the outpost

The Bellas Artes Outpost was opened in the Alley at Karravin in 2017 to create a satellite location in the heart of Manila to engage urban audiences with the art activities happening in Bataan. This non-collecting, non-selling exhibition space welcomes the public to engage with art, architecture, and design through its programming and its reading room and salon, which hosts publications from all over the world. 

The Outpost aims to increase discourse between Filipino artists and audiences with the international contemporary art community. It produces four exhibitions a year and a public program that draws inspiration from the context and activities of Bellas Artes Projects in Bataan and connect audiences with the artistic processes used by the exhibiting artists.

Bellas Artes Projects was founded by Jam Acuzar and derives its primary patronage from the Acuzar family and New San Jose Builders. Artistic Director Diana Campbell Betancourt leads the foundation’s programming. Claude Mark Wilson from WeDesign designed the space.

For more information about BAP's Library, click here

2/F The Alley at Karrivin, 2316 Chino Roces Avenue, Makati

Operating Hours: Tuesdays - Saturdays, 12PM - 8PM




Bellas Artes Projects is pleased to announce the opening of Incarnator, a solo exhibition by Paul Pfeiffer, curated by Diana Campbell Betancourt. The exhibition opens on July 7, 2018. This exhibition expands from the artist’s internationally acclaimed eponymous video which is further brought to life through a series of life-sized sculptures, all of which were produced during Pfeiffer’s six-month residency at Bellas Artes Projects in Bagac, Bataan, Philippines in 2018. Pfeiffer is a pioneer in video, sculpture, and photography using recent computer technologies to examine the role that mass media plays in shaping consciousness. By incorporating these references into his videos, his work reflects a contemporary culture fixated on popular culture and celebrities which plays a major role in shaping the political realities we experience today. Pfeiffer invites his audience to exercise their imaginations and project their own fears and obsessions in his works.



new works by Rana Begum, Nabil Rahman, and ayesha Sultana


OPENS November 6, 2018 


During their residencies at Bellas Artes Artes Projects in Bataan, Philippines, Rana BegumNabil Rahman, and Ayesha Sultana collaborated with the artisans at Las Casas Filipinas de Acuzar to create abstract expressions of their emotional engagement with the physical landscape of the Philippines, often by experimenting with found industrial and building materials. 

Blurring the boundaries between sculpture, painting and architecture, Rana Begum’s work ranges from drawings, paintings and wall-based sculptures to large-scale public art projects. Begum is influenced by the geometric abstraction of minimalism and constructivism as well as by the use of repetition in Islamic art and architecture, and the way in which light filters through architectural features such as pierced screens to create optical and sensory effects. Seeing beauty in functional materials, Begum often uses objects from daily life and transforms them into something else. In a similar vein, Nabil Rahman opens up new possibilities for found materials in his work - from cigarette foil, to broken windows, to abandoned furniture - conjuring memories of patterns in the landscape of life and opening up space for cross-cultural dialog through entry points of mutual recognition found in these materials. Within the context of drawing, Ayesha Sultana’s recent body of work is an investigation into the rudiments of form through architectural constructions, often derivative of the landscape. Counter tendencies of movement and stability are also evident as an attempt to generate emptiness by filling up the surface. Through other elemental gestures and implications of plotting, measuring and erasure, merging and filling in, Sultana makes whole, an otherwise fractured image.






KONGKRETO (the tagalog word for concrete) draws from the 1991 volcanic eruption of Mt. Pinatubo in the Philippine state of Pampanga, and the subsequent evacuation of the nearby Clark Air Force Base to examine the ongoing effects of American colonialism in the country. Lucy Raven explores this history through video and sculpture developed over the course of nearly two years via Raven’s residency at Bellas Artes Projects in Bataan, Philippines. This exhibition is built around Raven’s inspiration from the history of post-war horror films. Here, the monster is material: concrete. It creeps, it rushes, it fills in every volume of space it touches, blanketing entire regions and immobilizing city life as it invades schools, factories, streets and bedrooms, then hardens and solidifies, swiftly entombing anything lying is in its path. A short film commissioned from this research will debut at Frieze London as part of Frieze Film and publicly broadcast over Channel 4 in Autumn 2018.

Clark was the largest US airbase outside the United States for most of the 20th century—backstage for America's involvement in all of the wars of the Pacific theater, the site of Reagan's evacuation of Ferdinand Marcos; and a city in itself with a resident population of 15,000. Despite growing Filipino opposition to the base beginning the 1980s, the US military showed no signs of leaving—until Mt. Pinatubo's unexpected eruption (beginning on, of all days, Filipino Independence Day) forced its evacuation and eventual return of the base to the Philippines. Due to its massive energetic detonation, Pinatubo ejected not lava, but a molten, ashy, pyroclastic flow, called lahar, which, combined with an ill-timed typhoon, distributed the material in a devastating spiral of ashy downpours throughout the region. Lahars, known as wet concrete, solidify as they cool, first burying, then immobilizing anything in their path. They also have a seemingly endless afterlife: each new significant rainstorm remobilizes inert lahar deposits upstream, causing a cascade of destruction and uncertainty. Raven’s film is a study into these unpredictable state changes from liquid to solid and back again, as a means to explore the larger implications and effects of state change.


Bruce Conner: Out of Body is the first major exhibition of this important American artist in Southeast Asia, curated by Artistic Director Diana Campbell Betancourt. One of the most influential artists of the Post War era, Bruce Conner (1933–2008) worked simultaneously in a range of mediums, including drawing, printing, collage, photography and film. Conner’s work lives past the artist’s lifetime as collective memory and his first comprehensive retrospective, Bruce Conner: It’s All True toured from the Museum of Modern Art in New York to San Francisco Museum of Modern Art, to the Museo Nacional Centro de Arte Reina Sofía, Madrid in 2016 through 2017.


Bellas Artes Projects is pleased to present ‘Busis Ibat Ha Kanayunan (Voices from the Hinterlands)’, an exhibition by Cian Dayrit. During his residency at Bellas Artes Projects, Dayrit focused his research into the history and mythology of the Ayta Magbukun community of Bataan, a deeply marginalized Indigenous Peoples group in central Luzon, examining their position in relation to colonial and post-colonial history and their representation in ethnographic studies of these periods, in close conversation with members of the community. The exhibition was part of an ongoing project from his residency.


Cagayan Garden (2017) takes inspiration from Alfredo Aquilizan's personal history growing up in Cagayan and his and Isabel's artistic concerns with displacement, change, memory and community. During their residency in Bataan, Isabel, Alfredo, and their children collected posts of antique Filipino houses that had been relocated to Bataan as part of the Las Casas Filipinas de Acuzar's collection of heritage houses. Together with other materials they gathered from the workshops, the result is an exquisite zen inspired garden where one can contemplate the journeys that the houses, and the families who once lived inside them, underwent in order for the garden to come into existence.


Internationally acclaimed Polish artist Pawel Althamer (b. 1967) traveled to the Philippines to participate in a residency at Bellas Artes Projects that was centered on the annual procession of the Black Nazarene in Quiapo. Coming together every January 9th in one of the world’s largest peaceful gatherings of humanity, devotees believe that touching the surface of the image of the Black Nazarene will bring about a miracle. Millions come together in the hope that their prayers will be heard. Quiapo has for centuries been one of the most diverse districts of Manila, where the Catholic, Muslim, and Chinese community co-exist in close proximity. The exhibition Nazareno; Quiapo Constellations was born from this inspiring context. 


Visitors were enchanted by a score that Amorales and musician Julian Léde commissioned from the legendary Guatemalan composer and sound artist Joaquín Orellana (b. 1937), which is Orellana’s unique take on a segment from the classic Disney Film Fantasia. The short film “Orellana’s Fantasia” from 2013 registers the shadows of a performance by Orellana, who built a set of instruments that are analogue models made to perform as if they where electronic instruments, called útiles sonoros (sound utensils).