{"status":true,"msg":{"data":{"id":26726,"auction_id":32,"set_id":53,"lot_number":"142","artist":"Emmanuel Garibay (b. 1962)","title":"Kamalayan","starting_price":800000,"signed_dated":"signed and dated 2011 (lower right)","medium":"oil on canvas","size":"48” x 72” (122 cm x 183 cm)","property":null,"coa":null,"provenance":"Private Collection, Manila","exhibited":null,"literature":null,"write_up":"Emmanuel Garibay is considered by many as the spiritual heir of Hernando R. Ocampo’s Neo-Realist commentary. Scholar Jonathan Beller has described his works as “profoundly analytical—intellectual art—but nonetheless passional, visceral, expressionistic, and mass-based for all  that.” Indeed, Beller names Garibay as “a key figure (in a new movement) that dramatizes a way of seeing by engaging the viewer in a narrative set in an urban context. ” Through his art, “forces to slow sight down and move among various elements.” <br /><br /> Kamalayan reflects what Garibay says is one of his major concerns : The contemplation of why the Philippines has yet to emerge as a fully-defined society. The unhatched egg at the center of this work is a symbol of that. The answers lie, he believes, partly in “our colonial past, and as a result, our easy submission to institutions.” Most of all, Garibay believes, it may lie in an abject “absence of belief.” He differentiates the thrall of the panata (or vow) that, for example, grips the millions that surround the Black Nazarene each year. “It is not the same flame of commitment to die for one’s country, he explains. The bovine in a bishop’s miter and disembodied figures express that.  <br /><br /> For Garibay, these questions are “both complicated and elusive.” He resists being called a ‘social realist.’ (H.R.  Ocampo evolved as well from those narrow confines.) “I prefer not to be pigeon-holed, to present different perspectives that the viewer may find in my works, so that he may contribute to the narrative himself.” <br /><br /> “My works celebrate the complex nature of the Filipino. There is nobody else in the world like him. He is perplexing: easy-going in the face of the reality of calamities in his life.  These questions go beyond current politics. I want to urge the appreciation of where we are now—not as a lamentation but as a vision of hope,” he emphasized. (Lisa Guerrero Nakpil from an interview with the Artist, August 2020.)<br /><br />  Ref : Jonathan Beller, Acquiring Eyes : Philippine Visuality, Nationalist Struggle and the World Media System; Ateneo de Manila University Press, Quezon City, 2006.","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":1800000,"bp":0.168,"isWithdrawn":0,"accounting_hp":1800000,"userBid":7390,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":2102400,"fav":0},"image":[{"id":24153,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/32/53/lot/142.jpg","isFeatured":1}]},"increment":[900000,1000000,1100000,1200000,1300000,1400000,1500000,1600000,1700000,1800000,1900000,2000000,2200000,2400000,2600000,2800000,3000000,3200000,3400000,3600000,3800000,4000000,4200000,4400000,4600000,4800000,5000000,5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":141,"next":143,"count_bid":0,"bid_history":[],"tokenExpired":1}