TRIANGULUM presents
Mothering/Unmothering
Curated by Vanini Belarmino Ayala Museum, Filipinas Heritage Library, Greenbelt, and Ayala Triangle Gardens
presented under Art Walk by Ayala Land Monday, January 26–Sunday, February 8, 2026

Mothering/Unmothering explores the acts of giving, holding, and letting go that shape women’s lives across stages. The project reflects on presence and absence, intimacy and autonomy, and the tensions, choices, and releases that define the female experience.

Presented by TRIANGULUM, this multidisciplinary festival features performances, video works, and installations by renowned international artists—Jane Jin Kaisen, Lilibeth Cuenca Rasmussen, Lynn Lu, Marah Arcilla, Moi Tran, Pitchapa Wangprasertkul, Sylvie Cox, and Tekla Tamoria—and is curated by Vanini Belarmino. Together, these works offer audiences meaningful encounters with contemporary art in the public realm. Staged across Ayala Museum, Filipinas Heritage Library, Greenbelt, and Ayala Triangle Gardens presented under Art Walk by Ayala Land, as well as in the Art Fair Philippines 2026 in Circuit Makati, the festival transforms everyday spaces into platforms for artistic and public engagement, bringing contemporary art into the rhythms of the city.

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Lynn Lu’s Be Afraid Only of Standing Still is part of a larger series exploring nomadism, migration, and the meanings of border-crossings in diasporic life. First presented in Venice in 2017, and later in Singapore and Santiago, it now comes to Manila. This edition honors Lu’s lineage, recalling her grandmothers’ daring escapes from Communist China to the Philippines and Hong Kong, carrying jewels sewn into the hems of their samfu.

For six hours, Lu moves through Ayala Museum, across Greenbelt and into Ayala Triangle Gardens, adhering text fragments of ancestor journeys—collected from across Asia, Europe, and Latin America—onto liminal spaces, using a concoction of sweat and tears from the artist and her daughter. As the moisture evaporates, the fragments loosen and drift. Visitors encounter and reposition them, becoming part of a living choreography of movement, memory, and migration. In this fleeting exchange, inherited stories echo, and new narratives emerge fragile, ephemeral, and always in motion. 

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Lynn Lu | Maiden, Mother, Crone: The Human Library 
with Alma Cruz Miclat, Eir Sotelo, Karina Africa Bolasco, Kyle Christa de la Cruz, Marian Pastor Roces, Milette Orosa and Zoe Stolichnaya A. Suganob

One-to-one performance, 4 hours
Filipinas Heritage Library
Sunday, February 1, 2026, 2.00–6.00 pm

Through embodied experience, this performance explores the archetypal figure of the Triple Goddess, shared across many mythologies. She represents the Maiden (pubescent girl), the Mother (fertile years), and the Crone (post-menopausal). While maidens and mothers are often celebrated, crones are frequently feared and rendered invisible. Yet in some societies, these elders are venerated for their enduring authority as healers, midwives, and wise women.

In the original performance of Maiden, Mother, Crone, the artist, her mother, and her daughter offered themselves as “human books,” inviting participants to sit one-to-one as “readers” and ask questions about their respective life stages. For the Philippine edition, Lynn Lu expands this living archive by inviting a new constellation of “human books”: four female crones and two pubescent girls. Together, they form The Human Library—a multigenerational gathering that foregrounds continuity and difference, honoring the full spectrum of female experience, memory, and presence.


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Pitchapa Wangprasertkul | The Standard
Durational performance, 8 hours
Triangulum Booth 33, Art Fair Philippines 2026 
Circuit, Makati
Friday, February 6–Sunday, February 8, 2026, 12.00–8.00 pm

In The Standard, Pitchapa Wangprasertkul considers research, information, and social media content that constantly reproduce ideologies convincing us that certain standards are normal and fair. They make us believe that we can actually live in such oppressive conditions that they almost drown us. 
In this performance, Wangprasertkul blurs the boundary between her roles as an artist and a full-time employee by working and attending meetings within the glass enclosure for eight hours each day. Inside the glass box are only the bare necessities required for her work. The performance critiques societal standards—from minimal living spaces to curtailed sleep—imposed by authorities or systems of power, resulting in barely livable conditions.

By recreating a laborer’s environment with only essential objects, the performance underscores the tension between living and working. Originally presented at the Bangkok Art Biennale (2022), the work will be recontextualized for the Philippines. 

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Lilibeth Cuenca Rasmussen | The Mitochondrial Eve
Performance, 1 hour
Ayala Museum and Greenbelt
Saturday, February 7, 2026, 5.00 pm

In a new performance, The Mitochondrial Eve, Lilibeth Cuenca Rasmussen explores the figure of the mother and the many facets of motherhood. Drawing on a wide range of perspectives, she integrates text to traverse the emotional, cultural, and corporeal dimensions of the maternal experience, including the ambivalence that characterizes these roles. She thematizes the complex and existential aspects of motherhood in the face of contemporary issues, and touches on topics such as the parental role and the choice to abandon it, postpartum psychosis, fertility problems, and Münchhausen syndrome. In a striking visual gesture, she wears a white costume while thirteen babies crawl across her body, inspired by Kai Nielsen’s 1920 sculpture Vandmoderen (The Water Mother). Recontextualized for Ayala Museum, the work transforms shared environments into spaces where audiences encounter the intimate, powerful, and sometimes challenging presence of motherhood.

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Tekla Tamoria | AlterBibo, 2026
A sculptural and video installation 
Ayala Museum and Greenbelt
Monday, January 26–Sunday, February 8, 2026

AlterBibo, 2026 traces the journey of Tekla Tamoria’s firstborn—a work that began in 2017 as an intimate act of self-expression and has evolved into a meditation on care, mothering, and becoming. Over nine years, it has taken form through textiles, wearable art, performance, photography, and video, gradually embodying a child whose playfulness and curiosity stand in quiet contrast to the artist’s present life, defined by responsibility, work, and domestic care.

In this edition, AlterBibo swings gently beneath the balete tree in front of Ayala Museum, its growing hair reaching toward the rhythms of city and nature. Displayed alongside the video Vegetating Alternative Histories (2017–2019), the figure holds the tension between attention and release. Its sculptural body, cast from the artist’s younger sister, folds familial intimacy into the work, while discarded fabrics and clothing mark a presence that is at once private and public, tenderly animated, and fully autonomous.

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Moi Tran | Handling Act Staged installation 
Ayala Museum
Thursday, February 5–Sunday, February 8, 2026, 11.00 am–7.00 pm
* The work will be activated by the artist each day at 12.00-1:00 pm

Handling Act is composed of images of hands printed on textiles, enlarged fifty-fold and gently placed on everyday museum objects: tables, chairs, plinths, and risers. These hands appear to rest, lean, support, or wait. Rather than telling a story, the work invites viewers to read gestures as a language of touch, effort, care, and relational presence. Meaning unfolds slowly, through encounter and attention, rather than being fixed or immediate.


By focusing on the hand as a site of action and care, Moi Tran highlights gestures often overlooked yet deeply meaningful—holding, steadying, offering support. In Handling Act, these gestures are not performed live, yet they retain a strong sense of presence. Within the framework of Mothering/Unmothering, the installation meditates on the invisible labor of caregiving—work that sustains others but often goes unrecognized. The piece resists linear narratives, creating an open field of signs that invites reflection on giving care, receiving it, or living in its absence.

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Jane Jin Kaisen | Braiding and Mending
Video installation, 6:03 mins, synchronized and looped 
Triangulum Booth 33, Art Fair Philippines 2026
Circuit, Makati
Friday, February 6–Sunday, February 8, 2026, 10.00 am–9.00 pm

A group of women of several generations sits in a circle arranging each other’s hair, combing it and braiding it in calm, almost meditative movements, as the camera revolves around them. All are preoccupied by the endeavor—each woman’s hands touch the hair of the woman in front of her, connecting them all in a perpetual cycle. The women in the work are the artist herself in the company of her sisters and nieces. While Jane Jin Kaisen was adopted in Denmark as an infant, her sisters and nieces all grew up in Jeju, South Korea. The careful, slow act of braiding becomes a mutual care and memory-making gesture.