History Edit The first church was built as a mission church by the Franciscan missionaries in 1669.

Originally, it served the Dumagat people of Lanatin and Linotan in the mountains of modern-day
Rizal province. The Jesuits eventually took over the mission and the church in 1741.[1] It was turned
over to the seculars in 1768 when the Jesuits were expelled from the Philippines.[2] In 1880, an
earthquake caused significant damage to the church. Owing to the dwindling population in the area,
the damaged portions of the church were not rebuilt.[2] In 1930, the Americans planned to build a
dam in the surrounding area, thus, the remaining inhabitants were ordered to resettle elsewhere.[3]
The dam project was eventually abandoned due to a discovered fault, yet the people did not return
until the time of the Japanese occupation. Even then, whatever that was left of the church was
subsequently burned down by the Japanese, leaving only the lower portion of the original church
facade intact. As the area was eventually resettled, administration of the parish was taken over by the
Camillian order in 1986 who helped organize the restoration of the church. Restoration was
completed in 1995,[4] preserving the original remaining façade of the old church with the rebuilt
portions built as close as possible to the simple, sparse architecture of the old structure.

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Parish of the Immaculate Heart of Mary (PIHM) History The Parish of the Immaculate Heart of Mary
started as a 1.5 hectare lot in Fairmount Hills, donated by Don Carlos Fernandez to the diocese for
use as a seminary or a parish. The St. John Ma. Vianney Formation house and the Domus Christi
(Home of Retired Priests) were then built. After a few years, residents from neighboring communities
were invited to attend the weekly masses held at the refectory of the formation house, which was
converted to a mini-chapel every Sunday. The community grew and eventually the seminary was
transferred, such that in July 2000, Bishop Protacio Gungon decided to create a new parish for the lay
faithful residing along Sumulong Highway, Hinulugan Taktak Area, and Ortigas Extension. Thus, the
Quasi-Parish of the Immaculate Heart of Mary was born, housed at the old seminary grounds. With
the birth of the Quasi-Parish, the Parish Pastoral Council was then formed and various ministries
were established. On December 30, 2003, the Quasi-Parish was elevated to the Parish of the
Immaculate Heart of Mary (PIHM) by Bishop Gabriel Reyes with Fr. Ric Eguia as the 1st Parish Priest.
Opportunities to grow deeper in faith such as the Parish Renewal Experience (PREX), Basic Bible
Seminars, and Youth Encounters were made available to the community. The Garden of the
Resurrection Ossuary was also built within the parish grounds to help finance the church
construction. Several church construction fundraisers were organized to help complete the church
such as the Handog Kay Maria Concert in 2002, the 551 Club, raffle contests and bazaars On
Christmas Eve, 2007, the first mass at the parish church site was celebrated under the stars by Fr. Joel
Victorino, our 2nd parish priest. On November 2012, PIHM celebrated a very significant milestone in
its history, the much-awaited Dedication of the parish church, with the guidance of our then parish
priest, Fr. Sandy Enhaynes, who was on his 6th year at our Parish. The Parish Now At present, the
church of the Parish of the Immaculate Heart of Mary is gaining popularity because of its unique
architecture, which was designed by Arch. Dom Galicia. The parish grounds also attract people due
to the sprawling and peaceful nature of the Rosary Garden, a perfect place for contemplation and
prayer.

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Pinto Art Museum contains a massive yet well-curated collection of modern paintings, sculptures and
art installations.

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On top of the hills of Antipolo lies an inspiring contemporary art space made with such an obviously
impressive visual artistry. The ambience of the place, the architecture of the villa, and the aura of the
people feel so inspiring and so pure. It was, for me, a creative retreat.

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Pintô Art Museum is an exhibition space and contemporary museum located in the Philippines’
historic pilgrimage city of Antipolo outside of Manila. The museum was founded in 2010 to publicly
exhibit the art collection of Filipino neurologist and patron of the arts, Dr. Joven Cuanang. The
museum (pintô means door in Filipino) was founded on the principle that art plays a diplomatic role
in bridging distinctive nationalities, worldviews, and communities.

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Exhibitions Benefits Catalogue Museum Pintô | Your Door to Philippine Contemporary Art Pintô Art
Museum is an exhibition space and contemporary museum located in the Philippines’ historic
pilgrimage city of Antipolo outside of Manila. The museum was founded in 2010 to publicly exhibit
the art collection of Filipino neurologist and patron of the arts, Dr. Joven Cuanang. The museum
(pintô means door in Filipino) was founded on the principle that art plays a diplomatic role in
bridging distinctive nationalities, worldviews, and communities. 2/10 Navigate the museum with our
hashtag #PintoArtMuseumTour Dr. Cuanang began collecting in the spirit of local artistic patronage
in the late 1980s when he championed a revolutionary Filipino artist collective, The Salingpusa,
through dedicated connoisseurship and acquisitions. The political movements associated with the
People Power Revolution in 1986 and the fall of the Marcos Regime ushered an era of creative
expression and artistic exploration. Dr. Cuanang became a proponent for other practicing artists in
the region and earned a reputation as a patron in the Filipino artistic community. The museum
collection includes works by artists Elmer Borlongan, Mark Justiniani, Jose John Santos III, Emmanuel
Garibay, Rodel Tapaya, Geraldine Javier, Marina Cruz, Joy Mallari and Antonio Leaño among others,
whose ouvres compose a veritable record of the evolving contemporary cultural milieu. The Pintô Art
Museum is one of the 25 most Instagrammed museums in the world (ArtNet). In the years leading up
to 1986's People Power Revolution, a group of fine art students at the University of the Philippines in
Manila formed a friendship that would reshape Filipino contemporary art for many years to come.�
Determined to give talented students the opportunity to practice and grow, Professor of Painting
Fernando Sena provided free supplies as part of an after-hours art workshop, creating a small
collective of artists. In the excitement following the People Power Revolution, numerous self-directed
initiatives emerged, mostly outside metro Manila; in Antipolo, an ecology foundation was established
to preserve the local waterfalls, attracting the young artists for weekend painting sessions.
“Salingpusa” is a Filipino idiom for kids who are too young to play rough, but too old to play at all.
This is what the outsiders of the Filipino art scene called themselves. Through their work in the
ecology foundation, the Salingpusas were introduced to Dr Cuanang, a physician who would host
them for Sunday refreshments and drawing sessions in the gardens surrounding his weekend house
in the hills of Antipolo. Learning of the struggles of these talented artists to find exhibition spaces, Dr
Cuanang started to organize shows of their artistic production in his Silangan Gardens, now Pinto Art
Museum. For their first show, Icons, in 1991, the artworks were hanged on clothes lines for the
physician colleagues and friends from Manila. The second clothesline exhibition “Flora” was held later
that year. With the growing attention for the innovative works of the Salingpusa, Dr Cuanang
converted also his downtown Manila home into Boston Gallery, which immediately became the main
catalyst of early contemporary art in the Philippines under the curation of Bobby Valenzuela. While
the doctor kept building his career, the young artists made the Antipolo’s Silangan Gardens their
headquarters, while several of them took up residence there for over a decade. They shared
everything from meals, dramas, creation, love stories. In this relaxed and supportive environment, the
artists cemented their brotherly friendships that would last up to today; here some of the Salingpusa
dress up for a costume parade at the University of the Philippines. In their first years, the Salingpusa
often practiced a form of interaction painting that was a carryover of lightning street murals of
protest art. Like for “Karnabal”, a study was made from suggestion pitched by the individual artists,
unified in a scaled composition, and then transferred on a larger scale. The Salingpusa completed
“Karnabal” in 1992. One of the seminal works of contemporary Filipino art, it provides a metaphor of
Philippine society as a carnival of competing powers and pawns, so powerfully expressive of the
social tensions following the People Power Revolution. In this setting, the Salingpusa and Dr
Cuanang helped draw the fledgling gallery’s activities and shows in Manila up until the late 90s.
Above, some members of the group work on another collective mural for the annual Antipolo
Maytime Arts Festival that they set up. With the attention of the public and praise of the critic, many
of the artists of the original group started to win painting competitions, and receive some of the
most prestigious art awards of their days. For their 15th year of Salingpusa in 2001, finally the Pinto
Art Gallery w

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Benefits Catalogue Museum Pintô | Your Door to Philippine Contemporary Art Pintô Art Museum is
an exhibition space and contemporary museum located in the Philippines’ historic pilgrimage city of
Antipolo outside of Manila. The museum was founded in 2010 to publicly exhibit the art collection of
Filipino neurologist and patron of the arts, Dr. Joven Cuanang. The museum (pintô means door in
Filipino) was founded on the principle that art plays a diplomatic role in bridging distinctive
nationalities, worldviews, and communities. 8/10 Navigate the museum with our hashtag
#PintoArtMuseumTour Dr. Cuanang began collecting in the spirit of local artistic patronage in the
late 1980s when he championed a revolutionary Filipino artist collective, The Salingpusa, through
dedicated connoisseurship and acquisitions. The political movements associated with the People
Power Revolution in 1986 and the fall of the Marcos Regime ushered an era of creative expression
and artistic exploration. Dr. Cuanang became a proponent for other practicing artists in the region
and earned a reputation as a patron in the Filipino artistic community. The museum collection
includes works by artists Elmer Borlongan, Mark Justiniani, Jose John Santos III, Emmanuel Garibay,
Rodel Tapaya, Geraldine Javier, Marina Cruz, Joy Mallari and Antonio Leaño among others, whose
ouvres compose a veritable record of the evolving contemporary cultural milieu.