Leslie de Chavez Paintings & Artwork for Sale | Leslie de Chavez Art Value Price Guide

Sep. 14, 2024
Leslie de Chavez (b. 1978) - Meat Lovers Paradise
Est: ₱800,000 - ₱950,000
Leslie de Chavez (b. 1978) Signed and dated '2010' (lower right) Oil on canvas 100 x 195 cm (39 1/4 x 76 3/4 in) Provenance: Purchased from Arario Gallery, Seoul, 2011
Salcedo Auctions
Dec. 08, 2023
Defeat Ushered by Surrender is the New Oblivion | 被屈服迎來的挫敗就是新的遺忘
Est: $200,000 - $300,000
Leslie De Chavez b. 1978 Defeat Ushered by Surrender is the New Oblivion oil on canvas signed and dated 2017 195.3 by 248.5 cm. 76⅞ by 97⅞ in. ---------------------------------------------- 萊斯利 · 德 · 查韋斯 1978年生被屈服迎來的挫敗就是新的遺忘油畫畫布 2017年作款識藝術家簽名，2017 195.3 x 248.5 公分，76⅞ x 97⅞ 英寸
Sotheby's
Sep. 12, 2023
Defeat Ushered by Surrender is the New Oblivion | 被屈服迎來的挫敗就是新的遺忘
Est: $200,000 - $300,000
Leslie De Chavez b. 1978 Defeat Ushered by Surrender is the New Oblivion oil on canvas signed and dated 2017 195.3 by 248.5 cm. 76⅞ by 97⅞ in. ---------------------------------------------- 萊斯利 · 德 · 查韋斯 1978年生被屈服迎來的挫敗就是新的遺忘油畫畫布 2017年作款識藝術家簽名，2017 195.3 x 248.5 公分，76⅞ x 97⅞ 英寸
Sotheby's
Dec. 03, 2022
Leslie De Chavez (b. 1978) Mr. Chin's Pet Project
Est: ₱1,300,000 - ₱1,690,000
Mr. Chin's Pet Project signed and dated 2008 oil on canvas 77" x 77" (196 cm x 196 cm) PROVENANCE: Arario Gallery, Seoul, Korea; Christie's, Asian Contemporary Art, Hong Kong, 29 May 2016, Lot 172 Banana republic' in the Philippine context refers to the country's export-oriented and import- dependent economy. Contemporary artist Leslie de Chavez draws on the term, producing a darkly satirical work titled Mr. Chin's Pet Project that lampoons imperialism and its economic framework of neoliberalism. De Chavez places the subject in the middle of a construction of a massive industrial site, likely an export processing zone (EPZ), which the UN International labor organization defines as "industrial zones with special incentives set up to attract foreign investors, in which imported materials undergo some degree of processing before being exported again." The viewer's attention shifts to Mr. Chin, who holds a crocodile's snout with a rope, revealing its mouth full of bananas, an explicit allusion to the 'banana republic.' A policeman, whose hat conceals his face, casually assesses the crocodile as if petting and taming it. In this work, de Chavez depicts the grim reality in these enclaves. With his relaxed body language, the policeman represents the fascist agents of the ruling class. The workers are rendered as silhouetted figures in the background, symbolizing their precarious working conditions in special industrial zones. There, the workers' rights to freedom of association and labor unionism are suppressed. This kind of repression benefits the ruling elite, as a "no-union-no- strike policy" silences the workers' calls for security of tenure and wage hikes, so compradors and foreign capitalists can greedily accumulate more profits and continue to impose cheap labor. Mr. Chin represents the local compradors supervising the industrial zones. The crocodile is an allegory for bureaucrat capitalism, in which high- ranking government officials, most of whom come from the comprador class, treat governance as a business to uphold their self-serving interests. The local compradors are also the chief trading agents of foreign monopoly capitalists, who manipulate our economy. As agents, they own multinational corporations, which are anchored to the companies of foreign capitalists, to whom they remit huge profits. They own vast haciendas and engage in massive land grabbing from indigenous peoples. They are also known as the big comprador-landlord class in relation to their semi-feudal character. They monopolize agribusinesses, trading companies, banks, real estate, etc. Their exploited laborers engage in the production of raw materials and semi-processed goods for export to foreign capitalists, from whom they heavily import most of their means of production and manufactured goods before selling them at higher prices. They control essential commercial, financial, and service facilities that are not direct subsidiaries of foreign capitalists. Hence, the reason why they retain the backwardness of the economy and hamper national industrialization. The "special relationship" between the big comprador- landlord class and foreign capitalists engenders a semi- colonial and semi-feudal Philippine society. Foreign capitalists benefit from cheap raw materials and cheap labor while maximizing their profits. Compradors employ the cheap labor of seasonal farm workers and pillage local agriculture by demanding for and collecting a large amount of agricultural surplus for local processing and eventually, for export. Higher prices of imports than exports result in a balance-of-payments deficit, tying the government to foreign loans to pay for the cost of imports and resulting further in an increased percentage of labor exportation, cheaper labor within the country, and privatization of government properties, which both benefit the two classes. Laws have been enacted establishing EPZs, in which fiscal incentives and flexible labor policies are implemented to attract more foreign direct investments. Foreign capitalists benefit from these laws, which their comprador allies in the government have advanced. De Chavez offers a microcosm of the ills of Philippine society in a single composition. Here, the artist boldly pronounces his powerful critique on a government whose primary purpose is to act as a subservient lapdog to the interests of foreign capitalists and the local elite—a government hell-bent on accumulating wealth for its oppressive overlords rather than pursuing the building of "a just and humane society." (A.M.)
Leon Gallery
Jun. 11, 2022
Leslie De Chavez (b. 1978)
Est: ₱700,000 - ₱910,000
Leslie De Chavez (b. 1978) The Substitution of Innocent Ramon signed and dated 2010 (lower right) oil on canvas D: 77" (196 cm) EXHIBITED: ManilART '10, SMX Convention Center, Pasay City, July 30 - August 1, 2010 The practice of contemporary visual artist Leslie de Chavez often concerns itself with the circumstances of the Philippines’ sociocultural and socioeconomic landscape. A native of Quezon province, de Chavez earned his formal education in the arts through a Bachelor’s degree in Painting from the University of the Philippine’s School of Fine Arts. He then gained awards and accolades for his exceptional practice such as the 2nd prize at the Metrobank Foundation Young Painters’ Annual in 2003, the Leipzig International Art Program Grant in 2011, and the Fernando Zobel Prize for Visual Art in 2014. He has also mounted various group and solo exhibitions in various cities such as Manila, Seoul, Shanghai, Taipei, and Jeju. De Chavez has also worked as a curator and project manager for various arts-based projects. De Chavez is interested in exploring and investigating the complex web of relations and disciplines that inform and make up contemporary Filipino society. His subjects range from cultural imperialism, critiques of politics, colonial history, consumerism, and religion. Meanwhile his approach often features exaggerated figures and forms, lending his works a sense of irony and satire. In The Substitution of Innocent Ramon, de Chavez presents us with an image of a traditional Filipino Politician seemingly controlling or even rewriting the circumstances of an event that had just transpired. To the side we see a blindfolded woman and person with a bag on their head, both of which seemingly act as metaphors for the blinded populace and the fate that befalls those that dare to act against those in power. The work is deeply affecting in this regard, showcasing the breadth of what happens under the noses of the Filipino people. (J.D)
Leon Gallery
Jun. 01, 2019
Leslie de Chavez (b. 1978)
Est: ₱1,500,000 - ₱1,800,000
Leslie de Chavez makes a comical tableau of the remorseful power dynamic between the infringed and those in power, laced with cynicism and angst. Through exaggerated icons and features, de Chavez emphasizes the absurdity in this reality. The artist does not shy away from who he is criticizing, the details of formal barongs intentionally emphasized on the breast of the perpetuators signaling the identity of the Filipino elite. In this unfair game, the fault of the powerful is not in their ignorance, but in their active role in creating such imbalance. The viewers are left to watch the spectacle as the rounded canvas frame mimics a scope that forces them to ground themselves as culpable spectators of the malevolent reality. Provenance: Property from an Imporant Asian collection
Salcedo Auctions
Sep. 08, 2018
Leslie De Chavez
Est: ₱140,000 - ₱182,000
Leslie De Chavez (b.1978) The Birth and Rebirth of the Macho Narratives Leslie de Chavez (b. 1978, Pasig, Philippines) is a multimedia artist who graduated cum laude from the University of the Philippines Diliman’s Fine Arts Program in 1999. In 2014, he was awarded the Fernando Zobel Prize for Visual Art in the Ateneo Art Awards. Through reconstruction and reinvention of narratives, issues, icons and symbols of the times, de Chavez deals with sensitive topics like cultural imperialism, colonial history, contemporary life, politics and religion in his country. He is the director of the artist-run initiative Project Space Pilipinas in Lucban, Quezon, Philippines. His solo exhibitions include Names Presence (2013), Silverlens Gallery, Makati City, Philippines; God Is Busy (2011), Arario Gallery, Korea, Buntong Hininga (2011), Silverlens Gallery, Makati City, Philippines, and Banana Republic (2008), Avanthay Contemporary, Zurich, Switzerland. He also participated in the 3rd Asian Art Biennial at the National Taiwan Museum of Fine Arts, Taiwan in 2011, and the Nanjing Biennale 2010. References: Imago Mundi Art (n.d.). Leslie de Chavez - Stare. Retrieved from ttp://www.imagomundiart.com/artworks/leslie-e-de-chavez-stare/ 2018 oil, decal, gold leaf on canvas 35” x 39” (90 cm x 100 cm)
Leon Gallery
Sep. 09, 2017
Meat Lovers' Paradise
Est: ₱300,000 - ₱390,000
Leslie de Chavez (b.1978) Quantity: 1
Leon Gallery