The lost supper supper club is a solo exhibition by artist Alwin Reamillo. The exhibition aims to take audiences on a trip back through time to experience the history of the Philippines, with the artist peeling back the veneer of 500 years of history to examine the fault lines within. Alwin is able to penetrate the seemingly tough exterior Filipinos have constructed to protect themselves, a facade that is challenged as the influences of being a colonized nation continue to make themselves known time and again. Alwin’s work, working directly with the audiences’ thoughts, thus brings us to the deepest part of a long period of contemporary history through each and every piece featured in the exhibition. ​Every square inch of the exhibition space is covered by the layered traces of colonization that are hidden or  concealed in a familiar shape, form, or feature. These traces are comparable to shards of shrapnel still embedded within the Philippines today. Alwin, as someone who remembers that pain, deliberately expresses and reflects these concepts through the work 14 stations of the cross in the form of 14 matchboxes installed throughout the exhibition space. Each box bears verses from the Bible that tell of the day Jesus Christ was crucified as an enemy of the church. The artist purposefully arranged the works so audiences would experience each work in a clockwise order denoted by the 14 stations of the cross, ending with the death of Christ upon the cross. This is done to lay a foundation for an examination of colonialism in the form of Christianity and the Church. Alwin reinforces these concepts with artistic pieces of evidence of various shapes and sizes, scattered across the space as if to try and draw the audience’s attention away from the works, a metaphor for the current status quo. Alwin has also filled the empty spaces within the exhibition area with visual language and numerous objects meant to point out the existence of information, events, and stories that all Filipinos share ownership over.  ​For the contemporary person, every moment of attention is spent braving the rapid tides of data and information. Furthermore, we ourselves are complicit as creators, redistributors, or even counterfeiters that copy, paste, and distribute information with no end in sight. As such, Alwin’s work is like a little sanctuary that gives a space to all that has happened throughout the last 500 years of Philippines history, which is also tied to those global  superpowers responsible for the era of colonization in both the geographic and cultural sense. Alwin is directly referencing the issue of oppression under the new paradigm of civilization, the reproduction of existing things to the point that they take over our thinking, education, food, language, tastes, appearance, mode of thinking, etc. He created this work based on the complete questioning of modern culture that has spread around the world thanks to the broadcasting, recreating, and copying, leading to a similar profile for individuals, consumption, and media of today. The artist probes even further, touching on subjects of mental colonization through cultural values and expressions. The artist raises a comparative case study by analytically questioning the conventional method of painting commonly accepted as the best practice, using a technique of transferring information from paper  directly onto the work, using visual information commonly found on various online networks. This small example reflects a universe of consumption where wealth, security, and the gap between social classes is maintained through careful social subsidy programs offered by the government. The dignity of existing, thinking, and even believing have been systematically encouraged by design, as written by Christopher Crouch, which discusses the constant secretion of aberrant ideas much like a crab that lies camouflaged among the reefs, only to scurry to hiding spots that are all but invisible to the human eye. Or, perhaps, the power shifts currently occurring aren’t coming in the form of an invading species, but are instead a learning and adapting parasite residing in the host body like a cultural disease; outwardly beautiful, but also consuming the host body from within all the while. The Philippines will become a case study in reclaiming a national identity after existing under the influence of  colonization for the past 500 years, as the shattered soul of the Philippine nation is swept away to unknown shores.