{"status":true,"msg":{"data":{"id":26572,"auction_id":31,"set_id":52,"lot_number":"140","artist":"Annie Cabigting (b. 1971)","title":"Tearing Into Pieces","starting_price":5000000,"signed_dated":"2005","medium":"mixed media, installation","size":"variable dimension for female shapes  11” x 11” (27 cm x 27 cm) each 48 tile","property":null,"coa":"Accompanied by a certificate issued by Primo Marella confirming the authenticity of this lot","provenance":"Galleria Primo Marella, Milano and Beijing","exhibited":"Award:  Ateneo Art Award 2005","literature":"Post-Tsunami Art. Emerging Artists from Southeast Asia, Primo Marella Gallery, Damiani, Bologna, 2009,\npages 127 - 129.<br />\n“Rodel Spins Folk Tales in China, Bogie Dances the Kotillion in Singapore, and Annie Takes Us Through Art\nHistory in Manila”, Manila Art Blogger, June 23, 2009<br /><br />Award:\nAteneo Art Award 2005","write_up":"The works of Annie Cabigting reimagines the way we look at art in the 21st Century. A graduate of the University of the Philippines’ College of Fine Arts, Cabigting’s claim to fame was her strikingly convincing depictions of people looking at famous works of art such as pieces from Close, Pollock, and Rothko. Thus, Cabigting seemingly confronts the teleological status of art by asking if works of art can be considered subject matters themselves without falling into the traps of authorship or auteur theory. Cabigting’s thematic is even more pressing when one considers the current landscape of contemporary art that prioritizes authenticity and originality in an almost endless sea of art, artists, and artworks. Instead, her works go beyond the traditional connotations of art by rendering the physical, mental, and cultural landscapes of what we consider to be works of art. Cabigting allows us to step back from the primacy of art in the art world by giving us the bigger picture.\n<br /><br />\nCabigting’s 100 Pieces, exhibited in her first solo show at the Finale Art File in 2005, is her first homage to the revered Roberto Chabet. Here, Cabigting utilizes her unique way of looking at art and applies it to a relatively new and challenging but familiar medium; conceptual art. It is based on Chabet’s groundbreaking and controversial work, Tearing Into Pieces, in which he tore a copy of critic Manuel Duldulao’s book Contemporary Philippine Art and exhibited the torn pages in a wire wastebasket at the Cultural Center of the Philippines in 1973. In Purita Kalaw-Ledesma’s 1974 book entitled The Struggle for Philippine Art, the critic considered Chabet’s piece a staunch critique of the foundational institutions that revolve around the production and dissemination of art. The work can be perceived as Chabet’s rejection of Duldulao’s book and a critique of Philippine art in the country during his time.\n<br /><br />\nThe book was already out of print during Cabigting’s time at the UP College of Fine Arts in the nineties, but stories about Chabet’s work continued to circulate among artists. One photograph, among the very few available images of the work, also appeared in Duldulao’s subsequent book The Philippine Art Scene, published four years after Chabet’s infamous ripping and trashing at the CCP. A black-and-white photograph of the Objects exhibition opening at the CCP Small Gallery in 1973, not a formal documentation of the work, was included in the book.\n<br /><br />\nThis published photograph became Cabigting’s entry point to Chabet’s work. Among the features of the image, Cabigting highlighted the particular woman who appears to be writing down notes about Chabet’s trashing of the book. Along with a 6 x 8 grid of paintings that form a close-up view of the torn book pages spilling out of the wastebasket is a set of cut-out paintings of this woman in various sizes.\n<br /><br />\n\nChabet considers 100 Pieces a “de-deconstruction” of his work. For Cabigting, the unidentified woman is highlighted as she represents the audience, the only one looking at the piece. No one knows if the woman wrote about Chabet’s work or the purpose behind her note-taking. No one knows how she felt toward the work nor her thoughts about it. All the viewer can see is the act of writing something in a notebook. The woman in 100 Pieces, all in all, presents the role of the viewer in assigning meaning to the work and the multiplicity of interpretations in the process of drawing an understanding of a certain art piece.","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":8500000,"bp":0.168,"isWithdrawn":0,"accounting_hp":8500000,"userBid":5926,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":9928000,"fav":0},"image":[{"id":23969,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/31/52/lot/140.jpg","isFeatured":1}]},"increment":[5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":139,"next":141,"count_bid":0,"bid_history":[],"tokenExpired":1}