Manuel Ocampo Paintings & Artwork for Sale | Manuel Ocampo Art Value Price Guide

Dec. 18, 2024
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe uber alles." 1993. Oil and collage on canvas. Work exhibited at the OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993.
Est: €5,000 - €6,000
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe uber alles." 1993. Oil and collage on canvas. Work exhibited at the OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993. Measurements: 32 x 40 cm.; 63 x 63 cm. (frame). In the 1990s, Manuel Ocampo developed a subversive iconography, steeped in sarcasm, in which he linked veiled comments on the colonial legacy of Catholicism in his native Philippines with American imperialist policies. In this painting, the juxtaposition of crosses, reproductions of devotional paintings and Christian emblems alongside swastikas is a statement of intent. However, his comments are never literal, since many layers of reading underlie them. Enfant terrible of contemporary art, he would soon be claimed by museums and galleries around the world. Manuel Ocampo is considered the most important Filipino artist today. His painting, cataloged by the media as “devastating”, “brutal” and “ferocious”, undergoes frequent strategic changes in response to new contexts and themes of study, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has held numerous exhibitions nationally and internationally, highlighting: 2018, Yes, Sir / Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 – 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Dec. 05, 2024
Manuel OCAMPO
Est: €8,000 - €12,000
Manuel OCAMPO Once Again in the World - 1993 Huile sur toiles (diptyque) Chacune signée et datée ; l'une titrée 244,5 x 244 cm Oil on canvas (diptych) ; each signed and dated ; titled on one panel 96.06 x 96.06 in. Le lot est en importation temporaire. L’acquéreur devra acquitter des frais d’importation, soit 5,5% en sus du prix d’adjudication The work is in temporary import. The buyer will have to pay import fees of 5,5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European union. Provenance : Fred Hoffman Fine Art Los Angeles Collection particulière suisse Expositions : Washington, The Corcoran Gallery of Art, 43rd Biennal of Contemporary American Painting, October 30th 1993 to January 2nd 1994 Manuel OCAMPO
Artcurial
Dec. 05, 2024
Manuel OCAMPO
Est: €8,000 - €12,000
Manuel OCAMPO Le Fleur du Mal - 1991 Huile sur toile Signé, titré et daté au dos 183 x 138 cm Oil on canvas ; signed, titled and dated on the reverse 72.04 x 54.33 in. Le lot est en importation temporaire. L’acquéreur devra acquitter des frais d’importation, soit 5,5% en sus du prix d’adjudication The work is in temporary import. The buyer will have to pay import fees of 5,5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European union. Provenance : Fred Hofman Gallery, Santa Monica Acquis auprès de cette dernière par l'actuel propriétaire Manuel OCAMPO
Artcurial
Dec. 05, 2024
Manuel OCAMPO
Est: €10,000 - €15,000
Manuel OCAMPO Petrope - 1990 Huile, collage sur bois et cadre en bois Signé des initiales et titré 260,5 x 139 x 6,5 cm Oil, collage on wood and wooden frame ; signed with the initials and titled 102.36 x 57.72 x 2.36 in. Le lot est en importation temporaire. L’acquéreur devra acquitter des frais d’importation, soit 5,5% en sus du prix d’adjudication The work is in temporary import. The buyer will have to pay import fees of 5,5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European union. Provenance : Fred Hofman Gallery, Santa Monica Acquis auprès de cette dernière par l'actuel propriétaire FR Manuel Ocampo est un provocateur, un peintre qui prend la transgression comme compagnon de palette. Il veut que l’art dérange. Son oeuvre est celle d’un faiseur d’images prolifique qui jette les choses à la face du monde dans un geste plein de panache et avec un talent nourri au sein du grotesque. Corrosives et réjouissantes, ses oeuvres se heurtent et se fragmentent, libérant une énergie anarchique et bousculant les interdits. La satire est incessante et toutes les représentations du pouvoir sont l’objet d’un détournement burlesque, d’une inversion (et d’une subversion) parodique: les pelouses interdites de l’histoire, de la morale ou de la culture sont foulées au pied avec une insolence rafraîchissante. Ses toiles ne sont pas partisanes, elles ne portent pas de revendication politique particulière. Elles tirent sur tout ce qui bouge, ou plutôt, sur tout ce qui stagne et s’ankylose. Elles adoptent une attitude anarchique et insoumise, toujours burlesque, faite d’univers mélangés: BD, art naïf, Trash comics, esthétique de l’ex voto, référence à Duchamp, à Bacon, aux images de l’iconographie chrétienne ou à l’imagerie politique. EN Manuel Ocampo is a provocateur, a painter who takes transgression as his palette companion. He wants art to disturb. His work is that of a prolific image-maker who throws things in the face of the world in a gesture full of panache and with a talent nurtured within the grotesque. Corrosive and delightful, his works collide and fragment, releasing anarchic energy and upsetting the forbidden. Satire is relentless, and all representations of power are the object of burlesque detour, parodic inversion (and subversion): the forbidden lawns of history, morality and culture are trampled underfoot with refreshing insolence. His canvases are not partisan, nor do they make any particular political claims. They shoot at everything that moves, or rather, at everything that stagnates and becomes ankylosed. They adopt an anarchic and rebellious attitude, always burlesque, made up of mixed universes: comics, naive art, trash comics, ex voto aesthetics, references to Duchamp, Bacon, Christian iconography or political imagery. Manuel OCAMPO FR Manuel Ocampo est un provocateur, un peintre qui prend la transgression comme compagnon de palette. Il veut que l’art dérange. Son oeuvre est celle d’un faiseur d’images prolifique qui jette les choses à la face du monde dans un geste plein de panache et avec un talent nourri au sein du grotesque. Corrosives et réjouissantes, ses oeuvres se heurtent et se fragmentent, libérant une énergie anarchique et bousculant les interdits. La satire est incessante et toutes les représentations du pouvoir sont l’objet d’un détournement burlesque, d’une inversion (et d’une subversion) parodique: les pelouses interdites de l’histoire, de la morale ou de la culture sont foulées au pied avec une insolence rafraîchissante. Ses toiles ne sont pas partisanes, elles ne portent pas de revendication politique particulière. Elles tirent sur tout ce qui bouge, ou plutôt, sur tout ce qui stagne et s’ankylose. Elles adoptent une attitude anarchique et insoumise, toujours burlesque, faite d’univers mélangés: BD, art naïf, Trash comics, esthétique de l’ex voto, référence à Duchamp, à Bacon, aux images de l’iconographie chrétienne ou à l’imagerie politique. EN Manuel Ocampo is a provocateur, a painter who takes transgression as his palette companion. He wants art to disturb. His work is that of a prolific image-maker who throws things in the face of the world in a gesture full of panache and with a talent nurtured within the grotesque. Corrosive and delightful, his works collide and fragment, releasing anarchic energy and upsetting the forbidden. Satire is relentless, and all representations of power are the object of burlesque detour, parodic inversion (and subversion): the forbidden lawns of history, morality and culture are trampled underfoot with refreshing insolence. His canvases are not partisan, nor do they make any particular political claims. They shoot at everything that moves, or rather, at everything that stagnates and becomes ankylosed. They adopt an anarchic and rebellious attitude, always burlesque, made up of mixed universes: comics, naive art, trash comics, ex voto aesthetics, references to Duchamp, Bacon, Christian iconography or political imagery.
Artcurial
Nov. 28, 2024
Manuel Ocampo: Untitled (An all out Attempt at Transcendence)
Est: €4,000 - €6,000
OCAMPO, MANUEL 1965 Quezon City/Philippines Title: Untitled (An all out Attempt at Transcendence). Date: 2004. Technique: Oil on canvas. Measurement: 76,5 x 61cm. Notation: Signed and dated verso: Manuel Jose Ocampo 2004. Provenance: - Galerie Bärbel Grässlin, Frankfurt a.M. - Private collection North Rhine-Westphalia. Explanations to the Catalogue Manuel Ocampo Figurative Painting Asian Art Contemporary Art 2000s Writing Painting Oil Colour Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance
Van Ham Kunstauktionen
Nov. 28, 2024
Manuel Ocampo: Untitled (Nothing is Interconnected)
Est: €3,000 - €5,000
OCAMPO, MANUEL 1965 Quezon City/Philippines Title: Untitled (Nothing is Interconnected). Date: 2004. Technique: Oil on canvas. Measurement: 76,5 x 61cm. Notation: Signed and dated verso: Manuel Jose Ocampo 2004. Provenance: - Galerie Bärbel Grässlin, Frankfurt a.M. - Private collection South Germany. Explanations to the Catalogue Manuel Ocampo Figurative Painting Asian Art Contemporary Art 2000s Figure / Figures Painting Oil Abstract Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance
Van Ham Kunstauktionen
Nov. 13, 2024
MANUEL OCAMPO (Quezon City, Philippines 1965). "Virsicht Natur", ca. 1990's. Oil on canvas.
Est: €6,000 - €7,000
MANUEL OCAMPO (Quezon City, Philippines 1965). "Virsicht Natur", ca. 1990's. Oil on canvas. Measurements: 165 x 126 cm. Manuel Ocampo developed in the nineties a subversive iconography, impregnated with sarcasm, in which he linked veiled comments on the colonial legacy of Catholicism in his native Philippines with U.S. imperialist policies. In this painting, ferocious jaws open up showing inside them crosses from Orthodox and Catholic churches, leaving little doubt about the underlying critique of the violence that has been inflicted on peoples in the name of religion. His comments are never literal, however, for they underlie many layers of reading. Enfant terrible of contemporary art, he would soon be claimed by museums and galleries around the world. Manuel Ocampo is considered the most important Filipino artist today. His painting, labeled by the media as "devastating", "brutal" and "fierce", undergoes frequent strategic changes in response to new contexts and subjects of study, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has made numerous exhibitions nationally and internationally, highlighting: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Oct. 26, 2024
Manuel Ocampo (b.1965)
Est: ₱40,000 - ₱52,000
Untitled dated 2015 acrylic on paper 18 1/2" x 14" (47 cm x 35 cm) Accompanied by a certificate issued by Vinyl on Vinyl confirming the authenticity of this lot PROVENANCE Vinyl on Vinyl
Leon Gallery
Oct. 26, 2024
Manuel Ocampo (b.1965)
Est: ₱80,000 - ₱104,000
Untitled signed (lower right) dated 2020 acrylic on canvas 22" x 26" (56 cm x 66 cm)
Leon Gallery
Sep. 14, 2024
Manuel Ocampo (b. 1965) - The Painter's Equipment
Est: ₱550,000 - ₱650,000
Manuel Ocampo (b. 1965) 2011 Oil on muslin 163 x 122 cm (64 x 48 in) Exhibition: Manuel Ocampo: The Painter's Equipment (Solo Exhibition), 8 - 30 January 2011, ArtSpace @ Helutrans x Valentine Willie Fine Art, Singapore Provenance: Purchased from Valentine Willie Fine Art, Singapore, 2011
Salcedo Auctions
Jun. 06, 2024
MANUEL OCAMPO CATHOLIC SCHOOL DREAM PAINTING, 1995
Est: €12,000 - €15,000
MANUEL OCAMPO 1965 Catholic School Dream Painting, 1995 Olio su tela cm. 153x121 Firma al fronte PUBBLICAZIONI Virgin Destroyer Hardy Marks Pubblications Pag. 76 PROVENIENZA Annina Nosei Gallery, New York Ciocca Raffaelli Contemporanea, Milano Collezione privata, Genova
Area Casa D'Aste
Jun. 04, 2024
Manuel Ocampo (N. 1965) Libertà di avere tre idee contrastanti olio e coll
Est: €4,000 - €6,000
Manuel Ocampo (N. 1965) Libertà di avere tre idee contrastanti olio e collage di pillole su tela 116 x 89 cm.
Christie's
Mar. 05, 2024
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe uber alles." 1993. Oil and collage on canvas. Work exhibited at the OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993.
Est: €5,000 - €6,000
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe uber alles." 1993. Oil and collage on canvas. Work exhibited at the OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993. Measurements: 32 x 40 cm.; 63 x 63 cm. (frame). In the 1990s, Manuel Ocampo developed a subversive iconography, steeped in sarcasm, in which he linked veiled comments on the colonial legacy of Catholicism in his native Philippines with American imperialist policies. In this painting, the juxtaposition of crosses, reproductions of devotional paintings and Christian emblems alongside swastikas is a statement of intent. However, his comments are never literal, since many layers of reading underlie them. Enfant terrible of contemporary art, he would soon be claimed by museums and galleries around the world. Manuel Ocampo is considered the most important Filipino artist today. His painting, cataloged by the media as “devastating”, “brutal” and “ferocious”, undergoes frequent strategic changes in response to new contexts and themes of study, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has held numerous exhibitions nationally and internationally, highlighting: 2018, Yes, Sir / Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 – 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Dec. 02, 2023
Manuel Ocampo (b. 1965) - Mama
Est: ₱600,000 - ₱780,000
Mama signed (lower left) oil on canvas 64” x 48” (505 cm x 122 cm) WRITE UPRenowned for his unparalleled artistic vision, Manuel Ocampo stands as a true trailblazer within the realm of Philippine art, captivating global audiences and embodying the essence of the nation’s creative prowess on the international stage. Stretching back to the early 1990s, Ocampo’s artistic journey has been marked by a consistent and remarkable presence in international exhibitions, captivating audiences across Spain, France, Germany, Mexico, and the United States. His impact goes beyond galleries, as he has also established his prominence in renowned international fairs including those in Basel, Miami, and Berlin, amplifying his influence. Ocampo’s art carries a captivating array of allegorical elements and symbolism, a tool he adeptly wields to challenge conventional norms while inviting viewers to engage with his unique narrative. Through his canvases, a tapestry of irreverent and kitschy imagery unfolds, effectively bridging the gap between his intricate concepts and a more accessible visual language. This approach fosters a deeper understanding and direct connection with the viewer, making his art a multi-layered experience that appeals to a wide audience. (Jed Daya)
Leon Gallery
Nov. 30, 2023
Manuel Ocampo: "A Device Infrequently Recognized As A device"
Est: €15,000 - €20,000
OCAMPO, MANUEL 1965 Quezon City/Philippines Title: "A Device Infrequently Recognized As A device". Date: 2000. Technique: Acrylic on canvas. Measurement: 153 x 122cm. Notation: Signed, titled and dated verso upper left: Manuel Jonas Ocampo A DEVICE INFREQUENTLY RECOGNIZED AS A DEVICE 2000. On the verso is another sketch by the artist. Provenance: - Jack Shainman Gallery, New York (label) - Private collection Italy Estimated shipping costs for this lot: Arrangement after the auction. Explanations to the Catalogue
Van Ham Kunstauktionen
Nov. 14, 2023
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe uber alles." 1993. Oil and collage on canvas. Work exhibited at the OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993.
Est: €5,000 - €6,000
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe uber alles." 1993. Oil and collage on canvas. Work exhibited at the OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993. Measurements: 32 x 40 cm.; 63 x 63 cm. (frame). In the 1990s, Manuel Ocampo developed a subversive iconography, steeped in sarcasm, in which he linked veiled comments on the colonial legacy of Catholicism in his native Philippines with American imperialist policies. In this painting, the juxtaposition of crosses, reproductions of devotional paintings and Christian emblems alongside swastikas is a statement of intent. However, his comments are never literal, since many layers of reading underlie them. Enfant terrible of contemporary art, he would soon be claimed by museums and galleries around the world. Manuel Ocampo is considered the most important Filipino artist today. His painting, cataloged by the media as “devastating”, “brutal” and “ferocious”, undergoes frequent strategic changes in response to new contexts and themes of study, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has held numerous exhibitions nationally and internationally, highlighting: 2018, Yes, Sir / Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 – 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Nov. 07, 2023
MANUEL OCAMPO CATHOLIC SCHOOL DREAM PAINTING, 1995
Est: €10,000 - €15,000
MANUEL OCAMPO 1965 Catholic School Dream Painting, 1995 Olio su tela cm. 153x121 Firma al fronte PUBBLICAZIONI Virgin Destroyer Hardy Marks Pubblications Pag. 76 PROVENIENZA Annina Nosei Gallery, New York Ciocca Raffaelli Contemporanea, Milano Collezione privata, Genova
Area Casa D'Aste
Oct. 21, 2023
Manuel Ocampo (b. 1965)
Est: ₱8,000 - ₱10,400
Artistic Laws Demand Their Own Destruction signed (lower right) serigraph 16” x 11 1/2” (41 cm x 29 cm)
Leon Gallery
Sep. 26, 2023
MANUEL OCAMPO (Quezon City, Philippines, 1965). "Headache". Mixed media on cardboard.
Est: €6,000 - €8,000
MANUEL OCAMPO (Quezon City, Philippines, 1965). "Headache". Mixed media on cardboard. Size: 45 x 38 cm; 63 x 63 cm (frame). Manuel Ocampo is the "enfant terrible" of current art. A polemic artist, but claimed by museums and galleries all over the world, he unfolds an irreverent cosmogony through which he directly criticises the weight of Catholicism in his native Philippines. American cultural monopoly and imperialism is also treated with intelligent humour in his paintings. In this case, Lucifer lashes out with a large cross at a sleepless worshipper. Next to him, a photograph of the Saviour tries, unsuccessfully, to guide him on the path to salvation. It is characteristic of his work to juxtapose expressionist traces and references to popular culture, as can be seen in this work. Manuel Ocampo is considered the most important Filipino artist today. His painting, described by the media as "devastating", "brutal" and "ferocious", undergoes frequent strategic changes in response to new contexts and subject matter, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has had numerous national and international exhibitions, including: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Sep. 06, 2023
MANUEL OCAMPO (Quezon City, Philippines, 1965). "The compensatory motif of the libidinal economy of painter's bad conscience", 2001. Oil on canvas. Signed on the reverse. With label of the OMR gallery, Mexico City, on the back.
Est: €18,000 - €20,000
MANUEL OCAMPO (Quezon City, Philippines, 1965). "The compensatory motif of the libidinal economy of painter's bad conscience", 2001. Oil on canvas. Signed on the reverse. With label of the OMR gallery, Mexico City, on the back. Size: 121,6 x 91,5 cm. Hidden behind a Mexican wrestling mask, with swastikas on his bare arm and Luciferian wings, this pop singer with a necklace of skulls gathers on his body a compendium of symbols emptied of meaning by the impossible mixture that short-circuits any simple interpretation. "Minima Moralia", the title that accompanies the figure, refers to the essay by Theodor Adorno, a courageous book in which the author analysed what capitalism inherited from Nazism. In the field of painting, Manuel Ocampo has also been doing the same thing in the field of painting. Popular culture references abound in the expressionist-pop work of this Filipino artist. "The Compensatory Motif in the Libidinal Economy of a Painter's Bad Conscience" (2001) is a work from his early period, when he became known in the art world for his "grunge" frankness in discussing the moral dilemmas of modern society. As part of an exhibition in Mexico City (the OMR gallery dedicated several shows to him), the nods to Mexican popular culture were evident. Manuel Ocampo, from his first exhibitions in the 1990s, earned the nickname of "enfant terrible" of contemporary art. His painting, described by the media as "devastating", "brutal" and "ferocious", undergoes frequent strategic changes in response to new contexts and subjects, and is influenced by punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has had numerous national and international exhibitions, including: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Jun. 17, 2023
LOT WITHDRAWN
Est: ₱300,000 - ₱390,000
LOT WITHDRAWN
Leon Gallery
Jun. 07, 2023
MANUEL OCAMPO (Quezon City, Philippines, 1965). "Headache". Mixed media on cardboard.
Est: €6,000 - €8,000
MANUEL OCAMPO (Quezon City, Philippines, 1965). "Headache". Mixed media on cardboard. Size: 45 x 38 cm; 63 x 63 cm (frame). Manuel Ocampo is the "enfant terrible" of current art. A polemic artist, but claimed by museums and galleries all over the world, he unfolds an irreverent cosmogony through which he directly criticises the weight of Catholicism in his native Philippines. American cultural monopoly and imperialism is also treated with intelligent humour in his paintings. In this case, Lucifer lashes out with a large cross at a sleepless worshipper. Next to him, a photograph of the Saviour tries, unsuccessfully, to guide him on the path to salvation. It is characteristic of his work to juxtapose expressionist traces and references to popular culture, as can be seen in this work. Manuel Ocampo is considered the most important Filipino artist today. His painting, described by the media as "devastating", "brutal" and "ferocious", undergoes frequent strategic changes in response to new contexts and subject matter, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has had numerous national and international exhibitions, including: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
May. 07, 2023
Manuel Ocampo (1965)
Est: $4,000 - $6,000
Senakulo, 1988 Oil on canvas Signed on recto 15 3/4 x 21 inches
Santa Monica Auctions
Apr. 22, 2023
Manuel Ocampo (b. 1965) There Is Only “Do” And “Not Do”
Est: ₱50,000 - ₱65,000
Manuel Ocampo (b. 1965) There Is Only “Do” And “Not Do” signed (lower right) year 2020 oil on canvas 10” x 8” (25 cm x 20 cm) Accompanied by a certificate issued by Golden Cargo Gallery and signed by the artist confirming the authenticity of this lot
Leon Gallery
Mar. 28, 2023
MANUEL OCAMPO - Untitled
Est: -
MANUEL OCAMPO Philippines 1945 Untitled. 2008 Oil on canvas Back signed, titled and dated 2008 Measurements 197 x 157 cm ORIGIN Adhoc Gallery, Vigo Private collection
Subastas Segre
Feb. 07, 2023
MANUEL OCAMPO - DEPT of the avant-garde clichés
Est: -
MANUEL OCAMPO Philippines 1945 DEPT of the avant-garde clichés. 2007 Oil on canvas Back signed and dated 2007 Measurements 70 x 50 cm PROVENANCE Galerie Nosbaum & Reding-Art Contemporain, Luxembourg Private collection
Subastas Segre
Jan. 21, 2023
Manuel Ocampo (b. 1965)
Est: ₱80,000 - ₱104,000
Untitled signed and dated 2019 (lower left) oil on canvas 30” x 36” (76 cm x 91 cm)
Leon Gallery
Jan. 21, 2023
Manuel Ocampo (b. 1965)
Est: ₱8,000 - ₱10,400
Hahaha Utopia 2018 Edition 11 of 25 sugar-lift aquatint and relief on Stonehenge 320 gsm paper 13 1/2” x 10 1/2” (34 cm x 26 cm)
Leon Gallery
Dec. 19, 2022
MANUEL OCAMPO (Quezon City, Philippines, 1965). "God is my co-pilot". 1997. Mixed media on canvas. Signed on the back.
Est: €30,000 - €35,000
MANUEL OCAMPO (Quezon City, Philippines, 1965). "God is my co-pilot". 1997. Mixed media on canvas. Signed on the back. Size: 250 x 195 cm. Manuel Ocampo is the "enfant terrible" of current art. A polemic artist, but demanded by museums and galleries all over the world, he displays an irreverent cosmogony through which he directly criticises the weight of Catholicism in his native Philippines. American cultural monopoly and imperialism is also treated with intelligent humour in his paintings. In this case, the characters gathered around a table (a witch and her henchmen) allegorise the abuses of power in the name of religion. It is characteristic of his approach to juxtapose expressionist traces and references to popular culture. Manuel Ocampo is considered the most important Filipino artist today. His painting, described by the media as "devastating", "brutal" and "ferocious", undergoes frequent strategic shifts in response to new contexts and subject matter, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has had numerous national and international exhibitions, including: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Dec. 14, 2022
MANUEL OCAMPO (B. 1965) Los Comicos Ambulantes oil on canvas 60 x 48 in. (
Est: $5,000 - $7,000
MANUEL OCAMPO (B. 1965) Los Comicos Ambulantes oil on canvas 60 x 48 in. (152.4 x 121.9 cm.)
Christie's
Dec. 13, 2022
MANUEL OCAMPO - Primordial
Est: -
MANUEL OCAMPO Philippines 1945 Primordial. 2006 Oil on canvas Signed and dated 2006 Back signed and dated Measurements 182 x 121 cm PROVENANCE Adhoc Gallery, Vigo Private collection
Subastas Segre
Nov. 06, 2022
Manuel Ocampo (1965) Untitled, 1990
Est: $2,000 - $2,500
Manuel Ocampo (1965) Untitled, 1990 Oil on wood Signed, titled, dated, tagged on verso Patricia Correia Projects 23.25 x 11.875 x 2.375 inches
Santa Monica Auctions
Oct. 21, 2022
Manuel Ocampo (b. 1965)
Est: ₱10,000 - ₱13,000
Manuel Ocampo (b. 1965) Hahaha Utopia 2018 Edition 11 of 25 sugar-lift aquatint and relief on Stonehenge 320 gsm paper 13 1/2” x 10 1/2” (34 cm x 26 cm) Accompanied by a certificate issued by STPI Singapore and signed by the artist confirming the authenticity of this lot
Leon Gallery
Oct. 20, 2022
Manuel Ocampo, Sto. Tomas
Est: $8,000 - $12,000
Manuel Ocampo Sto. Tomas 1990 oil on canvas 67 h × 67 w in (170 × 170 cm) Signed, titled and dated to verso 'Manuel Jonas Ocampo 1990 Sto Tomas'. Provenance: Fred Hoffman Fine Art, Santa Monica | Private Collection Literature: Virgin Destroyer, Manuel Ocampo, pg. 57 illustrates this work This work will ship from Los Angeles, California.
Los Angeles Modern Auctions
Jul. 20, 2022
MANUEL OCAMPO (b. 1965) Vorsicht Natur [Beware of Nature] oil on linen 59
Est: $5,000 - $7,000
MANUEL OCAMPO (b. 1965) Vorsicht Natur [Beware of Nature] oil on linen 59 x 51 1/4 in. (150 x 130.2 cm.)
Christie's
Jul. 12, 2022
MANUEL OCAMPO (Quezon City, Philippines, 1965). Toy 2r. Paint and resin. Signed on the base. With die-cut Toy 2R stamp on the base.
Est: €1,500 - €2,000
MANUEL OCAMPO (Quezon City, Philippines, 1965). Toy 2r. Paint and resin. Signed on the base. With stamped Toy 2R on the base. Size: 22 x 13 x 10 cm. Qee is a line of designer dolls created by the founder and president of Toy2r, Raymond Choy. Born in 2002 in Hong Kong, Quee has revolutionised the world of design, introducing contemporary art into the vinyl toy market. Under the slogan "Everyone can design", Choy's identifying idea has brought together the creations of important artists from all over the world, from Eugenio Merino, Emilio García, Albert Pinya and Elenza Monzo to Chu Uroz, Manuel Ocampo and Max Ripo. In this way, each artist expresses on these dolls - a particular "3D canvas" - his or her way of understanding the world. These curious characters are available in various sizes including 1.5", 2.5", 8", 16", 36" and the 60" Qee. Toy2r also provides D.I.Y (Do It Yourself) Qees for aspiring designers. They are articulated, as they move the head, arms and legs. Since its birth, Toy2r has received numerous internationally renowned awards around the world, making it a leading firm in design toys. Manuel Ocampo is considered the most important Filipino artist today. His painting, described by the media as "devastating", "brutal" and "ferocious", undergoes frequent strategic shifts in response to new contexts and subject matter, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has had numerous national and international exhibitions, including: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.
Setdart Auction House
Jun. 11, 2022
Manuel Ocampo (b. 1965)
Est: ₱800,000 - ₱1,040,000
Manuel Ocampo (b. 1965) Eeeeeee 2014 oil on canvas 50" x 50" (127 cm x 127 cm) PROVENANCE Manifesto Gallerie Manuel Ocampo’s works are generally reflective of presentday culture, often giving off an unsettling and shocking effect to the viewer. He believes that an artist’s duty is to his or her creation and maturity shows when one is not much preoccupied anymore about what people think or how they explain a certain work. Instead of being drawn to sole meaning, he is driven by the urge to create, to deliver. He unconventionally depicts cultural and religious figures and symbols as a way of garnering an immediate emotional response from the viewer. But beyond the inherent shock value of his works lies a much deeper and complex commentary on contemporary life. In this untitled oil on canvas piece Ocampo presents us with his take on what appears to be the still-life genre. But instead of the usual subject matter typically found in still-life works, Ocampo’s frame features religious and cultural items, objects, and symbols. These are placed on top of a table-like structure shaped like a 6-pointed star or a hexagram. While the manner in which the structure is presented is seemingly welcoming or inviting the viewer to partake in what it has to offer. Ocampo’s work can be read as a commentary and critique on the place commodities and consumption are situated within contemporary life. His use of religious and cultural symbols alludes to the seemingly ritualistic and divine nature of these materials, effectively commenting on the nature of such objects. (J.D.)
Leon Gallery
Dec. 09, 2021
Manuel Ocampo, geb. 1965 Quezon City
Est: €8,000 - €12,000
THE STREAM OF TRANSCENDENT WORKING TOWARD THE GOAL, 2001 Acryl auf Leinwand. 152,4 x 213 cm. Verso signiert und datiert 2001 Ungerahmt. Nach Studien- und Arbeitsaufenthalten an der California State University und in Sevilla zog es Ocampo zurück auf die Philippinen, wo er seither in Manila lebt. (1291191) (13)
Hampel Fine Art Auctions
Dec. 01, 2021
Manuel Ocampo: Discovering the Ground Zero of Criticism
Est: €10,000 - €15,000
OCAMPO, MANUEL 1965 Quezon City/Philippines Title: Discovering the Ground Zero of Criticism. Date: 2006. Technique: Acrylic on canvas. Measurement: 183 x 123cm. Notation: Signed and dated verso: M Ocampo 06. Provenance: - Private collection Berlin. Estimated shipping costs for this lot: Arrangement after the auction.
Van Ham Kunstauktionen
Dec. 01, 2021
Alexey Kallima: Die Berufung
Est: €8,000 - €12,000
KALLIMA, ALEXEY 1969 Grozny/Russia Title: "Die Berufung". Date: 2004. Technique: Acrylic, graphite and sepia on canvas. Measurement: 160 x 160cm. Notation: Signed (in cyrillic) lower right: Kallima. Signed, titled, inscribed and dated (Cyrillic) on verso: Alexey Kallima "The Calling" 160 x 160 canvas, acrylic, graphite, sepia 2004. Provenance: - Gallery Guelman, Moscow - Private collection Ireland. Estimated shipping costs for this lot: Arrangement after the auction.
Van Ham Kunstauktionen
Oct. 26, 2021
MANUEL OCAMPO - Kicking them shit outta them bitches (language imposesa patterned veil
Est: €1,600 - €2,400
MANUEL OCAMPO Philippines 1945 Kicking them shit outta them bitches (language imposesa patterned veil. 1998 Mixed media on cardboard Signed and dated 1998 Size 78 x 56 cm PROVENANCE (label on the back) Soledad Lorenzo Gallery, Madrid Private collection
Subastas Segre
Sep. 11, 2021
Manuel Ocampo (b. 1965) Otto Dix, The Artworld, 1972
Est: ₱300,000 - ₱390,000
Manuel Ocampo (b. 1965) Otto Dix, The Artworld, 1972 signed and dated 1998 (lower left) oil on canvas 48" x 36" (122 cm x 91 cm) P 300,000 PROVENANCE Archivo 1984 Gallery Manuel Ocampo visually echoes the artistic practice of the acclaimed German expressionist painter Wilhelm Heinrich Otto Dix in this 1998 oil on canvas painting. Otto Dix depicted the inhumane realities of German society during the Weimar Republic and the brutalities of the two world wars. As with Otto Dix, Ocampo portrays the concrete situation of sex work in a globalized society. Employing a satirical approach, the artist exposes modern-day enslavement and human trafficking committed and sustained by an imperialist power. The female figures representing three races show their dependency on a sailor symbolizing the American Navy. The women’s subservience to the male figure depicts male chauvinism. Machismo – brainwashing men into thinking they are entitled to whatever they want – sustains this culture of oppression and exploitation. Combined with the seemingly inescapable shackles of neoliberal globalization – a consequence of imperialism – Ocampo enlightens his viewer to the commodification of women that has only become more rewarding for the unabashed perpetrators. In line with Ocampo’s message, we live in a society where sexual violence towards women and other minority groups is normalized. Most conversations surrounding trafficking shift the blame towards the victims, showing a power imbalance between the violator and the violated. This turns a blind eye to the harsh reality of the victims struggling with poverty, leaving them to the necessity of “selling” themselves to earn a livelihood.
Leon Gallery
Jun. 05, 2021
Manuel Ocampo (b. 1965)
Est: ₱1,400,000 - ₱1,820,000
Manuel Ocampo (b. 1965) Self-Portrait (You better watch out what you are saying in this society People are quick to crucify you) ca 1985 oil on canvas, plastic, denim, paper on wood and latex paint 50 1/4” x 83” (127 cm x 211 cm) Exhibited: Manuel Ocampo: Early Works (1985 - 1994) , Archivo 1984 Gallery, Legazpi Village, Makati City, February 13 - April 20, 2017 Literature: Ocampo, Manuel, et al. Manuel Ocampo: Heridas de la Lengua: Selected Works . Smart Art Press. Santa Monica, CA. 1997. p. 3. Armstrong, Elizabeth, et al. Double Trouble: The Tom Patchett Collection . Smart Art Press. Santa Monica, CA. 1998. p. 188. Zinampan D. “The Devil You Know.” Art Asia Pacific . Issue 103. May-June 2017. Sydney, AU. pp. 102-103. As one of the most unique and inventive voices in Philippine art today, visual auteur Manuel Ocampo has become the poster child of Philippine art on the international stage. Since the beginning of the 90s, Ocampo has regularly exhibited his works internationally; specifically in Spain, France, Germany, Mexico, and the United States. Beyond that, he has also been known to feature in international fairs in Basel, Miami, and Berlin, among others. Ocampo’s art features a myriad of tantalizing allegory and symbolism that seek to subvert and engage. His canvases are often populated with irreverent and kitschy images, effectively grounding them to a much more understandable and direct visual experience. In February 2017, a showcase of Ocampo’s earliest works was exhibited at the Archivo 1984 Gallery in Makati, providing the general public with the occasion to juxtapose his contemporary pieces from his works during his initial venture into art when his creations were dominated by a menacing atmosphere. This piece is the earliest existing work by Ocampo in the market. According to the artist, he made this three months after arriving in Los Angeles. Evocative of the style of American painter Robert Rauschenberg’s combination of collaged found objects, Ocampo presents the viewer with an assemblage of images and iconography all done in his distinctly irreverent style. The work is sectioned into four general parts, with three smaller sections placed on the right which seemingly complements the central image that takes up a sizable portion of the piece’s right side. The surface of the canvas depicts a decapitated man, several buildings, a church, and a silhouette, with a jar, a denim jacket, and a rag complementing the whole composition. The images themselves adhere to Ocampo’s distinctly eccentric aesthetic that combines elements of both pop and naive art—from a crudely drawn silhouette of what appears to be a church to a sketch of a headless body with its groin area covered by an oddly mundane pitcher. The artist presents us with a chaotic yet apt reflection of the human condition in a postmodern society. Although characterized as an eccentric piece in his oeuvre, You Better Watch Out displays Ocampo’s initial experimentation and nonconformity to orthodox art standards.
Leon Gallery
Apr. 09, 2021
Manuel Ocampo (b. 1965)
Est: ₱60,000 - ₱78,000
Manuel Ocampo (b. 1965) Das Kapital dated 1997 acrylic ink on paper 30” x 22” (76 cm x 56 cm)
Leon Gallery
Apr. 09, 2021
Manuel Ocampo (b. 1965)
Est: ₱20,000 - ₱26,000
Manuel Ocampo (b. 1965) Armanduo #1 2003 collage 8 1/2” x 11” (22 cm x 28 cm)
Leon Gallery
Apr. 09, 2021
Manuel Ocampo (b. 1965)
Est: ₱350,000 - ₱455,000
Manuel Ocampo (b. 1965) Untitled signed and dated 2013 (verso) oil on canvas 64” x 51” (163 cm x 130 cm)
Leon Gallery
Feb. 27, 2021
Manuel Ocampo (b. 1965) - Why I Hate Europeans
Est: ₱1,800,000 - ₱2,340,000
Manuel Ocampo (b. 1965) Why I Hate Europeans signed (verso) 1992 oil and paper on canvas 72” x 76 1/2” (183 cm x 194 cm) Provenance: Acquired directly from the Tom Patchett collection Accompanied by a certificate signed by the artist and issued by Archivo, 1984 confirming the authenticity of this lot Literature: Giant robot: Sheer Art Attack, By Martin Wong Issue 39, p. 67 Heridas De La Lengua by Pilar Perez and Kevin Power (1997), p. 13 Double Trouble: The Tom Patchett Collection, 1998, by Elizabeth Armstrong (Author), Ralph Rugoff (Author), Auditorio De Galicia (Corporate Author). San Diego Museum of Contemporary Art (Corporate Author), Pilar Perez (Editor), pp. 189 Exhibited: Guggenheim gallery, “Same Difference”, Chapman University, March, 1998 57th Venice Biennale Philippine Pavillion at the Museum of Contemporary Art and Design (MCAD), “Spectre of Comparison”, May 23, 2019 - July 2019 WRITE UP: In a recent conversation Manuel Ocampo points out, “the scene depicted in the painting is that of a group of freaks and monsters prancing around in jubilation of an unspecified party or event.“ He elucidates that the painting can be clearly seen within the context of a game changing international art exhibition—Magiciens de la Terre, 1989 (curated by Jean Hubert Martin), a groundbreaking exhibition of international artists mainly from non-western countries. It was seen as a paradigm shift in the way how art from countries like Africa, South America, Asia and the eastern bloc countries are becoming visible and are gaining art market reputation and dominating the art discourse. Painted in the 90s when he was hailed as the hottest young Filipino artist in America, he was invited to exhibit in Documenta in Kassel, Germany in 1992. He submitted four paintings, but three were excluded because they featured swastikas. Why I Hate Europeans is a reaction to the excised work. But he also shares that he is recalling his intentions and is aware that people read paintings in a certain way. His early work references political art maybe because he doesn‘t like politics especially political art. “I wanted to mash it up, reconfigure it and expose it ‘s ridiculousness. Now everything is politicized and political art is prevalent and is the dominant language in the visual arts so maybe my attitude is to just deal with it and see how one can work with it.” The painting is left ambiguous or maybe not—the intention of the artist is never known. Ocampo ‘s concern too is to evoke a look—maybe one of an old painting that brings up memories of a different time and place. Why I Hate Europeans was part of the 1998 landmark exhibition titled “Same Difference“ held at Chapman University‘s Guggenheim Gallery. Curator Maggi Owens assembled work about minority cultures featuring artists William Anastasi, Judy Baca, Tom of Finland, Michael Ray Charles, David Levinthal, Manuel Ocampo, Alfred Quitoz, Bruce and Norman Yonemoto. (Jerome Gomez)
Leon Gallery
Jan. 23, 2021
Manuel Ocampo (b. 1965) Untitled
Est: ₱100,000 - ₱130,000
Manuel Ocampo (b. 1965) Untitled signed (lower right) 20” x 16” (51 cm x 41 cm) Provenance: Pundido Artspace
Leon Gallery

Lots Per Page:

Manuel Ocampo Sold at Auction Prices

b. 1965 -

Upcoming Lots

Past Lots

0 Lots

Categories

Auction Date

Seller

Seller Location

Price Range

Popular Artists

Get Invaluable on Your Phone

Bid On-the-Go!