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

Jul. 25, 2026
De Ocampo
Est: ₱15,000 - ₱19,500
Untitled signed (lower right) oil on canvas 16 1/2” x 25” (42 cm x 64 cm)
Leon Gallery
Jun. 13, 2026
Manuel Ocampo (b. 1965)
Est: ₱1,000,000 - ₱1,300,000
Untitled unsigned oil on canvas 74 3/4" x 78 3/4" (190 cm x 200 cm) PROVENANCE Private collection, Manila Dense, symbolic, and deliberately unsettling, Manuel Ocampo’s featured artwork masterfully combines figuration and abstraction to deliver a visual image that reflects his recurrent concerns with identity, colonial history, religion, and the grotesque. Featuring an abstracted image of a vase standing center stage, with various shapes and lines radiating outward. Angular and web-like lines had also been riddled and scattered throughout the canvas, creating a fractured spatial field that made the entire painting chaotic and unstable. Forcing the viewer to constantly shift their gaze from one space to another. What’s unsettling about this masterpiece that instantly captures our gaze is the presence of pitch-black, roughly painted heads scattered across the canvas—all displayed like ornaments from a vase—suggesting anonymity, erasure, or dehumanization. A loss of identity and a possible representation of collective trauma, shaped by the country’s long colonial history. The whole piece feels like a subconscious map filled with symbols, anxieties, and unresolved tensions. Resisting easy, strong interpretation by combining order and chaos to create an intentionally disorienting masterpiece through childlike drawing with unsettling imagery, Ocampo presents this piece as an exemplary work that highlights his crude, almost naive visuals to delve deep and explore complex, uncomfortable ideas regarding culture, history, and belief. (Mark John Castañeda)
Leon Gallery
May. 01, 2026
MANUEL OCAMPO (FILIPINO 1965-)
Est: £3,000 - £5,000
MANUEL OCAMPO (FILIPINO 1965-) PEACE DOVE MONUMENT, 2003 acrylic on canvas 152cm x 120cm (60in x 47 ¾in) with Monika Sprüth / Philomena Magers, Munich.Y2K! Selected Works from an Important Private Collection of Contemporary Art.
Lyon & Turnbull
Apr. 18, 2026
Manuel Ocampo (b. 1965)
Est: ₱70,000 - ₱91,000
Untitled signed (lower right) oil on canvas 23 1/2” x 19 1/2” (60 cm x 50 cm) Presenting a bright, playful visual image that deceptively hides the artist’s commentary about systems of belief, power and colonial influence, Manuel Ocampo’s featured art destabilizes familiar symbols to force the viewer’s thoughts about the piece and question their assumptions—establishing a chaotic visual field where religion, colonial history and western artistic language collides and floats—completely stripped of its authority and indefinitely unstable. (Mark John Castañeda)
Leon Gallery
Apr. 08, 2026
MANUEL OCAMPO Quezon City, Philippines (1965) "Europa Uber Alles"
Est: €3,750 - €5,000
Oil on canvas and collage Provenance: -OMR Gallery, Mexico -Private collection, Barcelona Exhibitions: -CDAN, Huesca -MUBAG, Alicante -CCT, Terrassa -Club Matador, Madrid. Measurements: 32 x 40 cm
Ansorena
Feb. 17, 2026
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe úber alles". 1993. Oil and collage on canvas. Work exhibited at OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993.
Est: €5,000 - €6,000
MANUEL OCAMPO (Quezon City, Philippines 1965). "Europe úber alles". 1993. Oil and collage on canvas. Work exhibited at OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993. Measurements: 32 x 40 cm; 63 x 63 cm (frame). 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, in which he ironizes the myth of a united Europe, the juxtaposition of crosses, reproductions of devotional paintings and Christian emblems next to swastikas is a statement of intent. However, his comments are never literal, as they are layered with many layers of interpretation. Enfant terrible of contemporary art, he would soon be sought after 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 "ferocious", 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. Work exhibited at OMR Gallery, "Manuel Ocampo" exhibition, Mexico City, 1993.
Setdart Auction House
Feb. 14, 2026
Manuel Ocampo (b. 1965)
Est: ₱1,600,000 - ₱2,080,000
Murio la Verdad signed (verso) dated 1990 oil and collage on canvas 72" x 108" (183 cm x 274 cm) PROVENANCE Ro Gallery, Summer Modern and Contemporary Art Auction, New York City, 17 July 2018, Lot 294 Presenting a powerful example of his confrontational and syncretic visual masterpieces, Manuel Ocampo combines Catholic iconography, colonial history, popcultural reference, and violent satire into a masterpiece that provokes and forces viewers to confront uncomfortable histories and socio-political issues. Focusing first on the central image is a pair of humanoid figures; The first one on the right is a conical-shaped hooded figure—almost executioner-like— holding what resembles a rifle as the second figure—the devil—seems to cling to the human as if guiding the latter to as arrows seem to shoot from the devil's bow. What's interesting about this piece is that the two central figures seem to stand above the clouds—resembling popular iconography of saints but applied to devils or figures with sinister or violent intent. This corruption of sacred form is central to Ocampo's critique of cultural erasure, the use of historical revisionism to disrupt truth, and internalized colonial values. Another striking detail on the piece is the phrases and words illustrated on parts of the canvas. The first is the phrase strung across the top of the central figures, like a banner, that reads both as an accusation and an obituary: "Murió la Verdad," meaning "The truth died." A phrase that strongly suggests the death of truth—possibly under colonial or authoritarian narratives, religious domination, or social propaganda. It was then complemented by the phrases "Subir y Bajar" and "Muerte por muerte", which translates to "Rise and Fall" and "Death for Death" respectively. These phrases suggest that the truth itself is often subject to manipulation—some truths rise while others are pushed into obscurity. Many truths are erased or replaced entirely. All based on who holds the power, while moral collapse, cyclical violence, and instability persist beneath the canvas of such "truths". Overall, Ocampo's 1990s artwork, Murió la Verdad, read both as a statement and a declaration that colonial religion, historical revisionism, and authoritarian power had killed truth. By embodying the artist's provocative and offensive strategy in artmaking, Ocampo had managed to cement claim by weaponizing the same medium of symbols against themselves. Essentially exposing how sacred narratives have always been used to justify violence and silence while hiding or changing the "truth" in their favour, like expendable currency. His angry, confrontational, irreverent, and historically charged art style presents a vision of history as a brutal theater of power, faith, and violence. (Mark John Castañeda)
Leon Gallery
Feb. 10, 2026
MANUEL OCAMPO - Untitled
Est: -
MANUEL OCAMPO Philippines 1945 Untitled. 2008 Oil on canvas Signed, titled, and dated 2008 on the back Dimensions: 197 x 157 cm PROVENANCE Adhoc Gallery, Vigo Private collection
Subastas Segre
Jan. 31, 2026
Manuel Ocampo (b. 1965)
Est: ₱50,000 - ₱65,000
Untitled signed (lower right) acrylic on canvas 22” x 26” (56 cm x 66 cm)
Leon Gallery
Dec. 06, 2025
Manuel Ocampo (b. 1965)
Est: ₱700,000 - ₱910,000
Petrope signed (lower left) dated 1990 oil and collage on wood 96" x 48" (244 cm x 122 cm) PROVENANCE Fred Hoffman Gallery Private collection, Europe Known for his juxtaposition of secular, historical, and religious imagery to evoke sociopolitical criticism, Manuel Ocampo's Petrope displays the artist's subject matter in an iconoclastic and provocative nature, blending sacred Baroque religious iconography with secular and political narrative. The piece contains several intriguing and extremely provoking images, notably a thin, blindfolded man bound by the wrists on a crimson red carpet, a skeleton wielding a pickaxe with the inscription Anti-Kultura (Anticulture), and a ribbon text reading "Anak ng Puta" (Son of a Whore). The bottom half features a hellish dystopia with black demonic creatures spread around the area, harassing humans. One even carries an offensive image of a swastika, as decapitated bodies, skulls, and naked bodies are spread around the scene. Completely framing the scenario as chaotic, helpless, and dystopian—A literal hell on earth. What's interesting about this piece is the title itself. Petrope, the word seems to be rooted in two parts: "Petro" and "Rope."—a literal "strangulation" of oil interest or the metaphorical enslavement to extractive industries in the country. With that in mind, it could be interpreted that the art is a political commentary on the exploitation of the Philippines concerning natural resources, as well as its enslavement to extractive industries. Ocampo effectively employs provocative and baroque iconography to convey his criticism and social commentary on the exploitation of the Philippines through his art, as well as to those viewing the pieces. (Mark John Castañeda)
Leon Gallery
Oct. 25, 2025
Manuel Ocampo (b. 1965)
Est: ₱100,000 - ₱130,000
Robust signed and dated 1998 (upper right) oil on canvas 27 1/2” x 21 1/2” (70 cm x 55 cm)
Leon Gallery
Oct. 23, 2025
MANUEL OCAMPO CATHOLIC SCHOOL DREAM PAINTING, 1995
Est: €8,000 - €10,000
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
Sep. 13, 2025
Manuel Ocampo (b. 1965)
Est: ₱1,000,000 - ₱1,300,000
Once Again First in the World signed (verso) dated 1993 oil on linen diptych 96" x 96" (243 cm x 243 cm) each panel 96" x 48" (243 cm x 122 cm) PROVENANCE The Corcoran Gallery of Art LITERATURE French, Christopher C., ed. 43rd Biennial Exhibition of Contemporary American Painting. Published in conjunction with the exhibition of the same title organized by The Corcoran Gallery of Art. Washington, D.C.: The Corcoran Gallery of Art, 1993. Full-color illustration on page 73 and painting description on page 72. EXHIBITED The Corcoran Gallery of Art, 43rd Biennial Exhibition of Contemporary American Painting, Washington, D.C., 30 October 1993 - 2 January 1994 Manuel Ocampo "Once Again First in the World” 1983 painting possesses numerous details, references, and icons that relate to Western symbols of racism, colonialism, and imperialism, tailored to fit the modern narrative in his signature provocative imagery and art style. Ocampo's piece illustrates a culmination of provocative details. In the center is a figure of an individual wearing what seems to be an outfit worn by the infamous Ku Klux Klan (a hate group known for their violent and racist ideologies to push the white race supremacy), riding a black eagle (a symbol associated with imperial power), while tightly holding the underside of a rifle with one hand, symbolizing racial violence carried by imperial influence. The round border, which was framed by a circle of "sausages" as it was surrounded by flames, hints at the constant consumption of violence as well as the grotesque cycle of violence and domination as moral decay runs rampant. And finally, on the borders are four figures. On the top left, is a demon or an imp asking "Anong oras na pare?" (translated to "What time is it, bro?"), showcasing indifference toward the hellish environment that the central image seems to give. On the top right, an indigenous man is depicted wearing an earring resembling a large clock, instead of traditional tribal ear ornaments, which hints at the distortion of cultures as time progresses. The bottom frame depicts two indigenous people on each side. Still, both of their "cultural identities" are portrayed in a negative light, such as the lip piercing ornament being used as a despicable tray to put out cigarettes, and the afro hair being used as a pin cushion. Manuel Ocampo's explicit critique of the desecration of cultural heritage. And finally, the German phrase banner in the center-bottom of the page that equally translates to the piece's title: "Weider einmal in der welt voran"—Once Again, Leading the World. Mocking the way imperial powers often justify their violence under the guise of progress, civilization, and being world leaders, Ocampo uses the piece as a critique of modern imperialism and the circle of violence that surrounds it throughout time, with indigenous and black people together with their cultural identities who bore the brunt of these systems. (Mark John Castañeda)
Leon Gallery
Jun. 07, 2025
Manuel Ocampo (b. 1965)
Est: ₱500,000 - ₱650,000
Untitled 2008 acrylic on canvas 62 1/4" x 46 1/4" (158 cm x 117 cm) PROVENANCE Mag:net Gallery This piece is unmistakably the work of Manuel Ocampo; unruly, layered, and unapologetically strange. A singular force in contemporary Philippine art, Ocampo has long made waves beyond local shores. Since the early ’90s, his work has been shown across major art capitals, Madrid, Berlin, Los Angeles, Paris, and more, while also commanding attention at global art fairs. What makes Ocampo so compelling is how he pulls viewers into his world of visual contradictions. His paintings are packed with clashing symbols, surreal figures, and jarring humor—like cartoonish creatures, religious allusions, pop culture scraps, and painterly abstraction, all mashed together with raw, chaotic energy. In this particular work, playful meets grotesque: a green, bird-like figure eyes a mess of loops, planes, and airborne toy planes; a cartoonish purple head peers in from the side, and a pink skeletal form floats near the bottom. It’s absurd and enigmatic; but that’s the point. Ocampo uses kitsch and irreverence not just to provoke, but to make the act of looking a little less precious. His works reject neat narratives in favor of collision and complexity. This isn’t art that whispers. It confronts, and disrupts; but always with intention. Ocampo turns the act of painting into a punchline, a protest, and a playground, all at once. (Jed Daya)
Leon Gallery
May. 18, 2025
Manuel Ocampo: Deus, 1991
Est: $800 - $1,500
Manuel Ocampo (1965) Deus, 1991 Monoprint The Printworks Gallery tag on verso Image: 19.75 x 15.5 in; Framed: 29.5 x 25 in
Santa Monica Auctions
Feb. 20, 2025
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
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
Dec. 05, 2024
The Untitled
Est: €5,000 - €7,000
Manuel Ocampo b. 1965 The Untitled signed and dated 2013 (on the reverse) oil on canvas 250 x 200 cm ; 98⅜ x 78¾ in. Executed in 2013. ____________________________________________________________________________ Manuel Ocampo n. 1965 The Untitled signé et daté 2013 (au dos) huile sur toile 250 x 200 cm ; 98⅜ x 78¾ in. Exécuté en 2013.
Sotheby's
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