{"status":true,"msg":{"data":{"id":50237,"auction_id":99,"set_id":131,"lot_number":"149","artist":"Emmanuel Garibay (b. 1962)","title":"Kasama","starting_price":1400000,"signed_dated":"signed and dated 2012 (lower right)","medium":"oil on canvas","size":"72\" x 54\" (183 cm x 137 cm)","property":null,"coa":"Accompanied by a certificate signed by the artist confirming the authenticity of this lot","provenance":null,"exhibited":"UP Jorge B. Vargas Museum, Walang Sinasanto: Emmanuel Garibay, Quezon City, February 13 - March 15, 2013","literature":"Flores, Patrick and Emmanuel Garibay. Walang Sinasanto: Emmanuel Garibay (Exhibition Catalog). Quezon City: UP Vargas Museum, 2013. Published on the occasion of the exhibition of the same name at the UP Vargas Museum in 2013. Full-color illustration and photo caption on page 29.","write_up":"Emmanuel Garibay's Kasama implicitly yet powerfully captures a dark episode in the history of the revolutionary mass movement. Garibay evokes in this piece the infamous Kampanyang Ahos in the 1980s, in which revisionist perpetrators betrayed the revolutionary movement by executing comrades (kasama) they mistook as \"deep penetration agents\" or DPAs. These revisionists, according to NDFP senior adviser Luis Jalandoni in a 2002 interview with the alternative news outlet Bulatlat, \"erroneously ascribed the setbacks being suffered then by the revolutionary movement in Mindanao,\" rather than to the militarist line they were pursuing.\"
\"Because of their purely militarist line, they did not pay attention to mass work, land reform, and other programs that benefit the masses such as literacy and numeracy, health and sanitation, promoting sideline occupations, etc. Because of this, they had alienated the masses and lost their support,\" Jalandoni recalls.
\"Their putschist line in the cities led them to carry out indiscriminate killings in Davao City and other urban centers, which gave the reactionaries the justification to form right-wing paramilitary groups such as the Alsa Masa. Because of the loss of mass support, the revolutionary movement was suffering many casualties in battles. The Alsa Masa was also able to wreak havoc on the mass organizations in the cities and in the countryside.
\"But instead of recognizing that it was their militarist line that was the cause of these setbacks, they attributed these to supposed \"deep penetration agents\" or DPAs. \"Kampanyang Ahos\" was carried out supposedly to get rid of enemy infiltrators. Instead, it victimized many good comrades, allies, and members of the revolutionary mass organizations.\"
The piece depicts an overlay of images consisting of two revolutionary comrades and an image of a crucified man. By closely juxtaposing the images, Garibay evokes the betrayal of a kasama (comrade) by his fellow kasama. The image of the crucified man represents Judas' notoriety for his betrayal of Christ to the authorities, an allusion to the treachery within the mass movement.
According to Garibay, this piece is close to his heart since some of the victims of the infamous purge were his friends and close acquaintances. Furthermore, he remarked that this is \"a very significant work\" for it depicts a theme that almost no artist has ever dared to touch.
This piece was among the works included in Garibay's Walang Sinasanto exhibition at the UP Vargas Museum in 2013. In the exhibition notes titled 'Faith in Fairness,' art critic Dr. Patrick D. Flores describes the exhibition as striking \"into the realm of the sacred.\" \"In this exhibition, Garibay grapples with the phrase 'walang sinasanto' with his usual ponderous elaborations, painting after painting, hinting at the span of so many years of thinking, revising, patiently waiting for epiphanies,\" Flores writes.\"
The exhibition title, Walang Sinasanto, can be applied to this work through Garibay's poignant exploration of betrayal within the revolution due to erroneous mass lines. With this work, Garibay evokes man's forceful divinization of itself, placing the fate of another human in their very hands and outright acting on it without regard for objectivity and the administration of proper discernment and justice. Flores notes this as \"a loss of… the ethico-moral valence of the sacred human who has secured the rights of equivalence with the erstwhile divine. This loss is degenerative, creating conditions of the miserable and the decadent. In other words, it breeds corruption. The artist rails against this loss and links it up with the festering ills of the culture and the country.\" (A.M.)","lot_group":"PAINTING","lot_details_html":"
Emmanuel Garibay (b. 1962) Kasama signed and dated 2012 (lower right) oil on canvas 72\" x 54\" (183 cm x 137 cm)