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Describing the Indescribable

CONTROLLED CHAOS: Gil Kuno, Marco, and the Art of Flipping Paradigms

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At WHYNoT on the 4th floor of Karravin Plaza, two sound artists negotiate the boundary between mechanical noise, generative code, and the vernacular energy of the street.

Inside WHYNoT, situated on the 4th floor of Karravin Plaza in Manila, the ambient air carries a distinct tactile charge: a mix of low-frequency hums, dangling patch cables, and the rhythmic swing of heavy brass pendulums. Following a solo exhibition with Vinyl on Vinyl the week prior, sound artists Gil Kuno and Marco gather here for an intimate, high-voltage live performance where sound is not merely listened to, but physically engineered, sonified, and set loose.

Ahead of the show, Kuno (a veteran media artist with thirty years in noise, audiovisual systems, and experimental music) and Marco (a kinetic sculptor, instrument designer, and member of the art unit Somatonic) sat down to untangle the philosophy driving their work. Together, their conversation cuts through the sterile conventions of contemporary media art, grounding high-tech experimentation in subcultural grit, mechanical history, and raw street energy.

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The Wrong Frame: When Architecture Suffocates Art

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The 2026 iteration of Art Fair Philippines was a masterclass in creative resilience, though perhaps not in the way the organizers intended. Spanning multiple floors of a converted office building in Circuit Makati, the fair presented a collection of works that felt genuinely urgent and world-class. From the visceral humand forms of Blic to the explosive, narratively dense canvases of Yeo Kaa, the signal of the Philippine art scene has never been stronger. However, that signal had to fight through a staggering amount of architectural noise and a layout that felt like 168 for canvases.

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Yeo Kaa: How Did We Get Here?

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To understand the trajectory of Yeo Kaa, one must first understand the theater of her presentation. At this year’s Art Fair Philippines in Circuit Makati, her project exhibit is built around a single, uncompromising point of entry. To see her current state, we are forced to first walk through her past. Step inside Yeo, Kaa’s “OKKK, NEXT.”

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Blic: The Stress and Strain of Even After

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For over a decade, the work of Blic has been a constant in the visual landscape of Metro Manila. We have grown accustomed to his signature Humands. These are those clean, almost airbrushed figures that replaced facial ego with the universal gesture of the hand. But at this year’s Art Fair Philippines, held at the new venue in Circuit Makati, a window opened into a dimension of his work that we had not fully accessed before.

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ToyBox Murals: Part Comic, Part Punk.

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On a narrow stretch of Mosque Street in Hong Kong, a trench-coated man and his dog step through the wall like they own the place. It’s not graffiti, exactly. It’s not street art in the stencil-and-slogan sense either. It’s a mural—but it hums like a comic book, shot through with punk energy and melancholy. Behind it is a Czech artist known only as ToyBox. And she’s standing nearby in a white paper-mâché cat mask, hand-tipped with red and black marks, watching people stop and stare.

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Jelmer Konjo and the point of the pointless

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In a society wired for purpose, profit, and posts, there’s something radically pure about doing something just because. Not for clout. Not for money. Not even for meaning. Just because it’s fun. That’s the philosophy that drives Jelmer Konjo, a graffiti writer and DIY experimentalist who’s made a career—or more accurately, a life—out of creating in ways that flip off the system while inviting people to touch, explore, and play with the work.

“I come from skateboarding and graffiti,” Konjo says, leaning back like someone who’s had this conversation before—eager to talk about something he’s clearly been macerating in. “Two of the most pointless things you can do growing up. Nobody’s going pro, and even if you do, it doesn’t last long. If I play soccer against another team and I score, there’s a direct result of that. People understand scoring points.”

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Branded Gods and the Price of Resistance

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Art Central is all flash and flow: white booths, selfie sticks, and quiet deals sealed with handshakes or credit card swipers. I wasn’t expecting to be called out by a piece of art. But that’s what happened at SHANKAY’s booth, where Venezuelan Eduardo Enrique’s solo presentation stood like a trapdoor in the floor.

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Faith, Fabric, and Nigerian Identity at Art Basel

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In one room, his mother stitched dresses from wax-print fabric. In another, his father repaired shoes, coaxing leather back to life with quiet precision.

As a child in Nigeria, Samuel Nnorom moved between the two. Watching, sketching, collecting scraps. The rhythm of his home wasn’t loud, but it was steady. It was the rhythm of making things that last.

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Everyday Essential: Nike Uplift SC

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We’re always on the lookout for solid, affordable sneakers—and the Nike Uplift SC caught our eye right away. Priced at around $70 (or ₱3,500), it promised comfort, a sharp look, and everyday versatility. So we gave it a go.

We first spotted it on the Nike app. The color blocking was bold, especially in the Black/Total Orange colorway. We ordered online from the Nike App and a few days later, it arrived (alongside a pair of Black Cement Jordan 3s—let us know if you want that review too). This isn’t a performance shoe. Nike calls it a “sports culture” sneaker, something you wear before or after a workout. And that feels spot on. It’s a great daily pair for running errands, hitting the mall, or walking to work.

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