SEL ASAR SUN ARYO ART SPACE
Jl. Bukit Pakar Timur No. 100 Bandung 40198 West Java - Indonesia P. (+ 6 2 2 2 ) 2 5 0 7 9 3 9 F. (+ 6 2 2 2 ) 2 5 1 6 5 0 8 E. selasar@bdg.centrin.net.id W. www.selasarsunar yo.com Open daily at 10 am - 5 pm Closed on Monday and national holiday
T h i s Bo o k l et is creat ed in pur pose to fill th e req u i rement of Aest het ic Midt er m. T h e In forma tions gat hered based from fi el d tri p a nd some are based f rom off icial Websit e As h r i va R a c h m a 160 126320 2
C O NTENT
THE B U IL D ING
3
FACILITIES
4
AB O U T S U N ARYO
5
HIS COL L E CTION S
6
T HE BU ILD ING On th e slo p e s o f Da g o Hills, n o t fa r fro m the c ity c e n te r, a u n iq ue a r tsp a c e o ffe rs ar ts and c u ltu ra l a c tivitie s to th e w h o le c o m m u nity. Co nstru c te d ove r fo u r ye a rs (1 9 9 3 -1 9 9 7) by S u n a r yo a nd B a sk o ro Te d jo, S e la sa r S u nar yo Ar t S p a c e h as b e e n o pe n to the p u b lic sin c e S e p te m be r 1 9 9 8 . T h e te rm ’se la sa r ’ m e aning ‘ ve ra n d a h’ , re fle c ts th e d e sig n c o nc e p t, an open sp a c e th a t w e lc o m e s a ll w h o w ish to e x per ie n c e a r t in th is u niq u e se ttin g . T h e c re ation of the Ar tsp a c e h a s be e n S u n ar yo’s lo n g standing dream, a masterpiece dedicated to the ar t w orld an d c om m u n ity. Lo w e r leve l spa c e s p re se n t a r tw o rk s by emergin g a n d e sta b lish e d Co n te m p orar y In d o nesian Ar t i s t s U p p e r L eve l i n do o r a n d o u t d o o r e x h i b i tio n sp a c e s p re se nt se le c te d w o rk s by Sunar yo in c lu din g p a in tin g , sc u lp tu re , p rin ts a n d installatio n .
FACILITIES
AM P H IT H E AT E R
B ALE TON GGOH
C IN D E R AM ATA S E L AS AR
S EL AS AR CAF E
AB O U T S U N ARYO Sunar yo is known as versatile ar tist whose activities have been multi-faceted. After graduating with a degree in sculpture from IT B i n t h e 1 9 6 0 s , h e h as n eve r l i m i t e d h i s ar tistic expression to any one medium. He does make sculptures, but he also paints, makes graphic prints, designs monuments, creates stage settings and landscapes, is involved in architectural projects, etc., besides dedicating almost half his life to teaching at his alma mater. When the time for his retirement was approaching almost 15 years ago, he established an ar t center in Bandung. All that Sunar yo has done until now reflects a totality and dedication to a r t i n In d o n e s i a .
C OL L E CT I O NS
Titik Nadir (The inferno) came from Sunar yo's personal resistence to the work he created to officate the opening of Selasar Sunar yo Ar t Space, September 1998. At a time when Indonesia was undergoing social discontent, followed by a nation 's politicall uncer tainty as well as profound anxiety. The national situation had fallen into critical point of cha ngeover, anarchic and tense, colored by extensive vio lence, famine, demonstrations and even rape. Empathy towards social problems are clear in Sunar yo's acts wrapping this works. It essentially comprises of: Painting and Sclupture works in black fabrick with an added of interpretation and a new title.
1998 - TITIK NADIR
Puisi Titik Putih (The White Poems) is Sunar yo's work at the beginning of the new millenium, an installation that responded to the interior of Galeri Decourous, Jakar ta Design Center. Par ts of Titik Nadir aesthetic traces are evident in Puisi Titik Putih project, which helped Sunar yo to make manifest again his ar tistic strength as well as his belief in facing social situations. Puisi Titik Putih is aimed to break open the frosty as well as apathy and to return the social phenomena to a poetic representation. Puisi Titik Putih become a jumping ground to begin this new spirit.
2000 - PUISI TITIK PUTIH
In t h e i n s t a l l a t i o n o f A S t ag e O f M e t a m o r p h o s i s , there is a clear style of expression, a visual language that also present in Sunar yo's previous work,. Related to h i s e a r l i e r w o r k s , h e re S u n a r yo c o n t i n u e to s p e a k of the social situation of Indonesia society. Only, in this exibhition Sunar yo's worr y turns to the process of change and the suspecbility and questioning that follow. He inquires whether reform is a change that will give significant difference to the countr y 's condition. Is a form of change will always run smoothly with the shifting condition from bad to better? These questions made manifest Sunayo's unease towards suspectibility that change brings
2001 - A STAGE OF METAMORPHOSIS
Titik Gamang consists of a dim, winding alley with a room at its end filled with clippings from print media ar ticles with headlines with bombastic language, The floors are full of husks, and there are also eight televisions that remind us all channels with the lure of foolish prizes. There are also two par ts of pedicap to put on the wall and one whole pedicap with a television inside it that is showing a video of an eccentric pedicap driver, who is still working at his whole age complete with strange costumes. From then on, the journey continues fur ther down the alley until the visitors reaches a white room with a spiritual and contemplative atmosphere.
2002 - TITIK GAMANG
Sunar yo's anxieties and concerns about the social and political condition in Indonesia brought his obser vations to a global level. Which, at the beginning of the millenium, is filled with many humanitarian issues that Sunar yo finds harrowing. Through the installation that is 120 square meter large, Sunar yo creates a scener y of a barren desser t by s c a t t e r i n g s an d a n d l i m e s to n e . N u m e ro u s c h i c ke n c ag e made from bamboo spread haphazardly. There are large bamboo constructions that confine fish traps, and inside it is a silhouette of a human figure. This works actually symbolize the greed of the all-might countr y in invading oil producing countries with humanitarian alibi. Not only oil was absorded by dollar, but also mankind.
2 003 - TE R P E RA N G K A P DALAM K UR UNG AN