curiosity, introspection, and a journey into diverse identities and histories. This journey paves the way for uncovering the intricate layers of the nation's multifaceted narrative.
Private Art, Public Lives: A Passion for Connections and Their Narratives from the Collections of Edwin and Aileen Bautista will have a four-day run, with invitational viewings from Aug. 31 to Sept. 2 and a public viewing on Sept. 3, from 9:00 a.m. to 6:00 p.m. at Salcedo Auctions, NEX Tower, 6786 Ayala Avenue, Makati City.
