{"status":true,"msg":{"data":{"id":45814,"auction_id":92,"set_id":121,"lot_number":"155","artist":"Napoleon Abueva (1930 - 2018)","title":"Chastity Belt","starting_price":700000,"signed_dated":"signed and dated 1969","medium":"molave wood","size":"H: 38\" (97 cm) L: 26\" (66 cm) W: 97\" (246 cm)","property":null,"coa":null,"provenance":null,"exhibited":"Parque Ibirapuera, 10th São Paulo Biennial, São Paulo, Brazil,  September 27 - December 14, 1969","literature":"10th São Paulo Biennial (Catalog). São Paulo: Ministry of Foreign Affairs and Government of the State of São Paulo, under the auspices of the Secretariat of Education and Culture, City of São Paulo, 1969. Published on the occasion of the 10th São Paulo Biennial. Listed as \"Sociedade Defensiva\" on page 79.<br /><br /> Duldulao, Manuel D. Contemporary Philippine Art. Quezon City: VeraReyes, Inc., 1972. Mentioned on page 68 as \"Birth Control.\"<br /><br /> Reyes, Cid. Abueva. Makati City: PMFTC, Inc. for Philippine Art Awards, 2010. Mentioned on page 57 as \"Chastity Belt.\"","write_up":"As the 1960s swung to a close, two Filipino artists emerged supreme: Jose Joya for painting and Napoleon Abueva for sculpture. No other Filipino artist during that fruitful decade came close to the international prestige and honor that Joya and Abueva brought to the Filipino nation.<br /><br /> In particular, throughout the 60s, Abueva broadened his creative horizons and international exposure in numerous biennales and exhibitions overseas. This impressive feat consisted of his participation in the New York and Seattle World’s Fairs in 1962, the prestigious Venice Biennales of 1962 and 1964 (the latter with Joya), the 5th International Congress of Art in Tokyo in 1966 (also joined by Joya, critic Leonidas Benesa, and educator Virginia Agbayani), and his participation as a Philippine representative to the 10th São Paulo Biennale in Brazil.<br /><br /> The 10th São Paulo Biennale was held from September 27 to December 14, 1969, at the Ciccillo Matarazzo pavilion (a declared national landmark by Brazil’s National Historic and Artistic Heritage Institute) at Parque Ibirapuera, dubbed São Paulo’s “Central Park.” Established in 1951, the São Paulo Biennale is the world’s second oldest art biennial after the Venice Biennale, which was inaugurated in 1895. The 10th iteration of one of the world’s biggest art biennales gathered 446 artists from 53 countries, with the exhibited works totaling more than 2,500. The Philippine delegation comprised Abueva, Cesar Legaspi, Manuel Rodriguez, Jr., Noel Manalo, and Restituto Embuscado. Among Abueva’s entries to this landmark biennale was the work at hand, humorously titled Chastity Belt.<br /><br /> “Abueva’s sense of humor, wit, and play can be seen in his recent works,” writes Manuel Duldulao in his book “Contemporary Philippine Art.” According to him, a weekly magazine called Chastity Belt “an entertaining piece of nonsense.” Duldulao follows with a succinct description of the piece.<br /><br /> “It is actually an oversized male and female chastity belt, with two actually functioning padlocks, a magazine rack, and a stand for a tall drink. The male or female figure lies in the hard wooden board and is clasped shut into it by a hollowed block, thus prohibiting any other “endeavor” except drinking and reading.”<br /><br /> Chastity Belt belongs to what Abueva calls “functional sculpture” (albeit with connotations revolving around double entendres and eroticism) and is made from molave, Abueva’s favorite medium. Here, the artist combines whimsical practicality with a monumentality of scale and force and is able to bring out his inherent wit through a masterful aggregate of comedic realism and a sharp wordplay on the work’s title.<br /><br /> Abueva was awarded the Republic Cultural Heritage Award, the precursor to the National Artist Award, in 1966. He was eventually conferred the honor of National Artist for Sculpture in 1976, technically making him a two-time recipient of the highest honor of the land for its venerable artists. 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