Charlie Co (b. 1960)
Old Boys Club
signed and dated 2002 (lower right and verso)
oil on canvas
46 1/2" x 58" (118 cm x 147 cm)


León Gallery wishes to thank the artist forconfirming the authenticity of this lot




Charlie Co’s oeuvre seemingly acts as a visual companion of a satirical column that aims to expose the system’s follies. His visual language—allegorical, symbolical, and whimsical— exudes a child-like playfulness, which the casual observer may initially perceive as an ode to a nostalgic longing for one’s childhood naivety and innocence. But Co’s arresting iconography is an outright criticism of existing social conditions. Created after the Second EDSA People Power and the subsequent general elections, Co confronts the irony of traditional politics in Old Boys Club. The artist fuses elements of surrealism and social realism to produce a work that exposes the contradictions within a rotten socio-political system. Here, traditional politicians engage in merrymaking, consolidating their forces to exploit further and oppress the people. Rendered in a satirical approach, Co depicts the subjects as comical figures, set to take advantage of the power entrusted to them by the people to advance their mercenary interests and feed their avarice. One intriguing figure is a man standing at the back and holding a mask. This figure embodies one of the traditional politician’s main attributes: deception through distortion of facts and illusory and groundless platforms. But amid the festivity, the people remain vigilant. Under our present constitution, “sovereignty resides in the people, and all government authority emanates from them.” We gave them the power—and we can take it back. We just have to constantly remind ourselves: for what and for whom are we struggling? “This piece was about the 2001 elections,” shares Co. “Politicians are celebrating victory. A lone woman, thenpresident Gloria Arroyo, sitting with her back facing the viewer, looks at herself in the mirror. Different characters are gathered around the table, mostly clowns. They are even accompanied by symbols of corruption (crocodile underneath the table) and abuse of power. As they celebrate their victory, behind the curtains are red flags that symbolize that they are being closely watched from the outside by dissidents.” (A.M.)