{"status":true,"msg":{"data":{"id":1786,"auction_id":4,"set_id":5,"lot_number":"66","artist":"Ronald Ventura (b. 1973)","title":"Point of Know Return - Light Box 3","starting_price":1000000,"signed_dated":"signed and dated 2011-2012 (lower left)","medium":"lithography and oil base paint on acrylic sheet,<br /> assembled with coloured acrylic sheet, LED light<br /> and aluminum case","size":"D: 26 3/4\" W: 2 3/4\" (D: 68 cm W: 7 cm)","property":null,"coa":null,"provenance":"\nSingapore Tyler Print Institute (STPI)","exhibited":"\nSingapore Tyler Print Institute (STPI), Ronald Ventura:\nRecyclables, Singapore, November 17 - December 15, 2012<br>\n\nMetropolitan Museum of Manila, Shadow Forest: Encounters\nand Explorations, Manila, January 30 - March 14, 2017","literature":"\nVentura, Ronald, Adele Tan, and Clarissa Chikiamco. Ronald Ventura:\nRecyclables (Exhibition Catalog). Singapore: Singapore Tyler Print\nInstitute (STPI), 2012. Published to accompany the exhibition of the\nsame name at the STPI in from November 17 to December 15, 2012.\nFull-color photograph and painting description on page 26.<br /><br />\n\nPaparoni, Demetrio and Ronald Ventura. Ronald Ventura: Works\n1998 - 2017. Milan: Skira editore S.p.A., 2018. Full-color illustration\nand painting description on page 321.","write_up":"For his 2012 solo exhibit titled Recyclables, Ronald \nVentura produces an impressive and diverse selection \nof works that not only showcases his practice, but his \nability to remain novel and cutting-edge despite working with \na relatively unfamiliar medium. The exhibit was mounted \nat the Singapore Tyler Print Institute and featured access \nto new and experimental media that allowed Ventura to \npush the boundaries of his craft. Ventura himself notes that \n“To try new things, to figure out new ways, to do art in a \nmanner that has never crossed my mind, and to end up with \nsomething surprisingly fresh and undeniably new in this \nartistic wonderland at the heart of the Lion City.”<br /><br />\nThe result is a groundbreaking exhibit that tackles not \nonly climate change and the arguably ongoing ecological \ncollapse, but man’s complex relationship with nature and its \nconceptual underpinnings. In terms of his practice, Dr. Adele \nTan notes Recyclables’ importance within Ventura’s canon \nby noting that: “Here the style that so cleaves to Ventura’s \nreputation is momentarily put aside (although vestiges of \nhis impeccable skill with drawing remain discernibly present) \nin favor of a presentation of something less tangible, like \nthe forces sentiment and culture, religious or spiritual \nimagination, and the antinomies of life itself.” She adds that \n“The tension raised here is instead that of the primordial \nopposition of Man and Nature, and also the circumspection \nof what is human nature and its fate, which he had already \nbegun with his Zoomanities series…”<br /><br /> \nThe collection itself can be divided according to medium and \nstyle. This particular work at hand belongs to a selection of \npieces titled Point of Know Return. The works from this part \nof the exhibit features lithographs on aluminum lightboxes. \nThe works themselves evoke images or road and caution \nsigns due to their yellow and black motifs as well as their \nrecognizable shapes. But instead of warning us against \nsomething external to us, the all-too-familiar images of \nman-made disasters and hazards.<br /><br /> \nMore than a decade after the show, can we say Ventura’s \nshow, and the others like it, have successfully raised \nawareness regarding our current situation? That depends. \nBut the vagueness of our circumstance may actually lead us \ndown an intriguing, if not righteous, path. Both the enormity \nand complexity of our current state has led us not only to \nwork on, talking about, and thinking about it in different but \nalso contradictory ways. The philosopher Timothy Morton \ndescribes the phenomenon as a hyperobject. Morton \nhimself notes that: “A hyperobject is a name I invented for \nsomething that is so vastly distributed in time and \nspace, relative to the observer, that we might not think it’s \neven an object at all. It’s good to \nhave a word for things that are now only too thinkable, if not \ntotally visible—global warming, \nradiation, the biosphere… Words enable you to think.” Thus, \nperhaps our efforts<br /><br /> \nWhen connected to the understanding of our current \necological predicament as a hyperobject, we can see \nVentura’s Recyclables as groundbreaking. Although it does \nnot predate the term, it predates Morton’s own aesthetic \nanalysis by more than half a decade. Recyclables not only \npresent contradictions, but understand that this state \nis its natural tendency. Instead of finding a singular path \nthrough uniformity, it accepts diversity as the first step in \ntruly analyzing our problem. Plurality here is not tantamount \nto confusion. Instead it is a call to rethink how to approach \nthe future by looking at how we view the present. (Jed Daya)","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":0,"bp":0.2016,"isWithdrawn":0,"accounting_hp":0,"userBid":null,"isPaid":0,"userId":22,"lot_status":"UNSOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":0,"fav":0},"image":[{"id":2004,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/4/5/lot/66.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":65,"next":67,"count_bid":0,"bid_history":[],"tokenExpired":1}