Iabadiou Piko Catalogue

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Catalogue for A solo exhibition by Iabadiou Piko, Menumpuk di Atas Hamparan Curator Chabib Duta Hapsoro english proofreader Invani Lela Herliana Published by D Gallerie, Jakarta, Indonesia, July 2017 Edition 500 copies Designed by Kotasis Kamar Desain 3x3x3, Surabaya, Indonesia www.kotasis.com

foreword

It has been quite sometime that D Gallerie has not shown abstract paintings. With the vast development of conceptual art, D Gallerie looked to emerging Indonesian artists who work with various mediums within the context of conceptualism, idea over form. I was searching for works that do not use conventional acrylic or oil on canvas, instead I looked for mediums such as photography, video, aluminum, not to mention fish net. Like my colleagues, I was challenged to search for mindblowing artworks other than paintings.

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all of his works. To my naive eyes, the color, the scribble, the native space, everything is balanced.

I am grateful to be surrounded by very talented people and a very supportive family. After more than a year of planning and preparing, the “Menumpuk Di Atas Hamparan” solo show of Iabadiou Piko is finally happening. My sincerest thanks to Chabib Duta Hapsoro who has tirelessly put full effort into the

success of this show. Many thanks also to Piko who gave me the opportunity to show his works at D Gallerie. None of this would have been possible without the support of my family who has always supported me in whatever decision I made for D Gallerie.

Esti Nurjadin D Gallerie

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Two years ago however, I was discussing with Chabib about abstract paintings. I realized that I miss the visually interesting and thrilling abstract paintings that are easily digested by my overly stimulated mind. Such a discussion thus led to serious planning for Piko’s solo exhibition. When Chabib introduced Piko’s works to me I was immediately drawn by the harmony of his color choice and the energy of the scribble on

Membangun Dunia Dalam Lukisan 6

Lukisan abstrak kerapkali secara terburu-buru di­ ang­gap tak punya hu­ bungan apapun dengan du­nia keseharian ka­rena seolah tidak meng­ha­ dir­kan rupa atau obyek yang kita lihat sehari-hari dalam taraf apapun. Ru­ pa pada lukisan abstrak non-figuratif—yang total meng­utamakan esensi ben­tuk—sering dianggap se­bagai substansi yang asing.

Sanento Yuliman menjelaskan bahwa seni lukis abstrak di Indonesia tidak berarti tidak

mempunyai hubungan apapun dengan rupa yang kita kenal.

Rupa seni lukis abstrak justru akrab dengan keseharian pelukis dan penanggap lukisan abstrak, misalnya adalah bumi yang dilihat dari kapal udara dan permukaan benda dilihat dengan sangat dekat (bahkan dengan mikroskop). Ia melanjutkan bahwa cerapan kita tentang dunia rupa yang beraneka ragam ini menjadi faktor penting untuk kita menghayati lukisan abstrak.1 Kita juga dapat melihat sejumlah lukisan-lukisan Nashar yang menghadirkan bentuk-bentuk biomorfik. Lukisan-lukisan itu mengingatkan kita kepada bakteribakteri yang skalanya diperbesar melalui lensa mikroskop. Namun, melalui pernyataan Nashar—

sebagai pelukis abstrak—di atas kita dapat menengarai adanya dunia yang dibangun oleh seniman yang justru terisolir dari dunia luar.

Tulisan ini mencoba memaparkan kekaryaan Iabadiou Piko yang berkutat dengan seni lukis abs­ trak, sebuah praktik yang jarang di­geluti oleh seniman muda Indonesia hari ini. Tulisan ini juga hendak menduga bahwa praktik me­lukis abstrak Piko adalah sebuah pernyataan konseptual ter­ hadap budaya visual hari ini yang juga dipengaruhi oleh watak ke­ karyaannya.

Lukisan-lukisan Piko menampilkan sejumlah unsur rupa yang riuh: sapuan-goresan yang kuat dan bertenaga, jalinan garis yang kusut dan padat, citraan-citraan,

Kawan, bersatu dengan kanvas sangat penting dalam melukis, dalam bekerja.

Dalam keadaan bersatu inilah, melukis mempunyai arti membangun suatu dunia.

Membangun suatu dunia ialah kata lain untuk membangun suatu ide yang diperdapat dalam diri sendiri, dari jiwa sendiri. Semula datangnya dari luar diri kemudian dihayati oleh jiwa. Jadi keadaan bersatu dengan kanvas berarti bahwa kanvas dan cat adalah unsur-unsur dari dunia ide tadi. Kalau kaukatakan kepada tempo hari, bahwa sebelum melukis sebuah lukisan seseorang haruslah memikirkan dengan matang ide apa yang hendak diungkapkannya, maka dengan pengertian yang kukatakan tadi sebenarnya tidak perlu memikirkannya lagi. Apa yang paling dalam yang tersembunyi dalam jiwa mungkin tak bisa dipikirkan dan rasa-rasanya pikiran tak mungkin bisa menjangkaunya. Menurut pendapatku sesuatu yang jauh tersembunyi dalam jiwa itulah yang bisa dianggap “diri” manusia yang sebenarnya. ( N a sh a r , S u r at K e e n a mb e l as, 19 74 )

Karya berjudul Batas Tanpa Tepi misalnya. Di bagian atas kita bisa melihat sebatang pohon dan pagar dan sebidang tanah putih yang mendasarinya. Terdapat juga bentuk biomorfik yang sekilas menyiratkan sepotong

awan. Namun secara semenamena Piko juga menaruh bidang bulat dengan dua lingkaran kecil di dalamnya seperti sepasang mata di bagian bawah yang koyak secara perspektif. Seketika kita melihat kualitas sureal pada lukisan ini. Lukisan itu juga dike­ li­lingi tepian berwarna cokelat yang mengibaratkan sebuah bing­kai bagi para pelihat yang memperlihatkan kesadaran Piko untuk membicarakan tentang konsep representasi dalam lukisan, bukan sekadar menampilkan representasi atas sesuatu.

bisa melihat adanya lansekap mental atau dunia dalam yang mungkin menjadi pelarian atas kenyataan dunia luar yang absolut dan depresif.

Jika kita cermati, lukisan Piko tersusun atas beberapa tumpukan yang kadarnya dapat mengesankan sebuah jarak, ruang dan perspektif serta horison. Dilengkapi aspek sureal yang telah disebutkan kita

Kita bisa mencermati Menumpuk di Atas Hamparan. Mencoret Berisik di Bawah Pink. Di Kejauhan Tampak Pemandangan di atas Laut. Sepotong Jiwa Biru Perlahan Tenggelam. Judul yang cukup

Bagaimana Piko memberi judul pada karya-karyanya juga mampu membuat kita membayangkan se­ bu­ah pemandangan atau peristiwa yang makin memper­lihatkan ke­cen­ derungan surealisme. Unsur-unsur rupa di dalamnya—terutama war­ na—hadir dan memiliki karakter seperti “meruang”, “berisik”, dan “berlalu”.

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beberapa bidang warna yang ber­ ta­brakan dan bertumpang tindih tan­pa sedikitpun menyisakan ru­ ang kosong. Namun, beberapa lu­kisan justru menghadirkan se­ ba­­liknya. Mereka tampil lengang dan “sunyi”. Beberapa lukisan Piko juga menghadirkan sebidang lansekap dan segaris “cakrawala”.

Se­­kilas lukisan-lukisan Piko hadir secara abstrak, namun di sa­at yang sama mereka juga meng­ha­dir­ kan formalisme simbolik atau­pun meng­­arah pada sejumlah repre­ sentasi.

panjang ini—meskipun agak di luar kebiasaan Piko—menghadirkan kecenderungan itu. Lukisan ini menghadirkan horison dan sekilas menampilkan sekumpulan tumpukan garis dan bidang warna di bagian atasnya. Kita bisa melihat dualisme: di satu sisi, saat kita memandang lukisan Piko ini— sebelum mengetahui judulnya— kita dapat tergetar pada komposisi rupa yang lengang dan liris. Di sisi lain, dengan membaca judul tersebut kita mengetahui bahwa bahwa unsur rupa di dalamnya “hidup”, memiliki karakter dan menyarankan representasi dari pemandangan laut.

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Judul pameran ini kemudian mencuplik kalimat pertama dalam judul itu yang dimaksudkan untuk menegaskan salah satu kecenderungan membangun dunia dalam lukisan-lukisan Piko yang belum pernah disinggung dalam pameran-pameran dia sebelumnya.

Dalam sebuah perbincangan Piko menyatakan bahwa lukisanlukisannya merupakan proyeksi atas ingatan yang berseliweran di dalam benaknya yang mengendap dan bertumpuk-tumpuk setiap harinya. Dari sini kita makin memahami bahwa lukisan-lukisan Piko memiliki semacam narasi yang mencerminkan otoritas sang seniman dalam membangun “sebuah dunia di dalam lukisan.”

Hari-hari ini mungkin terlalu klise jika kita membahas hubungan watak personal pelukis dengan kekaryaannya. Namun, Piko memang menghabiskan sebagian

besar waktunya berkutat di studio dan cenderung hidup secara so­li­ ter. Baginya pengolahan terhadap meterial harus men­ciptakan kein­ tim­an bagi dirinya sendiri. Piko dapat berhari-hari menyuntuki cat dan sejumlah material lain. Dunia yang dimiliki Piko ternyata esoterik, yang mungkin hanya mampu dipahami oleh segelintir orang. ***

Belajar melukis secara autodidak, Piko tidak menggeluti praktiknya secara akademik, di mana studi tentang bahasa bentuk dan anatomi tidak disentuh sama sekali olehnya. Piko terus saja menggambar dan melukis sampai menemukan kenyamanan: mencapai komposisi yang organis dan esensial bagi dirinya sendiri. Melukis dan menggambar baginya merupakan cara yang paling efisien, spontan dan terapeutik dalam mencurahkan isi pikiran yang tak terbahasakan.

Kadangkala Piko juga menulis puisi.

Seiring perkembangannya, lukisan-lukisan Piko tak lain juga merupakan alur perjalanan

psikobiografisnya. Namun, lukisan hari ini sebenarnya juga merepresentasikan sebuah perbincangan kompleks dan spesifik terkait eksistensi dan urgensi kehadirannya sebagai medium seni rupa.

Kebutuhan Piko dalam melukis abstrak mungkin dapat terjelaskan oleh pernyataan Bob Nickas tentang urgensi seni lukis abstrak hari ini. Dalam buku Painting Abstraction: New Elements in Abstract Painting (2009), Nickas mengajukan beberapa pertanyaan menarik: Dalam dunia yang tidak stabil dan lekas berubah ini apa yang dapat kita minta dari para pelukis hari ini? Sebuah bentuk baru dari lukisan historis: salah satunya yang bertujuan merekam sejarah hari ini? Atau bentuk baru dari lukisan figuratif: lukisan disfiguratif? Atau bentuk baru lukisan pemandangan: salah satunya yang mencoba menangkap lansekap mental, menawarkan macam lain dari pemetaan dan pemandangan lain yang tidak diketahui sebelumnya? Dan jika dunia berubah dengan cara yang makin tidak terlihat, bagaimana seorang seniman dapat diharapkan untuk memberi bentuk visual bagi dunia?

Pertanyaan-pertanyaan tersebut dijawab sendiri oleh Nickas dengan cara yang menarik pula, bahwa secara sadar atau tidak pelukis abstrak memperlambat proses persepsi pada saat “navigasi visual dinonaktifkan” oleh banyak pihak hari ini.

Kala banjir citraan makin tak

terhentikan, saat jutaan manusia di bumi dapat mengangkat ponsel dan “membuat gambar” secara instan, abstraksi—bahkan saat terus memperkenalkan citraancitraan baru ke dunia—dapat dilihat sebagai sebuah penawar racun.2

Pembacaan yang dilakukan oleh Yuliman pada 1970an tersebut makin menemukan signifikansinya saat ini kala “citraan-citraan baru” dari lukisan-lukisan abstrak menjadi penawar racun (baca: jeda) di tengah rezim citraan yang dipengaruhi oleh fotografi dan perkembangan teknologi reproduksinya.

Selain mengingatkan kita pada rupa-rupa yang kita lihat di kenyataan sekeliling, praktik melukis Piko juga menjadi tumpukan tak terbahasakan atas pengalaman sosial dan spiritualnya dalam dunia kontemporer hari ini. Sebagaimana disebutkan sebelumnya bahwa lukisanlukisan abstrak Piko menyimpan narasinya sendiri. Namun, narasi itu tak pernah jelas terdefinisi.

Lukisan abstrak Piko tetap saja ambigu dengan mood dan emosi tertentu yang meninggalkan misteri dan asosiasi bebas bagi para pemirsanya. Hal ini sama seperti Piko yang ingin selalu membebaskan diri saat menghadapi kanvas kosong:

mempercayai intuisi dan spontan dalam menggunakan warna, material, bentuk dan akhirnya menemukan kenyamanan untuk membentuk dunia kecilnya sendiri.

Chabib Duta Hapsoro Kurator Pameran ________________________________ Catatan Akhir 1) Sanento Yuliman, Seni Lukis Indonesia Baru – Sebuah Pengantar, Jakarta: Dewan Kesenian Jakarta, 1976, hal. 31 2) Bob Nickas, Painting Abstraction: New Elements in Abstract Painting, London: Phaidon, 2009, hal. 7 3) Sanento Yuliman, op. cit, hal. 40

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Membaca pernyataan di atas kita juga bisa memahami bahwa apapun kecenderungan dan pendekatannya, lukisan abstrak ternyata masih menjadi modus pencarian hal-hal yang esensial, setidaknya dimulai dari esensi formal rupa dan mengondisikan para senimannya terisolir dari dunia luar. Hal ini juga masih berhubungan dengan praktik Piko untuk membangun dunia dalamnya sendiri. Perihal ini kita mengenal konsep lirisisme yang diajukan pula oleh Sanento Yuliman. Konsep ini menandai kecenderungan seniman-seniman yang melukis abstrak. Dalam lukisan mereka menghadirkan ruang maya dan irreal. Dunia yang dibangun para pelukis-pelukis ini adalah dunia imajinasi yang bukan merupakan salinan dari dunia nyata sekalipun merupakan ungkapan emosi mereka dalam mengalami dunia.3

Dengan menyepi dan melukis Piko mendapatkan ruang yang lapang, terutama dalam melatih kepekaannya dalam mengekspresikan garis, warna dan bentuk secara artistik.

Gemaris pada lukisan-lukisan Piko cenderung kasar, padat dan memperlihatkan daya buncah yang tinggi. Ia juga menggambar citraan-citraan dalam metode doodling namun tetap memberi tekanan pada ujung alat gambar sehingga didapatkan sensasi visual torehan yang ekspresif. Ia juga bereksperimentasi dengan beberapa jenis material non konvesional seperti bitumen (sejenis pelingkut), aerosol selain arang, cat minyak dan cat akrilik. Kesemuanya hadir secara menumpuk dan menampakkan kualitas permukaan atau hamparan tertentu di atas lukisan

Building World in Painting 10

Abstract paintings are often hurriedly regarded as irrelated with the everyday world because they do not present any form or object that we see every day at any stage. The visual of a non-figurative abstract painting, which totally emphasizes on the essence of form, is often regarded as an alien substance.

Sanento Yuliman explains that abstract painting in Indonesia does not mean having no relation with the form we recognize. The visual

of abstract painting is familiar with the daily life of painters and the audience of abstract paintings, for example, the earth seen from the air vessel and the surface of the object seen very close (even with a microscope). Yuliman says that our perception on the diverse world of matters is an important factor for us to appreciate abstract paintings.1 We can also look at Nashar paintings that present biomorphic forms. These paintings remind us of magnified-scales bacteria seen through a microscope lens. However, through Nashar’s statement as an abstract painters, we can perceive the existence of a particular world built by artists who are completely isolated from the outside world.

This paper attempts to expose the work of Iabadiou Piko who pursues abstract paintings, a practice that is rarely explored by young Indonesian artists today. This paper can also be suspected that Piko’s abstract painting practice is a conceptual statement of visual culture today that is also caused by his working nature.

Piko’s paintings feature a number of rowdy elements: powerful strokes, tangled and dense lines, images, multiple colors that collide and overlap without leaving a blank space. However, some paintings actually present the opposite. They appear quiet and “silent”. Some of Piko’s paintings also present a landscape and a line of “horizon”. At a glance, Piko’s paintings are present in abstract,

Dear friend, united with canvas is very important in painting, in work. In this united state, painting means building a world. Building a world is another word for building a self-fulfilling idea, from one’s own soul. Initially it comes from outside the self and then it is lived by the soul. So, united with canvas means that canvas and paints are the elements of the world of ideas. If you tell me the other day, that before painting one has to think carefully about what idea he wants to express, so in that sense I do not really need to think about it anymore. What is deepest hidden in the soul may be unthinkable and the mind unlikely can reach it. In my opinion, the true “self” of human being is far hidden in the soul. ( N a sh a r , T h e 1 6 th L e tt e r, 19 74 )

yet at the same time they also present symbolic formalism or lead to a number of representations.

How Piko entitles his works make us imagine a scene or event that increasingly shows the tendency of surrealism. The elements of the image in it, especially the colors, are strongly presented and have characters such as “roomy”, “noisy”, and “passing by”.

We can observe Menumpuk di Atas Hamparan. Mencoret Berisik di Bawah Pink. Di Kejauhan

Tampak Pemandangan di atas Laut. Sepotong Jiwa Biru Perlahan Tenggelam (Stacking up on Overlay. Scrambled Under the Pink. In the Distance Seen Landscape over the Sea. A piece of the Blue Soul Slowly Sinks).

This long title—though somewhat out of the ordinary—poses that tendency. This painting brings the appearance of a horizon and a glimpse of a collection of stacks of lines and fields present at the top.

We can see a dualism: on the one hand, as we look at this painting— before we know the title—we can be thrilled at the elegant and lyrical compositions. On the other hand, by reading the title we know that the visual element in it is “alive”, has character and suggests a representation of the ocean view.

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The work entitled Border without Edge for example, at the top of the painting we can see a tree and a fence and a plot of white land underlying it. There is also a biomorphic form that briefly implies a piece of cloud. At the bottom, Piko draws a circular field with two small circles in it like a pair of eyes which in this sense he arbitrarily crushes the perspective.

Instantly, we see the surreal quality in this painting. The painting is also surrounded by a brown edge depicting a frame which shows Piko’s consciousness to talk about concept of representation in painting, rather than simply displaying representations of something.

If we look closely, Piko’s painting is composed of several piles that impress a distance, space, perspective and horizon. Equipped with the surreal aspects as mentioned before, we can see the existence of a mental landscape or the inner world that may serve as an escape over the absolute and depressive outside world reality.

The title of the exhibition then captures the first sentence in the title which is intended to confirm one of the world’s tendencies in Piko’s paintings that have never been mentioned in previous exhibitions.

In a conversation, Piko mentions that his paintings are a projection of memories milling in his mind that settles and piles up every day.

From this, we further understand that Piko’s paintings contain a certain narrative that reflects the artist’s authority in building “a world in the painting.”

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It may be too cliche today if we discuss the relationship of personal character of the painter with his artistry. However, Piko spends most of his time struggling in his studio and tends to live solitary.

According to him, the processing of the material must create intimacy for himself. Piko can deal with paints and other materials for days. The world that Piko possesses is esoteric, which may only be understood by a handful of people.

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Learning painting autodidactically, Piko did not engage in academic practices. He didn’t study the language of form and anatomy at all. Piko continues to draw and paint until he finds comfort for himself: achieving an organic and essential composition. Painting and drawing for him is the most efficient, spontaneous and therapeutic way of pouring out unfeeling thoughts. Sometimes, Piko also writes poetry.

Along with its development, Piko’s paintings are nothing but the path of its psychobiographical journey. However, today’s painting actually represents a complex and specific discussion of the existence and urgency of its presence as a medium of art.

Piko’s need in abstract painting may be explained by Bob Nickas’s statement about the urgency of today’s abstract art. In Painting Abstraction: New Elements in Abstract Painting (2009), Nickas poses some interesting questions: In this unstable and rapidly changing world what can we ask from painters today? A new form of historical painting: one of which is aimed at recording history today? Or a new form of figurative painting: dis-figurative painting? Or a new form of landscape painting: one of which is trying to capture the mental landscape, offering other kinds of mapping and other unknown scenery? And if the world changes in an increasingly invisible way, how can an artist be expected to give a visual form to the world? These questions are answered by Nickas in an interesting way, that consciously or not the abstract painter slows down the perception process when the “visual navigation is disabled” by many parties today.

When the flood of images becomes more and more

unstoppable, as millions of people on Earth can pick up mobile phones and “make pictures” instantly, abstractions, even as they continue to introduce new images to the world, can be seen as an antidote.2 Reading the statement above, we can understand that whatever his tendencies and approaches, abstract painting is still a mode of search for essentials, at least starting from the visual formal essence and conditioning the artists to be isolated from the outside world. It is also still associated with Piko’s practice of building his own inner world, which closely related with the concept of lyricism proposed by Sanento Yuliman. This concept marks the tendency of abstract artists. Their paintings represent a virtual and irreal space. The world built by these painters is a world of imagination that is not a copy of the real world even though it is an expression of their emotions in experiencing the world.3

With his solitude act of painting, Piko gains a spacious way, especially in training his sensitivity in expressing lines, colors and shapes artistically. Lines on Piko’s paintings tend to be rough, dense and show a high degree of power.

He also draws images in doodling method while still putting pressure on the end of the painting tool to obtain an expressive visual sense of the incision. He also has experimentation with several types of non-conventional materials such as bitumen, aerosols other than charcoal, oil paint and acrylic paint. They all present in a pile and reveal the quality of a particular surface or overlay on the painting.

In addition to reminiscent of the visuals we see in the realm of reality, Piko’s painting practices are also an unspoken pile of his social and spiritual experience in today’s contemporary world. As mentioned

earlier, Piko’s abstract paintings store their own narratives.

However, the narrative is never clearly defined. Piko’s paintings are still ambiguous with certain moods and emotions leaving mystery and free association for its viewers. Piko always wants to free himself when facing a blank canvas: trusting his intuition and spontaneous to use colors, materials, shapes and ultimately finding comfort to form his own little world.

Chabib Duta Hapsoro Exhibition Curator

________________________________ Endnotes

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1) Sanento Yuliman, Seni Lukis Indonesia Baru – Sebuah Pengantar, (Jakarta: Dewan Kesenian Jakarta, 1976), p. 31 2) Bob Nickas, Painting Abstraction: New Elements in Abstract Painting, (London: Phaidon, 2009), p. 7 3) Sanento Yuliman, op. cit, p. 40

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Yuliman’s reading in the 1970s is increasingly finding its significance

today when the “new images” of abstract paintings becomes the antidote (read: pause) to the image regime influenced by photography and the development of its reproduction technology.

Di Ujung Waktu yang Bersembunyi, Di Ujung Lurus yang Berkabut, Di Antara Ilalang Kering yang Menusuk Jiwa Biru

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acrylic, bitumen on canvas - 160 x 145 cm - 2017

Menembak Biru yang Perlahan Menghitam, Membakar Pesona Angin yang Diam pada Sekujur Jiwa yang Kembali Memutih

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acrylic, bitumen, charcoal pencil on canvas - 160 x 145 cm - 2017

Menumpuk di Atas Hamparan. Mencoret Berisik di Bawah Pink. Di Kejauhan Tampak Pemandangan di atas Laut. Sepotong Jiwa Biru Perlahan Tenggelam

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acrylic, bitumen, oil, pastel, charcoal pencil on canvas - 200 x 145 cm - 2017

Yang Nyata Di belakangku. Di depanku Masih Bayang-bayang. Berisik Di Sekeliling Biru

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acrylic, bitumen, oil, charcoal pencil on canvas - 200 x 145 cm - 2017

Cahaya Hitam Meruang di Sekujur Tubuh Kuning yang Senyap Sunyi Biru di Antara Sepotong Jiwa yang Bisa Berlalu

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acrylic, oil, oil bar, aerosol spray paint on linen blend - 200 x 200 cm - 2017

Batas Tanpa Tepi

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acrylic, bitumen, oil bar, oil on canvas - 200 x 145 cm - 2017

Menganggu Malam

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acrylic, pencil on canvas - 200 x 145 cm - 2017

Persepsi di atas Putih

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acrylic, archival ink, pencil on canvas - 200 x 150 cm - 2017

Persepsi Tanpa Tepi

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mixed media on linen blend - 29.7 x 21 cm (24 pieces) - 2017

Persepsi Tanpa Tepi

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Iabadiou Piko Education 2002 - 2005 Academic Design Vision of Yogyakarta (ADVY), Diplom of Art Photography Design

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Solo Exhibition 2016 Proporsi Biru - Der Anteil des Blaus, Galerie Michael Janssen, Berlin, Germany 2015 Kabar Angin: Gambar-gambar Iabadiou Piko, Lotf Loft, Bandung

Group E xhibitions 2017 Rinne Abrugena, Iabadiou Piko, 1335Mabini, Manila, The Philippines Art Jog 10: Changing Perspective, Jogja National Museum, Yogyakarta Ind“One”Sia: Bakaba #6, Sakato Art Community, Jogja Gallery, Yogyakarta Yes We Are, Nalarroepa Ruang Seni, Yogyakarta Art Fair Ph, by Galerie Michael

Janssen, Berlin, at Makati Manila, The Philippines

Redraw I : Discovery, Edwin’s Gallery, Jakarta

Colors Of The Year, Yulindra Gallery, Club Bimasena – Dharmawangsa Hotel, Jakarta

Contrroled Coincidence, Nunu Fine Art, Taipei, Taiwan

2016

Art Fair PH, Galerie Michael Janssen, Berlin, at Makati Manila, The Philippines

Martell: Be Curious, in association with Art Dept Id and Ambiente Presents: Living With Art When Interior Design Meet Emerging Artists, Ambiente, Jakarta Universe Behind The Doors, Artotel X Art Dept Id, Artotel Thamrin Jakarta 6 – 9, Art Embassy, at 69 Charlotte St, London Fast Art Zoom Art: Xerofest III, Art Dept Id, Art Department, The Goods Dept, Pacific Place Level 1, Jakarta Bazaar Art Jakarta, Orbital Dago, at The Ritz – Carlton Jakarta Pacific Place Art Stage Jakarta, Bale Project, Sheraton Grand Jakarta Gandaria City Hotel Redbase Young Artist Award, The Winners and Finalist Group Exhibition, Redbase, Yogyakarta Third Space: transit #3, Roh Projects, Jakarta Cadiak Indak Mambuang Pandai: Bakaba #5, Sakato Art Community, Jogja Gallery, Yogyakarta

Mulat Sarira Nagri Parahyangan, NU Art Sculpture Park, Bandung

Invisible Force, Langit Art Space, Yogyakarta Art Stage Singapore, Galerie Michael Janssen, Marina Bay Sands, Singapore 2015 transit #3: Horison, Artists in Residence Exhibition, Selasar Sunaryo Art Space, Bandung Breaktrhough: Indonesia – Malaysia Art Exchange Exhibition, Kersan Studio, Yogyakarta Soulscape in Progress #3: Abstract Road Show, Bentara Budaya Bali Bakaba #4: Randang dan Rendang, Jogja Gallery, Sakato Art Community, Yogyakarta Yogyakarta Open Studio:Thriving And Archiving, Antena Projects, Yogyakarta

Born 1984 in Prabumulih, South Sumatera, Indonesia.

Lives and works in Yogyakarta, Indonesia

2014 Asyaaf, Culture Station Seoul 284, South Korea Nandur Srawung: Rupa – Rupa Seni Rupa, Taman Budaya Yogyakarta, Yogyakarta On Klik, Balai Keseharian dan Pemajangan, Yogyakarta Fitur & Figur, Taman Budaya Yogyakarta, Yogyakarta Bakaba #3: Kini, Sakato Art Community, Jogja Gallery, Yogyakarta The 16th Annual Postcards From The Edge A Benefit for Visual Aids, Luhring Augustine, New York YOS -14, Kersan Studio, Syllabus Studio, Yogyakarta

Memory: International Art Exhibition, Richmond Art Gallery (RAG), Canada Dollanan #2, Museum Dan Tanah Liat, Jogja National Museum, Yogyakarta Portas Abertas, Open Doors, Artistas Contemporaneos 60 Countries, Museum Evora, Forum Eugenio De Almeida , Portugal, Curated by Claudia Giannetti Pra Biennale – Jogja International Mini Print Festival, Galeri ISI Yogyakarta

The Work Without Border Photographic Exhibition of HISFA, Jogja Gallery, Yogyakarta Dunia Ketiga, Orang Ketiga, Realita Ketiga, Taman Budaya Padang West Sumatera The 4x6/6x4 Postcard Charity, University Center Art Gallery, Colorado Mesa University, USA 2012 The 5th Beijing International Art Biennale, China 2012 Exhibition, The National Art Museum of China, Beijing, China

Osten Biennial of Drawing, Skopje Macedonia 2012, Writen by Pavle Pejovic The 3rd Bangkok Triennale International Print and Drawing Exhibition, Sanamchandra Art Gallery, Chiang Mai, Thailand

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Awa rd s 2016 Finalist of REDBASE Foundation Young Artist Award, Yogyakarta 2015

Overnight Sensation, Lotte Gallery, South Korea, Curated by Kwon Yoon – Kyung

Finalist of The UOB Painting of the Year 2015, Jury by Edwin Rahardjo, Agus Dermawan T, Kuss Indarto.

Membunuh Kemenangan “Barrack Art, Pusat Kebudayaan Koesnadi Hardjasoemantri, Universitas Gajah Mada, Yogyakarta

2014

Mari Boeng....!!!! Caring the Spirit with Our Freedom, Pekan Apresiasi Benteng Vredeburg Museum, Yogyakarta The 14 th Annual Postcards From the Edge - A Benefit for Visual AIDS , Cheim & Read Gallery New York The 40th World Gallery of Drawing,

Finalist of The UOB Painting of the Year 2014, Jury by Edwin Rahardjo, Agus Dermawan T, Jean Cotoeu (IEAA 2012-2013 Edition) Featured Emerging Artist of the Month, Presented By International Emerging Artist Award

m e n u m p u k d i ata s h a m pa r a n

2013

6x6x2013 Cards Exhbition, Rochester Contemporary Art Center, New York

2013 Winner of the Workingtitle365.Com Art Competition, Netherlands Top 50 Public 100 New Masters Artists 2013 Art Competition, www. newmasterartists.com, Netherlands Finalist Shortlisted Candidates 2nd Edition International Emerging Artist Award Dubai 2012-2013 (IEAA) 2012 Osten Award, The 40th World Gallery of Drawing, Osten Biennial of Drawing, Skopje, Macedonia New Masters Public Top 100 Artists 2012 Art Competition, New Masters Artists, Netherlands

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Finalist of The 5th Beijing International Art Biennale, China 2012 Exhibition The National Art Museum of China, Beijing, China, Chief Curator by Liu Dawei, Feng Yuan, Wang Mingming, Wu Changjiang. International Curator

by Gustafsson Roger 2011 Finalist of The Third Bangkok Triennale International Print and

Drawing Exhibition by Silpakorn University Thailand 2009 General Prize Winners of the 2009 FRESH M.I.L.K. PHOTOGRAPHIC Competition Parnell, Auckland, New Zealand

Re s i d e n c y 2016 Luzhunan Historical House, Luzhunan, Miaoli, Taiwan 2015 transit #3, Selasar Sunaryo Art Space, Bandung

Rev i ews 2014 Asia’s 10 Most – Inspiring Visual Artist 21 – 24 page, Asia Magazine http:// www.top10asia.org/asias10-mostinspiring-visual-artists.php, 17/3/14

Bi b l i o g ra p h y 2015 Bisik Kabar Angin di Atas Kertas, Sarasvati Art Magazine, 5 November 2015, http://www.sarasvati.co.id/ uncategorized/11/bisik-kabar-angindi-atas-kertas/ by Rizaldy Yusuf

Wo r k s h o p s Pa r t ic i p a n t 2015 Workshop Performance Art “ Teks dan Tindakan “ by Melati Suryodarmo, Selasar Amphitheater ITB, Bandung

Co l l e c t i o n 2012 “The 40th World Gallery of Drawing, Osten Biennial of Drawing”, Skopje Macedonia 2012

Jl. Barito I No.3, Kebayoran Baru Jakarta 12130, +62 21 739 9378 dgalleriejakarta@gmail.com www.dgalleriejakarta.com

Printed in Indonesia