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REP PH's new offering, ‘ART', brings up the ever-looming question: ‘How do you put a price on an artwork?'

Above Victor Lirio stands beside a teaser poster of REP's production of Yasmina Reza's 'ART' (Photo: courtesy of Repertory Philippines) Directed by Victor Lirio, ART 's creative and production teams include Miguel Urbino (scenic and costume design), Miriam Crowe (lighting design), Fabian Obispo (original music and sound design), Maisie Carter (fight director), Zoe Littleton (voice coach), Uriel Villar (assistant director), Julia Pacificador (associate scenic designer), Hazel Gutierrez Marges (production manager) and Jayvee Carreon (production stage manager). Besides being the catalyst for revelatory conversations among three friends, unfurling their ill-will against each other, the painting in question also symbolises the self-emptiness that has soured their fifteen-year friendship. Juggling characteristics and temperaments associated with narcissists, avoidants and people pleasers, the characters gradually unveil their true selves and remorse against one another as the story progresses. But buried deeply, both in the painting and their exchange of words, is the possibility to start over and see their friendship's potential to move forward. Seeing themselves connect with the abstract work on a deeper level has allowed for introspection—the values they once upheld, the pretensions built over the years and the trajectory of their relationships with themselves and their loved ones. Above A scene from Repertory Philippines' 2025 production of Yasmina Reza's 'ART' (Photo: courtesy of Repertory Philippines) With my extensive immersion in the commercial art scene, I have realised that there are determining factors considered when placing an amount on an artwork. There is provenance, as an acquired artwork traces its history to its long list of collectors or the institutional spaces it was seen in, such as galleries, museums or auction houses. There is, of course, the name of the artist and the prestige it carries with it. Suppose it was by a National Artist or Presidential Order of Merit recipient, the artwork will be valued at an insurmountable amount, no matter if it is a draft ( boceto ) or the final work. If it were by an emerging artist, it would be reasonably priced. The scale and medium of the work are also important things to consider. Some galleries would price paintings by square metres. Meanwhile, some would try to upsell the work by explaining to the prospective buyer the intricate process and the materials used behind it. These are just some of the basics, but there are also market analysis, sale records and other complexities within the industry that gallerists take into account when pricing their artists' works. In ART , however, the symbolic meaning of the Antrios painting and the viewers' resonance with it emerge supreme. Above A scene from Repertory Philippines' 2025 production of Yasmina Reza's 'ART' (Photo: courtesy of Repertory Philippines) In a way, one can read between the lines of the play that Serge purchased the Antrios painting as a way to mock Marc. Another possible interpretation is that Serge wanted to liberate himself from how his friends perceived him. However, none of these were apparent, as we would always return to how much Serge had completely fallen in love with the painting, that he was willing to pay an insane amount. But truly, was it insane? How do you put a price, or at least a ballpark value, into a work of art that not only speaks to you but also allows your friends to see the blots in their self-perceived immaculate souls? How do you measure your emotions, frustrations and aspirations when they all mesh together, producing various shades of white that bury the colours within? How can you sever ties with a friend who has known all your colours, even the darkest ones? Above A scene from Repertory Philippines' 2025 production of Yasmina Reza's 'ART' (Photo: courtesy of Repertory Philippines) Exiting the theatre, I spent more time looking at the masterful artworks outside, reminding myself of art's much more important value—hope. REP partnered with members of the HOPE Project, an initiative made up of PDLs from the Bureau of Jail Management and Penology (BJMP) in Lipa City, Batangas, to allow theatregoers to purchase any of the exhibited works for a good cause. Founded by jail warden Aris Villaester, the HOPE (or Help One Person Deprived of Liberty Every Day) Project supports the release of qualified and deserving PDLs who are ill, in their senior years, and have no financial means to pay for legal fees. Much like the characters in the play, may we find meaning and value in art beyond the price and the colours our eyes can see. NOW READ Ames Yavuz opens its new London gallery with a thought-provoking exhibition of Isabel and Alfredo Aquilizan's work The beauty of order in abstraction: National Gallery Singapore mounts its first-ever solo exhibition dedicated to Fernando Zóbel Art and community flourish at Southlinks Estate