Cross-Culture of Balinese and Foreign Contemporary Artists
Agus Putu Suyadnya - I Kadek A. Ardika - Ida Bagus Putu Purwa Ketut Susena - Ketut Teja Astawa - Made Gede Putra Nyoman Agus Wijaya - Nyoman Erawan - Putu Aan Juniarta Putu Adi Gunawan - Putu Erdiawan - Putu Wirantawan Peter Dittmar - Ronald Wigman - Samarpan Walter Van Oel- Wayan Upadana Exhibition Hall, Jakarta Art District - July 21st – 31st, 2011
4
oleh A.A.B. Tony Hartawan
Akhirnya, pameran seni visual Sawen Awak, sebuah perhelatan seni rupa yang mempertemukan perupa Negeri Manca dan Bali dapat terlaksana sesuai rencana. Pameran ini dimaksudkan untuk menguatkan posisi dialogis-kolaboratif perupa Negeri Manca yang memilih Bali sebagai ruang kreatif, bersama perupa-perupa kontemporer Bali hari ini. Bagaimana pun, bacaan sejarah seni rupa nasional, tidak boleh menyampingkan posisi kreatif perupaperupa luar negeri, terlebih bagi mereka yang memang memiliki kontribusi. Sejarah seni rupa era ’20-an hingga ’50-an telah begitu monumental mencatat keberadaan perupa Barat dalam petilesan sejarah seni rupa Nasional. Berbeda dengan yang terjadi sejak tahun ’90-an, yang nyaris pencatatannya sangat minim. Untuk itulah, diharapkan pameran ini mampu mengorbitkan serpihan-
serpihan geliat kreatif perupa Negeri Manca di Bali hari ini. Menyandingkan pandangan dan capaian kreatif perupa Barat dengan perupa Bali, bertujuan untuk mengingatkan kembali bahwa di masa lalu ada sejarah kolaborasi dan interaksi yang guyub antara dua ranah budaya ini. Walau dalam tabiat yang sedikit berbeda tentu berbagai pola-pola kolaborasi tetap terjaga, baik dalam medan sosial keseharian, maupun dalam bentuk perhelatan seni rupa. Kami, Tonyraka Art Gallery, bersama kurator Wayan Kun Adnyana mengajukan sandingpandang perupa Negeri Manca dan perupa Bali dalam pemanggungan seni visual bertajuk Sawen Awak, capaian visual personal di tengah ruang interaksi silang budaya perupa berbagai negara. Terimakasih kami haturkan kepada semua pihak yang telah berkontribusi dalam pameran ini. Semoga kontribusinya semakin menjadi berarti bagi kemajuan seni rupa kita. ---
5
by A.A.B . Tony Hartawan
Finally, Sawen Awak Visual Art Exhibition, an art celebration that unites Foreign and Balinese artists, managed to be performed as planned. This exhibition is meant to strengthen the collaborative-dialogic position of foreign artists who have chosen Bali as a creative space, together with today’s Balinese contemporary artists. Somehow, in comprehension of national art history, foreign artists’ creative position, moreover of those who have given contribution shall not be put aside. The art history of the 20s up to 50s eras has been so monumentally recorded the existence of Western artists in National art history trail. It is unlike what has happened since the 90s, where recording is almost at a minimum. For that reason, this exhibition is expected to successfully launch pieces of creative struggle of today’s foreign and Balinese artists.
To put side by side creative views and achievement of Western together with Balinese artists, with the objective to remind that in the past there were friendly collaboration and interaction between both sides of cultures. Even though there is a slight difference in behavior there is certainly various guarded collaboration patterns, either in daily social arena or in the form of art celebration. We, Tonyraka Art Gallery, together with Wayan Kun Adnyana the curator, proudly introduce Foreign and Balinese artists, sideby-side perspectives in the staging of visual art entitled Sawen Awak, a personal visual achievement in the middle of cross-culture interaction space of artists from various countries. We would like to express our gratitude to all participants who have made their contribution in this exhibition. Hopefully your contribution will become more meaningful to our art progress. ---
6
Silang-Budaya Perupa Kontemporer Bali dan Negeri Manca
oleh
Wayan Kun Adnyana Denpasar, Juni 2011
Sejak abad ke-8 Masehi, dengan penemuan tablettablet tanah liat berisi mantra Budha, Bali sejatinya telah memasuki fase sejarah. Sejarah yang dimulai dengan baurpadu berbagai anasir budaya. Setidaknya di awal ditandai pengaruh Budha yang datang dari daratan India dan China. Seribu tahun lebih, Bali berjalan dalam kredo kehidupan budaya berbhineka. Berbagai pro duk budaya hidup berdampingan. Etik laku toleran menjadi simpul-simpul keseharian. Sirkuit pergaulan sehari-hari dipahami sebagai jalan sejarah untuk saling menerima. Sementara sejak awal abad ke-20, pemikiranpemikiran modernis dibawa para “Filgrimage” (peziarah budaya) Barat ke Bali, semisal
7
Gregor Krause,Van der Tuuk, Roelof Gorris, atau Walter Spies dan Rudolf Bonnet (dalam hal seni rupa). Hadirnya para tetamu Barat dengan beragam latar budaya menambah lapis-lapis keberagaman Bali. Termasuk pula lahir sekolah-sekolah formal dengan bebe rapa silabus pelajaran bersumber dari Barat. Tatanan dunia sekolah seperti ini memuara kan perubahan mentalitas manusia Bali. Sebagaimana di akhir dasawarsa ‘20-an, serta pada seluruh dasarwarsa ’30-an di Bali ditengarai terjadi fenomena unik, yaitu intervensi langsung dari seniman Barat, yang memberikan corak tersendiri pada perkembangan seni pedesaan Bali selanjutnya. Perkembangan itu lazim disebut gerakan Pita Maha (Couteau, 2003: 107). Walter Spies diyakini telah memainkan peranan tak langsung dalam menstimulus beberapa pelukis Bali pada bentuk-bentuk ekspresi baru. Sebagaimana pada tahun 1933-1934, pelukis berbakat Dewa Gde Meregeg dari Desa Padangtegal, Ubud, menghasilkan karya lukis walaupun lebih
dekoratif, nampak mengumandangkan karya Spies. Sementara Bonnet selain tampil seba gai pengkritik yang tajam, dan kolektor seni lukis Bali, juga membantu para seniman memperoleh bahan-bahan, dan mengajar keterampilan-keterampilan tertentu. Gaya melukisnya sendiri lebih akademis ketimbang Spies, dan bahkan ia mencoba dengan hatihati menghindari mempengaruhi gaya para seniman Bali secara langsung (Holt, 2000: 259). Kedatangan perupa Barat ke Bali, setidaknya berawal dari motivasi sebagai juru gambar. Kedatangan sebagai juru gambar atau juru lukis dari Negeri Belanda ditugasi mendokumentasi Nederlands Indie dengan visualisasi gambar-gambar sebagai pelengkap laporan-laporan mereka—gambar berfungsi sebagai pengganti foto yang pada waktu itu belum ada. Datanglah dalam kesempatan itu pelukis-pelukis seperti: Theodorus Bik, Ernest Hardouin, Isidore van Kinsbergen, A.A.J. Payen dan Frans Lebret untuk tugas-tugas dokumentasi tersebut (Soedarso, 2006: 25). Pelukis Arie Smith juga datang dengan tugas
8
yang demikian di awal-awal kedatangannya ke Indonesia, sebelum akhirnya memilih sebagai pelukis profesional dan menetap di Bali. Motivasi berikut karena ilusi Bali sebagai “surga terakhir”, lebih-lebih setelah beredar foto-foto idyllic wanita Bali sedang mandi oleh fotografer G. Krause; sesungguhnya pengangkatan Bali sebagai surga tropis ini adalah kelanjutan dari tren yang dimulai Gauguin pada akhir abad ke-19, ketika dia meninggalkan Perancis untuk bermukim dan berkarya di Tahiti. Hingga berbondongbondonglah aneka ‘’penakluk juru mimpi’’ ke Bali yang entah dengan menjadi petualang, hartawan, cendikiawan ataupun seniman (Couteau, 2003:107-108). Seperti contoh, Walter Spies (1895-1942) datang ke Bali pada 1927, setelah sebelum nya secara tidak sengaja bertemu dengan bangsawan Ubud, Cokorda Gede Raka Sukawati di Keraton Yogyakarta—ketika itu Spies adalah dirigen/pelatih orkestra Barat di Keraton Yogyakarta. Cokorda mengundang Spies untuk datang ke Bali. Ketika ia datang, ia menulis kekagumannya, “di Ubud yang indah dan sepi ini saya mendirikan sebuah rumah bambu, dan dalam sekejap saya akan seperti hilang ditelan oleh alam’’ (Jordt, tanpa tahun: 2). Rudolf Bonnet (1895-1978) yang datang ke Bali beberapa tahun setelah Spies, menghimpun para pelukis Bali dalam
wadah Pita Maha tahun 1930-an. Spies dan Bonnet hidup di tengah masyarakat Ubud di bawah naungan puri. Di tahun itu, di Bali berkembang seni komersil dengan keme rosotan mutu. Maka lahir gagasan untuk mengintervensi seni itu ke arah yang sesuai dengan tuntutan estetis mereka. Agaknya intervensi ‘’langsung’’ itu, terbatas pada pem beriaan material seni rupa, bantuan pema saran, dan nasehat sesaat. Namun harus juga disadari bahwa Spies dan Bonnet, yang didukung oleh kaum puri itu, dianggap ‘’guru’’ oleh seniman tradisional Bali, dan karena itu karya mereka dijadikan panutan (Couteau, 2003: 108). Seorang Ida Bagus Made Poleng, salah satu pelukis terdepan Pita Maha yang terkenal keras dalam berpendirian, mengungkapkan kekagumannya pada karya Spies, ’’Selama ini hanya tuan Tepies (maksudnya Walter Spies) yang saya kagumi, dia memang pintar. Dia bisa melukis capung gantung, persis seperti aslinya, Tapi, tuan Tepies tidak pernah mema merkan karya-karya seperti itu’’ (Hartanto, 1998: 3). Memang ada peran Bonnet dan Spies dalam penampilan seni lukis Bali ke arah seni lukis yang baru. Tetapi sepuluh Bonnet dan sepuluh Pita Maha tidak akan dengan sendirinya me numbuhkan seni lukis baru Bali jika tidak ter dapat kelenturan jiwa pelukis Bali sendiri un tuk menempatkan hal-hal baru dan kesiapan mereka untuk berubah (Yuliman, 2001: 301).
9
Kemampuan pemikiran dan keterampilan indigenos harus diakui memang melekat pada diri seniman tradisional Bali. Ketika pelukis Barat seperti Spies dan Bonnet datang, termasuk pula saat era Arie Smith dengan menghimpun kelompok seniman Penestanan, Ubud, tentu saja potensi indigenous itu berkembang ke arah konstruktif. Sirkuit pergaulan seperti itu pula yang memuarakan kegairahan dan semangat kreatif di kalangan pelukis Bali. Sekelumit fenomena kreatif yang berlangsung guyub antara seniman negeri Manca dan seniman Bali di era ’20-an, hingga ’50-an, memang sedikit mengalami pergeseran di tahun-tahun berikut, terlebih ketika Bali telah sepenuhnya menjadi tujuan wisata dunia. Bagaimana pun ketika proyek pariwisata memasuki pulau dewata ini, cara pandang dan perilaku sehari-hari manusia Bali bergerak dengan lapis-lapis pilihan hidup yang semakin kompleks. Ada semacam perubahan orientasi dari kehidupan agraris ke sektor jasa pariwisata yang ketat akan waktu.
Pariwisata juga memuarakan sisi negatif dari pola konsumsi seni, diantaranya seni tidak jarang dibaca sebagai sekedar benda indah untuk mendatangkan uang. Sehingga yang diutamakan seringkali kinerja produksi barang seni. Tradisi berolah pikir, dan juga ruang spiritis acap terlupakan. Tidak mengherankan kemudian, sangat banyak gagasan-gagasan seni genial yang digelontorkan seorang perupa, tiba-tiba dijiplak dan diproduksi secara massal. Kondisi inilah yang akhirnya memicu stigma, di mana seni rupa Bali sering dituduh sebagai seni rupa turistik. Selain berimplikasi pada perilaku seni yang negatif, harus diungkap pula bahwa pariwisata dalam beberapa hal juga layak dicatat positif. Seperti terciptanya ruang sosialisasi yang semakin meluas di Bali. Termasuk menambah plural khasanah pergaulan, dan ekspresi seni. Perupa Bali hari ini selain berhadapan dengan tabiat “industrialisasi seni” dan juga hantu stigma turistik, juga berhadapan dengan sirkuit pergaulan global yang menitipkan peluang kemajuan. Sebagaimana mereka yang harus tumbuh, belajar, dan menjalani pilihanpilihan hidup dalam komunitas multikultur. Belajar dalam medan produksi ilmu pengetahuan yang juga semakin bergerak cepat dan canggih. Ketika di tahun ‘20-an dan ’30-an berlangsung kreativitas seni kolaboratif antara perupa Bali dengan Negeri Manca, di masa kini hal
10
yang sama juga tetap berlangsung walau dalam format yang berbeda. Terbukti berbagai pemanggungan seni rupa acap memakai simpul kolaborasi. Termasuk mendampingkannya dalam sebidang ruang pentas bersama. Generasi perupa Negeri Manca yang datang ke Bali kurun waktu ’90-an hingga 2000an ini memang menemukan Bali yang tidak lagi se-eksotik pada era ‘20-an. Etos kerja kreatif perupa di seluruh dunia pun telah berada pada standar profesional tertentu yang hampir sebangun. Sehingga parameter bagaimana seniman Negeri Manca dan Bali berinteraksi akhirnya mengalami pergeseran sifat, bentuk, dan juga instrumen pendukung. Kini, hubungan kolaboratif lebih bersifat hubungan profesional, dengan kontrak dan pola kerja yang terproyeksi secara tegas, baik metode, program, dan juga sasarannya.
Pameran ini berkeinginan untuk menguatkan pemang gungan silang-budaya seba gaimana telah dirintis sejak generasi tahun ’20-an itu, dengan mengundang pe rupa-perupa Negeri Manca berkarya di Bali hari ini, ber sanding dengan perupa Bali. Membaca pergaulan mereka sehari-hari yang menyurat potret silang-dialog saling menguatkan.
Hal penting yang perlu ditimbang tentu saja berkait dengan potensi kesadaran personal perupa (baik perupa Bali maupun Negeri Manca) dalam lintas pergaulan kreatif tersebut, yang memunculkan capaian artistik berkarakter, dan juga berkenaan dengan eksplorasi kreatif bersifat khusus. Makna “Sawen Awak” berada pada poros kerangka kreatif tiap pribadi. Sawen Awak di masa kini dipahami sebagai penghargaan kepada ruang jelajah kreatif, medan eksperimentasi, dan juga tabiat profesional seorang perupa. Sementara dalam kerangka mentalitas, lebih pada pembiakan jiwa-jiwa toleran, saling menyambut, etos pergaulan dalam kehangatan sapa, dan juga kerja kolaboratif. Inilah sederet spirit yang berkehendak untuk ditularkan dalam pameran ini. Untuk itulah, kuratorial mengundang perupa Bali dan juga Negeri Manca yang memilih Bali sebagai ruang kreatif. Perupa-perupa yang sehari-hari hidup dan tumbuh dalam sirkuit pergaulan global. Sementara Bali sebagai entitas ruang senantiasa tetap memberi roh. Sinergisme saling menyambut ini menguatkan sekaligus semakin menambah plural khasanah cita visual dan konsep dari seni rupa kontemporer Bali.
Jalan Bersanding Sebagaimana terjelaskan tadi, jalan seni perupa Negeri Manca dan perupa Bali masa kini di Bali hampir dihadapkan pada
11
tendensi global; sirkuit imajinasi, olah kreatif, dan lain-lain menyangkut ruang sosial profesional yang berlangsung dalam spirit tanding yang sama. Ibarat pemain bola, dari mana pun asal negerinya tidak begitu penting, yang dipentingkan adalah ruang kreatif yang bernama liga pertandingan dan kualitas personal pemain. Berbeda dengan era tahun ’20-an dan ’30-an, di mana seniman Bali nyaris berada pada tepian yang berseberangan dengan bobot potensi artistik juga pergaulan yang dimiliki seniman Barat ketika itu. Hari ini semua seniman profesional menghirup udara informasi yang sama. Kondisi ini berkonsekuensi logis pada ruang komunikasi kreatif yang dibangun, yakni lebih pada jalan persandingan yang produktif. Ketika senjata kreatif, ruang imajinasi, ruang pergaulan yang dimiliki sama, iklim yang tercipta memang lebih bersifat kolaboratif. Paduan interaksi positif demi menunjuk pada penguatan sikap toleran. Nama-nama perupa Negeri Manca yang turut dalam pameran ini adalah sederet perupa yang memandang Bali sebagai ruang spiritis yang menyimpan misteri-misteri intuitif. Perupa Samarpan (Jerman 1953), Peter Dittmar (Jerman 1945), dan Walter Van Oel (Belanda, 1942), berada pada medan yang nyaris sama dalam menyelami kehidupan spiritual manusia Bali. Sebagaimana dalam novel Eat, Pray, and Love, Elisabeth Gilbert menuliskan betapa dunia spiritis manusia Bali, yang diwakili oleh I Ketut Liyer—seorang
seniman tradisional—berjalan seiring dengan modernisasi yang memasuki Bali. Berbagai artefak masa lalu yang berkaitan dengan dunia kepercayaan pada energi kosmik, hingga hari ini tetap dirayakan. Begitu juga berbagai ritual tradisi menjadi bagian tidak terpisahkan dari kehidupan. Penyelaman atas keyakinan-keyakinan spiritis seperti inilah yang ditemukan ketiga perupa Negeri Manca tadi. Walter Van Oel sesungguhnya telah melewati penjelajahan panjang di seantero wilayahwilayah spiritual, seperti Tibet dan China, sebelum akhirnya memilih menetap di Bali. Pulau yang baginya menyimpan kekuatan energi kosmik luar biasa. Kini 12 tahun sudah, ia menemukan kedamaian batin di Bali, menjumput berbagai imaji visual dari artefak tradisi Bali, serta meyakini keuniversalan keyakinan spiritis manusia Bali tersebut. Sementara Ronald Wigman (Belanda, 1954) mengenali Bali dari perspektif kehidupan domestik. Ia mempertanyakan dunia keseharian dengan pandangan-pandangan kritis. Pandangan Wigman menjadi penyanding bagaimana spiritis yang bersifat keilahian, dibaca dalam ruang-ruang domestik pribadi. Mempertanyakan eksistensi benda sehari-hari dalam pandangan spiritual hari ini. Sementara perupa Bali dalam pameran ini diwakili perupa-perupa dari garis generasi yang beragam, yaitu Nyoman Erawan, Ketut
12
Susena, Putu Adi Gunawan, Putu Wirantawan, Ketut Teja Astawa, Nyoman Agus Wijaya, Ida Bagus Putu Purwa, Wayan Upadana, Kadek Agus Ardika, Made Gede Putra, Agus Putu Suyadnya, Putu Erdiawan, dan Putu Aan Juniartha. Erawan tentu perintis gerakan seni rupa kontemporer Indonesia yang tetap mena tap secara seksama wilayah-wilayah lo kalitas. Bagaimana pun ketika banyak peng amat mulai buka suara bahwa seni rupa kontemporer Indonesia cenderung berbau Barat, akhirnya beberapa kritikus dan kurator kembali memandang penting bagaimana wacana-wacana lokalitas diangkat dalam pandangan seni rupa kontemporer. Publik tentu memahami Erawan menempati posisi penting dalam pergerakan ini, bahkan jauh sebelum kontemporer yang serba “visual” meledak dan dirayakan pasar. Erawan menge nali konsep khaotis yang memuarakan ke seimbangan dunia fisikal dan spiritis. Perupa-perupa muda seperti Susena, Wirantawan, Teja Astawa, Purwa, Adi Gunawan, dan Agus Suyadnya juga secara
sadar mengambil posisi sebagai generasi yang mengenali, mempelajari, dan sekaligus mempertanyakan tradisi. Bali menjadi ruang berimbang bagi lintasan pandang kekaguman, daya kritis, sekaligus pemicu daya hidup kreatif. Kutub yang mempertemukan perupa Negeri Manca dan Bali dalam energi kreasi dan juga silang-pandang keyakinan konsep artistik. ---
Daftar Bacaan Claire, Holt. (1967), Art in Indonesia: Continuities and Change atau Melacak Jejak Perkembangan Seni di Indonesia (Penerj. R.M. Soedarsono), Arti.Line, Bandung, 2000. Couteau, Jean. (2003),‘’Wacana Seni Rupa Bali Modern’’ dalam Paradigma dan Pasar, (Ed. Adi Wicaksono, dkk),Yayasan Seni Cemeti,Yogyakarta. Couteau, Jean, & Wim J. van der Beek. (2005), Walter van Oel 2004-2005, Sharon’s Co, Denpasar. Gilbert, Elisabeth. (2006), Eat, Pray, Love, Penguin. Hartanto. (1998), ‘’Ida Bagus Made Jiwa Pusaka Ramuan Tanah’’ dalam katalog Pameran Lukisan Ida Bagus Made, Darga Gallery, Sanur. Jordt, Horst. (tanpa tahun), ‘’Kehidupan dan Karya Walter Spies’’ (sebuah makalah lepas). Soedarso Sp. (2006), Trilogi Seni : Penciptaan, Eksistensi dan Kegunaan Seni, Badan Penerbit ISI Yogyakarta, Yogyakarta. Yuliman, Sanento. (2001), Dua Seni Rupa (Sepilihan Tulisan), Ed. Asikin Hasan,Yayasan Kalam, Jakarta.
13
Cross-Culture of Balinese and Foreign Contemporary Artists
Since the 18th AD, with the invention of clay tablets containing Buddhist mantra, Bali actually has entered into its history phase. The history was set off with the intermingling of various culture elements. In any case its beginning was signified by Buddhist influence originated from India and China mainland. For more than one thousand years, Bali has stridden in a credo of diversity. Various cultural products live side by side. Tolerance behavioral ethics has become daily knots. Daily life circuit is understood as history path to mutual acceptance.
by
Wayan Kun Adnyana Denpasar, June 2011
Meanwhile since the beginning of the 20th century, modern thinking has been introduced by Western pilgrims (cultural pilgrims)
14
to Bali, for instance Gregor Krause,Van der Tuuk, Roelof Gorris, or Walter Spies and Rudolf Bonnet (in case of fine art). The existence of these Western guests bringing in various cultural backgrounds adds to Bali diversity layers. It also included the birth of formal schools with a number of Western originated syllabus. Such school world order led to a change in Balinese mentality. By the end of the decade in the twenties, and during the thirties decade a unique phenomena in Bali was believed to happen, it is Western artists’ direct intervention that gave a distinctive shade to Bali rural art future development. Walter Spies is believed to have played an indirect role in encouraging a number of Balinese painters to new forms of expression. During the period of 1933-1934, a talented painter Dewa Gde Meregeg from Padangtegal,Village, Ubud created paintings that, even though more decorative in style, it resonated Spies’ artwork. On the other hand, Bonnet, aside from taking role as a sharp critic and Balinese painting collector, had also helped the artists to get materials and taught certain skills. His painting style itself was more academic than Spies’, and he even meticulously made an attempt to avoid influencing Balinese artists style directly (Holt, 2000;259). The coming of Western artists to Bali, was initiated with draftsman motivation. The
arrival of draftsmen or painters from the Netherlands who were sent to document Nederlands Indie (Dutch Indies) with drawings of visualization to complement their reports – the drawings replaced photography which had not existed during that period. There came the opportunity for painters such as Theodorus Bik, Ernest Hardouin, Isidore van Kinsbergen, A.A.J. Payen and Frans Lebret for the same documenting assignments (Soedarso, 2006:25). Arie smith the painter had also come with such assignment during the early period of his arrival to Indonesia, before finally chose to become a professional painter and settled in Bali. The next motivation came about as a result of the illusion of Bali as the “last heaven”, especially after idyllic snapshots of Balinese women taking a bath taken by G. Krause, the photographer spread; actually the labeling of Bali as tropical heaven was the continuation of a trend which was initiated by Gauguin by the end of the 19th century when he left France to settle and work in Tahiti so that it drove all “dream interpreter conquerors” flocking to Bali whether to become adventurers, billionaires, scientists or artists (Couteau, 2003:107-108). As an example, Walter Spies (1895-1942) who came to Bali in 1927, after previously met an Ubud nobility, Cokorda Gede Raka Sukawati in Yogyakarta Palace unintentionally –Spies was a conductor for a Western
15
orchestra in Yogyakarta Palace then. Cokorda invited Spies to come to Bali. When he came he wrote about his admiration, “in this beautiful and tranquil Ubud I built a bamboo house, and all of a sudden I felt lost in nature” (Jordt, without year: 2). Rudolf Bonnet (1895-1978) who came to Bali several years after Spies, in the thirties drew Balinese artists together in a group called Pita Maha. Spies and Bonet lived amongst the Ubud society in the shade of the palace. In that year, commercial art with quality decadence developed in Bali. As a result, an idea to intervene such kind of art was born to make it more suited to their aesthetic demand. Apparently this “direct” intervention was limited only to art material supply, marketing assistance, and momentarily advice. However it has to be realized that Spies and Bonnet, supported by the palace clan, were considered “teachers” by Balinese traditional artists, and their artworks became their role model (Couteau,203: 108). Ida Bagus Made Poleng, one of the most advanced painters of Pita Maha who was famous for his bold opinion, revealed his admiration for Spies’ artwork, “All this time Mr. Tepies (he meant Walter Spies) is the one I admire most, he is extremely intelligent. He can paint a hanging dragonfly exactly like the original. However, Mr. Tepies never exhibited such artwork” (Hartanto, 1998: 3).
Bonnet and Spies’ roles in bringing Bali painting art to new painting art trend do exist. However neither ten Bonnets nor ten Pita Maha’s would by themselves cause Bali new painting art style to emerge if the Balinese traditional painters’ flexible spirit, in terms of positioning new ideas and their readiness to change, did not exist (Yuliman, 2001: 301).
Indeed the indigenous thinking ability and their skills undeniably stick to Balinese traditional artists. By the time Western painters such as Spies and Bonnet came, including in the era of Arie smith who drew together the Penestanan, Ubud artists group, the indigenous potential naturally developed into a constructive route. Such social interaction circuit has also led into creative excitement and spirit amongst Bali painters. A slight creative phenomena went on in a friendly term between the Foreign and Balinese artists in the twenties era up to the fifties, even though it was experiencing a touch of shift in the following years, especially when Bali had completely become world tourist destination. One way or another, by the time tourism project came into this island of gods, Bali people outlook and daily lives shifted to more complex layers of
16
life choices. There was a change of orientation from agricultural lifestyle to tourism service sector that was strict for time. Tourism has also brought about negative side of art consumption pattern, among others art is frequently interpreted as merely a thing of beauty that brings in money. That is why time and again it is the art goods production performance that comes first. The philosophical exercise tradition and the existence of spiritual space have often been overlooked. It is not surprising that later on many genial art ideas launched by an artist are suddenly copied and produced as mass product. It is this condition that finally triggered the stigma that Bali art is claimed as touristic art. Aside from bringing about negative art behavior implication, it should be admitted that tourism in some aspects does have positive impact. As an example the growth of socializing spaces in Bali. It includes the increase of plural repertoire of social interaction and art expression. Balinese artists today not only have to face the behavior of “art industrialization� but also the touristic stigma ghost; they also have to face global social interaction circuit that comes in with advancement opportunities. They include those who are growing, learning, and facing their choices of life within a multicultural community. They are learning in science
production fields that move on faster and more advanced. In the twenties and thirties collaborative art creativity went on between Balinese and foreign artists, and nowadays the same thing is still going on even though in different format. It can be seen in various stages of art happenings that frequently use collaboration knots. It includes juxtaposing them together in one stage. It is true that the foreign artists new generation that are coming to Bali between the nineties to 2000s do not find Bali as exotic as in the twenties era. The ethos of global artist creative work has been present in a certain professional standard, almost in uniform. As a result the parameter of the way foreign and Balinese artists interact finally undergoes a shift in nature, shape and also supporting instrument. Nowadays, the collaborative bond is more professional in nature, with more contracts and work pattern that are more solid in their methods, programs as well as objectives.
This exhibition aims to strengthen the cross cultural stage the way it has been pioneered ever since the twenties generation, by inviting foreign artists
17
to work in Bali today, side by side with Balinese artists. Looking at their daily social interaction it conveys a portrait of mutually strengthening cross dialog. Undoubtedly, one important thing that should be taken into account is what relates to the artist’s personal awareness potential (either Balinese or foreign artists) in that creative social interaction traffic, that brings out characteristic artistic achievement, and also all that have to do with extraordinary creative exploration. The meaning of “Sawen Awak” can be found in the axis of each individual’s creative structure. Sawen Awak today shall be comprehended as an appreciation of creative roaming space, experimentation arena, as well as an artist’s professional character. Speaking of mentality structure, it is more on the rearing of tolerant spirits, greeting each other, social interaction ethos in warm gestures, and also collaborative work. These are a row of spirits that is intended to be transmitted in this exhibition. For this purpose, this curatorial introduction invites Balinese as well as foreign artists who have chosen Bali as a creative space. It is intended for artists who in daily life live and grow in global social interaction circuit. Meanwhile Bali, as a space entity, constantly
offers her inner self. The synergy of mutual gesture strengthens as well as increases the plurality of visual idea and concept treasure of Bali contemporary art.
Walking side by side As explained just now, the art path of Foreign and Balinese artists in Bali nowadays is almost confronted with global tendency; imagination circuit, creative work, and other aspects that are related to professional social space that goes on in the same competition spirit. Like a soccer player, it does not matter which country he comes from, the most important thing is the creative space called matches league and the personal quality of the player. Unlike during the twenties and thirties eras, when Balinese artists were almost on the brink of being on the opposite side of their artistic potential value as well as their social interaction with the Western artists at that time, today all professional artists breathe the same air of information. This condition logically leads to the consequence of creative communication space that is built more on the productive side-by-side path. When the creative weapon, imagination space and social interaction space they have are the same, the climate created is truly more collaborative in nature. The combination of positive interaction is aimed to point to the strengthening tolerant manner.
18
The foreign artist names that join this exhibition are a line of artists who consider Bali as a spiritual space that stores intuitive mystery. The artists are Samarpan (Germany 1953), Peter Dittmar (Germany 1945), and Walter Van Oel (The Netherlands, 1942), who are almost in the same field in terms of submerging into Balinese spiritual life. As written in the novel Eat, Pray, and Love, Elisabeth Gilbert writes about how Balinese spiritual world represented by I Ketut Lyer – a traditional artist who walks side-by-side with modernization that enters into Bali. Various artifacts of the past in connection with the world of cosmic energy beliefs, until today are still celebrated. So is it with traditional rituals which are inseparable from daily life. It is the submersion into such spiritual beliefs that are found by the three artists. Walter Van Oel had actually spent long exploration in spiritual regions, such as Tibet and China, before finally he chose to settle in Bali. It is the island that for him stores extraordinary cosmic energy. Twelve years have passed, he has found spiritual peace in Bali, picked up all kinds of images from Bali traditional artifacts, and believed in the universality of that Balinese spiritual belief.
On the other hand Ronald Wigman (The Netherlands, 1954) identifies Bali from the perspective of its domestic life. He questions daily world with critical views. Wigman’s views have become the comparison of how divine spirit is interpreted in private domestic spaces. He also questions the existence of daily objects in today’s spiritual views.
Meanwhile Balinese artists in this exhibition are represented by artists from different lines of generation; they are Nyoman Erawan, Ketut Susena, Putu Adi Gunawan, Putu Wirantawan, Ketut Teja Astawa, Nyoman Agus Wijaya, Ida Bagus Putu Purwa, Wayan Upadana, Kadek Agus Ardika, Made Gede Putra, Agus Putu Suyadnya, Putu Erdiawan, and Putu Aan Juniartha. Erawan is undoubtedly the pioneer of Indonesian contemporary art movement who remains to observe thoroughly the locality aspect. Somehow, when many observers
19
start to vocalize on Indonesian contemporary art that is believed to have the tendency to be westernized, finally several critics and curators again consider the importance of how the locality issue should be promoted in terms of contemporary art views. The public certainly understand Erawan’s important position in this movement, even far before the all “visual” contemporary art is booming and the market celebrates it. Erawan recognizes the chaotic concept that leads to the balance of physical and spiritual worlds. Young artists such as Susena, Wirantawan, Teja Astawa, Purwa, Adi Gunawan and Agus Suyadnya also consciously take position as the generation that identifies and studies as well as questions tradition. Bali has become a balanced space for perspective track of admiration, critical power, and also the trigger of creative life power. It has become the pole that brings out foreign and Balinese artists in creative energy and also artistic concept of cross-opinion beliefs. ---
Bibliography Claire, Holt. (1967), Art in Indonesia: Continuities and Change atau Melacak Jejak Perkembangan Seni di Indonesia (Penerj. R.M. Soedarsono), Arti.Line, Bandung, 2000. (=or Tracking down Indonesian Art
Development Traces – Translated by R.M. Soedarsono ) Couteau, Jean. (2003),‘’Wacana Seni Rupa Bali Modern’’ dalam Paradigma dan Pasar, (Ed. Adi Wicaksono, dkk),Yayasan Seni Cemeti,Yogyakarta. (=Modern Bali Art Discourse in Paradigm and Market, (Ed. Adi Wicaksono, et al ) Couteau, Jean, & Wim J. van der Beek. (2005), Walter van Oel 2004-2005, Sharon’s Co, Denpasar. Gilbert, Elisabeth. (2006), Eat, Pray, Love, Penguin. Hartanto. (1998), ‘’Ida Bagus Made Jiwa Pusaka Ramuan Tanah’’ dalam katalog Pameran Lukisan Ida Bagus Made, Darga Gallery, Sanur. (=Ida Bagus Made – Earth Potion Spirit of Heritage in Ida Bagus Made, Painting Exhibition catalogue, Darga Gallery, Sanur) Jordt, Horst. (tanpa tahun), ‘’Kehidupan dan Karya Walter Spies’’ (sebuah makalah lepas). (=without year), “Walter Spies, Life and Artwork” (a loose paper) Soedarso Sp. (2006), Trilogi Seni : Penciptaan, Eksistensi dan Kegunaan Seni, Badan Penerbit ISI Yogyakarta, Yogyakarta. (=Art Trilogy : Art Creation, Existence and Application, ISI Publishing Institution) Yuliman, Sanento. (2001), Dua Seni Rupa (Sepilihan Tulisan), Ed. Asikin Hasan,Yayasan Kalam, Jakarta. Two Arts (A Choice of Writing)
20
Agus Putu Suyadnya Born 1985 in Denpasar. Graduated from FSR ISI Jogjakarta. Latest Exhibitions
2010 “MEDI(A)ESTHETIC”, Tonyraka Art Gallery, Bali
“I SENSE”, Canna Gallery, Jakarta
Exhibtion at Tujuh Bintang ArtSpace, Jogjakarta
2011 “Bali making Choices”, Mondecor Gallery at Galeri nasional, Jakarta
Awards
2005 Best sketch FSR ISI Jogjakkarta
”Homo Substitutio”, LVS Gallery Seoul, Korea
2010 Indonesia Art Award 2010 “Contemporaneity” Galeri Nasional Jakarta
“ASYAAF” Seoul, Korea
“Bazar Art Jakarta” The Ritz Carlton Jakarta, Pacific Place, Jakarta
Nominee (big 10) Pratisara Affanat Aat Karya 2009 Nominee ( big 20) Tujuh Bintang Award
Ida Bagus Putu Purwa Born 1976 in Sanur. Graduated from STSI Denpasar.
Awards 2006 Special Award, Jakarta Art Awards 2006, “Kisi-kisi Jakarta” 2008 Nominator Jakarta Art Awards 2008, “Warna-Warni Jakarta” 2008 Big five “Radar Bali Art Award” 2008 2010 Nominator Jakarta Art Award 2010, “Contemporaneity”
Latest exhibitions 2011 “re-FRESH” TEN fa , Raos Gallery, Batu, malang
“TIDAK TAKUT! NEW BALINESE ART” at Willem Kerseboom gallery, Amsterdam
“BEYOND YOUR IMAGINATION” 5 Indonesian artists at Tobin Ohashi Gallery, Tokyo, Japan
“Edge of Indonesia”, 8 Indonesian artists, EDGE Gallery, Hong Kong
”TENmade” kelompok TEN, Tujuh Bintang Gallery, Jogjakarta
“Art Kampoeng” Sanur Village Festival, Sanur, BALI
“Lukisan Kecil” Ten Fine art, Sanur, BALI
”CARPE DIEM” Philo Art Space, Jakarta
I Kadek Agus Ardika Born 1984 in Sukawati. Post graduated from ISI Jogjakarta. Latest Exhibitions 2011 “Bali making Choices”, Mondecor Gallery at Galeri nasional, Jakarta
21
Bazar art Jakarta
Gallery, Bali.
“Integritas Jiwa Tampak” Bentara Budaya Bali
“Bali Making Choice”, Mon Décor Gallery at Galeri Nasional, Jakarta
“2x...” with Tonyraka Art Gallery Jakarta Art District, Jakarta.
“Scope Basel”, Basel
10+1=lawan bersama TEN fa Paros art Gallery, Bali
2010 “Return to the Abstraction” at Tony Raka Gallery, Ubud
“Post Modern Rambling” at Ganesha Gallery Fourseason, Jimbaran
“Corner Kick” at Tanah Tho Gallery, Ubud
“BAZAAR ART JAKARTA” in Jakarta
“2X…” Jakarta Art Disctrict
“10+1” at Paros Gallery
I Ketut Susena Born 1969 in Yehembang, Jembrana, Bali. Graduated from STSI Denpasar. Latest exhibitions 2010 “Return to the Abstraction”, Tonyraka Art Gallery, Bali
AWARDS
2009 “Surat Cinta at Bulan Kedua Belas”
Museum Collection “Der Weltkulturen Am Schaumainkai ”, Frankfurt.
“Art Fear”, Shanghai Cina
“Global Warming”. Tonyraka Art Gallery, Bali
“Grand Wing Silence”, Solo Exhibition at Han Lin Gallery, Beijing
2008 “Sayap Besar dari Kesunyian”, Solo Exhibition at Gallery Nasional, Jakarta
2001 Finalist Philip Morris Art Award Indonesia
I Made Gede Putra Born 1984 in Gianyar. Graduated from ISI Jogjakarta. Latest Exhibitions
Ketut Teja Astawa
2011 “Spirit Citra Seni Kebo Iwa H.U.T Kota Gianyar”at MadeKedol Studio, Bali
Born 1971 in Tuban, Bali. Graduated from STSI Denpasar.
Latest Exhibitions 2011 Solo Exhibition “ Fragments of Subconscious Memory”, Tonyraka Art
“Art Paris”under Rize Art Gallery, Naarden, Amsterdam
2010 “MEDI(A)ESTHETIC”, Tonyraka Art Gallery, Bali
“Ruang Berikutnya”, Sangkring Art Space, Jogjakarta
22
“The Object in Sculpture” Griya Santriyan, Sanur, Bali
“I SENSE”, Canna Gallery, Jakarta
I Nyoman Erawan Born 1958 in Dlodtangkluk, Sukawati, Bali. Studies in STSRI Jogjakarta ( now ISI Jogjakarta)
Award
Latest Exhibitions
2008 The Best Sculpture, Dies Natalis XXIV ISI Jogjakarta
2011 “Bali Making Choice”, Galeri Nasional, Jakarta
“Bali Inspires”, Rudana Museum, Ubud, Bali
“Melacak Jejak Seni Rupa Kontemporer Indonesia at Empat Sentra”, AJBS gallery, Surabaya
“Sawen Awak”Cross Culture Contemporary Artist in Bali, Tonyraka Art Gallery, JAD, Jakarta
I Nyoman Agus Wijaya Born 1983 in Angsri, Bali. Studies in FSR ISI Jogjakarta. Latest Exhibitions 2011 Ïmaji Ornament – Pameran Nusantara”, Galeri Nasional, Jakarta
“Apocalypse”,VWFA, Kuala Lumpur
“Bali Making Choice”, Galeri Nasional, Jakarta
“Headlight”,VWFA, Kuala Lumpur
2010 “Young Sculpture Competition”Surabaya
“Vision of Space”at Experience Central Park, Jakarta
“Dimensi”, Elcanna Fine Art, Jakarta
Bazaar Art Jakarta, Pacific Place Jakarta
“Contemporneity”, finalist IAA 2010 at Galeri Nasional, Jakarta
“Ruang Berikutnya”. Sangkring Art Space, Jogjakarta
“ ADOPT ADAPT”, Tujuh Bintang Art Space, Jogjakarta
Awards Best Sculpture Dies Natalis ke-24 ISI,Yogyakarta Finalist Indonesia Art Award Finalist Young Sculpture Competition, Surabaya
2010 “Return to the Abstraction”, Tonyraka Art Gallery, Bali
“Oasis to Be”, Maha Art Gallery, Sanur, Bali
“102 th : Kebangkitan Nasional Percakapan Masa”, Galeri Nasional, Jakarta
“In the Name of Art @AJBS”, AJBS Gallery, Surabaya
“Tramendum”. 5th anniversary of Philo Art Space, Galeri Nasional, Jakarta
“INTERGRITAS”, Bentara Budaya Bali, Bali
Awards 1994 First Prize, Philip Morris Group of Companies Indonesia Art Award 2005 Astra Otoparts Art Award 2005, Life time achievement, Bali Biennale
I Putu Aan Juniartha Born 1984 in Denpasar, Bali. Studies in FSR ISI Jogjakarta.
23
Latest Exhibitions
2011 “Bali Making Choice”, Mon Decor Gallery at Galeri Nasional, Jakarta
“Vision of Space” Arti2 Anniversary, Central Park, Jakarta
“Soccer Fever”, Gallery Canna, Jakarta
2010 “Imajinasi Rumah dalam Lukisan”at Gedung Seni Murni, ISI Jogjakarta
“Bazaar Art Jakarta”, Ritz Carlton, Pacific Place, Jakarta
2009 “Tanda Mata VII”, Bentara Budaya Jogjakarta
“Art Festival”, Plaza Indonesia, Jakarta
“Public on the Move Biennale Jogja X”, Jogja Jamming, Jogjakarta
“New + News”, Gracia Gallery, Surabaya
“Local Warming “Kelompok Pilar at Bentara Budaya Jogjakarta
“Bank – Bank – Krut”, Bentara Budaya, Yogyakarta
“Mengeja B-A-B-I”, Solo Exhibition at Syang Art Space, Magelang
“Indonesian Artists”, at M Gallery, Daegu City, South Korea
“September Ceria”, Jogja Gallery, Jogjakarta
Awards
“ISIOTHERAPHY #2”, Benteng Vredeburg, Jogjakarta
2003 Finalis Philip Morris Art Award
Awards
Karya Patung Terbaik Dies Natalis XVIII ISI Yogyakarta 2008 Olimpic Fine Art, Beijing, China
2008 Big five “Radar Bali Art Award” Nominator of Academy Art Award #2 “Dedication to the Future”
Putu Adi Gunawan
I PUTU ERDIAWAN Born in 1986 in Penebel, Tabanan. Studies in FSR ISI Jogjakarta.
Born 1974 in Parigi. Studies at ISI Jogjakarta.
Latest Exhibitions
Latest exhibitions
2011 “2X....”, with Tonyraka Art Gallery, Jakarta Art District, Jakarta M
2011 “Intersection”, Indonesian Contemporary Sculpture, Andi’s Gallery, Grand Indonesia, Jakarta
2010 “PINK”, Ten Galeri Sanur Bali 2009
“SDI NOW”, Tonyraka Art Gallery Mas, Ubud, Bali
“Mirong Kampuh Jinggo”, Bentara Budaya Yogyakarta
“Bali Art Festival - SISI LUAR” , Taman Budaya, Denpasar, Bali
“Bali Making Choise”, Galeri Nasional, Jakarta
”Dies Natalies” ISI Yogyakarta
“Keberagaman dan Toleransi”, Syang Art Space, Magelang
“Group Exhibition” Gallery M, South Korea.
2010 “Percakapan Masa” Pameran Besar Seni Rupa Indonesia – Manifesto 2010, Galer y Nasional, Jakarta
24
Putu Wirantawan Born 1972 in SK Agung Negara, Bali. Studies in SMSR and ISI Jogjakarta. Latest Exhibitions 2011 “Bali Making Choice”, Galeri Nasional Jakarta.
“Cultural Brigde 2011”, Wendt Galery New York.
“Bali Inspires” Museum Rudana Ubud Bali
2010 “SDI” Bentara Budaya Bali
“Pameran Ilustrasi Kompas” Bentara Budaya Jakarta, Bandung,Yogyakarta, Solo, Surabaya, Bali
Surabaya
“Green Carnival” Bazaar Art Jakarta, with Galeri Canna, at Ritz-Carlton Jakarta
“Jakarta Art Award”, at North Art Space, Pasar Seni Ancol, Jakarta
”SENSUOUS OBJECTS”, in collaboration with Valasara at Bentara Budaya Yogyakarta
“ACTION” at Taman Budaya Yogyakarta
“The Object on Sculpture” at griya Santrian Gallery Sanur, Bali
“I SENSE” bersama kelompok G FIVE at Canna Gallery, Jakarta
Awards
“Jakarta Art Award 2010 “REFLECTION OF MEGACITIES”, NORTH ART SPACE,PASAR SENI ANCOL, JAKARTA.
2010 Finalis Jakarta Art Awad
“A Moment in Abstract”, Galeri Canna 9th Anniversary Exhibition
2009 Finalis Tujuh Bintang Art Award
Finalis Young sculptor competition International Culture Center Pandaan
Awards
Peter Dittmar
2008 Finalist of the 2nd International Trienale “Print and Drawing”, Bangkok, Thailand.
Born 1945 in Munich, Germany. Studies at Academy of Fine Arts in Munich under Prof. Heinz Butz, Hans Daucher, Rudi Seitz and Rudi Troeger (Diploma 1976).
2010 Juara 1 Jakarta Art Award Museum Collections The National Taiwan Museum of Fine Art
Latest Exhibitions
Museum der Weltkulturen, Frankfurt, Germany
2010 “New Colour Window” Solo Exhibition at Tonyraka Art Gallery, Ubud, Bali
Silpakorn University, Bangkok, Thailand.
I Wayan Upadana Born 1983 in Gianyar, Bali. Graduated from ISI Jogjakarta. Latest exhibitions 2010 “Young Scupltor Competition” International Culture Center Pandaan,
Galerie Seidlstrasse 4 Murnau, Germany 2009 GAYA Gallery, Ubud-Sayan, Bali SINSIN Fine Art Hong Kong, China 2008 “Colour Windows”, Tonyraka Art Gallery, Ubud-Mas, Bali Galerie Seidlstrasse 4, Murnau, Germany
25
In public Collections
Samarpan
Municipal Collections of Ebersberg, Hall (Tirol) Austria and Wertingen; Municipal Gallery, Munich (Lenbachhaus); Staatsgalerie Moderner Kunst, Munich; Staatliche graphische Sammlung, Munich; Embassy of Germany, Jakarta; HYPOKulturstiftung, Munich; Collection of the Hypo Vereinsbank; Commerzbank; Girocreditbank (Austria);Kreissparkasse Ebersberg; Ministry of Education & Arts Vienna; Dr. Earl Lu Collection, Singapore;Volksbank Laupheim,National Art Gallery, Jakarta;. Alila Hotel, Jakarta; Duta Museum, Jakarta ; Agung Rai Museum of Arts (ARMA),Bali.; Neka Museum of Arts, Bali; Goethe Institut Jakarta;Quantas and British Airways, 1st class lounge, Bangkok International Airport. Crown Casino Hotel, Melbourne; Sebel – Pier One Hotel , Sydney, Maerkisches Museum Witten/Ruhr, Germany,
Born 1953 in Cologne. Studies at the College for Art and Design, Cologne.
Ronald Wigman
1977 Journeys to Asia Award of the Society of Arts, Cologne 79/80 Research Trips to Asia 1981 Named “Master Scholar” 87/96 Research Trips to Asia, USA, Australia 97-04 Research Trips to Asia 05-10 Resident and working in Cologne and Bali 2010 “Nowhere Else” Solo Exhibition at Tonyraka Art Gallery, Bali.
Walter Van Oel Born 1942 in The Hague, The Netherlands. Studied art at the Royal Academy of Art, The Hague. Participated in more than 30 exhibition, one person and group since 1985 until now.
Born 19 juni 1954 in Den Bosch, the Netherlands Latest exhibition selected Exhibitions 2009 TCC art gallery, Singapore 2010 City Hall – Passerelle, Terneuzen (NL) 2011 Going Dutch showroom, Singapore Studio Wig, Tebesaya, Ubud Works in collections City government Amsterdam / Free University Hospital, Amsterdam / ABN-AMRO bank, Amsterdam / Inventure, Amsterdam-New Delhi / VNO-NCW, Den Haag / Swarovsky Benelux, Den Helder / Bürkert-contromatic, Utrecht / Renate Kant studio, Singapore / Sky Unlimited, Harmelen / Y. Lee, Surabaya
2008 Paris, received GOLD MEDAL from the town of Paris, Espace St.-Martin, France (Membre Honoraire du Centre Artistique et Culturel des Halles) Lettres Arts Sciences Philanthropye (Paris) 2008 Loon en Simons,Vught 2008 Donald Trumps Mar a Lago estate in Palm Beach 2009 Tony Raka, Bali 2010 Tony Raka, Bali 2011 Menno Art Gallery, Knokke , België 2011 Tony Raka, Bali MONOGRAPHY 2008 Walter van Oel award a GOLD MEDAL by the city of Paris for the totality of his work.
26
Agus Putu Suyadnya The First Defense acrylic on canvas 130 cm x 150 cm 2011
27
28
I Kadek A. Ardika I Will Survive (Sabar... nanti kau akan melihatku jatuh juga) acrylic on canvas 155 x 136 cm 2011
29
Ida Bagus Purwa What Next charcoal, oil, acrylic on canvas 180 x 160 cm 2011
30
Ketut Susena Sukma Merapi oil on canvas 140 x 200 cm 2011
31
Ketut Teja Astawa Ngelawang acrylic on canvas 140 x 200 cm 2011
32
Made Gede Putra The Palette of Sky spoonge and glue 85 x 65 x 27 cm 2011
33
Nyoman Agus Wijaya Go Green Galvanise Plat 70 x 60 x 85 cm 2011
34
35
Nyoman Erawan Seri Kertas Remas 2 Kriya #2 acrylic, digital print on canvas 100 x 300 cm 2011
36
Putu Aan Juniartha My Hand acrylic on canvas 150 x 150 cm 2011
37
Putu Adi Gunawan Meniti Levitasi bronze 80 x 75 x 70 cm 2010
38
Putu Erdiawan Mencari Aku acrylic on canvas 250 x 110 cm 2011
39
Putu Wirantawan Gugusan Citra Batin 1236011 pencil, pen on paper variable 2011
40
Wayan Upadana Amnesia Culture (Melting Memories Series) polyester, resin, phospor, acrylic diameter 120 cm 2011
41
Peter Dittmar Colour Window No. iii mixed media on teakboard 100 x 100 cm 2010
42
Ronald Wigman My Studio acrylic on canvas 140 x 190 cm (2 panels) 2011
43
Samarpan Untitled acrylic on canvas 150 x 250 cm 2011
44
45
Walter Van Oel Marylin (on progress) mixed media 190 x 190 cm 2011
46
Agus Putu Suyadnya
Nyoman Erawan
Adherents of ‘New Dynamism’ acrylic on canvas 150 x 150 cm 2011
Seri Kertas Remas 1 Kriya #1 acrylic, digital print on canvas 100 x 300 cm 2011
Ketut Teja Astawa Restricted Area acrylic on canvas 140 x 200 cm 2011
47
Ida Bagus purwa Untitled acrylic, oil, charcoal on canvas 140 x 200 cm 2010
I Nyoman Agus Wijaya
Putu Erdiawan
Mencari Kesegaran Galvanise Plate Variable Size 2011
Beda itu Indah acrylic on canvas 200 x 150 cm 2011
48
Ronald Wigman My Tools acrylic on canvas 140 x 190 cm (2 panels) 2011
Walter Van Oel
I Putu Aan Juniartha
Mystery (on progress) mixed media 190 x 190 cm 2011
One Heart acrylic on canvas 150 x 150 cm 2011
49
I Kadek A. Ardika Please Take My Head! (I’am addicted in learning and working to be arrogant) (on progress) fiberglass, pint 55 x 20 x37 cm 2011
Peter Dittmar
Samarpan
Colow Window No.Y1 mixed media on teakboard 100 x 100 cm 2009
Untitled acrylic on canvas 150 x 150 cm 2011
This catalogue was published as a supplement to the exhibition of sawen awak Cross-Culture of Balinese and Foreign Contemporary Artists July 21st – 31st, 2011 at Exhibition Hall, Jakarta Art District
Artists Agus Putu Suyadnya, I Kadek A Ardika, Ida Bagus Putu Purwa, Ketut Susena, Ketut Teja Astawa, Made Gede Putra, Nyoman Agus Wijaya, Nyoman Erawan, Putu Aan Juniarta, Putu Adi Gunawan, Putu Erdiawan, Putu Wirantawan, Peter Dittmar, Ronald Wigman, Samarpan, Walter Van Oel, Wayan Upadana
Curator Wayan Kun Adnyana English Translation Theresia Wijaya Designed by Kotasis Kamar Desain 3x3x3 Yogyakarta, Indonesia www.kotasis.com Published by Tonyraka Art Gallery Jl. Raya Mas 86, Mas, Ubud, Bali 80571, Indonesia P. +62 361 7816785, 974538 F. + 62 361 975207 Tonyraka Gallery Jakarta Art District Grand Indonesia Shopping Town East Mall, Lower Ground, Lot 29 Jl. MH. Thamrin No. 1 Jakarta Pusat 10310 tonyraka@gmail.com info@tonyrakaartgallery.com www.tonyrakaartgallery.com Edition 500 copies Digital versionSawen Awak-0611
PRINTED IN INDONESIA
tonyraka@gmail.com info@tonyrakaartgallery.com
www.tonyrakaartgallery.com