Mark Justiniani Paintings & Artwork for Sale | Mark Justiniani Art Value Price Guide

Oct. 26, 2024
Mark Justiniani (b. 1966)
Est: ₱55,000 - ₱71,500
Untitled signed and dated 1992 (upper left) watercolor on paper 14" x 11" (35 cm x 28 cm) Accompanied by a certificate issued by Pinto Art Museum confirming the authenticity of this lot
Leon Gallery
Oct. 26, 2024
Mark Justiniani (b. 1966)
Est: ₱50,000 - ₱65,000
Luwal-Hati signed and dated 2016 (lower right) wood, ink, and oil 12 1/2" x 7 1/4" x 4 3/4" (32 cm x 18 cm x 12 cm)
Leon Gallery
Sep. 14, 2024
Mark Justiniani (b.1966) - Petisyon
Est: ₱120,000 - ₱156,000
Petisyon dated 1990 oil on canvas 9 1/2'' x 15 1/2'' (24 cm x 39 cm) PROVENANCE: Hiraya Gallery WRITE UP Mark Justiniani, a known social realist, has developed his practice towards “magic realist strains,” exploring the nature of vision and its teetering relationship with time through reflective media. His oeuvre represents the appalling reality faced by the masses, who are often subjected to hostilities and immoral undertakings from people in power. His works, bordering on surrealism, offer the common folk’s depressing realities, evoking an uncomfortable sense of distortion and injustice that is sure to resonate with the audience. Justiniani’s innovative approach and insightful themes have propelled him to the forefront of the art scene, earning him the opportunity to showcase his work on the international stage, representing the Philippines in various exhibitions and conferences. His talent has not gone unnoticed, as he has been the recipient of numerous prestigious awards and recognitions, including the esteemed Cultural Center of the Philippines’ Thirteen Artists Award in 1994. (Jessica Magno)
Leon Gallery
Jul. 27, 2024
Mark Justiniani (b. 1966)
Est: ₱50,000 - ₱65,000
Act Four handsigned and dated 2014 (lower right) print 10/15 29" x 22" (74 cm x 56 cm)
Leon Gallery
Jul. 27, 2024
Mark Justiniani (b. 1966)
Est: ₱280,000 - ₱364,000
Daluyong signed and dated 2022 (lower left) giclee print of hand-drawn digital artwork edition 13/20 40" x 52" (102 cm x 132 cm) Accompanied by a certificate issued by Marahuyo Art Projects confirming the authenticity of this lot
Leon Gallery
Jul. 27, 2024
Mark Justiniani (b. 1966)
Est: ₱100,000 - ₱130,000
Gabay signed and dated 2004 (lower left) oil on canvas 18" x 18" (46 cm x 46 cm)
Leon Gallery
Jun. 08, 2024
Mark Justiniani (b. 1966) - Navigator
Est: ₱400,000 - ₱520,000
Navigator signed and dated 2006 (lower left) oil on canvas 23" x 17" (58 cm x 43 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot Filipino artist Mark Justiniani's career has been marked by a constant evolution of imagery and themes, reflecting what is relevant to him at different points in time. He has explored socio-political themes and experimented with various media and art forms, ranging from paintings to installations. However, a crucial reference point for appreciating his widely lauded body of work is his exploration of "surrealist or magic realist strains," as described by art historian Patrick Flores. This style is characterized by a distortion of the body, whimsically or tragically, within the realm of social realism. Justiniani developed this distinct style after returning from the U.S. in 2006. Throughout his artistic evolution, one constant has been the narrative quality of his works. While he is often associated with the Filipino social realists of the 1980s and 1990s, Justiniani considers himself primarily a visual storyteller. His works employ a contemporary figurative approach, with perspectives, forms, and intricacies of chosen themes rendered in a dreamlike, surreal, and whimsical manner. This specific period in his artistic career showcases his ability to create evocative and thought-provoking imagery that captivates viewers and invites them into his narrative world. (Jed Daya)
Leon Gallery
Jun. 08, 2024
Mark Justiniani (b.1966) - Gahum
Est: ₱800,000 - ₱1,040,000
Gahum signed and dated 2016 (bottom) oil on wood 48" x 18" (122 cm x 46 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE Pinto Art Museum Mark Justiniani’s Gahum delves deep into the "magical realist strains" that the artist had often identified in the early days of his career. Categorized as a social realist in the 1980s and the 1990s, his early paintings portrayed a humorous yet sentimental depiction of the Philippine society as befits an artist born and raised in the politically turbulent 1970s Negros Occidental. In his 2016 Gahum, Justiniani’s social realist roots are tempered but no less evident. With the lot in hand, he delves deep into the Filipino concept of power. In his blog entitled Gahum, Our Filipino Concept of Power, Xiao Chua described gahum as power in the Visayan language. The concept alludes to many possible meanings: it can refer to the nature of God, he adds, or the government or man in power. “Gahum, as a concept, is a consistent tug-of-war between who will be the leader and the follower to preserve unity and order in a community or society,” writes Adhoniz B. Rebong in the journal Tuos and the Foregrounding of Gahum. “In short, gahum is identified as an authority over a person or situation.” Justiniani’s Gahum contextualized this struggle for power and gave it to the ordinary Filipino. Clad in the common white long-sleeves and brown pants, the man clutches a tree branch like a crutch, floating in the dark skies with a calm, serene face. Despite the simple clothing, the man exudes incredible command, gahum in the Visayan language. Power is in the hands of the people, Justiniani implies. This almostmythical view of the legitimacy of power, stemming back to pre-colonial Philippines, lies not within the ruling class but within the masses who had for generations toiled in its land. (Hannah Valiente)
Leon Gallery
Jun. 08, 2024
Mark Justiniani (b. 1966) - Momentum
Est: ₱2,600,000 - ₱3,380,000
Momentum signed and dated 2013 (lower left) oil on canvas 48" x 72" (122 cm x 182 cm) PROVENANCE León Gallery, Kingly Treasures Auction, Makati City, 4 December 2021, Lot 168 Mark Justiniani's art transcends a simple portrayal of the modern world, instead offering a nuanced fusion of historical reality with a contemporary lens. Rooted in an exploration of folk culture, including language usage, his works provide insights into indigenous perspectives. Following his return from the United States in 2006, Justiniani, known for his social realist approach, evolved his repertoire towards "magic realist strains," delving into the nature of vision and its intricate interplay with time, often utilizing reflective media. This artistic evolution garnered him significant recognition, leading to opportunities to represent the Philippines in international exhibitions and conferences. Justiniani's artistry reshapes elements drawn from folk culture to align with the modern and contemporary dimensions of human experience. A recipient of numerous awards, including the Thirteen Artists Award from the Cultural Center of the Philippines in 1994, Justiniani's global presence extends to his participation in conferences, workshops, and exhibitions across Japan, Denmark, Australia, and the USA. (Jed Daya)
Leon Gallery
Mar. 09, 2024
Mark Justiniani (b. 1966) - Tiyog (Ilonggo term for Turn)
Est: ₱100,000 - ₱130,000
Tiyog (Ilonggo term for Turn) signed and dated 1991 (lower left) pastel on paper 17" x 14" (43 cm x 36 cm) WRITE UP: A renowned name in Philippine social realism, the oeuvre of Mark Justiniani features a multitude of social issues in his personal brand of surreal imagery. He delves into the sentiments of the masses, both rural and urban, as befits a member of artist-activist collectives like Artista ng Bayan (ABAY), Salingpusa, Sanggawa, and Sakay. However, he veers away from his usual muses in this 1991 work. In an atypical fashion, Justiniani positions the figure not on his front but his back; even more interestingly, the figure appears to be fully clothed. One is left to wonder about what Justiniani depicts – what could this bewildering piece mean? Justiniani invites the viewers to look deeper into the work, evoking thoughtprovoking questions that probe just what about the clothed figure is laid bare. (Hannah Valiente)
Leon Gallery
Jan. 20, 2024
Mark Justiniani (b. 1966)
Est: ₱150,000 - ₱195,000
Daluyong signed and dated 2022 (lower left) giclee print of hand-drawn digital artwork edition 13/20 40" x 52" (102 cm x 132 cm)
Leon Gallery
Jan. 20, 2024
Mark Justiniani (b. 1966)
Est: ₱70,000 - ₱91,000
Poon signed and dated 2000 (lower right) pastel on paper 12" x 9" (30 cm x 23 cm)
Leon Gallery
Dec. 02, 2023
Mark Justiniani (b. 1966) - Rotator
Est: ₱900,000 - ₱1,170,000
Rotator signed and dated 2015 (lower left) oil on canvas 24” x 36” (61 cm x 91 cm) PROVENANCE: Gallery Indigo EXHIBITED Gallery Indigo, Bencab Museum, Re:View 2015, Tuba, Benguet, December 12, 2015 - February 14, 2016 WRITE UPMark Justiniani established himself as an artist-activist in line with the social realism movement of the 1980s, joining initiatives like Artista ng Bayan (ABAY) and Salingpusa. His canvases are full of introspection of Philippine society, spanning from the rural to the urban. However, do not be fooled – his works are not mere readings of the contemporary world. Justiniani interprets society with a finely balanced historical introspection and contemporary knowledge. Its results are a sentimental and humorous commentary of Philippine society. In this 2015 piece titled Rotator, Justiniani positions a closeup of a figure at the center as the focal point of the painting. However, several features of the figure are transformed in that of an automobile’s: the figure’s eyes become car wheels, its forehead a car gauge, behind its ear a wing. All these combined makes an almost surrealist painting, with the viewer left to silently digest the painting’s meaning. From the stark social realist perspective to his later affinity to “magic realist strains,” Justiniani’s command of the genre cements him as a permanent fixture of the local art scene. (Hannah Valiente)
Leon Gallery
Oct. 21, 2023
Mark Justiniani (b. 1966)
Est: ₱15,000 - ₱19,500
Act Four signed and dated 2014 (lower right) print 7/15 26” x 20” (66 cm x 51 cm)
Leon Gallery
Sep. 09, 2023
Mark Justiniani (b. 1966) - Babaylan
Est: ₱200,000 - ₱260,000
Mark Justiniani (b. 1966) Babaylan signed and dated 2003 (lower left) oil on canvas 18" x 18" (46 cm x 46 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot Mark Justiniani pays homage to the historical legacy of the precolonial babaylan. There were various nomenclatures for these shamans: babaylan in the Visayas, catalonan for the Tagalogs, baylan in pre-colonial Caraga region, baliyan (female shamans), or asog (a male cross-dresser) for the Bicolanos, and bayok for the Zambals, among others. These shamans were held in high regard and respect due to their supernatural ability to communicate with and appease the gods and spirits of the land. Generally, the babaylan and other equally related positions were either female or male, the latter transcending contemporary notions surrounding sexual orientations and gender identities. But what remains clear is the reverence held for these people, which translates to the significantly high degree of gender egalitarianism in Philippine pre-colonial societies. In particular, Justiniani depicts in this piece the regenerative powers of the babaylan. Foremost historian on Philippine precolonial societies, William Henry Scott, writes in his landmark work, Barangay: Sixteenth-Century Philippine Culture and Society: “The babaylan’s healing prowess was described in dramatic terms: agaw, to carry off by force, was to snatch a pain from the sufferer; tawag, to call someone out, was to summon the spirit that had kidnapped the soul; and baud, to rescue, was to free the invalid from the grip of the afflicting spirit." Thus, the babaylan, the healer of the land and the supreme mediator between the sacred and the profane. (Adrian Maranan)
Leon Gallery
Jun. 17, 2023
Mark Justiniani (b. 1966)
Est: ₱200,000 - ₱260,000
Ulan signed and dated 2020 (lower right) woodcut 24" x 18" (61 cm x 46 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot Accompanied by a certificate issued by Pintô Art Museum confirming the authenticity of this lot EXHIBITED Pintô Art Museum, Connect with your heart, Antipolo City, July 11 - 26, 2020 Mark Justiniani is undoubtedly not only one of the country’s most celebrated artist’s working today, but is also among the most in-demand ones as well. Justiniani’s pieces, which showcase both his technical and conceptual prowess, are no stranger to fetching astronomical, and even record prices. So much so that Justiniani is seen, relatively, as a blue-chip artist. Though this is undoubtedly a favorable aspect for any artist, one risks the chance of their art being seen as a commodity to be traded, sold, and bought for monetary value and nothing more. Such may be seen as partially disingenuous to not only Justiniani’s roots, but the Salingpusa group with which Justiniani grew, developed and honed his practice with. Around 30 years ago, Salingpusa began their foray into Philippine art with a “Sampayan '' show, aptly named after the fact that the artists hung their pieces along a clothesline. Three decades later, the group decides to pay homage to where they came from with another iteration of the seminal show. According to an article written about the exhibit: ”Connect with your Heart” is a Sampayan show where artworks will not be signed until they are bought. Buyers will acquire pieces not on the basis of who made them but on the personal or emotional connection with their hearts. All artists hosted at Boston Gallery and Pinto from early in their careers have agreed to this format.” (J.D.)
Leon Gallery
Jun. 17, 2023
Mark Justiniani (b. 1966)
Est: ₱1,400,000 - ₱1,820,000
Old Ruler's Riddle signed and dated 2002 (lower right) oil on canvas 60" x 48" (152 cm x 122 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE Private Collection, Makati City In Old Ruler’s Riddle, Mark Justiniani compellingly weaves elements of Surrealism into a single body of work that taps into the subliminal depths of our subconsciousness. It is a piece imbued with and immersed in an enigma, an opus where Justiniani engages in an unbridled exercise of poetic freedom. In a special correspondence with Leon Gallery, Justiniani succinctly describes and expounds on the enigmatic images in this work. “The letters “OR” and a seemingly whispered final “O” appear to be skewered together, as evidenced by the golden hilt of a sword. By the letters is an ornate knight’s pauldron decorated by a white nobleman’s ruff. Next to it, a pair of keys that evoke Papal symbolism.” Justiniani continues: “Tattered red curtain drapes behind the pauldron, seemingly bleeding out of a green curtain. A man on a city street with apparent feathered wings turns his head up towards a staircase. He ascends, where a suited figure sits, waiting above two bare feet and a floating, possibly falling, wine glass.” “This is a painting of interwoven images that dissolve into each other; solid subjects intermingle with apparent ghost-like visions. They are laid out like clues or perhaps pieces of evidence to be investigated, analyzed, and reflected upon,” concludes the artist. Old Ruler’s Riddle brings to mind Winston Churchill’s phrase, “A riddle wrapped in a mystery inside an enigma” (void of its political connotations). The piece is a seemingly endless conundrum of deep-seated allegories and labyrinthine mazes, in which images coalesce into each other in every closer look, producing more questions than likely answers—the “imponderable ponderable.” It is like Oedipus trying to unravel the riddle of the Sphinx; King Solomon accepting the challenge of the Queen of Sheba questioning his wisdom; or even the priestesses of the Oracle at Delphi attempting to interpret and deliver the mysterious messages of the sun god Apollo to those who seek for his divine advice. But this time, in the case of Justiniani, the abundance and complexity of clues lead to rather an endless quest for explanation and resolutions. In working in this manner, one remembers the enduring stories of the legendary quest of King Arthur for the Holy Grail or the storied expeditions of the Spanish conquistadors of the Age of Exploration in their tireless search for the Fountain of Youth. Therefore, Justiniani imbues the work with that delightful curiosity we experienced when we were still innocent and naïve children reading our favorite storybooks. Justiniani evokes the famous words of French writer and poet and principal theorist of the Surrealist cultural movement André Robert Breton immortalized in his influential publication “Surrealist Manifesto” (1924): “The mind which plunges into Surrealism, relives with burning excitement the best part of childhood.” In doing so, Justiniani gives the viewer freedom and liberty of visual exegesis, making the painting actively engaging. In a more melancholic tone, what if there really is no answer to Justiniani’s riddle? (A.M.)
Leon Gallery
Jun. 17, 2023
Mark Justiniani (b. 1966)
Est: ₱1,300,000 - ₱1,690,000
Orasan dated 1994 oil on canvas 30" x 24" (76 cm x 61 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot LITERATURE Villegas, Ramon N. and Lisa Guerrero Nakpil. Houses: A Collection of Paintings of Philippine Houses. Makati City: Januario Jesus B. Atencio and 8990 Holdings, Inc., 2017. Fullcolor photograph on page 96 and painting description and essay on page 97. by RAMON N. VILLEGAS Mark O. Justiniani was born in 1966, in Bacolod City, Negros Occidental. He took up Arts Education at the College of Fine Arts, University of the Philippines in Diliman, Quezon City. California-based at one time, the artist is one of the country’s most talented surrealist painters. A multiawarded artist in almost all national art competitions, he was included in the Thirteen Artists Awards of the Cultural Center of the Philippines in 1994. Justiniani has represented the Philippines in various international conferences, workshops, and exhibitions. Justiniani is known for attention to his craft and informed, prolific imagination Justiniani belonged to various artists’ collectives, first with ABAY (1987 – 1990), Grupong Salingpusa (1986 – 1992), and the Sanggawa art collective (1995 – 1998). These groups were known for large-scale murals, particularly the “Karnabal” mural project, commissioned with a grant to Salingpusa by the Cultural Center of the Philippines for the Philippine Centennial mural project that the Office of the President commissioned in 1998 for the Malacañang Heroes’ Hall (measuring 6.5 ft. x 8.4 ft.). Through the years, aside from group and solo shows in various galleries in Manila and other Philippine cities, his work has been exhibited in San Francisco and Los Angeles, California: Brisbane, Adelaide, and Sydney in Australia; Tokyo and Yokohama in Japan; Denmark, Kuala Lumpur, and Singapore. Justiniani’s talent has been amply recognized with the Grand Prize, 7th Metrobank National Painting Competition (1990); 13 Artists Awards, Cultural Center of the Philippines (1994), the Jurors Choice Award, Philip Morris Group of Companies, Philippine Art Awards (1999) and Finalist (2000); and Award for Continuing Excellence in the Arts, Metrobank Foundation, Manila (2004). Recently, Justiniani has been experimenting, quite successfully, with multiple reflective images in enclosed and lighted mirrors that create the illusion of infinite vistas and points of view. In this earlier, surreal work, Justiniani’s central image is a birdhouse-shaped clock poised over a male figure’s head. He is confused: one eye is pointing upward, the other downcast. He does not know where to look, where to go. The hands of the device are pointing quite close to 12 o’clock, the symbolic hora de peligro, or turning point. Where the nagging timekeeper would emerge is a Madonna figure, clutching an infant: the time to make a decision is at hand. (Essay taken from the book ‘Houses: A Collection of Paintings of Philippine Houses’ by Ramon N. Villegas and Lisa Guerrero Nakpil. Published by Januario Jesus B. Atencio and 8990 Holdings, Inc., 2017)
Leon Gallery
Jun. 17, 2023
Mark Justiniani (b. 1966)
Est: ₱600,000 - ₱780,000
Balik Tanaw signed and dated 1995 (lower center) oil on wood 25" x 22" (64 cm x 56 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE: León Gallery, The Asian Cultural Council Auction 2018, Makati City, 3 March 2018, Lot 69 Mark Justiniani’s Balik Tanaw is an early work made by the artist a year after his conferment of the prestigious Cultural Center of the Philippines Thirteen Artists Award in 1994. It shows the artist’s penchant for producing surrealist works revolving around allegories concerning our history, identity, and relevant societal issues, to name only a few, even at the early phase of his career. In this work, Justiniani depicts a man clad in the katipunero outfit: a camisa de chino, complemented by red kundiman pants and a scarf worn around the neck (although historians have since debunked this “traditional” ensemble based on surviving photographs). His body is bent over, with his head upside down and positioned between his legs. His bearing evokes the age-old manner to detect an aswang: looking at the suspected person from between one’s legs. He is about to fall from a seemingly fathomless cliff while unwarily walking. The piece reminds its viewers of the pitfalls of historical ignorance and, to a greater extent, historical distortion, erasure, and denialism. A dark, brooding atmosphere pervades the background, signifying the precariousness of a people who would capitulate to historical negationism and the oppressors’ deception to advance their mercenary interests. The image of a man about to fall evokes the SpanishAmerican philosopher George Santayana’s famous aphorism, “Those who cannot remember the past are condemned to repeat it.” But hope still lingers. The familiar image of a katipunero reminds us of our collective struggles against our oppressors in history. That no matter how tragic our past is, it is still imperative to remember it and the legacy of our valiant ancestors 11 Mark Justiniani (b. 1966) Balik Tanaw signed and dated 1995 (lower center) oil on wood 25" x 22" (64 cm x 56 cm) P 600,000 León Gallery wishes to thank the artist for confirming the authenticity of this lot PROVENANCE León Gallery, The Asian Cultural Council Auction 2018, Makati City, 3 March 2018, Lot 69 and continue their struggles for us to attain national democracy and genuine emancipation. Be wary of the modern-day aswangs, those who charmingly masquerade themselves only for us to find out their deceitfulness and repressive apparatuses to maintain their oppressive status quo. We must never forget. (A.M.)
Leon Gallery
Apr. 22, 2023
Mark Justiniani (b. 1966) Untitled
Est: ₱50,000 - ₱65,000
Mark Justiniani (b. 1966) Untitled signed and dated 2002 (lower right) Wood Block Print 13 1/2” x 10 1/2” (34 cm x 27 cm)
Leon Gallery
Feb. 18, 2023
Mark Justiniani (b. 1966)
Est: ₱800,000 - ₱1,040,000
Mark Justiniani (b. 1966) Tungkod signed and dated 2018 - 2020 (lower center and verso) oil on wood 24 1/4" x 17" (62 cm x 43 cm) PROVENANCE León Gallery, The ArtPH Online Auction 2020 (For the benefit of orphaned babies at the Cribs Foundation and the residents of Alcala, Cagayan in building a permanent evacuation center), Makati City, 12 December 2020, Lot 43 The eminent social realist Mark Justiniani depicts in this work aptly titled Tungkod an image of a man donned in the traditional wardrobe of the men belonging to the native principalia in the 19th-century Philippines. He sits on an exquisite, cushioned chair reminiscent of the ones found in the homes of affluent Filipino clans. He is smoking a pipe while casually sitting, with his right hand holding a gold cane. His bearing connotes callousness, indifference, and apathy, qualities inherent to the ruling elite. Activist, author, scholar, and former UP professor, the late Edberto M. Villegas writes in his review of Dr. Dante Simbulan’s The Modern Principalia: “The principalia emerged from the economic class nurtured by the Spanish to serve the latter’s interests and further endowed with political power by the Americans to cow the restive masses after the Filipino-American War. They were mostly composed of mestizos, native and Chinese, the former sired by Spanish fathers and the latter, offspring of Chinese merchants who intermarried with native women members of the principalia. The mestizos grew in economic status in Philippine society as they acquired haciendas, with crops meant for exports to Spain and later to other Western countries.” "The descendants of this principalia are still lording it over the socioeconomic arena…This class interbreeds within itself, intermarrying within a limited circle of the so-called high society families. With this exclusiveness, the wealth of the principalia becomes more concentrated through time, as we have seen. This principalia has a highly Westernized outlook, now Americanized as befitting their U.S. patrons. They send their children to the same exclusive schools and have interlocking businesses in companies and banks. They have close connections with political leaders since members of their clan may be holding public offices themselves or have minions in government to protect their interests." In Justiniani's Tungkod, we can discern the semi-colonial and semi-feudal society borne from the brutal collaboration between the local compradors and bureaucrat capitalists (from whom the elite, the modern principalia, come) and their imperialist masters. Although we live at the mercy of the elite, we ultimately possess the power to engender revolutionary change by means of our shared struggles and aspirations. A dark, brooding atmosphere pervades the background, symbolizing "crisis generates resistance." Until their gold canes are slashed and their ivory towers forcibly overturned shall the oppressed arrive at genuine emancipation. (A.M.)
Leon Gallery
Sep. 10, 2022
Mark Justiniani (b. 1966) - Orbiter
Est: ₱200,000 - ₱260,000
Mark Justiniani (b. 1966) Orbiter 2013 resin and metal 32" x 12" x 13 1/2" (81 cm x 30 cm x 34 cm) overall: 34" x 12" x 13 1/2" (86 cm x 30 cm x 34 cm) In his paintings, Mark Justiniani has portrayed cyclists as solitary travelers of the imagination, the troubadours of a fantastic world. It is not surprising that the artist would choose this image for his sculpture, “Orbiter”. On a unicycle, the figure is garbed in modern-day clothing, sneakers, and backpack, and while his contemporary identity is underscored, he carries with him an old compass and a hand- held telescope. He is off to an adventure not of and in this world, but in something more expansive, absorbing, and ultimately supernatural.
Leon Gallery
Sep. 10, 2022
Mark Justiniani (b. 1966) - Tukar
Est: ₱200,000 - ₱260,000
Mark Justiniani (b. 1966) Tukar signed and dated 2007 (lower right) pastel on paper 23" x 18" (58 cm x 46 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot In this work titled Tukar, celebrated contemporary artist Mark Justiniani creates a playful composition that veers away from his usual works imbibed with heavy social commentary or strains of magical realism. “Tukar” is a Cebuano word, which means “to play a musical instrument.” This particular piece references the term to lightheartedly depict a stout man playing his guitar. A bottle of beer is placed beside him, suggesting leisure and relaxation. (A.M.)
Leon Gallery
Jul. 30, 2022
Mark Justiniani (b. 1966)
Est: ₱80,000 - ₱104,000
Mark Justiniani (b. 1966) Aperture mixed media 15” x 15 1/2” x 7 1/2” (38 cm x 39 cm x 18 cm)
Leon Gallery
Jun. 11, 2022
Mark Justiniani (b. 1966)
Est: ₱200,000 - ₱260,000
Mark Justiniani (b. 1966) Untitled signed and dated 2003 (lower right) oil, charcoal and pen on paper 15 1/2" x 11" (39 cm x 28 cm) A prominent name in Philippine social realism, the multiawarded artist Mark Justiniani never fails to evoke thoughtprovoking social issues through his artworks. However in this particular piece, Justiniani delved deep into the concept of “self” while maintaining an aura of intrigue parallel to his famous works. In a glance, the piece portrays two women sharing a sincere embrace in a hole that connects them. Yet, the perfect reflection of the female subjects interprets a meaningful story of self-acceptance. Despite being divided by a wall, the one on the illuminated side unconditionally embraces the other on the dark side, the “her” that was concealed and hidden. (P.I.R.)
Leon Gallery
Jun. 11, 2022
Mark Justiniani (b. 1966)
Est: ₱2,400,000 - ₱3,120,000
Mark Justiniani (b. 1966) Lukso signed and dated 2001 (upper right) oil on canvas 36" x 36" (91 cm x 91 cm) This particular work references the popular English nursery rhyme titled Jack Be Nimble. The rhyme itself can be traced back to a manuscript in 1815, and was eventually recorded by English literary scholar James Orchard Halliwell Phillipps in the middle of the 19th Century. The rhyme itself goes “Jack be nimble,Jack be quick,Jack jump over, The candlestick.” Its origins can be traced back to an old English superstition in which jumping over a candlestick without extinguishing its flame can be seen as a sign of good fortune in one’s future. The ritual was often practiced during wedding feasts, both as a way of testing the fate of the newlyweds and as an assessment of their sobriety amidst the overflowing libations of the evening. Justiniani’s piece seemingly utilizes the contextual significance of the nursery rhyme as a device that symbolizes man’s attempt to control fortune and fate. In the work we see a figure attempting to jump over multiple candlesticks. But, as a way of ensuring that the flames don’t go out, the figure employs the aid of an umbrella as a way of softening the impact of his fall. The work itself presents the figure mid-flight, alluding to the fact that although we may call upon the help of external forces, fate and fortune are concepts that will remain partially obscured from our own limited point of view. The works of acclaimed contemporary master Mark Justiniani often oscillate between different kinds and treatments of realism. From the stark realities of Social Realism, to the playful allegories of Magical Realism, Justiniani’s masterful control and use of the genre has made him a defining voice in the local art scene. In this piece, one can clearly see his synthesis of Social and Magical Realism in order to express his unique style and intent. (J.D.)
Leon Gallery
Jun. 11, 2022
Mark Justiniani (b. 1966)
Est: ₱3,400,000 - ₱4,420,000
Mark Justiniani (b. 1966) Monumento signed and dated 2012 (upper right) oil on canvas 48" x 36" (122 cm x 91 cm) LITERATURE Essays by Corazon S. Alvina, Lisa Guerrero Nakpil et al. The Art & Times of the New Millennium, 2000-2020. Published by Januarius Holdings Inc. Page 62, with full-color illustration on page 63. Mark Justiniani is one of the foremost artists who emerged in the 1990s, under the shadow of martial law and the nascent presidency of Corazon Aquino. By this time, social realism was no longer a fringe movement but a dominant one, and young artists sought to find their bearings in its almost inescapable legacy and perennial tensions. Some of them founded art groups to consolidate their forces and, together, think through the roles and responsibilities of art. Justiniani, along with the other firebrands of the UP College of Fine Arts, established Salingpusa, which would eventually set the direction of Philippine art in the 1990s. While some of Justiniani’s contemporaries were still enamored with the direct and discursive forms of protest art, the artist took a different route, introducing elements of fantasy in his works. These have been classified under his Magic Realism series, inspired by the novels of Latin American writers, particularly Gabriel Garcia Marquez. In his paintings, Justiniani combines ordinary events with supernatural ones in order to prompt a new way of thinking about reality. His works, because of this approach, have achieved a humorous and lyrical quality. One can see the connection and development of these magic realist paintings to the series of works that would solidify Justiniani’s name in the art world: the installations that— through the trick of assembling mirror, light, and objects— offer the illusion of unfathomable depth. Aptly called Infinity series, these assemblages alter and warp the viewer’s sense of space, giving them the impression that they are tunneling through a tear in the fabric of reality itself. The most notable expression of this series is Arkipelago, which was showcased at the Venice Biennale, the world’s foremost art festival, in 2019 as the representative of the Philippines in its own pavilion. This work by Justiniani captures how the artist plays with the viewer’s expectation of a painted scene. The subject matter is mundane enough: a representation of Manila’s legendary snail-paced traffic. The point of view suggests that the scenario is beheld on the road, within the confines of a theoretical car. The roofs of other vehicles jut into view. Cutting across the painting are the enormous horizontal and vertical lines of an impossibly tall footbridge. On a lit lamp post squats a boy in a red shirt, framed by the clouds of an enormous sky, surveying the scene below. The viewer, who mentally sifts through his memory for a counterpart and finds nothing, is not ready for the appearance of the figure. The casualness and the dexterity of his pose, as though he has been doing this all his life, makes the painting all the more unnerving. His freedom, compared to that of those bound to their vehicles in an unmoving traffic, appears absolute and ideal—an admonishment of modernity. By introducing a jolt of cognitive dissonance, Justiniani transforms a banal scene into a contemplation of the nature of modernday comforts and luxuries.
Leon Gallery
Dec. 04, 2021
Mark Justiniani (b. 1966) Momentum
Est: ₱5,000,000 - ₱6,500,000
Mark Justiniani (b. 1966) Momentum signed and dated 2013 (lower left) oil on canvas 48" x 72" (122 cm x 182 cm) PROVENANCE Christie's Hong Kong, Asian Contemporary Art, Hong Kong, 26 May 2013, Lot 181 Mark Justiniani’s art is not a simple reading of the modern world but a finely balanced interpretation of historical fact with a contemporary perspective. These works spring from the artist’s investigation of folk culture including the use of language, and what one may draw from it is indicative of the indigenous frame of mind. After returning from the United States in 2006, social realist Justiniani evidently developed his oeuvre through “magic realist strains” and moved to the nature of vision and their balanced relationship with time through the use of reflective media. This practice made his name more pronounced in the industry which paved the way for him to represent the Philippines in exhibitions and conferences overseas. These elements are then reshaped to fit the modern and contemporary connotations of the human experience. A multi-awarded artist, Justiniani was granted the Thirteen Artists Award by the Cultural Center of the Philippines in 1994. He is a well traveled artist and has represented the Philippines in various international conferences, workshops, and exhibitions in Japan, Denmark, Australia, and the USA.
Leon Gallery
Dec. 04, 2021
Mark Justiniani (b. 1966) Tax Collector
Est: ₱1,400,000 - ₱1,820,000
Mark Justiniani (b. 1966) Tax Collector signed (upper middle) oil on canvas 30 " x 24" (76 cm x 61 cm) Acquired in Singapore Imagery and themes shift in renowned Filipino artist Mark Justiniani’s career, manifesting as he takes upon what is relevant to him over a certain period or time. He has delved on socio-political themes and ventured into various media as well as art forms, from paintings to installations, but a reference point in appreciating his widely lauded oeuvre is his pursued “surrealist or magic realist strains.” This was described by art historian Patrick Flores as evident amidst a “distortion of the body whimsically or tragically in the register of social realism.” Justiniani developed this distinct style after returning from the U.S. in 2006. What remains throughout his art and stylistic evolutions as an artist is the narrative quality of his works. Often identified with the Filipino social realists in the 80s and 90s, Justiniani considers himself a visual storyteller. Perspective, form, and intricacies of chosen themes are rendered through a contemporary figurative approach, often described as dreamlike, surreal, and whimsical depictions in the specific period of his artist career.
Leon Gallery
Dec. 04, 2021
Mark Justiniani (b. 1966) Panawagan
Est: ₱360,000 - ₱468,000
Mark Justiniani (b. 1966) Panawagan signed and dated 2007 (upper right) pastel on paper 24" x 18" (61 cm x 46 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot The works of critically acclaimed contemporary artist Mark Justiniani revolve around the unique synthesis of fantasy and social realism that unearths the irrefutable truths of our existence and our society's ever-changing, often volatile, identity. Justiniani's early paintings boldly depict the palpable realities of Philippine society, often in a comical approach. However, after returning to the Philippines after living in the United States during the first half of the 2000s, his works shifted to a "scientific inquiry into the nature of representing reality." In Panawagan, Justiniani depicts an angel-like human holding a seashell. The artist illustrates the juxtaposition between us, humans, and these heavenly entities. While Christian art depicts angels using seashells as instruments to proclaim the majesty of the Almighty, Justiniani does the antithesis. He portrays a human humbly summoning the presence of the Creator and asking to fulfill his burning desires for a better life. The artist shows the contrast between the mundane and the supernatural and how this contradiction stresses the need to amplify the people's continuous calls for the promises of an ideal earthly life. As Justiniani continues to produce an iconography thriving with shrewdness and acuity, he combines his fascination with the mystical with his faith in the potent force of humanity.
Leon Gallery
Oct. 16, 2021
Mark Justiniani (b. 1966) Pasahero
Est: ₱1,700,000 - ₱2,210,000
Mark Justiniani (b. 1966) Pasahero signed and dated 2010 (upper right) oil on canvas 30” x 40” (76 cm x 102 cm)
Leon Gallery
Jul. 16, 2021
Mark Justiniani b. 1966) - Untitled
Est: ₱30,000 - ₱39,000
Mark Justinianib. 1966) Untitled signed and dated 2001 (upper right) pen and ink on paper 12” x 9” (30 cm x 23 cm)
Leon Gallery
Jun. 17, 2021
Don
Est: S$7,000 - S$9,000
Mark Justiniani (b. 1966, Filipino), Don, executed in 2004, pastel on paper, 46 x 30.5 cm, signed and dated on upper right, Pick up point: Singapore | Tags: modern, contemporary, Filipino, Philippines IMPORTANT INFO Bidders need to know We encourage all buyers to check for condition reports and or other photos before bidding. The absence of a condition report does not imply that the lot is free from damage and wear. Please go through photos for more details on conditions and age; color will be different depends on your screen. All the items are sold as is and all sales are final. We encourage all bidders to review our terms and conditions before bidding. Please contact us through email info@larasati.com if you need any further information.
Larasati Auctioneers
Jun. 05, 2021
Mark Justiniani (b. 1966)
Est: ₱700,000 - ₱910,000
Mark Justiniani (b. 1966) Inip signed and dated 2006 (lower right) oil on canvas 23” x 18” (58 cm x 46 cm) Mark Justiniani’s art is not a simple reading of the modern world but a finely balanced interpretation of historical fact with a contemporary perspective. These works spring from the artist’s investigation of folk culture including the use of language, and what one may draw from it is indicative of the indigenous frame of mind. These elements are then reshaped to fit the modern and contemporary connotations of the human experience. In this piece titled Inip, Justiniani presents us with an exaggeratedly large human figure set against a cloudy night sky. The figure’s face is buried in its hands, while its disgruntled and displeased expression is aptly complemented by an image of a traffic light displaying its yellow signal. As a whole, Justiniani’s piece seemingly points towards the infinite worlds present within one’s mind. A space that is often heightened by the process of waiting, an action that is clearly represented through the work’s visual elements and composition. Justiniani’s Inip provides us with an examination of the inner workings of our mind and how these elements surface themselves in our psychological and physical worlds.
Leon Gallery
Apr. 09, 2021
Mark Justiniani (b. 1966)
Est: ₱120,000 - ₱156,000
Mark Justiniani (b. 1966) Bugtaw signed and dated 2011 (lower right) oil on canvas 8 1/2” x 11 1/2” (22 cm x 29 cm)
Leon Gallery
Apr. 09, 2021
Mark Justiniani (b. 1966)
Est: ₱15,000 - ₱19,500
Mark Justiniani (b. 1966) Untitled signed and dated 2001 (upper right) pen and ink on paper 12” x 9” (30 cm x 23 cm)
Leon Gallery
Apr. 09, 2021
Mark Justiniani (b. 1966)
Est: ₱80,000 - ₱104,000
Mark Justiniani (b. 1966) Profil signed and dated 2000 (lower right) pastel on paper 19” x 27” (48 cm x 69 cm)
Leon Gallery
Feb. 27, 2021
Mark Justiniani (b. 1966) - Chronicler
Est: ₱2,400,000 - ₱3,120,000
Mark Justiniani (b. 1966) Chronicler signed and dated 2005 (lower right) oil on canvas 40” x 30” (100 cm x 75 cm) Provenance: Christies, Modern and Contemporary Southeast Asian Art, HongKong, November 27, 2005, Lot 74 Private collection, HongKong WRITE UP: Mark Justiniani’s works are informed by a deeply ingrained personal experience, a deep awareness of social issues, and an astute reading of Filipino folk art traditions and language. Justiniani’s art is not a simple reading of the modern world but a finely balanced interpretation of historical fact with a contemporary perspective. These works spring from the artist’s investigation of folk culture including the use of language, and what one may draw from it is indicative of the indigenous frame of mind. These paintings seem to take place in the unlimited space of his mind, translated as the sky in the day or at night, with floating clouds or twinkling stars. At times, the images even seem to take place in an enclosed space but the artist may evoke a theatrical tableau. In the center of the frame are Justiniani’s central figures. At the bottom part, we see a man intently reading the stack of papers before him, seemingly unaware of the relatively plumpier man riding on his shoulders. His subjects contain all the hallmarks of a Justiniani piece, with their seemingly magical realism style and treatment, as well as postmodern and post-colonial connotations. A multi-awarded artist, Justiniani was granted the Thirteen Artists Award by the Cultural Center of the Philippines in 1994. He is a welltraveled artist and has represented the Philippines in various international conferences, workshops, and exhibitions in Japan, Denmark, Australia, and the USA.
Leon Gallery
Jan. 23, 2021
Mark Justiniani (b. 1966) Untitled
Est: ₱300,000 - ₱390,000
Mark Justiniani (b. 1966) Untitled signed and dated 2000 (lower right) 24” x 21” (60 cm x 53 cm) Mark Justiniani’s art is infused with a profound sense of imagination that unearths the hidden nature of the human condition and even reality itself. Whether it be his earlier, more macabre works, or his more contemporary and grandiose outings, Justiniani’s artistic raison d’etre remains a critical and nuanced examination of the inner machinations of the human experience and world around it. In this piece by Justiniani, the artist effectively reinvents the modernist practice of portraiture by obscuring the practice’s most central aspect, the face. His portrait instead emulates a hall of mirrors, each one seemingly reflecting inwards, guiding the eye towards an obscured center point. In this painting, Justiniani does not go by external appearances. Imploding, he suggests, rather than extending outwards, describes his art in which movement goes inward, stumbling through the perilous dark to an inner universe that contains the most essential features of our shared experience.
Leon Gallery
Jan. 23, 2021
Mark Justiniani (b. 1966) Untitled I and II
Est: ₱70,000 - ₱91,000
Mark Justiniani (b. 1966) Untitled I and II signed and dated 2008 (lower right) 13” x 10 1/2” (33 cm x 27 cm) each
Leon Gallery
Nov. 28, 2020
Mark Justiniani (b. 1966) - Pamanhiran
Est: ₱700,000 - ₱910,000
PROPERTY FROM THE COLLECTION OF A DISTINGUISHED GENTLEMAN Mark Justiniani (b. 1966) - Pamanhiran signed and dated 1991 (lower left) oil on canvas Estimate USD : $14000-$18200 Estimate Euros : €11666.66-€15166.66
Leon Gallery
Nov. 28, 2020
Mark Justiniani (b. 1966) - Drinkers
Est: ₱240,000 - ₱312,000
Mark Justiniani (b. 1966) - Drinkers signed and dated 1990 (lower right) oil on wood Estimate USD : $4800-$6240 Estimate Euros : €4000-€5200
Leon Gallery
Nov. 14, 2020
Mark Justiniani (b. 1966)
Est: ₱50,000 - ₱65,000
Mark Justiniani (b. 1966) Untitled (Silence) signed and dated 1999 (lower right) acrylic on paper 11” x 8” (28 cm x 20 cm)
Leon Gallery
Oct. 17, 2020
Mark Justiniani (b. 1966) - Untitled
Est: ₱100,000 - ₱130,000
Mark Justiniani (b. 1966) Untitled signed and dated 2000 (lower left) pastel on paper 27” x 19” (69 cm x 48 cm)
Leon Gallery
Sep. 19, 2020
Mark Justiniani (b. 1966) Karen Flores (b. 1966) Elmer Borlongan (b. 1967) Joy Mallari (b. 1966) and Federico Slevert (b. 1961) (b. 1966) (b. 1966) (b. 1967) (b. 1966) (b. 1961) - Balud Kag Daguob (Waves of Thunder) (Triptych)
Est: ₱1,000,000 - ₱1,300,000
Mark Justiniani (b. 1966) Karen Flores (b. 1966) Elmer Borlongan (b. 1967) Joy Mallari (b. 1966) and Federico Slevert (b. 1961) (b. 1966) (b. 1966) (b. 1967) (b. 1966) (b. 1961) Balud Kag Daguob (Waves of Thunder) (Triptych) signed and dated 1996 (lower right) oil on canvas In 1994, Manila-based artist collective Sanggawa was formed by Elmer Borlongan, Karen Flores, Mark Justiniani, Joy Mallari, and Federico Sievert. This group was established out of another political art collective of mostly UP Fine Arts students who produce interactive paintings featuring different styles in one work, the Salingpusa, active in the art scene since the 1980s. Compared to the Salingpusa, the Sanggawa artists fused their individual styles in creating a piece or “isang gawa” which the collective’s name suggests. Art Collective’s Dynamic Composition Not to be mistaken as a mere extension of the former earlier artist group, the latter produced large-scale, detailed figurative paintings and charged murals, mostly in oil, in which political themes are combined with Philippine myths and legends. These monumental pieces were created as the group worked in the country and abroad such as in Japan in 1997, working at the Museum of Contemporary Art in Tokyo. A short-lived group, the Sanggawa artists nonetheless are still active and widely lauded, sought after in the country and abroad. Estimate in USD $20000-$26000
Leon Gallery
Sep. 19, 2020
Mark Justiniani (b.1966) - Untitled (Over the Moon)
Est: ₱2,000,000 - ₱2,600,000
Mark Justiniani (b.1966) Untitled (Over the Moon) signed and dated 1997 (lower left) oil on canvas Magic realism, an artistic style that presents real life with imaginary elements, suits the temperament often attributed to Mark Justiniani, one of the most acclaimed contemporary Filipino artists in the local and international art scene. In his carefully crafted works, Justiniani combines social realism and magic realism to achieve the whimsical quality of his alluring, strange objects and figures. Everyday experiences are made more magical as he depicts these in harmonizing color and glow through masterful techniques uniquely his. Justiniani has been moving across themes and artistic approaches as a continuously evolving artist, exhibiting not just paintings but also widely celebrated installations, but he is often identified with his figurative works during the 80s and 90s. This body of works in which this fascinating piece belongs were described by the art historian Patrick Flores as “a code that conveys discourse when cracked in the manner of an editorial cartoon.” This visual representation of being over the moon just moments before the break of day is a delightful, dream-like take, resonating in its illustrative quality. The subject, a man in sleepwear and a state of dreaming, appears subtly enchanted. Suggestive is the face that makes the distinction of the sun and moon more apparent, as if looking straight to the viewer than simply from above. Overall, the features of this piece give off an elated feeling, further encouraging one to perceive experiences such as this with childlike eyes. Justiniani, a Salingpusa member, represented the Philippines in exhibitions, workshops, and conferences abroad. One of the recipients of the CCP Thirteen Artists Awards in 1994, his massive immersive installation “Arkipelago” was exhibited in the 58th Venice Art Biennale wherein the Philippines became noted as among the top five must-see pavilions Estimate in USD $40000-$52000
Leon Gallery
Sep. 19, 2020
Mark Justiniani (b.1966) - Mano Po
Est: ₱2,800,000 - ₱3,640,000
Mark Justiniani (b.1966) Mano Po signed and dated 2006 (upper left) oil on canvas Social realist Mark Justiniani, during the eighties, painted unflinching symbol-laden paintings that serve as critical and combative commentaries on socio-political issues and identity. His later works still deal with the many facets of the Filipino consciousness and history, but in a more matured approach and style that developed over the years of his artistic growth. Along with his masterful technique and insightful depictions, Justiniani has led viewers not merely in asking questions but also in a moment of introspection on narratives both part of history or still happening. This thought-provoking piece presents Justiniani’s fascinating version of the national personification of America, Uncle Sam, face-to-face with a Filipino who has to step into a chair to be able to reach the human icon’s hand to show respect. The title itself is suggestive, inviting one to ponder on national identity and the implications of colonialism in the ways of thinking of Filipinos, translated into the canvas through an inward-looking approach than the usual goal to create evocative social realist works. Estimate in USD $56000-$72800
Leon Gallery
Sep. 19, 2020
Mark Justiniani (b.1966) - Untitled (Balancing Act)
Est: ₱1,000,000 - ₱1,300,000
Mark Justiniani (b.1966) Untitled (Balancing Act) signed and dated 1997 (lower right) oil on canvas The works of acclaimed contemporary master Mark Justiniani often oscillate between different kinds and treatments of realism. From the stark realities of Social Realism to the playful allegories of Magical Realism, Justiniani’s masterful control and use of the genre has made him a defining voice in the local art scene. In this piece, one can clearly see his synthesis of Social and Magical Realism in order to express his unique style and intent. Though the piece was made a decade before his return from his half-a-decade sojourn from the United States, a period in which Justiniani himself has credited as instrumental to the development of his Magical Realist style, the work shows how Justiniani already had a natural affinity for the technique prior to any formal training or influence. The piece plays around with time and space as it merges the concept of past and present with strange objects and figures, ultimately invoking the strangeness of everyday life and the inherent uncanniness of mundanity. But, unlike traditional forms of Magical Realism, Justiniani’s piece blends the existential characteristics of the style with the social critique of Social Realism. From the towering male figure at the center, humorously balancing the other parts of the canvas, to the smaller yet equally important female subjects located in the top corners of the piece, Justiniani’s work suggests a biting critique of a heavily patriarchal society that is balanced precariously upon ignorant chauvinism. Born in Bacolod, Negros Occidental in 1966, Mark Justiniani has always tinged his works with a healthy dose of social critique. He was an instrumental member in various artists collectives such as Artista ng Bayan, Salingpusa, Sanggawa, and Sakay. Though he primarily worked within the style of Social Realism, his knack for infusing his social critique with humor made his works unique amongst the local Social Realists. Justiniani has widely exhibited his works in shows in the Philippines as well as in Fukuoka, Copenhagen, Brisbane, Sydney, Singapore, Los Angeles, San Francisco, and Jakarta. He was the Philippines’ official representative at the 2019 Venice Biennale with his site-specific work entitled Island Weather. His work appears in several private and public collections. He received the prestigious 13 Artists Award from the Cultural Center of the Philippines in 1994. Estimate in USD $20000-$26000
Leon Gallery