E - catalogue the 4th JCCB 2016 by JCCB Indonesia

This catalog was published as a supplement to The Fourth Jakarta Contemporary Ceramics Biennale WAYS OF CLAY Galeri Nasional Indonesia Desember 7th 2016 - Januari 11th 2017 TEX T CONTRIBUTOR Tubagus Andre Sukmana Restu Imansari Kusumaningrum Rifky Effendy Nurdian Ichsan Rizki A. Zaelani Yacobus Ari Respati GRAPHIC DESIGN Satrio Yudho Yosefa Aulia EDITOR Yacobus Ari Respati Axel R. Ramadhan ENGLISH T R A NSL ATOR Henny Rolan Yacobus Ari Respati COVER IMAGE Still video of FLUXOS by Diego Akel (Brazil), 2014 IMAGES OF WORKS Courtesy by Artists PUBLISHED AND DISTRIBUTED BY The 4th JCCB and Bumi Purnati

All right reserved. No part of this catalog may be reproduced, stored in a retrieval system, or transmitted in any way form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder.Â©JCCB4-2016

PA R TI C I PA NTS A g u g n P r a b o w o ( I D)

Kawayan De Guia (PH)

Alice Couttoupes (AU)

K y o ko U c h i d a ( J P )

A n e Fa b r i c u s C h r i s t i a n s e n ( D K )

Kyung won Baek (KR)

Angie Seah (SG)

Ljubica Jocic Kneževic (R S)

Antonella Cimatti (IT )

M a r i a Vo l o k h o v a ( U A / D E )

A r y a P a n d j a l u ( I D)

Masha Ru (RU/ NL) and Dina Roussou

A w a n g ko H a m d a n ( M Y )

(G R / N L )

C l a r e Tw o m e y ( U K )

Mohamad Rizal Salleh (MY )

D a n i j e l a P i v a š e v i ć -Te n n e r ( R S / D E )

N a d y a S a v i t r i ( I D)

D i e g o A ke l ( B R )

N a o M a t s u n a g a ( J P/ U K )

Eddie Hara (ID/CH)

P a n c a D Z ( I D)

E d d i e P r a b a n d o n o ( I D)

Pei - Hsuan Wang ( T W )

Elodie Alexandre (FR /IN)

R i c h a r d S t r e i t m a t t e r -Tr a n ( V N )

Eva Larsson (SE )

Ryota Shioya ( JP)

G e n g X u e (C N )

Sarah O ’ Sullivan (AU)

G i t a W i n a t a ( I D)

S o e Yu N w e ( M M )

H e r i D o n o ( I D)

Ta k a s h i H i n o d a ( J P )

H e W e n j u e (C N )

Te r i Fr a m e ( U S )

Joris Link (NL)

Thomas Quayle (AU)

Jose Luis Singson (PH)

To m o ko S a k u m o t o ( J P )

Joseph Hopkinson ( WL / UK )

U j i ‘ H a h a n ’ H a n d o ko ( I D)

CONTENTS

PREFACE Sambutan Kepala Galeri Nasional Indonesia Sambutan Bumi Purnati

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Pengantar oleh Rifky Effendy

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CONTENTS

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C U R AT O R I A L “WAYS OF CLAY: A Note” oleh Nurdian Ichsan

“SOAL MENGALAMI-KEMBALI SENI” oleh Rizki A. Zaelani

RESIDENCY PROGRAM “Strategi: DI ANTARA MEDAN SOSIAL SENI DAN BUDAYA LEMPUNG” oleh Rifky Effendy

Locations and Hosts of Residency

Artists in Residence Biography

PA R T I C I PAT I N G A R T I S T S Biography

EXHIBITION VIEW

120

C U R R I C U L U M V I TA E

128

ACKNOWLEDGEMENT

172

THE COMMITTEE

173

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SAM B UTAN KEPALA GALERI NASIONAL INDONESIA Galeri Nasional Indonesia—Kementerian Pendidikan dan Kebudayaan— menyambut baik dan memberikan dukungan atas terselenggaranya Pameran The 4th Jakarta Contemporary Ceramics Biennale ( JCCB) “Ways of Clay: Perspectives Toward the Future” pada 7 Desember 2016 hingga 22 Januari 2017 di Galeri Nasional Indonesia. Seni keramik telah ada sejak lama dalam sejarah negeri ini. Mulai dari penggunaanya secara fungsional hingga untuk dinikmati sebagai sebuah karya seni yang mengekspresikan berbagai gagasan konseptual dipadu dengan latar belakang serta ‘rasa’ yang dibumbukan oleh senimannya. Sebagai bentuk apresiasi dan untuk menunjukkan perkembangan seni keramik zaman ini. Perhelatan yang diselenggarakan dua tahunan ini menjadi suatu ajang pertemuan puluhan pekeramik dari berbagai belahan dunia, di antaranya dari negara-negara di benua Asia, Australia, Eropa, dan Amerika. Hal ini tentu menciptakan sebuah ekspresi estetik yang beragam dalam sebuah seni keramik, juga memungkinkan adanya pertukaran budaya dan ilmu pengetahuan di antara para pekeramik peserta pameran yang mampu menyumbang perkembangan seni keramik di Indonesia. Pameran lintas benua ini akan menjadi sajian yang dapat memberikan manfaat edukasi karena menyuntikkan ‘menu’ sejarah, teori, dan wacana seni rupa dalam karya-karya keramik yang ditampilkan. Selain itu, pameran ini tentu tidak meninggalkan suguhan estetis sehingga tetap menarik untuk diapresiasi. Dengan menghelat pameran ini, diharapkan publik dapat memperoleh informasi, memetik manfaat positif, dan dapat mengeksplorasi bentuk serta berbagai gagasan (ekspresi) melalui media seni keramik. Pada kesempatan ini masyarakat luas dapat meningkatkan daya apresiasi seni, meningkatkan kreatifitas, dan mengenal lebih dekat eksistensi para perupa khususnya para pekeramik peserta pameran. Selain itu, pameran ini juga diharapkan dapat memberikan akses bagi publik dalam memperoleh inspirasi dan motivasi dari perjalanan kreatif para pekeramik peserta pameran ini yang telah memberikan kontribusi bagi perkembangan seni rupa Indonesia. Kepada Tim The 4th JCCB 2016, para Kurator, para perupa peserta pameran, dan seluruh pihak yang telah bekerja keras mewujudkan pameran ini, kami mengucapkan terima kasih. Selamat berpameran, semoga sukses!

Jakarta, Desember 2016 TUBAGUS ‘ANDRE’ SUKMANA

SAM B UTAN JCCB hadir lagi tahun ini memasuki penyelenggaraannya yang keempat, dan kita semua pantas menyambutnya dengan suka cita. Ajang ini adalah wujud nyata perayaan kreativitas dan kebhinekaan kita. Karya-karya keramik yang hadir dalam pameran ini tak hanya menginspirasi tetapi dengan caranya sendiri juga mengajak kita senantiasa menimbang ulang posisi seni rupa kontemporer dan perkara-perkara lain yang melingkupinya. JCCB-4 bisa terlaksana karena cinta, dedikasi, dan kerja keras orangorang yang punya komitmen memajukan kehidupan seni dan budaya di Tanah Air. Bumi Purnati merasa terhormat bisa ikut mendukung pameran ini. Kesenian kontemporer adalah salah satu perhatian utama kerja kami selama ini. Semoga, ajang berkelas seperti JCCB makin banyak hadir di Indonesia.

JCCB is back for its fourth edition, and we must welcome it gladly. It is a tangible celebration of our creativity and proof of our unity in diversity. All the ceramic works that appear in this exhibition can (and do) inspire, but more importantly, they invite us to reconsider the position of contemporary art and related issues. JCCB-4 is made possible thanks to the love, dedication and hard work of individuals who are committed to furthering art and culture in Indonesia. Bumi Purnati is honored to take part in this exhibition, as contemporary art is also one of our main focus. We hope that there will be more events of this scale and quality in Indonesia.

RESTU IMANSARI KUSUMANINGRUM Founder dan Direktur Bumi Purnati

P E N G A N T A R T H E 4 th J C C B 2 0 1 6 RIFK Y EFFENDY

Penggagas dan Direktur JCCB-4

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Tak dipungkiri, penyelenggaraan Jakarta Contemporary Ceramics Biennale ( JCCB) ke-4 telah menjadi suatu perhelatan seni keramik kontemporer dengan pendekatan yang baru. Terutama, bagi dunia seni keramik sendiri. Ada banyak kegiatan seni keramik di dunia, yang lebih cenderung mengkhususkan kepada para praktisi seni keramik saja dan cenderung memamerkan karya-karya keramik mutakhir. Sejak awal ketika JCCB digagas oleh saya dan Asmujo J. Irianto pada tahun 2009 lalu, JCCB telah melibatkan para seniman non-keramik. Mereka diajak untuk menghasilkan karya dengan medium keramik, maupun karya yang melibatkan lempung atau benda keramik sebagai bagian dari gagasan dan proses berkarya seniman. Maka di dalam setiap penyelenggaraannya, JCCB selalu memasukkan karya-karya seniman dengan medium seperti video, fotografi, maupun yang menyertakan keramik sebagai elemen karya seni (media bercampur). Hal ini didasari pertimbangan untuk melebarkan spektrum seni keramik serta medium keramik ke dalam praktek seni rupa kontemporer yang lebih luas. Hal lain yang membedakan JCCB ke-4 adalah dimulainya upaya mengundang para seniman keramik dan non-keramik—baik dari Indonesia maupun dari luar negeri—untuk berkarya di berbagai tempat pembuatan keramik. Baik itu studio-studio keramik individual, sentra–sentra industri menengah dan tradisional, industri besar / pabrik, komunitas, juga lembaga-lembaga pendidikan seni keramik di perguruan tinggi maupun sekolah kejuruan. Dalam JCCB-4, ada 20 seniman yang terlibat dalam program residensi di beberapa kota; yakni Bandung, Majalengka, Kasongan-Bantul dan Sleman– Yogyakarta, Semarang serta beberapa lokasi di pulau Bali. Mereka berkarya masing-masing selama satu bulan, dari mulai bulan Agustus hingga November. Perbedaan lokasi dan karakter dari setiap tempat residensi tentunya memberikan berbagai gagasan dan pengalaman bagi setiap seniman secara berbeda-beda. Lebih jauh, tujuan dari residensi adalah untuk menyinergikan potensi dunia keramik di Indonesia kepada masyarakatnya. Selain bertujuan untuk mengaktivasi kantong-kantong produksi keramik, juga untuk memperluas ‘pergaulannya’, kepada praktik seni rupa kontemporer. Diharapkan, dalam waktu ke depan akan terbuka kesempatan bagi para pegiat keramik maupun seni rupa lainnya untuk bisa mengaksesnya dan turut bekerjasama. Sedangkan bagi JCCB, program residensi seperti ini juga bisa mengambil tempat sebagai suatu pemetaan atas ragam hal dalam praktik keramik di tanah air—baik potensi, dan juga persoalannya. Ia sekaligus juga membentuk jejaring untuk memperkuat perkembangan praktik seni keramik. Maka, saya mewakili JCCB-4 mengucapkan banyak terima kasih dan memberikan penghargaan yang setinggi –tingginya kepada para seniman yang terlibat dan juga para tuan rumah (Host) residensi. Dari segi pelaksanaan persiapan JCCB-4 kali ini, walaupun terasa begitu

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berat, tetapi berkat semangat tanpa pamrih para anggota tim kerja yang solid, berbagai program berjalan dengan baik. Secara pribadi, saya memberikan penghargaan sebesar-besarnya. Lalu, atas nama JCCB4 kami mengucapkan terima kasih dan apresiasi yang tinggi kepada para pendukung dan sponsor, baik para individu maupun lembaga pemerintah, swasta, serta lembaga kebudayaan seni dan lembagalembaga budaya asing di Indonesia maupun di luar negeri. Baik yang memberikan pendanaan, maupun maupun yang memberikan bantuan dalam rupa sarana. Perihal lain adalah periode penyelenggaraan yang jatuh pada akhir dan awal tahun, yang akan memasuki masa liburan. Ini merupakan suatu hasil pertimbangan bahwa masa libur akhir tahun akan lebih memberi kesempatan bagi para pengunjungâ&#x20AC;&#x201D;baik warga kota Jakarta yang tidak berlibur, pengunjung dari luar kota, dari pulau-pulau lain di Indonesia, maupun dari luar negeriâ&#x20AC;&#x201D;untuk datang ke kota Jakarta. Sehingga, selain dapat berkesempatan untuk mengapresiasi karya-karya, juga tersedia kesempatan untuk bisa mengikuti program-program lainnya seperti seminar, bincang seniman, tur keliling galeri, dan juga workshop keramik yang akan diselenggarakan setiap akhir pekan dan pada setiap hari libur sekolah bagi para pelajar. Untuk memenuhi kebutuhan khalayak yang menggemari pernakpernik keramik, kami juga bekerjasama dengan para penggiat dan studio keramik di Jakarta, Bandung, dan beberapa kota lainnya untuk membuka pop-up store atau art shop di Galeri Nasional Indonesia. Semoga penyelenggaraan JCCB-4 kali ini akan dapat banyak memberikan wawasan kepada para pengunjung. RIFK Y EFFENDY Penggagas dan Direktur JCCB-4

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P R E F A C E O F T H E 4 th J C C B 2 0 1 6

RIFK Y EFFENDY Co-founder and Director of the 4th JCCB

Undoubtedly, the 4th Jakarta Contemporary Ceramics Biennale (JCCB-4) has become a contemporary ceramic art event which offers a fresh perspective, especially in the ceramic art world. Most ceramic art events tend to limit themselves to ceramists, and exhibit only the most recent developments in ceramic art (or the newest ceramic works by ceramic artists). Since it was first initiated—by Asmudjo J. Irianto and myself in 2009—JCCB has always invited the participation of non-ceramists who created ceramic works, or clay-based works, or works that involve ceramic objects as part of the artist’s creative process. Therefore, in every edition, JCCB has always featured mixed-media works that use video, photography or other medium alongside clay or ceramics. It reflects the expansive reach of ceramic art or ceramic medium into the wider contemporary art practice. Another distinctive feature of JCCB-4 is its effort to invite ceramists and non-ceramists from Indonesia and abroad, to work in diverse ceramics producing outfits—from independent ceramics studios, traditional or small/ middle-sized ceramics industry, ceramics factory/large-scale industry, ceramics producing communities, and ceramics education institutions such as colleges or vocational schools. For JCCB-4, there are 20 artists involved in this residency program, held in Bandung, Majalengka, Kasongan-Bantul, Sleman-Yogyakarta, Semarang, and a few locations in Bali. Artists spend a month with their residency hosts between August and November. The differences in locations and characters of their residency hosts, surely lead to a diversity of ideas, concepts and experiences. Furthermore, the residency program aims to find a synergy between the potential of Indonesia’s ceramics world and the society at large. It also aims to reinvigorate pockets of ceramics production, and expand it networks to include contemporary art practices. We hope to open opportunities for ceramists or other artists in general to be able to access this diversity and work well together. JCCB views this residency program as an opportunity to map ceramic practices in Indonesia, in terms of potential and problems. We hope to contribute, in any way, to the networks that can strengthen the development of ceramics practice. On behalf of JCCB-4, I would like to extend my deepest gratitude and appreciation to the artists and residency hosts. Although hard at times, thanks to the diligent and selfless work from

everyone involved and a solid teamwork, JCCB-4’s programs have gone quite smoothly, and for that I’m deeply grateful. On behalf of JCCB-4, we wish to give our deepest gratitude and appreciation to our supporters and sponsors— from individuals to government institutions and private companies, as well as Indonesian and foreign art and cultural institutions—for support in the form of funding or facilities. The decision to hold this event toward the end of the year and into the beginning of the next year is based on a consideration that the holiday season will provide a unique opportunity for visitors—Jakarta residents who are staying ‘at home’, even visitors from outside the city or island, or even from abroad—to enjoy it. It will be a unique opportunity for everyone to appreciate these works and take part in a variety of programs on offer— seminars, artist talks, gallery tours, even ceramics workshops for students that will be held every weekend and during school holidays. For those who like to take home ceramic pieces or souvenirs, JCCB-4 in cooperation with ceramics studios in Jakarta, Bandung, and other cities, will open a pop-up store or art shop at Galeri Nasional throughout the event. We hope that JCCB-4 can provide a novel and invaluable experience for our visitors.

RIFK Y EFFENDY Co-founder & Director of the 4th JCCB

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CU R ATO RIAL

WAY S O F C L AY

NURDIAN ICHSAN KURATOR

Keramik merupakan suatu tradisi yang dimulai sejak awal peradaban. Hingga kini ia terus menjadi bagian dari kehidupan manusia. Keramik memiliki rentang yang beragam; mulai dari wilayah pottery, desain, seni, hingga arsitektur. Pengertian keramik yang paling netral sebagai lempung yang telah dibakar, menyebabkannya menjadi terkategorikan sebagai bagian dari semua spektrum klasifikasi seni rupa: seni dekoratif, seni plastis, desain, craft, dan fine art. Lempung dan keramik, adalah lawan dari pencarian akan kemurnian media yang menjadi prinsip dalam seni rupa modern. Tidak ada yang bisa dilakukan seni modern terhadap “keberantakan” dan “kacaunya” lempung dan keramik. Keduanya terlalu mudah dikooptasi oleh hal-hal yang sangat ditentang oleh seni tinggi; hobi, persoalan fungsi, kandungan keamatiran, sifat merakyat, dan dalam menjadi dekoratif. Ini pula yang menyebabkan keramik ditempatkan sebagai bagian dari kategori craft, wilayah di mana aspek skill dan keterikatan terhadap material dianggap sebagai nafas utamanya. Meskipun demikian, seniman dan praktisi di luar disiplin craft tetap menggunakan lempung sebagai media berkarya. Sehingga bisa dilihat bahwa seni, desain, dan craft menempati wilayah yang tidak ajeg dan dengan komitmen yang selalu bergeser—baik dalam soal sejarah, maupun wacana dari ketiganya.1 Posisi inilah yang menyebabkan status lempung dan keramik dalam konteks seni rupa modern dan kontemporer tidak akan pernah tetap. Sehingga muncul pertanyaan berulang-ulang dalam berbagai pameran dan literatur tentang apakah keramik bisa dianggap sebagai sebuah disiplin, atau merupakan serangkaian disiplin yang menggunakan material yang sama. 2 Tidak ada sejarah tunggal mengenai lempung, melainkan, ada banyak sejarah. Upaya-upaya untuk merekonstruksi, merevisi, dan menempatkan keramik dalam arus utama sejarah seni rupa Barat sendiri telah banyak dilakukan. Namun menurut James Elkins karena keramik memiliki peran yang sangat kecil dalam narasi utama sejarah seni rupa Barat, upayaupaya tersebut pada akhirnya akan menjadi artifisial. 3 Persoalan tersebut mendasari Ways of Clay untuk melampaui perbincangan yang bersifat politis seputar posisi dan status keramik

dalam sejarah dan medan seni rupa. Ways of Clay berangkat dari kenyataan bahwa material lempung dan keramik hingga saat ini tetap menarik perhatian seniman-seniman. Apa yang mendorong seniman menggunakan lempung dan keramik? Bagaimana relevansinya dengan praktik seni rupa kontemporer kini? Bagaimana kita memahami konteks material primitif ini di tengah dunia sekarang yang serba digital? Serta dengan cara yang bagaimana karya-karya keramik dapat memperkaya pemahaman kita akan kenyataan? Hal-hal tersebut lah yang menjadi dasar pertimbangan tulisan ini. Perspektif Ways of Clay menempatkan lempung dan keramik sebagai faktor determinan dalam proses penciptaan dan interpretasi karya. Proses tersebut melibatkan pengalaman-pengalaman spesifik yang bersifat material. Pengalaman materialitas ini berbeda dengan pengalaman optikal atau okuler, yang disinyalir mendominasi kultur Barat. Dalam pandangan dan gagasan seni modern Barat, praktik artistik lebih banyak dilihat berdasarkan pengalaman optikal. Jika dirunut, ini merupakan turunan dari gagasan imitasi mimetik yang menjadi dasar perkembangan estetika di Barat. Sangat nyata terasa bahwa ambisi dalam praktik-praktik artistik—khususnya dalam seni lukis dan seni patung—merupakan upaya-upaya untuk mencapai efek visual yang murni.4 Bahkan Rawson menyebutnya sebagai “sensuous castration,” untuk menjelaskan bagaimana pengalaman-berbasisoptikal mendominasi kebudayaan Barat.5 Menariknya, pengutamaan penglihatan seperti ini tidak ditemukan dalam praktik seni di Timur, di mana pengalaman inderawi yang lain—semisal pendengaran dan sentuhan—juga dianggap penting. Keramik merupakan salah satu bentuk praktik artistik yang sangat bersifat material. Bukan hanya dengan dilihat, namun kita juga terhubung dengan keramik karena hampir semua benda keramik senantiasa dipegang dan disentuh dalam rutinitas sehari-hari. Dalam banyak kasus, sensualitas keramik bergantung pada indera sentuhan atau taktilitas. Kualitas taktil keramik disebabkan oleh hubungan kita yang mendalam dengan objek-objek keramik dan pengalaman-pengalaman taktil masa lalu. Entah apakah objek keramik itu sendiri hadir untuk disentuh atau tidak, kita dapat merasakan suatu pengalaman sentuhan secara inheren; yang bagi Kemske, “...because of the intimacy that we share with the material, both as makers and as consumers, ceramics as a whole has never ceased to find value in the tactilely sensuous.”6 Sedangkan dalam kalimat Elkins dikatakan, “What matters here is often the idea or the thought of touching.” 7 Untuk melihat bagaimana pengalaman materialitas menubuh dalam praktik seni keramik; tulisan ini dibagi menjadi dua gagasan utama, yaitu clay impulses dan ceramic clues. Keduanya tentu saja saling terhubung, dan dalam cara tertentu mempengaruhi seniman dalam menghasilkan karya. Dalam cara yang tertentu pula, kedua hal tersebut akan mempengaruhi audiens ketika mengapresiasi karya keramik.

Clay impulses : ASALI, K E TA K B E R B E N T U K A N , S E M E N TA R A

Lempung merupakan material purba yang telah menjadi media dalam kehidupan manusia sejak jaman pramodern. Lempung adalah material “nyata” di mana kita terlibat secara fisik melalui tangan dan jari—dan bahkan secara lebih jauh—juga tubuh. Lempung juga sangat sensual; ia hangat, lembut, dan licin ketika lembek. Sebab itu lempung merupakan experential material—bahan yang hanya bisa dipahami berdasarkan pengalaman dan pengamatan langsung. Ketersediaan yang berlimpah serta kemudahan dibentuk menjadi penyebab lempung dipergunakan hampir di semua peradaban. Lempung adalah tanah dan bumi, sesuatu yang ada mendahului manusia. Karenanya, hubungan manusia dengan lempung bersifat sangat eksistensial; tentang asal-muasal, tempat tinggal, dan juga tempat kembali. Sangat mungkin insting paling dasar manusia dalam membentuk, terwakili dan terpenuhi oleh material lempung. Interaksi dengan lempung menempatkan seniman dalam posisi yang unik—sebuah metafora proses penciptaan manusia itu sendiri. Secara spesifik media dan materialitas lempung bukan hanya menawarkan kemudahan meniru, melainkan juga terhubung dengan mitos dan kepercayaan pada hampir semua agama dan kebudayaan di dunia tentang penciptaan manusia (oleh Tuhan). “Anyone who has tried to fashion a clay figure feels that visceral pull between material and form, and, entering the realm of the earth mother, senses that one is modeling with the gods.” 8 Kombinasi antara keinginan membentuk, kebebasan, serta aspek mentah material lempung menempatkan seniman dalam sense sebagai pencipta atau kreator. Selama ribuan tahun lempung telah digunakan dalam berbagai kebudayaan untuk menggambarkan diri kita. Penggambaran diri merupakan dorongan paling purba manusia, yang berkaitan pertanyaan ontologis dirinya. Dorongan ini merupakan upaya memahami kenyataan dan diri. Sehingga tidaklah aneh jika lempung menjadi media seniman untuk merepresentasikan apa yang disebut dengan kecenderungan “return to earth,” yang sejalan dengan munculnya seni lingkungan pada tahun 1970-an.

Hubungan material lempung dan asal-usul manusia bukanlah hanya suatu persoalan figuratif yang bersifat visual (baca: optikal) saja. Lebih dari itu, lempung adalah daging atau tubuh itu sendiri. “Clay was another way of dealing with the flesh”.9 Banyak karya-karya performance art yang menggunakan lempung dengan berdasarkan pada gagasan tersebut. Salah satu pendahulunya adalah Ane Mendieta melalui karya Silueta yang ia buat pada kurun waktu 1970 – 1980-an. Ia menyebut karyanya sebagai perpaduan dari land art, body art, dan performance art; sebagai sebuah earth-body sculptures. Dalam kecenderungan lain, hubungan lempung dan tubuh dijelajahi melalui kemampuan lempung dalam merekam sesuatu. Pematung Italia Giuseppe Penone pada tahun 1978 mencetak torso dirinya pada lempung plastis. Karya berjudul Breath 5 ini merupakan jejak bagian dalam mulut, serta bagian tubuh dan kaki senimannya. Demikian juga dengan karya My Hands Are My Heart dari Gabriel Orozco pada tahun 1991, di mana ia menekan lempung dengan kedua tangannya untuk menghasilkan bentuk hati. Hubungan lempung dan tubuh bahkan dapat melampaui penginderaan jari dan tangan. Andrew Lord, misalnya, dikenal dengan karya-karya wadahnya (vessel) yang dibentuk bukan hanya dengan teknik handbuilding, melainkan juga dengan cara digigit. Kiranya dorongan menggunakan lempung sebagai material karya adalah sebuah insting dan keinginan untuk menjadi terhubung dengan sesuatu yang bersifat mengakar, bebas, mula-mula, dan tanpa pretensi—sesuatu yang asali. Seniman-seniman Posimpresionis Henri Matisse dan Paul Gauguin termasuk dalam seniman modern awal yang tertarik dengan lempung. Pada tahun 1886, Gauguin berkolaborasi dengan Ernest Chaplet untuk menghasilkan serangkaian karya keramik. Ia menganggap karya keramik dan keramik patungnya secara terutama sebagai penyimbolan dari asal-muasal dan sebagai “grotesque;” sebagai sebuah medium di mana ia merasa bebas untuk menghasilkan aspekaspek yang lebih primitif dan eksotik dibanding apa yang dia dapat dari lukisan-lukisannya.10 Pada masa itu tidak banyak pelukis yang berkelana masuk ke wilayah plastic art. Seniman impresionis seperti Monet dan Pissaro, serta Cezanne dan Van Gogh setelahnya, lebih tertarik dengan permainan cahaya dan aspek-aspek yang bisa dipelajari darinya. Hanya Fauvisme dan Kubisme yang memiliki ketertarikan akan tangible material. Sampai dengan tahun 1950-an, tercatat banyak seniman yang membuat keramik dengan pola yang sama, yaitu bekerja dengan bantuan pekeramik di studio mereka. Bahkan sampai ada sebutan “painters’ ceramic” bagi Marc Chagall, Pablo Picasso, Jean Cocteau, Joan Miro, dan Raoul Duffy. “The most important experience Chagall had, thanks to ceramics, was not in the first place the discovery of the third dimension in the art, but the primitive experience of the creative act.”11 Ada semacam energi kreatif yang bersifat asali pada lempung. Lempung gampang dibentuk melalui skill serta alat yang cukup sederhana, sehingga ia bisa diakses siapa saja. Karena itulah lempung

bersifat demokratis, milik umum, dan tak akan pernah menjadi elit. Ini pula yang mendorong kelompok avant-garde CoBrA yang didirikan tahun 1948 menggunakan keramik sebagai salah satu media kesenian mereka. Semangat eksperimental dan penolakan terhadap elitisme seni modern membawa mereka menjelajahi berbagai kemungkinan material dan media tanpa khawatir dibatasi oleh persoalan teknik. Selain karena tertarik dengan potensi “ekspresi langsung” lempung, seniman CoBrA juga menggunakan keramik sebagai bentuk penolakan atas keutamaan medium dalam praktik fine art. Karya-karya keramik dari seniman kalangan fine art tidak pernah dianggap sebagai sesuatu yang serius. Hal tersebut bisa dilihat pada komentar kritikus Hilton Kramer terhadap karya-karya keramik yang dibuat pematung Isamu Noguchi. Bagi Kramer karya-karya tersebut hanyalah aktivitas menyimpang, yang lucu-lucuan, dan mengindikasikan “high unseriousness.” Ia menjabarkannya sebagai ”the gingerbread cookies of playful and somewhat inebriated baker.”12 Dari kacamata tersebut, praktik seniman yang menggunakan lempung dan keramik dianggap sebagai sebuah bentuk penyimpangan dan sempalan. Sementara dari perspektif medan craft, para seniman tersebut dianggap tidak memiliki komitmen dan dipandang hanya sebagai outsider dan visitor. Boleh jadi seniman fine art yang diterima oleh kalangan pekeramik adalah Lucio Fontana yang terkenal dengan Spatial Concept. Pada tahun 1935, Lucio Fontana mulai berkarya dengan pekeramik Tulio Mazotti di Albissola, Italia—meskipun sembilan tahun sebelumnya ia sudah pernah membuat karya keramik di Argentina. Jika seniman fine art lain masih dianggap sebagai pelancong oleh para pekeramik, maka Fontana diakui sebagai pekeramik tulen. Fontana menggunakan metafor “earthquaked but motionless”, untuk menggambarkan bagaimana sifat lempung yang sangat maleable bermetamorfosa menjadi keramik. “I did not know what I wanted to do until I sank my hands into clay”.13 Pernyataan tersebut menjelaskan tidak adanya praimaji dan intensi meniru dalam pendekatan berkarya Fontana. Hal ini disebabkan karena karakter “mentah” lempung, yang menurut Rita Widagdo, “tidak memperlihatkan suatu keindahan alami seperti yang dipunyai kayu atau batu. Apa yang akhirnya terkandung dalam suatu benda keramik sebagai unsur estetik serta nilai spiritual berasal dari daya imajinasi pencipta saja atau dengan kata lain, bahan itu sendiri (tanah) tidak menghadiahkan apa-apa pada si keramikus”.14 Ketika menggunakan lempung, ada semacam perasaan bahwa kita mengulang sebuah proses perubahan mendasar dari yang tak berbentuk menjadi berbentuk.15 Atau, dari yang tiada menjadi ada. Ini juga yang mendasari pendapat Herbert Read bahwa pottery merupakan sebuah bentuk fine art. Karena ia terbebas dari intensi untuk meniru sesuatu—seni plastis yang

secara hakikat paling abstrak. Ini yang kemudian menjadi pijakan bagi kecenderungan studio art movement yang dimotori oleh Bernard Leach pada tahun 1920-an. Sifat mentah lempung dan kecenderungan non-mimetiknya menemukan relevansi dalam karya-karya nonfungsional dengan prinsip seni patung abstrak. Karya-karya keramik dalam kecenderungan “abstrak” ini menggambarkan kondisi di antara keleluasaan untuk membentuk dan sifat amorf yang tak tentu. Melalui perspektif ini, karya-karya tersebut bisa dilihat dalam sebuah spektrum di antara yang tak tentu atau disorder, dengan yang tentu atau order. Dorongan untuk membentuk tergambar dalam tingkat kontrol tertentu terhadap lempung. Spektrum tersebut merentang dari karakter-karakter fisik lempung seperti bongkahan, patahan, dan retakan. Karya-karya Peter Voulkous merupakan salah satu contohnya. Sifat “mentah” dan “langsung” lempung menjadi dasar karya-karyanya yang menggunakan pendekatan Abstract Expressionism. Tidak ada tema atau imaji yang mendahului proses. Tindakan yang hadir, merupakan hasil tanggapan atau reaksi langsung terhadap bentuk. Kemampuan lempung merekam tindakan secara langsung menyebabkan karya Voulkous bahkan lebih terasa sebagai sebuah “aksi” dibandingkan lukisan Jackson Pollock. Sementara di sisi yang lain, karya-karya yang bersandar pada manipulasi dan tingkat kontrol maksimal terhadap material menghasilkan bentukbentuk geometris yang terukur, bersih, dan dingin. Menurut Adamson pendekatan ini dipengaruhi oleh pematung Constantin Brancusi, ”Brancusi seems to be everywhere in the crafts. He provides a stable and reassuring point of reference for functionless, formal, abstract sculpture in organic materials—a description that covers the majority of works sold in the upper stratum of the crafts marketplace. [...] Brancusi is not only a source of artistic power, but also a convenient rhetorical device.”16

Seniman yang menggeluti lempung peka terhadap kondisi kesementaraan. Kondisi ini terkait dengan sifat lempung yang dapat diubah-ubah secara cepat dan langsung—termasuk juga bentuk yang bisa dihapus dan diulang. Toni Cragg berujar tentangnya, “I move, it moves.” Bagi Isamu Noguchi, karena lempung bisa menjadi apa saja, sebagai akibatnya seniman bisa jadi tidak tahu kapan untuk berhenti. Dan justru ini yang berbahaya.17 Kesadaran ini yang menyebabkan banyak seniman menggunakan aspek kesementaraan dalam karyakarya mereka. Sense temporer ini bisa muncul dalam karya-karya yang menggunakan unfired clay, video, atau performance yang memperlihatkan tahapan perubahan-perubahan material lempung. Kecenderungan ini misalnya terlihat pada karya site specific Charles Simonds berjudul “Dwellling” (1970) berupa bangunan-bangunan dari bata berukuran kecil di berbagai lokasi publik. Bangunan-bangunan lilliput ini kemudian dibiarkan “hilang” dengan sendirinya. Kini

karya-karya

bersifat

durasional

yang

memperlihatkan

“kesementaraan” banyak ditemukan dalam praktik seni keramik. Menampilkan “perubahan bentuk lempung yang larut dan hancur oleh air dan cuaca” merupakan salah satu gejalanya. Dalam kecenderungan lain, memecahkan keramik atau menyusun kembali pecahan juga merupakan turunan dari aspek kesementaraan ini. Menggambarkan siklus un-form—form—de-form—re-form, yang bisa saja tidak selalu linear, tampaknya merupakan salah satu kepekaan dalam praktik seni keramik. Kini banyak karya-karya yang dengan sengaja memperlihatkan bentuk-bentuk deformasi. Dari sisi kesementaraan, ia merupakan gambaran dari ketidaktetapan dan ketidakpastian bentuk, serta juga ketidakkekalan.

Ceramic clues : DEMOTIC, DOMESTIK , DAN INDUSTRI Ceramic clues merujuk pada benda keramik sebagai objek yang telah menjadi bagian dari kehidupan kita sehari-hari. Jika clay impulses didasari interaksi fisik dengan material lempung dan merupakan pemahaman yang lebih personal akan proses penciptaan; maka ceramic clues merupakan bentuk-bentuk kesadaran kolektif dalam masyarakat terhadap benda keramik. Dalam perspektif ini, keramik merupakan objek fisik yang memiliki beragam relasi dengan manusia. Hubungan tersebut bukan hanya bagaimana sebuah objek dipergunakan dan dikonsumsi semata, melainkan juga tujuan-tujuan dan alasan-alasan ia dibuat atau dimodifikasi—dan tentu saja, maksud-maksud yang dilekatkan padanya. Hubungan manusia dengan keramik tidak sederhana, pun karena terdapat bermacam ragam benda keramik. Seperti yang dijelaskan oleh Veiteberg, “We find ceramics in many different cultural contexts. Cheap, mass-produced souvenirs and tableware live side by side with venerated Japanese tea bowls, old Chinese urns and exclusive figurines hand-made in European porcelain factories with long-standing traditions, such as Sèvres and Nymphenburg. The choice of clay, firing method, object type and style are not neutral choices, because they are all imbued with different values.18 Sulitnya “melepaskan” keramik dari konteks keseharian masyarakat telah menyebabkan keramik diasingkan dalam seni rupa modern. Namun sebaliknya, dalam konteks seni rupa kontemporer, justru keramik menjadi salah satu jalan untuk menghubungkan praktik seni dengan masyarakat yang lebih luas. Sehingga kini seniman-seniman terus mempergunakan lempung dan keramik sebagai media berkarya. Seperti yang diungkapkan James Elkins, “Ceramics, I think, is in a better

position, because it already has strong affinities with contemporary art.”19 Dalam seni modern publik umum dengan seni menjadi makin terpisah, yang disebabkan oleh pengkhususan pengalaman-pengalaman seni sebagai bagian dari kelompok borjuis dan elit. Upaya “rekonsiliasi” menjadi salah satu agenda utama praktik seni rupa kontemporer. Dalam kaitan ini, keramik bisa menjadi mediator dalam menghubungkan seni kepada publik yang lebih luas, karena keramik merupakan “bahasa” keseharian masyarakat umum. Hubungan kita dengan keramik sangat dekat dengan aspek-aspek demotic, domestik, dan industrial. Demotic adalah yang merakyat, yang sehari-hari, kerajinan, yang tradisional dan vernakular. Sedangkan domestik terkait dengan perihal rumah tangga beserta segala problematiknya. Terakhir, aspek industrial menunjukkan hubungan yang kuat antara benda keramik dengan perkembangan teknologi dan masyarakat modern. Ketika seorang seniman memutuskan pilihan terhadap jenis lempung, teknik pembuatan, pewarnaan, bentuk, dan bahkan cara presentasi; maka ketiga aspek tersebut akan hadir sebagai bagian dari sebuah kesadaran perseptual kolektif. Entah seniman tersebut mengerjakan sendiri, menyuruh tukang, menggunakan objek readymades, atau bahkan video, aspek-aspek tersebut akan tetap hadir. Jika diamati, kesadaran semacam ini dipelopori oleh Marcel Duchamp pada tahun 1917 melalui karya berjudul Fountain. Sebuah karya yang kemudian hari ditahbiskan sebagai salah satu karya seni paling berpengaruh di abad 20. Fountain adalah urinal porselen buatan pabrik yang dipajang terbalik dan ditandatangani “R. Mutt 1917.” Karya ini dianggap sebagai pendahulu conceptual art dan asal muasal dari pendekatan readymade. Urinal Duchamp menandai perubahan radikal dalam praktik seni yang mempertanyakan hubungan antara gagasan, intensi seniman, dan skill dalam pembuatan karya. Tidak banyak yang melihat relevansi karya ini dengan perkembangan wacana seni keramik, selain dipergunakan untuk mempertegas dan menunjukkan perbedaan antara pendekatan craft dengan pendekatan fine art. Kenyataan bahwa Duchamp memilih keramik porselen buatan pabrik sebagai karyanya merupakan sebuah fakta yang menarik. Urinal memiliki aspek-aspek industrial, privat, domestik, keseharian, dan bahkan tabu. Duchamp menyatakan ia memilih urinal karena “paling kecil berkemungkinan untuk disukai,” meskipun pada masa itu juga ternyata banyak yang menikmatinya secara estetik. 20 Hal tersebut membuka kenyataan bahwa secara sadar Duchamp menetapkan urinal karena ia merupakan sebuah objek yang sangat tidak mewakili selera dari kelompok elit seni—yang malah justru mewakili selera publik yang lebih luas. Makin sebuah karya “tidak disukai” oleh kaum elit seni, maka sangat mungkin ia merupakan bagian dari selera estetik masyakarat yang lebih luas. Fountain Duchamp “membuktikan” bahwa selera elit dengan selera masyarakat bertolak belakang. Aspek-aspek inilah yang membuat Fountain memiliki daya kontroversi dan dimensi kritis yang kuat.

Demikian pula dengan seniman Pop Art Roy Lichtenstein, yang membuat benda-benda tableware dan seri patung kepala, tetap dengan karakter khasnya: garis dan titik-titik yang menyerupai komik murahan. Aspek masinal, domestik, dan unmonumental dipergunakan untuk menolak “keangkuhan” karya-karya tiga dimensi. Pilihan Lichtenstein menggunakan keramik sama dengan pilihan Andy Warhol untuk menggunakan teknik cetak. Keduanya mengaprosiasi cara produksi budaya massa, untuk menampilkan bahasa estetik dari masyarakat industri. Sebenarnya, penggunaan keramik didasari oleh keinginan seniman untuk menemukan cara dalam menghubungkan seni dengan publik yang lebih luas. Seperti yang Jeff Koons nyatakan mengenai patung keramiknya “Everyone grew up surrounded by this material. I use it to penetrate mass consciousness—to communicate to the people.” 21 Karya Koons memprovokasi ingatan akan objek domestik yang memaksa kita untuk terpikat pada intensitas kitsch-nya. Aspek domestik, mewah, dan ningrat juga hadir dalam karya Cindy Sherman yang “menyamar” sebagai Madame de Pompadour, selir Louis IV yang juga patron seni pada masa itu. Citra Sherman ditampilkan dalam kopian dari mangkuk sup dan dinner set yang didesain khusus pada tahun 1756 untuk sang patron. Demikian juga dalam karya-karya Grayson Perry di mana bentuk elegan wadah keramik klasik yang tanpa cela dan dekoratif merupakan bagian dari selera kaum bangsawan. Berbalikan halnya dengan James Turrel dalam karyanya Lapsed Quaker Ware, yang berupa barang pecah-belah Quaker sederhana dari abad 18. Turrel sendiri merupakan seorang Quaker, perkumpulan agama yang muncul sejak abad 17. Aspek domestik dan demotic pada karya Sherman, Perry dan Turrel bisa merujuk pada identitas kultural atau komunal tertentu. Pada karya Ai Wei Wei, aspek industrial yang melekat dengan porselen dan produksi massal, secara menarik merujuk pada identitas kultural Tiongkok daratan. Jika pada awalnya keramik dihadirkan untuk menghubungkan seni dengan publik yang lebih luas, maka kini karya-karya keramik banyak diawali dari kesadaran akan adanya hubungan keramik dengan identitas komunal atau kultural tertentu. Dari paparan di atas, lempung maupun keramik berfungsi sebagai “penghubung;” baik bagi seniman dengan dirinya, maupun dengan realitas dan masyarakat. Penggunaan lempung dan keramik dalam praktik seni didorong oleh kebutuhan dan potensi keduanya sebagai mediator. Lempung menghubungkan seniman dengan sesuatu yang bersifat asali dan eksistensial, sementara keramik menghubungkan seni dengan keseharian dan publik yang lebih luas. Hubungan tersebut adalah sesuatu yang terhubung dengan bentuk-bentuk kesadaran kolektif kita: kesadaran experiential terhadap lempung maupun keramik. Secara canggih kedua aspek tersebut lah yang mempengaruhi kita ketika mengapresiasi karya keramik. Ways of Clay melihat bahwa keramik dan lempung bagi manusia adalah sesuatu yang tak terelakkan.

Lees-Maffei, Grace dan Sandino, Linda. 2004. Dangerous Liaisons: Relationships Between Design, Craft, and Art. Journal Design History, Volume 17, Issue 3 September 2004. Oxford: Oxford University Press. hlm. 207.

de Waal, Edmund. 2003. 20th Century Ceramics. London: Thames and Hudson. hlm. 9.

Elkins, James. Two Ways of Looking at Ceramics. Hlm. 7. https://www.academia. edu/3248608/Two_Ways_of_Looking_at_Ceramics, diakses pada 1 Februari 2014, 7:58 PM.

Adamson, Glen. 2007. Thinking Through Craft. Oxford and New York: Berg Pub Ltd. hlm. 40.

Philip Rawson. 1984. Ceramics. Pittsburgh: The University of Pennsylvania Press. hlm. 19.

Bonnie Kemske. 2007. Touching the Body: A Ceramic Possibility: Interpreting Ceramics, jurnal daring Edisi ke-8. diakses pada 10 Agustus 2014 5:35 PM dari

Elkins, James. ibid.

Clark, Garth and Mark Del Vecchio. 2012. Born of Clay: Shifting Paradigms in Contemporary Ceramics, The Garth Clark and Mark Del Vecchio Collection, Garth Clark and Cindi Strauss, Houston: The Museum of Fine Arts, Houston. hlm. 269-270.

Gormley, Antony. 2004. In conversation with James Putnam dalam Secret History of Clay: from Gauguin to Gormley, katalog pameran. London: Tate Gallery. hlm. 85.

10.

Chung, Yeon Shim. 2008. The Monstrous and the Grotesque: Gauguin’s Ceramic Sculpture, dalam Image and Narrative, Online Magazine of the Visual Narrative, Issue 23.

11.

Doschka, Roland. 1992. Art Can Not be Made With Theorie, dalam Terra Sculptura, Terra Pictura, katalog pameran, Het Kruithuis Museum, s’-Hertogenbosch, Netherlands, 19 January– 12 April 12, 1992. hlm. 31.

12.

de Waal, Edmund. 2004. High Unseriousness: Artists and Clay, dalam Secret History of Clay: from Gauguin to Gormley, katalog pameran. London: Tate Gallery. hlm. 50

13.

Clark, Garth. ibid.. hlm. 175

14.

Widagdo, Rita. 1984, dalam katalog pengantar pameran keramik di Pusat Perhimpunan Kebudayaan Indonesia Perancis, Bandung.

15.

Gormley, Antony. ibid.

16.

Glenn Adamson, ibid.. hlm. 14-15

17.

Noguchi, Isamu. 2004. dalam An Interview with Isamu Noguchi, dikutip ulang dari Simon Groom, dalam Secret History of Clay: from Gaugain to Gormley, katalog pameran. London: Tate Gallery. hlm. 15

18.

Jorunn Veiteberg. The Ceramist as Commentator, Léopold L. Foulem’s ceramic practice in a European perspective. Diakses 16 Agustus 2014, 10:35 dari https://www. academia.edu/5450188/Leopold_Foulem_The_Ceramist_as_Commentator

19.

Elkins, James. Ibid.. hlm. 6

20.

Howarth, Sophie direvisi Mundy, Jennifer. 2015, Summary of Marcel Duchamp Fountain, http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573/textsummary

21.

Groom, Simon. 2004. Secret History of Clay: from Gauguin to Gormley, exhibition catalogue. London: Tate Gallery. hlm. 23

WAY S O F C L AY

NURDIAN ICHSAN CURATOR

Ceramics is a tradition that stretches back to the beginning of civilization, and have now become part of human existence. The ceramics landscape covers pottery, design, art, and architecture. In general, ceramics refers to fired clay, and therefore it can appear in all categories of modern art—from decorative art, plastic arts, to design, craft, and fine art. Using clay and ceramics is the opposite of any attempts to discover a purity of medium in modern art. It’s difficult for modern art to address the “untidiness” or “convolutions” of clay and ceramics. Both mediums are easily coopted into forms that are traditionally looked down upon by ‘high art’, such as hobby, functional, amateur, populist, and decorative forms. This is also the reason why ceramics is often placed under Crafts, where skills and materiality are its main values. And yet, many non-craft artists and practitioners continue to use clay as their creative medium. So, we can see here how art, design, and craft occupy regions that are not fixed, with ever-shifting commitments, in terms of history or discourse. In this veins, clay and ceramics do not, and will never, have a fixed status within the context of modern and contemporary art. The questions inevitably repeat with almost every exhibition and in almost every literature: can ceramics be considered a discipline, or is it a series of disciplines that happen to use the same material. There is no singular clay history, but there are histories. There have been many attempts to reconstruct, revise, and (re)position ceramics within the mainstream of Western art history. According to James Elkin, these attempts are, ultimately, artificial because ceramics play only a very small role in the main narrative of Western art history. These questions form the foundation for Ways of Clay, and is a way for us to transcend political discussions surrounding the position and status of ceramics in the greater art landscape and history. Ways of Clay embarks from the reality that clay and ceramics, as materials, remain interesting to many artists. What inspires these artists to use clay and ceramics? How are these materials relevant to the practice of contemporary art today? How can we understand these ‘primitive’ materials within the context of today’s digital world? In what way can ceramic works enrich our understanding of reality? These are the main considerations informing this text. Ways of Clay places clay and ceramics as the determining factor in a

process of creation and interpretation. Such a process involves specific material experiences. Material experience is different from an optical experience that has dominated Western culture. Western Modern Art viewpoints and concepts often scrutinize art practice through the perspective of an optical experience. If we follow this line of thought, then we can find that it comes from the concept of mimetic imitation that was the foundation of Western aesthetic development. It is apparent that the ambitions within artistic practice—painting and sculpture, especially— have been to achieve a purity in visual effects. Rawson even referred to it as ‘sensuous castration’, to explain how this optical experience has come to dominate Western cultures. Interestingly, the preeminence of vision/ optical consideration is not so apparent in Eastern art practices, where other sensory experiences, such as touch or hearing, are equally important. Ceramics is an artistic practice that is material in character. We do not only look at them; we touch and handle ceramic objects perhaps every day. In many cases, the sensuality of ceramics rely on touch and tactility. Ceramic’s tactility stems from our deep relationship with ceramic objects and with past tactile experiences. Whether a particular object is intended to be handled (touched) or otherwise, touch remains inherent to it. Kemske put it:“...because of the intimacy that we share with the material, both as makers and as consumers, ceramics as a whole has never ceased to find value in the tactilely sensuous.” Meanwhile, Elkins described it thusly: “What matters here is often the idea or the thought of touching.” To look at this experience of materiality in the practice of ceramic art, the following text is divided into two main ideas: clay impulses and ceramic clues. These two ideas are interconnected, and in their own way can influence how artists create their works. Similarly, they have a unique way of influencing the audience’s appreciation of a particular artwork.

Clay impulses : PRIMAL FORMLESSNESS TRANSIENT

Clay is a ‘primitive’ material that has been part of human life since the premodern era. Clay is a “tangible” material that invites our physical involvement, through our hands and fingers, even the body. Clay is sensual, warm, soft, and slippery when it is still moist. Thus, clay is an experiential material, or a material that can only be understoodthrough direct experience and observation. Its abundance and its easy handling are some reasons why clay is used throughout civilizations. Clay is the soil and the earth, something that predates humankind. As such, humans and clay share an existential connection, intertwined with their origins, their dwelling places, and their terminus. It is possible that the most fundamental human instinct, to create/ shape something, finds its representation or fulfillment in clay. Their interactions with clay place the artists in a unique position, almost inside a metaphor of the creation of life itself. Specifically, clay as a medium does not only offer itself as a way to imitate nature, but in itself is connected to the creation myth that exists in almost all of the world’s religions and cultures. “Anyone who has tried to fashion a clay figure feels that visceral pull between material and form, and, entering the realm of the earth mother, senses that one is modeling with the gods.” A combination between a desire to shape something, a certain freedom, and the rawness of clay has, in a sense, placed the artist as a creator. For many thousands of years, clay has been used by many cultures and civilizations to describe the self. Describing oneself is one of the most primal impulses in humankind, related to an ontological inquiry about what it meant to be humanThis impulse is a way for people to understand reality and the self. It is therefore not surprising that clay has become a choice for artists to represent a “return to earth”, especially with the emergence of land art in the 1970s. The connection between clay and the origins of humankind is not a visual (optical) figurative issue. More than that, clay represents the flesh or body itself. “Clay was another way of dealing with the flesh” . Many performance art works use clay to approach this concept. One of these pioneering artists was AnaMendieta, through Silueta, which she conceived in the 1970s-80s. She called it a combination of land art, body art and performance art, wrapped up in a presentation of earth-body sculptures. Elsewhere, the connection between clay and the body is explored through clay’s ability to record

something. Italian sculptor Giuseppe Penone in 1978 imprinted his own torso onto plastic clay. Breath 5 shows a mouth-like cavity connected to the shape of the artist’s torso and legs. Similarly, we can look atMy Hands are My Heart from Gabriel Orozco (1991), where he imprinted both hands to create the form of a heart. Even further, the connection between clay and body transcends fingers and hands. Andrew Lord is known for the vessels he has made not just with his hands (handbuilding), but also with his teeth (biting). I thought that the impulse to use clay as a creative material stems from an instinct and desire to be connected with something rooted, free, original, and without pretense. Something primeval. Other than Henri Matisse, PostImpressionist artist Paul Gauguin was an early modern artist who showed interest in clay. In 1886, he collaborated with Ernest Chaplet to create a series of ceramic works. He saw his ceramic works and ceramic sculptures as symbols of the primeval and the ‘grotesque’; he saw ceramics as a medium through which he could freely create aspects that are more primitive and exotic than what he could achieve with his paintings. In those days, there weren’t many painters who ventured into plastic art. Impressionist artists like Monet, Pisaro, Cezanne, and Van Gogh were more preoccupied with light and the study of it. Only Fauvism and Cubism showed interest in tangible material. Up to the 1950s, many artists made ceramic works following a similar pattern—working in cooperation with ceramists to create their works. There were even titles like “painters ceramic” for works by Marc Chagall, Pablo Picasso, Jean Cocteau, Joan Miro, and Raoul Duffy. “The most important experience Chagall had thanks to ceramics was not in the first place the discovery of the third dimension in the art but the primitive experience of the creative act.” There’s a primitive creative energy found within clay. Clay could easily be formed even with modest tools and skills, and thus it is accessible to anyone. Clay is democratic, populist, and will never be elitist. This is the reason why CoBrA—an avant-garde collective founded in 1948— chose ceramics as one of their creative media. The experimental spirit and a rejection of modern art’s elitism had inspired them to explore various possibilities of material and media without fear of technical limitations. Other than the draw of clay’s potential for “direct expression”, CoBrA artists also used ceramics to reject the primacy of medium in the practice of fine art. Ceramic works by fine artists were rarely, if ever, considered as serious works, as exemplified in a comment made by art critic Hilton Kramer on sculptor Isamu Noguchi’s ceramic works. For Kramer, these works are side activities, something done ‘just for fun’, something that indicated “high unseriousness”. He described those works as “the gingerbread cookies of playful and somewhat inebriated baker”. Seen this way, we could see how clay and ceramics were often considered as deviations or whimsy. On the other hand, the craftsworld saw fine artists as not committed enough to the medium, and labeledthese artists as outsiders or visitors.

One of the fine artists whom the craftsworld does seem to recognize as a ceramist was Lucio Fontana, known for his Spatialism. In 1935, Lucio Fontana began working with ceramist TulioMazotti in Albissola, Italy, despite having created ceramic works 9 years previously in Argentina. If most other fine artists were grudgingly seen as ‘visitors’, Fontana was accepted as a ‘true ceramist’. Fontana used the metaphor “earthquaked but motionless” to describe clay’s malleable characteristic as it metamorphosed into ceramics. “I did not know what I wanted to do until I sank my hands into clay”. This statement explained how pre-images, or an intention to imitate, did not exist in Fontana’s creative approach. Such an approach is possible due to clay’s “rawness”, which according to Rita Widagdo, “does not show any natural aesthetics as found in wood or stone. What finally appears in a ceramic object that can be considered as an aesthetic element or a spiritual value comes entirely from the creator’s imagination, or in other words, the material itself (earth) does not gift anything to the ceramist”. When handling clay, there’s a feeling that we’re repeating a fundamental process that changes something formless into form. Coaxing what was non-existent into existence. This view informed Herbert Read’s opinion of pottery as pure art, because pottery is unfettered by the intention to imitate something, that it is fundamentally the most abstract form of plastic art. It would later inform the studio art movement as advocated by Bernard Leach in the 1920s. Clay’s raw character, and its non-mimetic tendencies, found relevancy in non-functional works created along the principles of abstract sculpture. Ceramic works within this “abstract” prescription describe a condition between the freedom to create form and the uncertainty of an amorphous character. Framed against such perspective, these works can be placed along a disorder-order spectrum. The creative impulse is reflected in the level of control wrought on clay. The spectrum extends out from clay’s physical characteristics— chunks, fractures, cracks. Works by Peter Voulkouscan be taken as examples. Clay’s raw and direct characteristics have become the basis for him to create works using abstract expressionist approaches. The process did not begin with a theme or image, but rather it was a product of a direct reaction toward form. Clay’s ability to record action in a direct manner allows Voulkous’s works to feel more like an “action” compared to a Jackson Pollock painting. On the other hand, works that exercise a high level of control and manipulation of materials are works that appear geometric, measured, clean, and distant (cold). According to Adamson, such an approach can be attributed to the sculptor Constantin Brancusi.“Brancusi seems to be everywhere in the crafts. He provides a stable and reassuring point of reference for functionless, formal, abstract sculpture in organic materials—a description that covers the majority of works sold in the upper stratum of the crafts marketplace.” “Brancusi is not only a source of artistic power, but also a convenient rhetorical device.”

Artists working with clay are sensitive to the impermanence (transience) of their material, because clay can be changed quickly and directly, purged and repeated. Toni Craggsaid: “I move, it moves”. Noguchi saw that clay’s malleability/transformative ability might make it difficult for an artist to stop working—here lies the danger. But an awareness of this characteristic enables artists to use, or even lampoon, this impermanence in their works. We can see it in works that use unfired clay, in video- or performance art works, that demonstrate the changes occurring with clay as material. We can see this in Charles Simonds’s site specific Dwelling (1970), miniature brick buildings placed in various public spaces. These lilliputian buildings were left to “disappear” on its own. These days, durational works that highlight the material’s transience can often be found in ceramic art practices, such as works that show “the changes in clay that dissolve or disintegrate due to water or weather”. Other works might show artists breaking/smashing ceramic objects, or gluing together broken pieces of ceramics. The cycle, unform-->form-->deform-->reform, that is not always linear, seems to be somethingunique to ceramic art practice. Today, we can see many works that has deliberate deformed appearances. They describe the changeable and uncertain nature of forms, and alsoof impermanence.

Ceramic clues : DEMOTIC, DOMESTIC, AND INDUSTRIAL Ceramic clues point to ceramics as objects that have become part of our daily life. If clay impulsesare based on one’s physical interactions with clay and one’s personal understanding of a creative process, then ceramic clues are founded upon a collective consciousness toward ceramics. In this way, a ceramic object becomes a physical object that has diverse relationships with people that are not just about how an object is used or consumed, but also about how or why an object is made or modified, including the meanings affixed to it. A relationship between people and ceramics is not simple, because it involves a diverse array of ceramic objects, as explained by Veiteberg: “We find ceramics in many different cultural contexts. Cheap, massproduced souvenirs and tableware live side by side with venerated Japanese tea bowls, old Chinese urns and exclusive figurines handmade in European porcelain factories with long-standing traditions, such as Sèvres and Nymphenburg. The choice of clay, firing method, object type and style are not neutral choices, because they are all imbued with different values.” The difficulty of “detaching” ceramics from the context of daily existence has led to the “banishment” of ceramics from modern art proper. On the other hand, within the context of contemporary art, ceramics is a way to connect art praxis to the wider public. Today, artists continue to use clay and ceramics as their creative medium. James Elkins stated, “Ceramics, I think, is in a better position, because it already has strong affinities with contemporary art.” Within the modern art framework, the general public and the art public continue to draw away from each other, because of a delineation that reserves art experiences for the bourgeois and elite. Meanwhile, “reconciliation” is one of the main agendas of contemporary art practice. In this case, ceramics can become a mediator that connects art to the wider public, especially because ceramics is a familiar “language”.

Our connection with ceramics can be described thus: demotic, domestic, and industrial. Demotic is connected to the populist and the everyday, to craftwork, the traditional and vernacular. Domestic refers to the household and all of its problems. Industrial represents the strong connection between ceramic objects and technological development as well as with modern society. When an artist decides on the kind of clay he or she uses, on the creative techniques, coloring, forms, and even ways of presentation, then the three aspects can emerge as part of a collective perceptual consciousness. Done either alone or with the help of craftspeople, either with ready-mades, or even video work, these aspects will continue to make themselves known. If we look closely, this sort of consciousness began largely with Marcel Duchamp in 1917 with Fountain, which would later be considered as one of the most influential works of the 20th century. Fountain is a massproduced porcelain urinal, presented upside down and with the signature “R. Mutt 1917”. It is considered as the precursor of conceptual art and the beginning of the proliferation of ready-made approaches in art. Duchamp’s urinal marked a radical shift in art practices by questioning the connection between concept, artist’s intention, and skill in the creation of an artwork. There were not many who saw how this particular piece could be relevant to the discourses surrounding ceramic art development, other than to clarify and define the differences between craft and fine art approaches. Fact remains that Duchamp’s use of a mass-produced porcelain object in his work is interesting. The urinal is industrial, private, domestic, commonplace, but also taboo. Duchamp stated that he had chosen the urinal because it had the smallest chance of it being enjoyed, despite the fact that many people came to enjoy it aesthetically, even then. Perhaps Duchamp had consciously decided upon using a urinal because he thought it did not represent elite tastes, but that it actually represented the tastes of a wider public. The more he felt that it did not “fit” with the art elites, the more he felt that he was part of the greater public’s taste of the aesthetic. Duchamp’s Fountain ‘proved’ that elite tastes were [often] the opposite of those of the general public’s. These aspects contributed to Fountain’s controversy and criticism. Similarly, Pop Art proponent Roy Lichtenstein made tableware and portrait sculptures imbued with his unique characteristics—lines and dots reminiscent of low-price comic-book aesthetics. By showing the mechanical, domestic, and unmonumental side of his works, he was rejectingthe “aloofness” of three-dimensional art. Lichtenstein’s choice to use ceramics is the same as Warhol’s choiceto use printmaking—appropriating mass production methods to serve the kind of aesthetic language spoken by an industrial society. In actuality, the use of ceramics is founded upon the artist’s desire to discover a way to connect art to the wider public. As stated by Koons about his ceramic sculptures: “Everyone grew up surrounded by this material. I use it to penetrate mass consciousness—to communicate to the people” Koons’s works provoke the memory about domestic objects, forcing us to yield to the charms of these objects’ kitschy intensity. Meanwhile, Cindy Sherman serves up domesticity, opulence, and aristocracy in her embodiment of

Madame de Pompadour, mistress to King Louis XV and patroness of art. Sherman hasincorporated images of herself on soup bowls and dinner sets as it would’ve been designed in 1756 for the royal patron herself. Then there’sGrayson Perry’s innocent and decorative classically-formed ceramic dishes, which invoke old aristocratic tastes. On the other hand, there’s James Turrelland his Lapsed Quaker Wareseries that feature simple 18th century Quakerstyle crockery. Turrell himself was raised in the Quaker faith, a religious movement that emerged in the 17th century. The domestic and demotic aspects in Sherman’s, Perry’s or Turrell’s works can also be used to refer to a particular cultural or communal identity. In Ai Wei Wei’s works, meanwhile, an industrial aspect is strongly highlighted in mass produced porcelain, though packaged in an interesting way to preserve or declare its Mainland Chinese identity. If, in the beginning, ceramics was mostly made with the intention to connect art to the wider public, now many works actually begin with an awareness of ceramic’s connection to a particular community or culture. From the above discussion, both clay and ceramics act as a way to connects an artistto his or herself, or an artist to reality and society. The use of clay and ceramics in art praxis is informed by their potential as mediators. Clay connects the artist to something primeval and existential; meanwhile ceramics connects art to daily life and the wider public. These connections are further embedded in our collective consciousness, i.e. an experiential consciousness to clay and ceramics. They influence the way we appreciate ceramic art. Ways of Clay is a way to look at ceramics and clay as an unavoidable element in our human existence.

de Waal, Edmund. 2003. 20th Century Ceramics. London: Thames and Hudson. hlm. 9.

Elkins, James. Two Ways of Looking at Ceramics. Hlm. 7. https://www.academia. edu/3248608/Two_Ways_of_Looking_at_Ceramics, diakses pada 1 Februari 2014, 7:58 PM.

Adamson, Glen. 2007. Thinking Through Craft. Oxford and New York: Berg Pub Ltd. hlm. 40.

Philip Rawson. 1984. Ceramics. Pittsburgh: The University of Pennsylvania Press. hlm. 19.

Bonnie Kemske. 2007. Touching the Body: A Ceramic Possibility: Interpreting Ceramics, jurnal daring Edisi ke-8. diakses pada 10 Agustus 2014 5:35 PM dari

Elkins, James. ibid.

Gormley, Antony. 2004. In conversation with James Putnam dalam Secret History of Clay: from Gauguin to Gormley, katalog pameran. London: Tate Gallery. hlm. 85.

10.

Chung, Yeon Shim. 2008. The Monstrous and the Grotesque: Gauguin’s Ceramic Sculpture, dalam Image and Narrative, Online Magazine of the Visual Narrative, Issue 23.

11.

12.

de Waal, Edmund. 2004. High Unseriousness: Artists and Clay, dalam Secret History of Clay: from Gauguin to Gormley, katalog pameran. London: Tate Gallery. hlm. 50

13.

Clark, Garth. ibid.. hlm. 175

14.

Widagdo, Rita. 1984, dalam katalog pengantar pameran keramik di Pusat Perhimpunan Kebudayaan Indonesia Perancis, Bandung.

15.

Gormley, Antony. ibid.

16.

Glenn Adamson, ibid.. hlm. 14-15

17.

Noguchi, Isamu. 2004. dalam An Interview with Isamu Noguchi, dikutip ulang dari Simon Groom, dalam Secret History of Clay: from Gaugain to Gormley, katalog pameran. London: Tate Gallery. hlm. 15

18.

19.

Elkins, James. Ibid.. hlm. 6

20.

Howarth, Sophie direvisi Mundy, Jennifer. 2015, Summary of Marcel Duchamp Fountain, http://www.tate.org.uk/art/artworks/duchamp-fountain-t07573/textsummary

21.

Groom, Simon. 2004. Secret History of Clay: from Gauguin to Gormley, exhibition catalogue. London: Tate Gallery. hlm. 23

SOAL MENGAL AMI-KEMBALI SENI

RIZKI A. ZAELANI KURATOR

WAYS OF CLAY : SOAL MENGHARGAIKEMBALI MEDIUM K A R YA S E N I R U PA “Tak ada kesadaran intelektual atas seni, tetapi selalu ada karya seni

yang

mampu

memformulasikan

visi

dunia

melampaui

maksud pembuatnya.”1 — Achille Bonito Oliva

Judul ‘Ways of Clay’ ini setidaknya menjelaskan dua pendapat, yaitu (i) menganggap adanya dasar persoalan yang berlaku bahkan mendahului kondisi sebelum sebuah karya seni dibicarakan (suatu kondisi yang disebut ‘pra-karya’)—yaitu medium (tanah liat) bagi karya seni keramik; serta (ii) menganggap bahwa medium (tanah liat dan keramik) itu sendiri adalah representasi dari suatu persoalan seni. Dalam pembicaraan seni rupa secara umum, seseorang menganggap ‘seni’ sebagai masalah mengenai representasi idiom ekspresi yang ditunjukkan melalui karya. Dengan kata lain, seni rupa adalah tentang ‘corak ungkapan’ (idiom) secara rupa (visual) dalam sebuah karya; dan cara untuk ‘menghadirkan-kembali realitas secara khas’—atau kita sebut sebagai ‘representasi’ (representation)—melulu dianggap sebagai persoalan idiom-idiom visual yang ditampilkan. Pemahaman semacam ini berakar pada kepercayaan tentang adanya suatu ‘model ideal dari representasi’ yang telah diyakini bahkan sejak abad ke-13, di masa Renaissance. Seseorang yang dianggap sebagai perintis bidang kajian seni rupa, Leon Battisa Alberti, menjelaskan tentang representasi ideal seni itu melalui persoalan seni lukis. Dalam tulisannya “Treatise On Painting” (Del Pictura)—yang kemudian diterbitkan kembali dengan judul Della Pittura (1435)—Alberti menjelaskan bahwa, “there should be no visual difference between looking at a painting or looking out a window at what the painting show” (‘sudah jadi keharusan bahwa tak ada perbedaan visual di antara [pengalaman seseorang] melihat sebuah lukisan atau [ketika seseorang tersebut] melihat keluar melalui sebuah jendela pada apa yang ditunjukkan sebuah lukisan”). 2 Menurut

Ceramic clues point to ceramics as objects that have become part of our daily life. If clay impulsesare based on one’s physical interactions with clay and one’s personal understanding of a creative process, then ceramic clues are founded upon a collective consciousness toward ceramics. In this way, a ceramic object becomes a physical object that has diverse relationships with people that are not just about how an object is used or consumed, but also about how or why an object is made or modified, including the meanings affixed to it. A relationship between people and ceramics is not simple, because it involves a diverse array of ceramic objects, as explained by Veiteberg: “We find ceramics in many different cultural contexts. Cheap, massproduced souvenirs and tableware live side by side with venerated Japanese tea bowls, old Chinese urns and exclusive figurines handmade in European porcelain factories with long-standing traditions, such as Sèvres and Nymphenburg. The choice of clay, firing method, object type and style are not neutral choices, because they are all imbued with different values.” The difficulty of “detaching” ceramics from the context of daily existence has led to the “banishment” of ceramics from modern art proper. On the other hand, within the context of contemporary art, ceramics is a way to connect art praxis to the wider public. Today, artists continue to use clay and ceramics as their creative medium. James Elkins stated, “Ceramics, I think, is in a better position, because it already has strong affinities with contemporary art.” Within the modern art framework, the general public and the art public continue to draw away from each other, because of a delineation that reserves art experiences for the bourgeois and elite. Meanwhile, “reconciliation” is one of the main agendas of contemporary art practice. In this case, ceramics can become a mediator that connects art to the wider public, especially because ceramics is a familiar “language”.

Alberti, sebuah karya seni rupa (lukisan)—khususnya yang bersifat representasional, mimetik, atau ‘realistik’—ibarat sebuah lubang jendela di mana seseorang bisa melongok, melihat, atau mencermati realitas (kehidupan) secara lebih jelas. Tentang idealnya sebuah lukisan, Alberti bahkan tak membicarakan soal material cat yang digunakan para pelukis untuk mengerjakannya; perhatian utama dirinya adalah bagaimana suatu gambaran (della pittura), idiom visual itu, mampu dihasilkan. Tak sama dengan asumsi Alberti, pameran ini hendak punya kesimpulan lain. Gagasan ‘Ways of Clay’, pertama-tama, justru ingin menyatakan bahwa medium—bukan idiom—adalah sebuah persoalan yang penting dari cara representasi. Lalu, apa yang direpresentasikan (sebagai persoalan) oleh medium keramik? Persoalan keberatan atas cara mengutamakan pokok idiom seni rupa ini juga tak bersifat eksklusif, karena juga berlaku sejalan dengan perkembangan cara memahami seni rupa. Sejarah seni rupa, seperti kita tahu, ditulis dalam kisah-kisah revolusi dan pemberontakan terhadap kecenderungan idiomatik yang bersifat representasional; dan yang paling penting darinya adalah pemberontakan seni rupa abstrak terhadap seni rupa yang representasional, mimetik, atau realistik. Asumsi yang bisa dipahami dari sikap perlawanan semacam itu tentu saja bukan hanya perkara mengenai bentuk—yang secara visual mesti nampak realistis atau tidak—tapi yang secara mendasar berkaitan dengan pertanyaan tentang asumsi ‘kebenaran’ di balik masalah ‘perwalian’ dan ‘perwakilan’ realitas oleh idiom visual seni rupa. Sejarah menceritakan, bahwa para seniman abstrak Eropa (pada akhir abad ke-19 dan awal abad ke-20) sudah mulai bergerak meyakini suatu sikap baru, bahwa pada bidang permukaan sebuah lukisan seharusnya bisa ditemukan semacam ‘alur edar’ (a path) yang lain— yang tak mesti bersifat realistik—untuk menjangkau kebenaran ‘dunia yang sesungguhnya’ (the real world). Berbeda dengan asumsi tradisional sejak Renaissance yang menganggap bahwa permukaan sebuah lukisan identik sebagai jendela (veduta) yang menunjukkan ‘permukaan dari realitas’ (the surface of reality), maka lukisan-lukisan abstrak justru berusaha menggali dan menemukan ‘kebenaran’ realitas sebagai nilai mengenai realitas batiniyyah (inner reality). Para pelukis abstrak tak lagi berusaha mencocokkan lukisan mereka dengan rujukan ‘jendela’ realitas sebagaimana biasanya nampak terlihat, melainkan justru sibuk dengan kemungkinan ‘medium’ lukisan (cat) demi menyatakan konstruksi imajinatif realitas di atas permukaan kanvas. Paruh kedua abad ke-20, para pelukis abstrak Amerika meneruskan tradisi ini dengan kerangka semangat pencarian yang ‘baru’. Mereka melanjutkan keyakinan bahwa ‘bagian batiniyyah realitas’ tak bisa dicapai melalui cara kontemplasi dan abstraksi bentuk geometrik yang bersifat konseptual, melainkan dalam dan melalui gerak bebas dan spontanitas—kisah ini menjelaskan perubahan perkembangan seni lukis abstrak dari prinsip kecenderungan seni Cubism Eropa menuju

Abstract-Expressionism Amerika. 3 Meski perkembangan seni rupa abstrak lebih mempertimbangkan pentingnya peran medium daripada penampilan idiom representasional, namun material cat atau kanvas tak pernah dibicarakan lebih penting dari dampak visual abstrak yang dihasilkannya—yang dalam segi pemahaman tertentu pun bahkan bisa dianggap bersifat ‘idiomatik’. Maka gagasan tentang ‘ways of clay’ ini mencoba untuk menjangkau lebih dalam lagi: ”Bagaimanakah medium (keramik) sungguh-sungguh jadi persoalan representasi?”

S E N I R U PA DA N R E A L I TA S , K I N I Kita mesti mengenal seni (art) sebagai masalah yang berdimensi sejarah, atau sebagai persoalan yang berkembang dalam konteks ruang dan waktu yang bisa kita pahami. Hingga kini, sebenarnya, kita membahas dan memahami seni rupa dalam konteks perkembangan ke-modernan cara hidup masyarakat (modernity, modernitas)—bahkan ketika seseorang terus menganggapnya sebagai persoalan tentang postmodernism, atau seni di era masyarakat post-industrial. Modernitas ditandai dengan meningkatnya kondisi-terpecah dan terkotak-kotaknya keadaan secara sosial maupun individual, serta dengan menghasilkan situasi pudarnya imajinasi mengenai sebuah kesatuan masyarakat— termasuk ikatan tiap-tiap individu dalam kesatuan tersebut— sebagaimana pernah dibayangkan sebagai dunia sosial masyarakat tua atau lama. Kondisi terpecah ini terbentuk akibat berlakunya sistem pembagian kerja secara sosial serta lahirnya (logika) masyarakat yang tumbuh hidup dalam sistem ekonomi pasar. Dalam situasi semacam itu, seni pun— dalam praktek serta pemahamannya—dianggap sebagai suatu lingkup ‘bidang yang ideal’ (an ideal sphere) di mana imajinasi tentang re-integrasi tiap kepribadian individual pada (gagasan) totalitas sosial dianggap jadi mungkin dicapai.4 Gagasan seni atau tentang karya seni rupa, dengan demikian, bukanlah hanya urusan membuat atau menciptakan objek ‘yang indah-indah’ atau bersifat menyenangkan saja; dan jikapun itu dilakukan, maka tujuannya adalah untuk meraih kebenaran bayangan dari (gagasan) tentang nilai kesatuan hidup. Hingga setiap orang kemudian akan bisa merasakan makna eksistensinya secara individual maupun sosial. Seni kemudian dianggap sebagai pokok persoalan budaya, karena sebuah kebudayaan pada prinsipnya adalah cara untuk memaknai pengalaman hidup yang konkret, yang melalui proses yang bersifat material untuk kemudian secara metaforik berlaku sebagai gugus

gubahan kesadaran simbolik yang terkait dengan nilai-nilai hidup. Nilai semacam itu sering kali dipahami sebagai ‘nilai budaya’ (cultural value), disebut juga sebagai ‘ruh’ atau ‘jiwa’ budaya. Pemahaman budaya dalam prakteknya adalah sebuah catatan tentang keadaan kemanusiaan (humanity) yang memiliki sejarahnya secara khas dan berkembang dari kelangsungan sebuah eksistensi masyarakat pedesaan (the rural existence) menjadi eksistensi yang bersifat urban (the urban existence).5 Ihwal seni—baik sebagai perkara dan pengertian seni modern atau posmodern—bagaimanapun adalah persoalan bagaimana hal itu dipahami dalam kerangka pertumbuhan kesadaran tentang eksistensi individu yang berwatak urban. Watak urban dan (lingkungan) modernitas ini juga yang mendorong pemahaman soal seni hingga kini. Kedua watak itu pula yang membentuk cara kita merumuskan nilai material dan obyek seni rupa, yang memisahkan mana yang dianggap penting dan tidak. Persepsi tentang jenis karya seni yang penting pun mengalami perumusan. Medium seni rupa yang paling mutakhir menjadi mesti berlaku mengikuti logika perkembangan medium yang didasari prinsip kemajuan teknologi digital masa kini. Berkembang dari prinsip yang diajukan Alberti pada masa lalu, seni masa kini makin radikal menempatkan aspek penting dampak perseptual-optis (dalam permainan efek teknologi digital) sebagai nilai utama medium seni. Pameran ini penting dalam caranya menimbang kembali rumusan mengenai ‘kemajuan’ seni rupa masa kini tersebut. Cara pandang ‘ways of clay’ justru tak ingin memahami seni hanya sebagai hasil proses perseptual (pandangan optis) saja, tetapi juga tentang hasil ingatan terhadap pengalaman pada material yang bersifat konkrit (tanah liat dan keramik). Ekspresi seni keramik—yang bahkan sering kali tetap menyisakan jejak-jejak watak material tanah liat di dalamnya—seperti ingin mengingatkan kembali pemahaman seni pada bingkai pemahaman yang bersifat budaya (cultural) ketimbang memahaminya sebagai bagian dari gagasan kemajuan (the idea of progress). Dalam bingkai kultural, ‘kemajuan’ ekspresi seni dinilai justru melalui pemahaman yang terbukti dari wilayah ‘pengalaman’ pada proses dan interaksi material seni itu sendiri, dan tidak hanya menimbang penting berdasar hasil dan dampaknya. Tentu saja, perihal medium atau material seni rupa pun mengalami perubahan dan punya sejarah perkembangan yang tak bisa dipisahkan dari perubahan makna bagaimana ‘seni rupa’ yang kita pahami hingga kini. Perubahan dramatik tentang arti ‘seni’—serta artikulasinya melalui karya-karya— terjadi di sekitar tahun 1970-an, dan kejadian ini tak hanya berlaku bagi Amerika saja tapi juga bagi seni rupa di kawasan Eropa. Ada dua sebab penting yang bisa kita catat. Pertama, adalah pengaruh kharismatik sosok Joseph Beuys—seseorang yang tak hanya dihormati sebagai figur seniman yang kuat tetapi juga pesonanya sebagai ‘guru’ (yang mengajarkan seni dalam maknanya secara spiritual). Melalui ajaran Beuys lah jargon ‘anything could be art’ (‘apapun mungkin menjadi (karya) seni’) merebak dan jadi kesadaran seni yang dilumrahkan—kini, kita menyebutnya sebagai ekspresi ‘seni rupa

kontemporer’ (contemporary art). Kedua, adalah kesadaran para seniman untuk meninggalkan—atau ‘melampaui’—pemakaian material seni rupa yang bersifat konvensional (misalnya: seni lukis dengan material cat, atau seni patung dengan logam). Karya-karya seni rupa kontemporer mulai dikerjakan dengan memanfaatkan berbagai obyek dan barang-barang yang kita gunakan dalam kehidupan sehar-hari. Kesadaran semacam ini tentu saja tak hanya muncul dari sebab ajaran Beuys saja, tapi juga diilhami pengalaman karya ‘readymade’ yang dikerjakan Marcel Duchamp sebelumnya. Di tahun 1970-an, kesadaran para seniman untuk menggunakan aneka jenis material dan obyek kesaharian sebagai (bagian) karya seni rupa juga terhubung dengan kajian filsafat Fenomenologi, yang menjelaskan bahwa obyek atau substansi material yang digunakan para seniman itu berasal dan mencerminkan apa yang bisa kita hayati sebagai Lebenswelt—dunia hidup yang kita jalani sehari-hari secara langsung.6 Sejak saat itu, menurut pemikir dan kritikus seni Arthur C. Danto, masalah memahami (persoalan) seni tak lagi tentang “Bagaimana (ekspresi) seni mampu merumuskan realitas,” tetapi “Bagaimana seni mampu dibedakan dengan realitas”—sehingga bisa dikenal bagian realitas yang mana yang jadi representasi seni dan mana ‘yang bukan’ (yang hanya berlaku sebagai realitas).7 Gagasan tentang ‘ways of clay’ tentu saja bukan soal cara untuk merumuskan pengertian seni atau karya seni rupa, melainkan yang penting adalah upaya untuk mengalami-kembali seni; baik sebagai pemahaman yang mengandung persoalan idiomatik, pun terutama sebagai proses penghayatan dunia pengalaman yang dilalui melalui material (keramik) yang membentuknya. Keramik dan tanah liat adalah medium khas dalam pengalaman hidup kita sehari-hari; yang tak hanya dikenali secara akrab melalui berbagai jenis barang atau perabot hidup keseharian, tapi juga dipahami sebagai material yang berjasa dalam bidang kemajuan ilmu pengetahuan dan teknologi— mulai dari komponen bola lampu dalam pengalaman hidup kita secara dekat, hingga jadi bagian dari pesawat ulang-alik ruang angkasa dalam pengalaman hidup kita secara jauh. Tak sama dengan material (pewarna) cat, keramik adalah material yang memiliki kerangka makna khas yang ‘bersejarah’, yang terjadi bukan sebagi akibat dari sifat materialnya saja tetapi juga karena pengalaman Lebenswelt yang melekat padanya.

TA N A H L I AT D A N KER AMIK SEBAGAI R E P R E S E N TA S I PERSOAL AN Gagasan (pemahaman) seni menurut Danto menarik untuk kita teruskan pembahasannya. Baginya, persoalan seni adalah cara bagaimana (seni) membagi perbedaan-perbedaan perseptual (perceptual differences) di antara seni dan realitas, untuk menegaskan nilai ‘kebenaran’ yang bisa diterima seseorang—baik mengenai seni maupun tentang realitas itu sendiri. Di titik terjauh, Alberti telah menegaskan bahwa apa yang seseorang lihat melalui karya seni rupa (lukisan) adalah soal ‘Yang identik’ dengan apa yang bisa seseorang sebut sebagai ‘realitas’— sehingga, ‘kebenaran’ lukisan merumuskan ‘kebenaran realitas’. Para pelukis abstrak menghalangi keyakinan soal ‘kebenaran’ dengan cara itu. Bagi mereka, kebenaran realitas justru mesti dicari di balik ‘Yang nampak’ (yang dikenali mirip dengan realitas perseptual), sehingga karya seni rupa sejatinya adalah bukti-bukti tentang ‘dunia batiniyyah dari realitas’. Masalah seni rupa kontemporer kini, menurut Danto, sepertinya tetap berada dalam kerangka persoalan yang sama: bagaimana nilai seni mampu membedakan diri dengan realitas ketika ‘apapun yang berasal dari realitas’ kini bisa dijadikan sebagai (karya) seni. Danto menyakini bahwa setiap karya seni rupa pada dasarnya adalah ‘mengenai sesuatu’ (“the works of art are about something”) sehingga selalu ada soal “mengenai ke-sesuatu-an’ (aboutness) di dalamnya. Sehingga kita pun menetapkan sebuah karya seni sebagaimana ihwal aboutness tersebut menjadi bermakna. Soal ‘makna’, di sini, meski memiliki buktinya pada obyek (karya seni rupa), bukan lah seluruh hal yang bisa kita saksikan secara perseptualoptis. Ada persoalan yang ‘tak nampak’ (invisible) dari setiap penampilan karya seni rupa. Lebih jauh Danto menjelaskan, bahwa (medium) karya seni rupa pun tak sama persis dengan (medium) bahasa—sebagaimana seseorang bisa mengenalnya sebagai struktur aturan atau kode pembuatan dan membaca maknanya—yang misalnya punya subyek, predikat, atau obyek. Dalam medium karya seni rupa ihwal-persoalan makna tak hadir terstruktur sebagaimana aturan (kode) dalam bahasa, melainkan ada sebagai ‘Yang terwujud’ (embodied) dan tak terpisahkan sebagai sebuah karya. Setiap karya seni rupa, kata Danto, dengan demikian adalah ‘(kesatuan) makna-maka yang mewujud’, “the works of art are embodied meanings.” 7 Gagasan ‘ways of clay’ untuk pameran ini bermaksud memahami situasi pra-karya seni keramik dengan mengingat bahwa medium (tanah liat dan

keramik) itu sendiri adalah representasi mengenai persoalan tertentu. Tanah liat dan keramik dalam hal ini berlaku sebagai pemahaman soal ‘embodied meaning’ sebagaimana dimaksud oleh Danto. Teks kuratorial yang dikerjakan Nurdian Ichsan, “Ways of Clay: A Note,” adalah contoh jelas untuk menunjukkan kaitan makna-makna yang terwujud dalam medium tanah liat dan keramik. Medium tanah liat maupun keramik masing-masing mengandung kerangka makna-makna yang terbentuk atas dasar relasi pengalaman seseorang terhadapnya sebagai material yang bersifat fisikal (yang disebut Ichsan sebagai ‘dorongan tanah liat’, atau ‘clay impulse’), juga sebagai kemungkinan-kemungkinan makna yang muncul dari bentuk khas yang dihasilkannya (disebut Ichsan sebagai ‘gelagat keramik’, atau ‘ceramic clue’).8 ‘Makna yang mewujud’ dalam medium (tanah liat dan keramik) tentu sudah menjadi bagian ‘pengetahuan’ yang dihayati oleh para seniman keramik, namun makna-makna tersebut tidak kemudian berarti adalah makna tentang karya-karya yang mereka kerjakan. Soal ‘embodied meanings’ pada material tanah liat dan keramik adalah semacam konteks (makna) yang khas, di mana para seniman secara sadar kemudian menghubungkan aneka gagasan personal mereka masingmasing terhadapnya. Para seniman khusus—yang tidak memiliki latar belakang pengelaman kerja sebagai seniman keramik—yang diundang untuk mengikuti pameran ini pun terlibat dan ‘menyesuaikan’ dengan (konteks) makna yang terwujud dalam material tanah liat dan keramik. Ihwal konteks (context) di sini bukan berlaku sebagai maknanya secara obyektif yang berfungsi untuk menjelaskan keadaan-keadaan yang bersifat fisikal, terbatas, atau yang bersifat tertentu. Soal ‘konteks’, sebagaimana dijelaskan peneliti dan kritikus seni Thomas McEvilley, justru berlaku menjadi arena yang menghubungkan berbagai subyektivitas. Pengertian ‘konteks’ yang dimaksud McEvilley adalah: “an

overlapping

and

ever-permutating

procedure

that

has

definite shape or metaphor with which to describe it. Context, then, is intersubjective: it is the product of the vague but commonly understood agreements of how to define the world and of what subjectivies overlap significantly enough to function in—and be presented as—conventional reality.” 9 (sebuah prosedur [pemahaman] yang bersifat saling bertumpuk bahkan terus berganti-ganti urutannya secara menerus, yang tidak menghasilkan bentuk atau metafor pasti yang dengannya bisa dijelaskan.

[Pengertian]

konteks,

dengan

demikian,

bersifat

intersubyektif: konteks adalah hasil dari suatu ‘ketidak-pastian’ namun juga jadi semacam [bentuk] kesapahaman umum untuk mengenal bagaimana dunia dijelaskan serta bagaimana berbagai [sikap-sikap] subyektivitas saling berkaitan satu sama lain secara signifikan sehingga bisa dipahami dan berfungsi sebagai realitas yang bersifat konvensional).

Meski setiap orang bisa saja memiliki perbedaan-perbedaan pengalaman secara tak terbatas mengenai material tanah liat yang bersifat plastis, namun keadaan material itu (plastisitas) tetap bisa menghubungkan perbedaan-perbedaan makna soal nilai ‘kondisi ketidak-tetapan’ (transient condition) yang mewujud pada sifat material tersebut. Demikian halnya juga tentang konteks makna sifat material keramik yang bersifat ringkih ( fragile) dan mudah pecah.

MENGALAMI-KEMBALI SENI MELALUI P E N G A L A M A N M AT E R I A L Pada satu kesempatan, penulis dan kurator seni rupa Achille Bonito Oliva menjelaskan, bahwa “tak ada kesadaran intelektual atas seni, tetapi selalu ada karya seni yang mampu memformulasikan visi dunia melampaui maksud pembuatnya.” Menurut Oliva, bukan berarti seniman tidak pernah memikirkan ‘apakah itu seni,’ tetapi tiap hasil penciptaan karya seni selalu bisa berhasil melampaui maksud-maksud yang diupayakan oleh setiap seniman yang menciptakannya. Karya seni keramik sebagai ‘(kesatuan) makna-maka yang mewujud’ (embodied meaning) mengandung konteks pengalaman intersubyektif tentang material tanah dan keramik sebagai visi makna yang mendasarinya. Seorang seniman keramik bisa dengan segera menemukan konteks makna tentang penciptaan asal-muasal kehidupan melalui tanah liat, tentang sifat lentur dan berubah-ubahnya material itu untuk menjelaskan proses kelasungan pengalaman hidup; atau mengenai watak kehancuran dan ‘akhir sebuah keadaan,’ jika ia teringat pada karakter ringkih ( fragile) material keramik. Dalam kerangka pemikiran budaya, soal dunia tak pernah bisa terpisahkan dari visi penjelasan tentang perkara asal-muasal pembentukan hingga kemudian mencapai keadaannya yang hancur atau terpecah-belah. Kita tahu, misalnya, bagaimana persoalan dan wujud masyarakat pun pada awalnya dibayangkan bersifat plastis, utuh, dan saling terhubung; lalu kemudian berkembang jadi ‘matang’ dan memiliki resiko hidup yang terfragmentasi (terpecah-pecah). Judul ‘ways of clay’ bagi pameran seni keramik ini bisa dianggap bermaksud menghubungkan perkara asal-muasal (tanah liat) yang tak semuanya adalah watak yang hasilnya bisa dikenali; dengan keadaan hasil pada tahap selanjutnya—ketika tanah liat itu dibakar jadi medium keramik. Dan seseorang pun dapat menunjukkan sikap pada keadaanya baru tersebut—yang dalam peristilahan-peristilahan singkat bisa dikatakan lewat ungkapan-ungkapan semacam: ‘Beware/ Fragile’ atau ‘handle with care,” misalnya. ‘Ways of clay’ tak hanya menjadi soal ekspresi pemahaman tentang seni, tetapi menyangkut soal kelahiran budaya dan peradaban, dan juga mengenai keadaan tentang manusia itu sendiri. Material tanah liat dan keramik mengibaratkan soal proses dan keadaan dari penciptaan manusia dan budaya. Kebudayaan pada dasarnya adalah

persoalan tentang manusia untuk ‘mengatasi-diri’ (self-overcoming) dalam keterbatasannya, sebagaimana juga adalah cara manusia untuk ‘menyadari-diri’ (self-realization) dalam keberlebihannya. Jika kebudayaan dianggap sebagai cara dalam rangka merayakan keutamaan nilai eksistensial sang-diri (the self ) manusia, maka budaya pun memiliki cara untuk mendisplinkan dan menjadikannya sadar-diri, mengajarinya dengan pertimbangan prinsip estetik dan penilaian sikap asketik secara bersamaan.10 Mengalami-kembali perihal seni melalui pengalaman material (tanah liat dan keramik), pameran ‘ways of clay’ ini, lebih ingin mendekatkan kembali persoalan ekpresi seni rupa pada dimensi pengalaman nilai budaya. Meski para seniman yang berpameran berasal dari budaya yang berbeda-beda, namun pengalaman kutural material tanah liat dan keramik memudahkan mereka mengikat-diri pada medan konteks nilai yang bersifat inter-subyektif. Beberapa seniman yang bahkan menetap untuk sementara dan bekerja di berbagai tempat produksi keramik (studio dan pabrik) di Indonesia pun tak pernah jadi berkesulitan untuk menghubungkan latar belakang pengalaman budaya mereka yang berbeda dengan material (tanah liat dan keramik) yang mereka dapatkan dan kerjakan di Indonesia. Berbagai gagasan seni yang berbeda serta kecenderungan berkarya masing-masing seniman pun tak sulit diperbincangkan dalam kerangka pengalaman pada karakter dan proses material yang sama-sama dikenal oleh mitra kerja mereka di Indonesia. Perbedaan pengertian tanah liat (clay) dan keramik (ceramic) pada prinsipnya hanyalah soal istilah tingkat keadaan yang terpisahkan secara teknis, namun konteks makna yang terwujud di antara keduanya adalah kerangka pemahaman yang umum dan mudah dikenali secara konvensional. Soal mengalami-kembali seni melalui pengalaman tanah liat dan keramik ini—baik bagi seniman yang mengerjakannya maupun apresian yang menikmatinya— setidaknya bisa jadi tinggalan catatan penting bagi seni rupa di masa mendatang. Tema reflektif semacam ‘ways of clay’ ini mencoba mendekati seni rupa bukan sebagai persoalan untuk dipikirkan ‘bagaimana semestinya nanti’; tapi [kembali] jadi pengalaman ‘bagaimana dan untuk apa seni berlaku saat kini.’

Oliva, Achille Bonito. 2011. Art Beyond the Year Two Thousand. diterjemahkan Dominique Lora (Itali/Inggris) & Alia Swastika (Inggris/Indonesia). Bali: BIASA Little Library. hlm.48.

Alberti dalam Danto, Arthur C. 2013. “Wakeful Dreams”, dalam What Art Is. New Haven & London: Yale University Press. Hlm.1.

Lihat. Danto, Ibid. hlm.12-13.

Mattick, Paul. 2003. Art in Its Time, Theories and Practices of Modern Aesthetics. London & New York: Routledge, 2003. hlm.12.

Eagleton, Terry. 2000. Version of Culture, dalam ‘The Idea of Culture’. Blackwell Publisher. hlm. 1.

Danto, op.cit. hlm.19.

Danto, ibid. hlm.37.

Lebih jauh lihat tulisan kuratorial Nurdian Ichsan, “Ways of Clay: A Note.”

McEvilley, Thomas. 1996. History as Context: Expanding Modernism Form”, dalam CAPACITY: History, The World, and The Self in Contemporary Art and Criticism, ed. Jeremy Gilbert Rolfe. Amsterdam: G+B Arts International. hlm.9.

10.

Eagleton, op.cit. Hlm.5-6.

ON RE-EXPERIENCING ART

RIZKI A. ZAELANI KURATOR

WAYS OF CLAY : ON R E - E VA L U AT I N G THE ART MEDIUM “There is no intellectual consciousness of art but rather the awareness that the work of art is capable of shaping a vision of the world to a much greater extent than its creator.”1 - Achille Bonito Oliva

The title, Ways of Clay, can at least explain two opinions: (i) one which supposes a fundamental issue that occurs during or precedes a pre-work condition— that is, issues surrounding the medium (in this case: clay or ceramics) used in artwork (in this case: ceramic works); and (ii) one that supposes the medium (clay and ceramics) as a representation of an art issue. In general art discussions, someone might look at artwork as a way to represent idioms of expression. In other words, art is about expressing idioms in a visual manner. The way ‘to represent reality in a unique manner’, or the question of representation, is—more often than not—considered a problem of presented visual idioms. Such an understanding is rooted in a belief in an ‘ideal model of representation’, something that has existed since the Renaissance in the 13th century. Widely considered as a pioneer in art studies, Leon Battista Alberti laid out the issue of an ‘ideal representation of art’ by discussing/placing it within a painting’s framework. In his Treatise of Painting (De Pictura), also published as Della Pittura, Alberti explained that “there should be no visual difference between looking at a painting or looking out of a window at what the painting show” 2 According to Alberti, an artwork (painting)—especially the representational, the mimetic or the realistic—is like a window from which one can look through or examine (life’s) reality more clearly. On the ideal painting, Alberti did not even discuss the material (paint) that the artist uses, but rather he concentrated upon the picture itself, upon the visual idiom that a painter can create. However, unlike Alberti, Ways of Clay exhibition wishes to draw a different conclusion. It wants, firstly, to state that the medium—and not the idiom—is an important issue when discussing representations. Then: what can ceramics, as a medium, represent as an issue?

The objection leveled against prioritizing art idioms is not meant to make itself exclusive, because it does take into consideration the developments in how people understand art. As we know, art history is made through revolutions and rebellions against representational and idiomatic ideas/concepts; one of the most important being the rebellion of abstract art against representational, mimetic, or realistic art. We can assume to understand that such rebellions came about not only due to the issue of form—whether a work has to look visually realistic or otherwise—but more fundamentally, due to, or in relations to, the ‘truth’ behind how art’s visual idioms represent reality. History notes how abstract artists in Europe (toward the end of the 19th century and in the early 20th century) began to understand/discover how a painting’s surface allows for the existence of different (and sometimes non-realistic) paths that reveal the ‘truth of the real world’. Unlike traditional views upheld since the Renaissance—which looks at a painting’s surface as a window to (the surface of) reality— abstract paintings were made to uncover the values of an inner reality. Abstract painters of the time stopped trying to match paintings to the seen reality, but rather they explored painting’s medium (in this case: paint) to construct an imaginative reality on canvas. Toward the second half of the 20th century, American abstract painters continued this tradition within the framework of ‘a new exploration’. They believed that ‘inner reality’ could not be achieved through the contemplation and abstraction of conceptual geometric forms, but rather through and within free and spontaneous movements. This represents the development of abstract art—from European Cubism to Abstract-Expressionism(3. However, even when abstract art places more weight on the role of medium rather than on the visual representation of idioms, abstract art does not place medium (e.g. paint or canvas) above the impact of abstract visuals (that can themselves be idiomatic in character). The exhibition Ways of Clay tries to go even deeper into this issue, that is to ask: how medium (in this case clay or ceramics) can truly become representational issues.

A R T A N D R E A L I T Y, T O D AY

We must recognize art as an issue that carries a historical dimension, or as an issue that develops within the context of time and space, which we can grasp. Even today, we discuss and understand art within the context of our own modernity—even though one might also look at it within the context of post-modernism, or art in a post-industrial society. Modernity is marked by the fragmentation and compartmentalization of social and individual life, causing the withering of a united society—including the ties between individuals in that union—as dreamed of by the Old World. Fragmentation occurred due to division of labor and also due to the emergence of a highly logical society under a market-based economy. It was in this situation that art, along with its practice and understanding, was thought of as ‘an ideal sphere’, where imagination about reintegration (of each individual personality into social totality) seemed attainable again.4 The concept of art, or an artwork, is therefore not just an issue of making or creating beautiful or delightful objects. And even if an object is made thusly, then surely it is made to also find the truth behind (the idea of) a unity in life, so that everyone can discover the meaning of their individual and social existence. Art is therefore considered as the main issue of culture, because culture is principally a way to concretely understand life’s experiences, done firstly through a material process, and then metaphorically as a symbolic consciousness connected to life values. Such values are often understood as cultural value, the soul of culture. In practice, an understanding of culture is a comprehension of unique human history, one that grows from a rural existence into an urban existence(4. Whether we consider it to be a modern or a post-modern issue, it still relates to how art is understood within the development of an awareness about our individual urban existence. To this day, this urban characteristic and our modernity have inspired our attempts to further understand art. They inform the way we formulate our evaluation of art objects and materials, and how we separate the important from the not-so-important. It also triggers a (re)formulation of what we perceive as important artworks, or otherwise. The latest art media must also follow this logic of medium-oriented development, and be based on the principles of digital advancement today. Growing out of the principles posited by Alberti, today’s art has become more radical in terms of placing an importance on opticalperceptual impact (within the influence of digital technology) to determine the values of art medium. This exhibition, then, plays an important role in directing us to (re)evaluate the formulations of art ‘progress’ today. Ways of Clay does not try to understand art only as a perceptual (optical) process, but also as a product

of memory, specifically a memory of concrete material experiences with clay and ceramics. Ceramic art expressions—often, those which still carry traces of clay’s material character—seems to want to remind us about the understanding of art in a cultural framework, rather than the understanding of art as part of the idea of progress. Within a cultural framework, the ‘progression’ of art expressions is evaluated through an understanding built from the ‘experience’ of a process and interaction with art material itself, and not just based on result or impact. However, even art material or medium is not immune to change, and definitely has its own developmental history that cannot be held separate from the development of meaning. In the 1970s, there was a dramatic shift in how people perceive the meaning of ‘art’, and its articulation through artwork. It happened not only in the USA but also throughout the European art scene. There were two main causes. First, the charismatic influence of Joseph Beuys—who was respected not just as an artist but also as a ‘teacher’ (who instructed art in its spiritual sense). Through Beuys, the jargon “anything could be art” soon proliferated and became widely accepted; today we know it as contemporary art expression. Secondly, is the growing awareness within the artists that leads them to abandon, or transcend, the conventional use of materials (e.g.: paint for painting, cast iron for sculpture). Contemporary art works began to be made using objects and things that can be found in daily life. It wasn’t just due to Beuys’s influence, but also informed by previous experiences, through artists such as Marcel Duchamps. In the 1970s, the tendency of artists to use commonplace materials and objects as (part of) their artworks was also connected to Phenomenology, a philosophical inquiry that explained how a material or object reflected and acted as the origin of what we understand as Lebenswelt—lifeworld: a world we experience directly and daily.5 Since then, according to art critic and thinker Arthur C. Danto, the problem of understanding art(‘s issues) is no longer about ‘how art can formulate reality’, but rather ‘how art can be differentiated from reality’. In this way, we can see which part of reality becomes the representation of art and which remains only as reality.6

The idea behind Ways of Clay is to formulate an understanding/definition of art or artwork, but more importantly, it is about our efforts to (re)experience art, as either an idiomatic understanding, or as a way to understand/ experience the world through art materials (in this case, clay or ceramics). Ceramics and clay are unique materials in our daily life, that we are familiar with not only as or through commonplace objects, but also as materials with great contribution to knowledge and industry—from the one that affects us directly (e.g. as one of the components of a lightbulb), to one that affects us only distantly (e.g. a space shuttle’s component). Unlike paint, ceramics is a material that has unique historical meaning, not just due to the effects of its materiality, but also the lebenswelt that it espouses.

C L AY A N D CERAMICS AS R E P R E S E N TAT I O N S OF ISSUES The idea of art as posited by Danto is interesting to discuss. Here, the question of art asks how perceptual differences can be applied between art and reality, to emphasize upon an acceptable ‘truth’, either about art or about reality itself. At its farthest point, Alberti emphasized that what one sees through artwork (a painting) is that which is similar to (the same as) what one calls ‘reality’. In this way, ‘truth’ in the painting becomes a formula for ‘truth in reality’. Abstract painters did not agree with this way of determining ‘truth’. To them, ‘the truth in reality’ must be found in ‘the visible’ (similar to perceptual reality), so that an artwork can serve as proof of ‘the inner world of a reality’. According to Danto, contemporary art now seems to occupy the same framework: how (the value of) art can differentiate itself from reality (especially since now that everything that comes from reality can theoretically become art). Danto believes that “the works of art are about something”, so an artwork will always embody an aboutness within it. In this way, we can always consider how an artwork—and its aboutness—can become meaningful. Here, the matter of ‘meaning’, despite having its proof within an object (artwork), is not something that we can fully witness optically. There are ‘invisible’ issues within every artwork. Further, Danto explained that art (medium) cannot be directly compared to linguistics (medium), at least not in the way where someone can fully recognize the rules and codes in the latter’s making or understanding; the latter has rules regarding subject, predicate, and object for instance. With art medium, the matter of meaning is more unstructured. Unlike the rules and codes in linguistics, the meaning of art exists as something embodied or inherent/inseparable from a particular work of art. Danto posited that “the works of art are embodied meanings” 7 Ways of Clay as an idea is an attempt to understand ceramic art’s prework situation, by remembering that the medium (clay or ceramics) is in itself a representation of issues. Clay and ceramics, in this case, can act as a way to understand ‘embodied meaning’, as posited by Danto. Nurdian Ichsan’s curatorial text “Ways of Clay: A Note”, clearly conveys the idea of a connection of meanings that can be found within clay and ceramics. Clay or ceramics as a medium that already retains a framework of meanings founded upon a physical relationship between one person’s experience of the material (which Nurdian Ichsan called clay impulse). At the same time, it

also presents an array of possible meanings through the unique forms that emerge from it (which Nurdian Ichsan called ceramic clues)8. A medium’s embodied meaning is certainly part of a ceramic artist’s body of knowledge, however, they do not automatically become the inherent meaning(s) of the work(s) they create. The matter of embodied meanings in clay or ceramics, as material, can be taken as a unique context for the artists to connect their personal ideas and concepts to. At the Ways of Clay exhibition, special invitees—i.e. artists who are not usually considered as ceramists—are also involved in, and have adjusted to, the (context) of the meaning(s) embedded within clay and ceramics. The matter of context, in this case, is not ‘meaning’ in the objective sense (that describes physical or other limiting conditions). Rather, the ‘context’ in question relates to the following explanation by art critic and researcher Thomas McEvilley, which places it as an arena that connects disparate subjectivities. Rather than having it as an objective and limiting framework, McEvilley placed context as: An overlapping and ever-permutating procedure that has no definite shape or metaphor with which to describe it. Context, then, is intersubjective: it is the product of the vague but commonly understood agreements of how to define the world and of what subjectivities overlap significantly enough to function in—and be presented as—conventional reality 9. Although anybody can have different and limitless experience about clay as a plastic material, this plasticity can still connect different meanings as embodied in its transient condition. As well with its fragile and breakable material characteristics.

(RE) EXPERIENCING ART T H R O U G H M AT E R I A L EXPERIENCE Art writer and curator Achille Bonito Oliva explained that “there is no intellectual consciousness of art but rather the awareness that the work of art is capable of shaping a vision of the world to a much greater extent than its creator.” According to Oliva, it is not that an artist never asks, “what is art?”, but that every artwork will always transcend the meaning as first intended by its creator. A ceramic artwork, as embodied meaning, contains intersubjective experience about clay or ceramics that lies inherently inside it. For instance, a ceramics artist can quickly discover the context of the creation myth through clay, or about the material’s flexible and changeable quality that relates to the ebb and flow of life. An artist contending with the fragility of ceramics, for instance, may come to an idea about destruction and ‘the end of something’. Within the cultural discourse, world matters cannot be separated from the matters surrounding the origin of creation, which would inevitably lead to destruction or fracturing. We know, for instance, how society might begin as a plastic, complete, and interconnected reality, but that it runs the risk of being fragmented once it matures. The title, Ways of Clay, can be taken to mean a desire to connect the origins of material (clay) and its ambiguous opportunities to the results found in the next stages (when clay is fired into ceramics, for instance), as well as to those who react of describe these new results, for instance with words like beware/ fragile, or handle with care. The title, Ways of Clay, is not just about an understanding of art, but also about the birth of cultures and civilizations, about understanding the human condition itself. Clay and ceramics seem to be about the processes involved in, and the conditions of, the creation of both humankind and its cultures. A culture is, fundamentally, about humankind self-overcoming their limitations, as well as about how they come to a self-realization of their strengths. If culture is considered as a way to celebrate the primacy of the human existence, then culture also has a way to discipline or to teach humankind how to consider aesthetic principles and to evaluate aesthetic attitudes in the same way10.

In Ways of Clay exhibition, (re)experiencing art through material experience (or, in this case, experiencing clay and ceramics) is a way to re-approach the issue of art expressions within the context of a cultural experience. Although participating artists come from different cultural backgrounds, the material experience provided by clay and ceramics allow them to make connections through the intersubjective arena. Foreign artists-in-residence, who spent time to live and work among Indonesian ceramics producing communities (either studio or factory), never experienced any significant problems in connecting their own cultural backgrounds to the materials they received and worked with. They did not find any problems discussing their ideas with their Indonesian working partners, within the framework of their shared experiences regarding material characters and processes. The difference between clay and ceramics lies principally in the level of technical conditions; however, both share a place in a general framework that is conventionally recognizable. The matter of (re)experiencing art through clay and ceramics—for the artist who creates them, as well as the appreciator who enjoys them—can serve as an important notice for future developments in art. A reflective theme such as “ways of clay” tries to approach art not as a question of “what art will become, in the future”, but rather as an experience of “how and why art is at work today”.

Oliva, Achille Bonito. 2011. Art Beyond the Year Two Thousand. diterjemahkan Dominique Lora (Itali/Inggris) & Alia Swastika (Inggris/Indonesia). Bali: BIASA Little Library. hlm.48.

Alberti dalam Danto, Arthur C. 2013. “Wakeful Dreams”, dalam What Art Is. New Haven & London: Yale University Press. Hlm.1.

Lihat. Danto, Ibid. hlm.12-13.

Mattick, Paul. 2003. Art in Its Time, Theories and Practices of Modern Aesthetics. London & New York: Routledge, 2003. hlm.12.

Eagleton, Terry. 2000. Version of Culture, dalam ‘The Idea of Culture’. Blackwell Publisher. hlm. 1.

Danto, op.cit. hlm.19.

Danto, ibid. hlm.37.

Lebih jauh lihat tulisan kuratorial Nurdian Ichsan, “Ways of Clay: A Note.”

10.

Eagleton, op.cit. Hlm.5-6.

RESIDENCY PROGRAM

RESIDENSI SENIMAN JCCB-4

Strategi: D I A N T A R A M E D A N S O S I A L S E N I R U PA DA N B U D AYA L E M P U N G

Rifky Effendy

Residensi seniman JCCB-4 merupakan pengembangan program residensi JCCB sebelumnya. Dua tahun lalu JCCB-3 mengundang empat seniman internasional di lokasi-lokasi berbeda di beberapa kota. Pengembangan program residensi mempertimbangkan dan dilatari beberapa hal yang terkait dengan setiap kesempatan penyelenggaraan JCCB. Program residensi seniman dalam JCCB dilatari oleh kepentingan untuk menciptakan interaksi antara para seniman dengan komunitas penggiat keramik di Indonesia. Sebagaimana diketahui, ketika kita membicarakan keramik tentunya akan mudah menunjuk kepada sejumlah benda maupun material yang telah akrab dalam lingkungan masyarakat Indonesiaâ&#x20AC;&#x201D;walaupun pada tingkat persepsi yang tidak sama. Di Indonesia, tersebar para pembuat keramikâ&#x20AC;&#x201D;apakah itu sentrasentra pembuat gerabah yang memproduksi genteng dan bata merah; maupun industri keramik untuk kebutuhan pembangunan dan perumahan seperti lantai, produk saniter, piring, mangkuk; ataupun peralatan teknologi serta perindustrian lainnya. Sedangkan untuk ranah artistik, kita mengenal sentra kerajinan gerabah yang banyak tersebar ke seluruh nusantara, di mana produk-produknya telah mengisi keseharian masyarakat dengan memproduksi benda-benda kebutuhan domestik dan dekoratif. Seni keramik modern yang berkembang kemudian, rupanya belum terlalu memberikan kontibusi kepada praktik keramik yang disebutkan di atas. Seni keramik yang muncul dengan berdirinya perguruan tinggi seniâ&#x20AC;&#x201D;seperti juga dengan praktik seni lukis maupun patungâ&#x20AC;&#x201D;menjadi cenderung elitis; menghasilkan para perancang, pemikir hingga

pembuat barang seni dan barang dekoratif untuk kelas menengah-atas. Adapun sekolah menengah kejuruan seni seperti Sekolah Menengah Seni Rupa (SMSR), yang mengajarkan teknik dasar keramik untuk memenuhi kebutuhan keramik industri, belum mampu diserap. Lempung atau tanah liat, dan bahan baku mineral untuk pembuatan keramik ditemukan di mana-mana di nusantara Indonesia dengan sangat luas. Bukan hanya tanah merah atau terakota; tetapi di beberapa tempat seperti Belitung, Singkawang, serta beberapa lokasi dan pulaupulau lain juga mengandung banyak tanah berkaolin, yang menjadi bahan baku porselen dan stoneware (keramik bakaran tinggi). Ironisnya, praktik keramik industri mengimpor sebagian besar bahan bakunya dari negara-negara yang berindustri keramik maju seperti Thailand, Tiongkok, Australia, dan India. Bahkan para pembuat benda keramik dekoratif untuk kelas menengah, seperti Jenggala di Bali, harus mengimpor bahan-bahan utama tersebut. Sehingga untuk produksi keramik porselen, biaya produksi menjadi sangat tinggi. Lebih memprihatinkan lagi, studio-studio keramik yang berskala kecil menjadi tak mampu membuat keramik yang berkualitas dan keramik bakaran tinggi. Karena mereka bergantung kepada â&#x20AC;&#x2DC;buanganâ&#x20AC;&#x2122; bahan dari industriâ&#x20AC;&#x201D;yang notabene tidak mempunyai standar yang sama dan terjaga. Ironi semacam ini terjadi karena kelemahan pada industri hulu, yang tidak berkembang akibat tidak diperhatikan oleh pemerintah pusat dan daerah. Orientasi kepada produk-produk industri maju, dan impor barang-barang industri yang begitu pesat mengakibatkan penyediaan bahan dasar untuk keramik tidak berkembang. Persoalan lain adalah mulai hilangnya sentra-sentra kerajinan gerabah di beberapa daerah di nusantara, yang disebabkan oleh meredupnya pasar bagi produk-produk mereka. Hal ini telah terjadi dalam beberapa dekade terakhirâ&#x20AC;&#x201D;dan memang sempat menjadi perhatian pemerintah untuk memajukan dan meningkatkan kualitas produk mereka. Tetapi, pada kenyataannya kemudian upaya ini tidak berkesinambungan, karena pasar gerabah atau tembikar tidak diperluas. Sehingga, satu persatu para perajin meninggalkan pekerjaan mereka, dan sentrasentra kerajinan gerabah pada akhirnya satu-persatu menghilang. Ada beberapa catatan yang menjadi perhatian baginya, teruma kurangnya kegiatan yang berhubungan dengan pengembangan desain bagi para perajin gerabah, dan upaya pengembangan pemasaran yang belum cukup ekstensif. Para seniman maupun desainer, serta agenagen pemasaran, belum secara optimal diberdayakan dan dilibatkan dalam suatu rangkaian proses pembentukan ekosistem yang sehat dan kokoh. Program residensi JCCB-4 mempertimbangkan hal-hal di atas dengan

cara berkolaborasi dengan para host (tuan rumah); yang terdiri dari studio-studio keramik invidual maupun menengah, industri keramik, perguruan tinggi seni dan sekolah menengah seni keramik, maupun komunitas seni dan budaya. Dengan lokasi yang berbedaâ&#x20AC;&#x201C;beda: Majalengka, Bandung, Yogyakarta, Semarang, dan beberapa lokasi di pulau Bali; perbedaan karakter dan budaya yang hadir menjadi potensi yang menarik untuk meninjau dan memetakan kemajemukan sisi produksi, dan budaya dalam komunitas seni keramik sendiri. Dengan kata lain, mengaktivasi hubungan seniman dengan pegiat atau produsen keramik. JCCB-4 membuka kesempatan untuk para seniman keramik mancanegara dan juga seniman bukan-pembuat-keramik untuk berpartisipasi. Baik yang ditunjuk secara langsung oleh para tim kurator, yang dipilih atas rekomendasi para seniman yang pernah terlibat pada JCCB sebelumnya, maupun yang melalui undangan terbuka. Terpilih kemudian 22 seniman residensi dari 18 negara, untuk berkarya masing-masing selama satu bulan, mulai dari Agustus hingga November. Walaupun kemudian, sepasang seniman dari Turki membatakan diri karena situasi politik di Turki beberapa waktu lalu. Lainnya, seniman dari Slovenia urung datang ke Bali karena urusan pribadi. Sehingga, pada akhirnya, total seniman residensi yang terlibat sepanjang paruh kedua tahun ini adalah 20 seniman, dari 16 negara. Residensi keramik pada JCCB-4 tidak seperti residensi di negaranegara lainâ&#x20AC;&#x201D;terutama di negara-negara majuâ&#x20AC;&#x201D;di mana biasanya para seniman keramik dipusatkan di suatu lokasi atau studio, dengan sarana pendukung yang sesuai dengan beragam kebutuhan, dan dengan bahan baku maupun bantuan teknis yang berkecukupan. Pada residensi JCCB4, para seniman justru disebarkan, dan bekerja dalam lingkungan sosialbudaya serta kondisi dan sarana sebagaimana di lingkup setiap hostnya. Sehingga, terjadi interaksi langsung dengan komunitas di mana mereka tinggal dan bekerja. Para kurator berupaya mempertemukan karakter karya-karya seniman dengan host-nya. Tentunya, dalam periode yang termasuk singkat, para seniman dan host, harus masingmasing beradaptasi dengan kondisi yang serba terbatas. Karakter seniman era kontemporer memang memprasyaratkan bagaimana mereka cepat beradaptasi dengan perbedaan-perbedaan budaya. Namun biasanya program residensi kontemporer mengambil tempat di kota-kota besar dengan konteks budaya urban dan nuansa global. Beberapa program residensi tertentu memang bertempat di pinggir kota dan bahkan di pedesaan. Namun mereka biasanya dikelola secara profesional dengan sarana yang mendukung, seperti beberapa program residensi seniman di Jepang, Korea Selatan, di beberapa negara di Eropa, dan Amerika Serikat. Residensi JCCB-4 juga sehubungan dengan penyelenggaraan sebuah bienal internasional, yang biasanya mendatangkan dan memamerkan karya-karya dari luar negeri dengan berbiaya sangat besar. Hal yang

serupa juga terjadi dalam pengalaman JCCB sebelumnyaâ&#x20AC;&#x201D;walaupun masih dapat dianggap jauh lebih rendah dibandingkan bienal-bienal di negara maju. Tetapi memang, dalam anggapan banyak orang, pembiayaan impor benda / karya seni di Indonesia masih terlalu tinggi, dan sering dianggap tidak masuk akal. Ia juga tidak ada dalam rancangan anggaran khusus, atau pengkhususan tarif dalam ketetapan administrasi seni dan budaya pemerintah. Maka, program residensi seperti yang dilaksanakan pada JCCB-4 bisa menjadi solusi pilihan untuk menanggulangi persoalan pembiayaan penyelenggaraan bienal di Indonesia. Terutama untuk mendatangkan karya-karya dalam keutamaan fisik. JCCB-4â&#x20AC;&#x201D;seperti juga bienalbienal lain di Indonesia dan di negara-negara berkembang lainâ&#x20AC;&#x201D; harus berstrategi dengan persoalan kebijakan kebudayaan. Pada proyeksi yang lebih jauh, program residensi seperti model JCCB-4 ini akan menjadi lebih mungkin untuk diterapkan; karena sesuai dengan medan sosial seni rupa di Indonesia, dan terhubung dengan berbagai komunitas serta kantong seni-budaya maupun para pembuat kerajinan dan industri lokal.

JCCB-4 ARTISTS’ RESIDENCY

A Strategy: B E T W E E N T H E SOCIAL LANDSCAPE OF A R T A N D C L AY C U LT U R E

Rifky Effendy

JCCB-4’s artist-in-residence program is designed based on past JCCB residency programs. Two years ago, JCCB-3 invited four overseas artists to work on-location in different cities. The current residency program has been developed by taking into account several interconnected matters which are related to each JCCB event. JCCB’s residency program is driven by a desire to create an interaction between the artists and ceramics communities in Indonesia. When we talk about ceramics, we can easily point to the objects or materials which are very familiar to the people of Indonesia—even if they aren’t always evoked in the same level of perception. In Indonesia, there are many ceramics producers—from pottery centers producing roof tiles and red bricks, to ceramics factories which supply the construction and housing industry from floor tiles and sanitaryware, to tableware and technological products. On the artistic end of the spectrum, we also recognize craftspeople who create products to meet the nation’s need for domestic or decorative items. Modern ceramic art that grew later has yet to contribute significantly to the abovementioned ceramics practice. Ceramic art that came out of the art colleges, much like painting and sculpture, has shown to be rather elitist. They produce designers, thinkers, as well as decorative- and artobject producers geared toward the middle and upper classes. Meanwhile, graduates of art secondary schools (SMSR) that taught the foundations of ceramics-making to meet the demands of industrial ceramics, have not been properly absorbed by the target industry.

Clay or mineral materials for ceramics-making can be found all across the nation and with diverse material properties. Not just terracotta, several areas like Belitung and Singkawang have kaolin-rich soil useful for porcelain and stoneware (high-fired). It is an irony, therefore, that the Indonesian ceramics industry still has to import most of its raw materials from Thailand, China, Australia, India, or other nations with well-developed ceramics industry. Even producers of decorative ceramics for middle-upper class consumers, such as Jenggala in Bali, have to import these materials, thus driving up production costs. Even more unfortunate are the small ceramics studios that could not make high-fired and high quality ceramics, because they have to depend upon the industry ‘surplusses’, and thus are unable to fully control the consistency of their products. Such an irony occurred because of underdeveloped upstream industries, which have been neglected by both central and regional governments. An orientation toward advanced industrial products and the stream of imported industrial goods have stifled raw material production. We are also losing a number of domestic pottery centers due to diminishing markets over the last few decades. The government had tried to revitalize the industry and increase the quality of products. However, their efforts ultimately failed to expand the market for earthenware and pottery products. Many of these centers had to cease production and close down. It is also worth noting that there has yet to be any extensive effort to help traditional potters to develop new designs and expand their marketing networks. We still need to find a way to meaningfully involve artists, designers, and marketing agents in the effort to create a healthy and strong ceramics ecosystem. JCCB-4 residency program takes into account the abovementioned issues, and tries to address these issues through a collaboration with residency hosts—individual or mid-sized ceramics studios, industrial-scale ceramics producers, ceramics schools or colleges, even art and cultural communities— in various locations, such as Majalengka, Bandung, Yogyakarta, Semarang, and Bali. This diversity in character and culture is an interesting potential, enabling us to map the diversity of production and culture within our own ceramics community. In other words, the program aims to activate meaningful connections between artists and ceramics producers or makers. JCCB-4 provides the opportunity for foreign ceramists and nonceramists to take part in this program, through either direct invitation, past involvement, or open selection. Twenty-two artists from 18 countries were initially selected for a one-month residency—over a period between August and November 2016. However, an artist from Turkey dropped out due to Turkey’s uncertain political situation,

and an artist from Slovenia had to bow out of a residency in Bali due to personal reasons. In the end, 20 artists from 16 countries completed their residencies. JCCB-4’s residency model is unique. With other programs, especially in more advanced nations, ceramists often converge together and have their residencies in a particular location or studio with good facilities to support a variety of technical, raw material, and other requirements. JCCB-4’s residency program, on the other hand, sends artists to different and diverse locations. Further, artists must be able to adapt to the social-cultural environment and facilities of their hosts. These conditions called for an interaction between the artists and their host communities. The curators tried to match each artist’s character to the host’s characteristics. However, due to the short working period, both artist and host still have to find a way to adapt to each other quickly. However, it is a contemporary artist’s character to quickly adapt to new or different cultures. Yet, residency programs are often held in large cities, and within a global and urban cultural context. Certainly, there are residency programs where artists live in suburban or even traditional village settings, but most of them are still professionally managed with good quality support facilities. These characteristics are often found with residency programs in Japan, South Korea, and several countries in Europe and US. JCCB-4’s residency program is also connected to an international-scale biennale, drawing attention and exhibiting works from all over the world, while incurring quite a large cost in the meanwhile. Past JCCB events proved that these costs—although significantly smaller than biennales in more advanced nations—are almost prohibitively large, especially in terms of import costs. In addition, the government’s art and culture administration itself does not usually budget for such needs. JCCB-4’s residency program can be considered as one of the ways to address this particular problem of hosting a biennale in Indonesia, especially to curb the costs connected to the shipping physical works into the country. JCCB-4, like other biennales held in Indonesia and other developing countries, must be able to choose its strategies wisely to cope with the country’s cultural policies. Furthermore, JCCB-4’s model fits with the Indonesian artworld’s social landscape, where it can foster connections with and between a variety of ceramics and pottery communities and pockets of art and cultural activities.

L O C AT I O N A N D H O S T O F R E S I D E N C Y: Bandung; FSRD-ITB, ISBI-Bandung, KanduraStudio, Achadiat Joedawinata Studio, SMKN 14 Bandung (SMSR). Majalengka: Jatiwangi Art Factory (JAF). Yogyakarta: Timboel Rahardjo Studio-Kasongan, Arskala Principle Studio. Semarang: Sango Ceramics. Bali: Jenggala Ceramics, Agung Ivan Studio, Tanteri Ceramics.

ARTISTS IN RESIDENCE: Angie Seah

(SG)

Arya Pandjalu

(ID)

Awangko Hamdan

(MY)

Danijela Pivašević-Tenner

(RS/DE)

Eddie Hara

(ID/CH)

Elodie Alexandre

(FR/IN)

He Wenjue

(CN)

Joris Link

(NL)

Jose Luis Singson

(PH)

Joseph Hopkinson

(WLS / UK)

Kawayan De Guia

(PH)

Ljubica Jocic Kneževic

(RS)

Maria Volokhova

(UA/DE)

Nao Matsunaga

(JP/UK)

Pei-Hsuan Wang

(TW)

Richard Streitmatter-Tran

(VN)

Ryota Shioya

(JP)

Soe Yu Nwe

(MM)

Thomas Quayle

(AU)

Uji ‘Hahan’ Handoko

(ID)

Angie Seah SINGAPORE

Supported by: National art Council Singapore

Tinggal dan bekerja di Singapura, Angie Seah adalah seorang perupa lintas medium yang banyak mempergunakan keterhubungan di antaranya sebagai perpanjangan tangan ekspresi keseharian. Dari karya-karyanya, tercermin nuansa lingkungan sosial manusia yang kaya akan kehidupan itu sendiri. Entah dalam berbagai aksi performatif, happenings yang ritualistik, atau juga dalam bentukbentuk yang lebih berdiam, unsur-unsur yang disusunnya menjangkau sambil sekaligus mengelilingi audiens ke dalam konstruksi dunia tanda pribadinya yang khas. Lewat karya-karyanya yang sedemikian rupa, Angie mengingatkan kita tentang bagaimana makna berjalin dalam penempatan benda dan tanda di antara gapaian dan aktivitas pribadi dengan jejaring yang dilintasinya dalam kebersamaan: menjadi khas selagi mencari pertautan wujud, gagasan, serta sensasinya sendiri di tengah kita. Ia beresidensi di FSRDâ&#x20AC;&#x201C;ITB, Bandung, pada Oktoberâ&#x20AC;&#x201C;November 2016. Sebagai salah satu perupa yang tinggal dan bekerja paling lama, ia bekerja secara intuitif di ruang studio, menghasilkan satu kumpulan besar bentukbentuk ekspresif yang primal. Terinsiprasi dari spesimen koleksi sejarah alam dan arkeologi, penciptaan Angie menelaah dorongan dan hasrat mengoleksi manusia. Dalam tradisi mengoleksi yang asli di keduanya, terkandung posisi kolektor yang sekaligus adalah kreator. Darinya, ia menggubah representasi yang terletak dalam hubungan antara koleksi dan memori sendiri. Partisipasi Angie Seah dalam program residensi JCCB4 adalah atas rekomendasi dari Ahmad Abu Bakar (SG).

FSRD - INSTITUT TEKNOLOGI BANDUNG

Living and working in Singapore, Angie Seah is a multidiscipline artist who uses much of the interconnectivity between mediums as an overarching on everyday human expressions. Her works mirrorred bits of the social environmental surroundings, densely filled with a liveliness of its own. Whether through performances, ritualistic happenings, or on more stationary forms of work, her choice of elements reaches whilst encircle the audience into a unique world of signs. Angie’s works resound a sense of how meanings interconnect between the placement of things and signs, all through the proximity of personal being, activities, and web of interaction with others. They transform into her own unique personal world of signs while also searching for connection between the physical, ideal, and sensuous entity among people.

She did her residency in FSRD-ITB, October – November 2016. As one of the artist who stayed the longest in residence, Angie worked intensively and intuitively in the studio environment. Inspired by natural history and archaeological specimens, where the collector is also the creator; Angie’s objects examines the act of collecting itself. How they came to represent memory embedded through being discovered and arranged, and reflects upon the self, the object, room, and world. Angie Seah’s participation in the JCCB4 residency program was on the recommendation of Ahmad Abu Bakar (SG).

Broken Dreams Without Wings Ceramics, Mixed Media Variable Dimension 2016

Arya Pandjalu INDONESIA

Dikenal lewat penggambaran-penggambaran hibridanya antara tubuh manusia dengan burung sebagai puncak kepala, Arya Pandjalu banyak melakukan pencerminan atas hadir dan terus berkembangnya cara hidup organik folkspeople di tengah masyarakat kita. Menggabungkan cara bercerita pribadi dengan cara bercerita berkelompok pada masyarakat, Pandjalu menyodorkan manusia sebagai bagian dari dunia mahluk hidup yang bertumbuh, menempati sisi berseberangan dengan aktivitas mekanis ciptaannya sendiri. Penggambaran Pandjalu menjadi semacam ruang jeda reflektif yang membayangkan dunia serba bercampur dan lesap antara kegiatan manusia dengan alam sederhana di sekitarnya, selagi juga menyiratkan kehalusan kontrastif. Sebagaimana ia dengan halus mensimulasi warna-warna organik di alam dalam tekanan nada pastel yang sesungguhnya sintetik. Arya Pandjalu menjalankan program residensi JCCB4 di Jenggala, Bali, pada SeptemberOktober 2016. Sebagai pokok karyanya, Pandjalu memadu-padankan sosok tengah figur dada (bust) dan kepala, dengan tetumbuhtetumbuh organik dan benda-benda pakai keramik yang menyeruak dari berbagai sisinya. Pandjalu bekerja dengan produktif pada masa residensinya, dan bahkan memperpanjang masa kerjanya. Dengannya, terpadu-padankan pula, corak dan gaya bagian besar karya-karya pribadinya, dengan sentuhan-sentuhan rasa, gaya, dan teknis dari Jenggala; yang memiliki kekhasan-kekhasannya tersendiri sebagai penyedia keramik menengah, dalam kualitas.

JENGGALA - BALI

I am Earth (Branches) Edition 1/2 (bust series) Glazed Stoneware 39,5 x 24,5 x 37,5 cm 2016

Better known for his hybridized depictions of birdheaded men, Arya Pandjalu often looks into the existence, growth, and organic adaptibility of the common-rural folk in its increasingly urbanised surroundings. Combining personal story telling with that of the people’s, Pandjalu puts the human subject forward in its conjunction among other living creatures in nature, vis-a-vis with his own mechanized activities. Pandjalu’s depictions becomes some sort of a reflective interstice, which imagines the world as thoroughly interweaved, hybridised between man’s activities with his simple natural surroundings, while also implying a subtle contrast through his way of emulating organic colours in nature, which are synthetic in pigment. Arya Pandjalu did his JCCB4 Residency program in Jenggala, Bali, September-October 2016. Portraying casted busts and head figures of the artist himself at the center of his works, Pandjalu puts them in fresh colours and set a fresh tone of his hybridised figures—in conjunction with ceramic clues from Jenggala as an industry of its own.

I am Earth (Birds) Edition 1/2 (bust series) Glazed Stoneware 39,5 x 24,5 x 37,5 cm 2016

Awangko Hamdan M A L AY S I A

A C H A D I AT J O E D A W I N ATA S T U D I O , B A N D U N G

Berlatarbelakang seniman keramik sekaligus pengajar dan peneliti di Universiti Malaysia Sarawak (UNIMAS), Awangko Hamdan tampil sebagai perwujudan jelajah keramik yang mengutamakan eksplorasi bentuk dalam khazanah teknik-teknik konservatif. Bagian besar olah karya Hamdan dihasilkan dari pembakaran suhu menengah, dengan karakter kilap metalik redup menggemakan bentuk-bentuk abstrak ke dalam dinamisme organik yang khas. Sebagai peneliti, Awangko Hamdan juga secara khusus mengembangkan kepakaran atas bidang disiplin kria atau crafts. Karya-karyanya telah ditampilkan dalam berbagai pameran mancanegara, selain juga cukup sering dipamerkan di negara basisnya, Malaysia, sebagai bagian dari kelompok kawakan yang wajib tampil bila menyangkut keramikus dan seni keramik Malaysia. Awangko Hamdan menjalankan program residensinya di Achadiat Joedawinata Studio, Bandung, pada Agustus-September 2016. Bekerja di lingkungan yang berjarak dari kehidupan urban membuat Awangko Hamdan merenungi kembali perihal kehidupan domestik jangka sekitarnya. Hilang dari keseharian kecil keluarga, dalam kebiasaannya menceritakan ulang benda-benda sehari-hari, ia mengetengahkan objek kancing sebagai kaitan ingatan dan ritus rumah dan keluarga. Dalam perbesaran, perubahbentukan, dan pencorakan ekspresif, ia menjelajah lewat puluhan bentuk kancing dalam memecahmecah kelindan narasi kecil.

In Between Two Domains Earthenware Variable Dimension 2016

ACHADIAT STUDIO

Having a background as a ceramic artist and lecturer-researcher in Universitas Malaysia Sarawak (UNIMAS), Awangko Hamdan emerges as an embodiment on ways of exploring ceramics through formal and conservative technical horizon. Most of his works are produced through mid-firing process, with a dimmed metallic character resonating his abstract forms to a particular, personal, organic dynamics. As a researcher, Hamdan also specialise on the crafts. His works has been featured in an array of international exhibitions, while also consistently being included in exhibitions in his home country, Malaysia, as part of a mandatory group of artist widely regarded as representatives of Malaysian ceramics. Awangko Hamdan did his JCCB4 Residency program in Achadiat Joedawinata Studio, Bandung, AugustSeptember 2016. Working in an environment away from urban life, Awangko Hamdan came to contemplate on the small-radius domestic life which normally surrounds her. Away also from small family habits, by his way of retelling through mundane objects he tries to portray the story and experience in the object of buttons. In manipulating the shape and form, he explored the object and the embedded distance of memory, in fragmenting micronarratives.

Connection Earthenware Variable Dimension 2016

Danijela Pivašević-Tenner SERBIA

FSRD - INSTITUT TEKNOLOGI BANDUNG

Lahir di Belgrade, Serbia, Danijela Pivašević-Tenner merupakan seorang perupa keramik yang kini berbasis di Neumünster, Jerman. Ia lulus dari program pascasarjana terapi seni di Berlin Weissensee School of Art pada tahun 2010. Pada tahun 2009 ia memenangkan hibah dari Yayasan Dr. Hans Hoch, dan hingga belakangan menjadi direktur artistik dari program residensi seni keramik yang diadakan yayasan tersebut di Neumünster. Karyakaryanya cenderung mempermainkan asosiasi hasil keluaran medium keramik ke dalam bentuk-bentuk lain, meninggalkan kesan tak terduga dalam mentransformasi medium serta wacana yang mengiringinya. Danijela Pivašević-Tenner menjalankan program residensinya di FSRD-ITB, Bandung, pada Agustus 2016. Dalam pendekatannya yang mengetengahkan familiaritas benda dan petunjukkeramik, Danijela menerjemahkan rasa kebendaan yang sama dalam program residensinya melalui objek Kendi. Melalui kendi yang ada mengakar dalam kemasyarakatan lokal di Bandung dan Indonesia, ia menjelajahi rasa dan peran fungsinya dalam kebutuhan dan kehidupan sehari-hari. Dalam sentuhan yang kemudian—membelah, memperbanyak, menggeser, dan menguji kesementaraan bahan lempung dan keramiknya sendiri— Danijela memotret alam keramik yang sebagai bejana dan wadah yang sangat akrab dengan manusia.

Born in Belgrade, Serbia, Danijela Pivašević-Tenner is a ceramic artist currently based in Neumünster, Germany. She holds a MA in Art Therapy from the Berlin Weissensee School of Art since 2010. In 2009, she was awarded a grant from Dr. Hans Hoch Foundation, and has since held a post as artistic director of the ceramic artist-in-residence program established by the foundation in Neumünster. Her works interplays the associated output of ceramics as material and medium with altering forms, leaving unprecedented impressions on transforming medium and the surrounding discourse through various points of references. Danijela Pivašević-Tenner did her JCCB4 Residency program in FSRD-ITB, Bandung, August 2016. Through her approach, which utilises the sense of familiarity on objects of ceramics and their clues, Danijela translates a similar sense of aboutness through the Kendi—a traditional vessel for drinking water. An object deeply rooted in the vernacular and a bygone day-to-day culture of Bandung and Indonesia, she explored the sense and representation of function embedded in it. And through her portrayal in fragments of them, she examined the world of ceramics and vessels which are always situated in close proximity, as an extension to human needs and activities. Kandi Glazed Stoneware, Clay, Video, Installation Variable Dimension 2016

Eddie Hara INDONESIA

Meski kemudian pergi dan menetap di kota Basel, Swiss, Eddie Hara selalu diingat oleh banyak orang di Indonesia sebagai figur serba cair yang memberikan tantangan dan penentangan di antara batas-batas estetika dan seni tinggi-rendah melalui keseniannya. Tampak visual low brow dalam karya-karyanya yang paling dikenal, hadir dalam semangat liar yang pop, dengan menampilkan dimensi kedataran dan bagian demi bagian cerah-kontras meniadakan satu titik fokus utama atau satu pokok bercerita. Menghadapinya, kita digugah untuk membedah keriuhan familiaritas di antara unsur gambar anak, citra figuratif komik, atau juga seni jalanan. Karya Eddie Hara bisa jadi hadir sebagai semacam counternarrative atas kedataran arus utama seni rupa sendiri di tengah paparan budaya populer globalâ&#x20AC;&#x201D;menjadi sikap perlawanan dan identifikasi dengan bersifat berbatas selagi juga tidak tertata. Eddie Hara menjalankan program residensi JCCB-4 di Kandura Studio, Bandung, pada September-Oktober 2016. Setia bekerja dalam semangat kemerdekaan memilih dan pandangan alternatif subkulturnya; secara humoris dan banyak berandai, Eddie Hara menyisipkan pertanyaanpertanyaan kecil dalam balutan-balutan ekspresi yang paradoksal nan pop. Menggubah dalam bentuk-bentuk tiga dimensional dalam warna-warna cerah pastel khas Kandura Studio, gema soal pilihan dan ambang sendiri menjadi terdengar sebagai arus balik pada karyakaryanyaâ&#x20AC;&#x201D;menginstruksikan jarak bagi kita selagi menyediakan wilayah amat yang dekat dan terbuka.

K ANDURA STUDIO, BANDUNG

Intellectualism Sucks

Pretend To Be Artsy

Glazed Stoneware 16 x 4 x 27 cm 2016

Having lived in Basel, Switzerland, for more than 20 years, Eddie Hara is always remembered in his home country, Indonesia, as a fluid artist whose works puts contest on the lines between high-art and low-art aesthetics. The low-brow visual on his most known works embodies a wildpop sense, resounding through the flatness and multitudes of focus, rejecting a central point of view or narrative. Against it, we are intrigued to interweave through the commotion of familiarity between naive drawings, comic book-like figure images, or even street art. Eddie Hara’s works might as well functions as some sort of counternarrative on the flatness of mainstream art itself through the exposure of global popular culture—a reactionary stance and move of identifying through limits, while being subliminally idiosyncratic at the same time. Eddie hara did his JCCB4 Residency program in Kandura Studio, Bandung, September-October 2016. True to his spirit of independency and perspective of alternatives; through humor and wondering, Eddie Hara inserts small rhetoric questions in expressions that are pop yet contains paradox. Conveyed through lightly coloured three dimensional simple shapes, which reflects the touch and signature of Kandura Studio, a sense on choice and of threshold resonates through as a counterflux—providing a distance of thought while being observed in a close, open area. Low High Art (nail series) Glazed Stoneware 18 cm 2016

Elodie Alexandre FRANCE

Elodie Alexandre merupakan perupa dan ilustrator berkebangsaan Perancis yang saat ini berbasis di New Delhi India. Ia mendapatkan gelar Master of Arts keramik dari Cardiff School of Art and Design (CSAD), Wales, Inggris Raya, pada tahun 2013, setelah sebelumnya tinggal lebih dari sepuluh tahun di Inggris sebagai penerjemah. Karya-karya Alexandre diwarnai rasa gambar yang kuat. Pilihan warna-warnanya yang cerah mengiringi gubahan penggambaran benda-benda rumah tangga dan lingkungan domestik ke dalam objek-objek keramik berukuran kecil. Karyakaryanya sekilas akan meninggalkan kesan gambar sketsa, menjadi tontonan ilustratif yang melintasi bidang dua dan tiga dimensi, mencerap yang sehari-hari, dan menyediakan cerita-cerita kecil tentangnya. Ia menjalankan program residensinya di FSRD-ITB, Bandung, pada September 2016. Dalam pengalaman yang hanya kedua dalam mengikuti residensi, Elodie mencoba menangkap daya, bentuk, dan ungkapan yang lekat dan mampu lepas sebagai simbol dalam keseharian di perkotaan Bandung. Yang menjadi perhatiannya kemudian, adalah rupa mangkok ayam. Dalam corak karyanya yang mengalir secara piktorial, Elodie menggubah paparan-paparan rupa yang dicerapnya ke dalam lempeng-lempeng material tanah lokal. Menjauh dari kebiasaan pada segi bahan, gambar-gambar yang pada akhirnya akhir pada karya Elodie menjadi mengandung ekspresi yang sama, namun dengan gubahan yang menjadi cukup jelas berbeda. Partisipasi Elodie Alexandre dalam program residensi JCCB4 adalah atas rekomendasi dari Sarah Younan (WLS).

FSRD - INSTITUT TEKNOLOGI BANDUNG

Ayam (Gerobak Series) Engobed Earthenware 33 x 17 x 15 cm 2016

Road Side Engobed Earthenware 35 x 15 x 14 cm 2016

Elodie Alexandre is a French artist and illustrator currently based in New Delhi, India. She got her MA in Ceramics from Cardiff School of Art and Design (CSAD), Wales, UK, in 2013, having before lived over ten years in the UK as a translator. Alexandre’s works are filled with a strong illustrative sense. Her choice of evocative colours parallels with depiction of domestic items and enviroment, materialized in small-multifaceted ceramic objects. Her works left us with the impression of drawings, transforming into an illustrative spectacle crossing between the two and the three dimensional, whilst capturing everyday life and providing narratives thereof. She did her JCCB4 Residency program in FSRDITB, Bandung, September 2016. In her second only residency participation, Elodie tries to capture the daily embedded symbols in the city life of Bandung. What draws her then, was the “mangkok ayam,” or chicken bowl. In her pictorial sense of conveying works, Elodie transforms the image and the surrounding world of it into local earthenware slabs Working with available material, lies a sense of translation in her residency works, which sends the same message with differing details of expression.

Passing By (Gerobak Series) Engobed Earthenware 24 x 14 x 19 cm 2016

He Wenjue PEOPLEâ&#x20AC;&#x2122;S REPUBLIC OF CHINA

Tinggal dan bekerja di Beijing, He Wenjue merupakan bagian dari perupa-perupa kontemporer yang senantiasa mengangkat gagasan konseptual melalui penguatan narasi dalam unsur-unsur simbolik. Ia memegang gelar pascasarjana dalam bidang seni lukis modern dari Jilin Academy of Fine Art, kendati dalam jelajah kekaryaannya telah meluas jauh dari disiplin seni lukis dan dunia dua dimensional. Wenjue banyak mengetengahkan sikap filosofis dan upaya-upaya reflektif atas keberadaan manusia, terutama dalam caranya mempertautkan material mulia dengan sentuhan dan aktivitas manusia sendiri. Ia cukup sering memanfaatkan bahan porselen sebagai bagian dari pernyataan artistik yang sedemikian rupa, selain juga mempergunakan berbagai bahan lainnya yang meninggalkan kesan dramatis dan punya kesan istimewa dalam dimensi-dimensi yang menggugah. He Wenjue terpilih melalui proses open call. Ia menjalankan program residensinya di Tanteri Ceramics, Pejaten, Bali, pada AgustusSeptember 2016.

TA N T E R I C E R A M I C S , P E J AT E N , B A L I .

Collapse Glazed and Slip Cast Earthenware Variable Dimension 2016

Living and working in Beijing, He Wenjue attests to the resounding theme in contemporary artists of the conceptual, being perceived through the strenghtening of narrative by use of symbols. He holds an MA in paintings from Jilin Academy of Fine Arts, although in exploring, his works has expanded beyond the two-dimensional limit of paintings. Wenjue often puts forward philosophical gestures and reflexive efforts on the human subject, especially on what materials perceived perennially as precious represents. He often uses porcelain, as well as other parallel materials as part of such artistic approach, leaving behind a dramatic impression through a considerably grand dimensions of works. He Wenjue was chosen through open call for JCCB4 residency program. He did his residency in Tanteri Ceramics, Pejaten, Bali, August - September 2016.

Joris Link THE NETHERLANDS / UK

Berbasis di â&#x20AC;&#x2122;s-Hertogenbosch, Belanda, Joris Link mendekati keramik sebagai unsur olahan moduler nan formal. Dengan bantuan teknologi pemodelan komputer, ia membangun komposisi-komposisi tiga dimensional yang seolah mengemulasi struktur dan pola ikatanikatan kimia pada tingkatan molekular. Sebagai hasil, bahan keramik seolah menjadi hilang dari karakter aslinya, menjadi modul-modul yang dicetak dengan sangat rapiâ&#x20AC;&#x201D;seragam dalam ketersebaran yang halus dan begitu terukur. Namun dalam program residensinya di JCCB4, Link akan bereksperimen dengan bekerja bersama dengan kriawan lokal; baik mereka yang mengolah logam, kayu, maupun tekstil, yang akan digabungkannya dengan keramik ke dalam struktur dan pola berukuran besar, dengan harapan untuk meninggalkan dampak kesan dalam skala arsitektural. Joris Link terpilih melalui proses open call. Ia menjalankan program residensinya di SMKN 14 dan FSRD-ITB, pada Oktober 2016.

FSRD ITB & SMKN 14 BANDUNG, BANDUNG

Rosetta Engobed Stoneware Variable Dimension 2016

Based in â&#x20AC;&#x2122;s-Hertogenbosch, The Netherlands, Joris Link makes an approach to ceramics by regarding it as material for modular-structural compositions. With computer generated designs, he build works of three dimensional compositions which seemingly emulate the structure and patterns of molecular chemical bonds. As a result, his works assumes its own autonomous character, distanced from the original ceramic characteristics by becoming very fine casted modulesâ&#x20AC;&#x201D;subtly diffused in unison yet meticulously measured. However, in his residency program in JCCB4, Link is going to experiment by working together with local craftspeople; including but not limited to those who work with metal, wood, or textile. The results of which shall be combined with his own work on ceramics into a major structure and pattern, with the hopes of being installed to an architectural impact. Joris Link was chosen through open call for JCCB4 residency program. He did his residency in SMKN 14 and FSRD-ITB, October - November 2016.

Jose Luis Singson THE PHILIPPINES

Tinggal dan bekerja di Manila, Singson belum lama ini lulus sebagai sarjana seni lukis dari University of the Philippines, Dilliman. Sejak masa kuliah ia telah secara konsisten bekerja dengan bahan gerabah terakota di bawah arahan profesor / keramikus Rita Badilla GudiĂąo. Gerabah dipergunakan Singson sebagai bagian dari lukisan, terutama dari lempung lokal batog, dengan menghadirkan kesan relief dan citra bangunan rusak terbengkalai. Singson bekerja dalam retorika konseptual yang khas dan dibagi dengan banyak perupa Filipina lainnya, di mana bahan dimaknai dan dipergunakan seiring menyusuri dinamika terprosesnya sendiri. Dalam arahan ini, ia sering mengetengahkan bentuk narasi dalam sejarah personal atau lokal lewat bahasa benda dan material, yang senantiasa berupaya untuk memperluas makna pengalaman masa kini lewat penelusuran rasa memiliki. Jose Luis Singson terpilih melalui proses open call. Ia menjalankan program residensinya di Jatiwangi Art Factory, pada November 2016.

J AT I W A N G I A R T F A C T O R Y, J AT I W A N G I

This Document is Issued In Case There is Someone, Whosoever, in the Future... Terracotta, Wood, Paddy Chaff 250 x 70 x 100 cm 2016

Living and working in Manila, Singson only recently graduated as BFA in Paintings from the University of the Philippines, Dilliman. Since studying, he has consistently working with terracotta, mainly under the guidance of professor and ceramicist Rita Badilla GudiĂąo. Terracotta was used by Singson as part of paintings, especially those made from local batog clay, providing an impression of derelict buildings and that of a sculptural relief. Singson works in a particular conceptual rhetoric uniquely shared among Filipino artists, in which materials are given meanings and utilised while being reflected upon thoroughly. In such manner, Singson often centers a form of narrative via personal and local history of objects, and material, while consistently attempting to broaden the interpretation of contemporary experience with regard to how our sense of belonging able to develop and overarch. Jose Luis Singson was chosen through open call for JCCB4 residency program. He did his residency in Jatiwangi Art Factory, November 2016.

Joseph Hopkinson WA LE S / U N ITE D KI N G D O M

Supported by: Arts Council of Wales & British Council

Hopkinson, seorang perupa keramik dari Wales, gemar melakukan eksplorasi percampuran bahan yang menjelajahi karakter body keramik. Di antara karya-karyanya ia mampu menghadirkan keramik dalam tekstur-tekstur kasar yang membongkah, membuat olahan-olahannya nampak seperti kumpulan puing temuan dari peradaban masa lampau. Melalui keahliannya merekayasa bahan, Hopkinson memaknai keramik hingga ke tingkatan materialitas mendasar, mendekonstruksi sekaligus merekonstruksi untuk mengedepankan kecairan konteks yang mungkin dicapai oleh bahan keramik dalam seni rupa kontemporer. Pada tahun 2015 kemarin ia baru saja mendapatkan gelar Master of Arts dalam keramik dari Cardiff Metropolitan University. Bersama Elodie Alexandre, ia juga terlibat dalam proyek pameran keramik keliling Fragile in Transit! bersama dengan enam perupa keramik lainnya. Partisipasi Joseph Hopkinson dalam program residensi JCCB4 adalah atas rekomendasi dari Sarah Younan (WLS). Ia menjalankan program residensinya di Timboel Rahardjo Studio, Kasongan, Yogyakarta, pada November 2016.

TIMBUL RAHARJO, K ASONGAN

Interpreting Artefacts and Souvenirs Press Mould Terracotta, Installation Variable Dimension 2016

Hopkinson is a Welsh ceramic artist with a keen exploration in ceramic bodies. Among his works, he is able to convey the medium into coarsely textured masses, resembling artifactual relics seemingly discovered in archaeological sites. Through the various shapes and sizes and the amount of skills displayed, Hopkinsonâ&#x20AC;&#x2122;s works give meaning to the underlying materiality in ceramics. Thus giving way for fluidity in a broadened sense of use. He graduated recently in 2015 with an MA in ceramics from the Cardiff Metropolitan University. Together with Elodie Alexandre, he participates in the Fragile in Transit! travelling exhibition, along with six other ceramic artists. Joseph Hopkinsonâ&#x20AC;&#x2122;s participation in the JCCB4 residency program was on the recommendation of Sarah Younan (WLS). He did his JCCB4 Residency program in Timboel Rahardjo Studio, Kasongan, Yogyakarta, November 2016.

Kawayan de Guia THE PHILIPPINES

De Guia merupakan salah satu perupa kontemporer Filipina yang dikenal malang melintang di medan seni rupa internasional. Berbasis di Baguio City, karya-karyanya sering hadir melalui media yang bercampur. Banyak darinya merupakan lukisan, namun ia juga sering menggabungkannya dalam hubungan dengan retorika konseptual ke dalam bentukbentuk instalatif, fotografi, dan video. Gagasangagasan dalam karya de Guia seringkali memberikan perhatian kepada persoalan yang khas dalam pertemuan di antara keinginan material urban Kebarat-baratan dengan akar bahasa dan praktik dalam kria lokal. Hal ini menjadi isu yang bergema baginya sebagai perupa berkebangsaan Filipina yang memiliki darah keturunan Jerman dan berpenampilan bule. De Guia seolah menciptakan â&#x20AC;&#x153;relikui baru,â&#x20AC;? sebagai gambaran perpanjangan interaksi dan sikap geopolitis di antara elemen pengaruh kolonial Barat dengan realita lokal yang terpraktikan. Kawayan de Guia menjalankan program residensinya di FSRD-ITB, pada November 2016. Pada mukimannya, Kawayan mengangkat kisah Robert Villanueva yang ditugaskan lembaga kesenian Singapura pada awal dekade 1980an untuk mendokumentasikan kehidupan seniman-seniman di Indonesia. Dalam kaitan regional, gema lokal, dan keterhubungannya, proyek fotografi Villanueva juga berakhir ketika pemerintahan Marcos berakhir di Filipina pada tahun 1986. Ia kemudian hidup di pengasingan, dan tidak hingga 1995 negatif-negatif film yang diambilnya kembali ke Filipina, ketika ia meninggal dunia. 30 tahun kemudian, Kawayan ingin mengembalikan gambar-gambar yang diambil tentang Indonesia tersebut, dan menjalinnya dengan kaitan kota dan pribadi di antara Bandung dan kota Baguio.

FSRD - INSTITUT TEKNOLOGI BANDUNG

Sumber Biru Negatives in Cyanotype, Prints on Ceramics, Installation Variable Dimension 2016

De Guia is one of the internationally renowned contemporary artist of the Philippines. Based in Baguio City, he works with various range of media. Many of which are paintings, yet he also often combines the medium and the sense of approach with more conceptual forms of installation, photography, and video, among others. The ideas of his works keenly gives concern to the particular issue between material longings of the urbanizedWestern ideal and the language and practice in local crafts. Being a Filipino artist of German descent, such concerns persists. In working, de Guia seemed to produce “new relics,” which reflects a geopolitical stance on the long history of struggle between colonial, historical, Western influence, and local practiced realities. Kawayan de Guia did his residency program in FSRD-ITB, November 2016. During his stay, Kawayan evoked the lost project of Robert Villanueva, who was commissioned by Singaporean art institution to document the lives of artists in Southeast Asia, which included focus on Indonesian artists

such as Affandi. Villanueva’s project ended abruptly when Ferdinand Marcos’ rule ended in the Philippines in 1986. Living afterwards in exile, it was only in 1995 when the negatives he took came back to the Philippines. 30 years after the initial project, Kawayan wanted to bring back the diary of images.

Ljubica Jocic Kne탑evi SERBIA

Menetap di Belgrade, Serbia, selain menjadi perupa Kne탑evic juga merupakan profesor bidang keramik di fakultas seni terapan dan desain, Belgrade Art University. Saat ini ia tengah menempuh studi doktoral di tempat yang sama, dengan juga pernah belajar di bawah Profesor Harumi Nakashima di Tajimi Pottery & Design Ceramic Institute. Karya-karya Kne탑evic banyak memanfaatkan pilinan porselen, yang membidang dan menyatu ke dalam komposisikomposisi abstrak ekspresif yang seperti gambar. Penggambaran ekspresif yang demikian juga seringkali tampil dalam bingkai kayu bergaya ornamen klasik Barok, memperlihatkan ekspresi multimakna yang menjangkau dan menyandingkan di antara ekspresi lampau dengan ekspresi kontemporer pada waktu yang bersamaan. Ljubica Jocic Kne탑evic menjalankan program residensinya di FSRD-ITB, pada November 2016.

FSRD - INSTITUT TEKNOLOGI BANDUNG

Fragments of Life - Past, Present, and Future Porcelain, Colour Clay, Stoneware, Wooden Frame, Installation Variable Dimension 2016

Based in Belgrade, Serbia, aside of being an artist, Kneževic is also Professor docent of ceramics at the faculty of applied art and design, Belgrade Art University. She is currently pursuing her doctoral degree in the same institution. She has also studied under Professor Harumi Nakashima in the Tajimi Pottery & Design Ceramic Institute. Kneževic’s works come to shape from porcelain threads, forming abstract expressive compositions on the visible surface, as a result. Sometimes Kneževic also put them in wooden Baroque-themed frame, expressing tensioned and contrasted multi-meaning through juxtaposing the historical and the contemporary at the same time. Ljubica Jocic Kneževic did her residency program in FSRD-ITB, November 2016.

Maria Volokhova UKRAINE / GERMANY

Terlahir di Kiev, Ukraina, Volokhova saat ini tinggal dan bekerja sebagai perupa di Berlin, Jerman. Ia mula-mula mendalami minat di seni grafis sebelum kemudian menekuni medium keramik dan terakhir lulus dari fakultas keramik Tokyo Art University, GEIDAI, pada tahun 2009. Karya-karya Volokhova hadir mensubversi fungsionalitas teko sebagai bejana dan produk olahan keramik yang lazim. Ia menghadirkan estetika anatomis bagian dalam tubuh sebagai bentuk modifikasi terhadap gubahan-gubahan tekonya. Membuatnya menjadi bermutasi ke berbagai bentuk hibrida, dan seolah membalik persepsi luar-dalam, persoalan mengolah-menerima, serta tentang wadah dan isi. Maria Volokhova menjalankan program residensinya di Sango Ceramics, Semarang, pada Oktober 2016.

SANGO CERAMICS, SEMARANG

CLOBOTER Cut Out Industrial Toilets, Decals (11 pcs) 62 x 30 x 32 cm 2016

Born in Kiev, Ukraine, Volokhova currently lives and works as an artist in Berlin. She initially studies printmaking before later focusing in ceramics, graduating from faculty of ceramics in Tokyo Art University, GEIDAI, in 2009. Her works plays with and subverts the functionality of the teapot as a conventional ceramics product. She combines them with aesthetics borrowed from some particular anatomical features, modifying the teapot by replacing and adding features swapped with internal organs, skeletons, even fetal shapes. They become certain hybrids which challenges the perception of the inner and the outer, between processing and receiving, and about the vessel and the content. Maria Volokhova did her residency program in Sango Ceramics, Semarang, October 2016.

Nao Matsunaga JA PA N

A R S K A L A P R I N C I P L E S T U D I O , Y O G YA K A R TA .

Supported by: Asia Center & British Council

Dilahirkan di Osaka, Nao Matsunaga telah lama menetap dan menjadi perupa di London. Ia terakhir menamatkan pendidikannya pada tingkat pascasarjana dari Royal College of Art, Inggris, di mana ia juga menjadi pengajar tamu. Karya-karya Matsunaga memancarkan rasa tentang alam bawah sadar dan ekspresi primal. Komposisi bentukbentuknya yang ekspresif, yang kaya akan sentuhan jemari dalam teknik pinching, mengesankan percobaan untuk mengenali kembali kementahan abstrak alam dalam persepsi manusia yang paling mendasar. Hal ini menubuh dari perhatian khusus yang diberikan Matsunaga terhadap benda-benda dan ruang seremonial, sebagai hasil dan jangkauan alami dari usahanya untuk menyelami aspek ritualistik primitif yang terkandung di sana. Nao Matsunaga menjalankan program residensinya di Arskala Principle Studio, Yogyakarta, pada November 2016.

Oh My Goat Stoneware, engobe, glaze 21 x 20 x 41 cm 2016

Jalan-Jalan Donâ&#x20AC;&#x2122;t Jalan-Jalan

Swimming in Air

Stoneware, engobe, glaze 29 x 25 x 38 cm 2016

Stoneware, engobe, glaze 36 x 18 x 30 cm 2016

Originally born in Osaka, Nao Matsunaga is an artist who lives and works in London. He graduated with an MA from the Royal College of Art, London, where he is also a visiting lecturer. Matsunagaâ&#x20AC;&#x2122;s work echoes much about the subconscious world and sense of primal expressions embedded in men. His works, expressively characterised with traces of pinching, suggests a gesture to grasp the raw natural abstractness in the most basic of human perception. Such aspect is embodied as result from a particular attention that Matsunaga maintains with ceremonial objects and spaces, and the primitive-universal ritualistic aspect set within. Nao Matsunaga did his residency program in Arskala Principle Studio, Yogyakarta, November 2016.

We Can All Just (Hati-Hati) Stoneware, engobe, glaze 29 x 35 x 33 cm 2016

Pei-Hsuan Wang TA I W A N

Pei-Hsuan Wang merupakan perupa multidisiplin yang berbasis di Taiwan. Di antara riwayat kekaryaannya, Pei-Hsuan cenderung memiliki dorongan untuk membuat karyakarya yang membangun dialog, baik dengan bidang medium, ruang bernaungnya, hingga kepada konteks dan realitas sosiokultural yang mengelilingi tema dan penciptaan karyanya sendiri. Karya-karya Pei-Hsuan cenderung mengalur dengan menghadirkan sisipan-sisipan pendapat dan intervensi narasi pribadi yang khas. Muatan pesan yang dihadirkannya berasal dari lingkup ungkapan yang familiar, normatif, dan menjangkau, untuk kemudian digubah ke dalam komposisi, ruang, momen, atau suasana yang reflektif. Dengan menjadi hadir dalam relasi dengan realitas sosiokultural, karya-karya Pei-Hsuan bekerja untuk mengekstraknya sambil sekaligus mempertimbangkan keselerasan: yaitu keselerasan pesan yang dibagi di antara sekumpulan orang tempat tiap-tiap karya maupun proyeknya beroperasi. Di sini, ia menyentuh segi keuniversalan, selagi mencari narasi individual yang variatif dan mencerminkan kemungkinan abadi manusia untuk selalu mempercabangkan sikap dan keberadaannya sendiri Pei-Hsuan Wang menjalankan program residensinya di Jatiwangi Art Factory, pada November 2016.

J AT I W A N G I A R T F A C T O R Y, J AT I W A N G I

Motherâ&#x20AC;&#x2122;s Hand Paper, Terracota, Installation Variable Dimension 2016

Pei-Hsuan Wang is a multidisciplinary artist based in Taiwan. Through her body of work, lies a tendency in producing works or projects which builds dialogue, whether with the medium itself, the space it inhabits, all the way into within the context and the specific sociocultural reality surrounding the theme and grounds of production of her works. Pei-Hsuanâ&#x20AC;&#x2122;s works gives way to narrative twists, with implied personal ways of seeing working to transfrom the messages in her works into a reflexive state. Emulating expressions grounded in outreaching and normative familiarity, into compositions, spaces, moments, or situational settings. By existing through relations with the underlying sociocultural reality, her works assumes a function to extract from it, while also paying attention to relevant and resounding messages, shared among the people or the societal background she works with. Through such an approach, Pei-Hsuan recovers connection with universal aspects of human perception, while looking for varieties of individual narrations. Reflecting an everlasting possibility possessed by man to diverge his / her actions and representations as beings. Pei-Hsuan Wang did her JCCB4 Residency program in Jatiwangi Art Factory, November 2016.

Richard Streitmatter-Tran VIETNAM

Dibesarkan di Amerika Serikat, StreitmatterTran terlatih dalam disiplin interrelated media dari Massachusetts College of Art, Boston. Ia menjadi asisten, periset, dan pengajar pada sejumlah institusi seperti MIT Media Lab, Universitas Harvard, dan RMIT International Universities, Vietnam. Streitmatter-Tran berperan dalam pendirian DIA Projects yang menjadi panggung eksperimen dan ruang studio seni rupa kontemporer progresif di Ho Chi Minh City, Vietnam. Ia telah berpartisipasi dalam banyak pameran internasional, di antaranya pada Venice Biennale ke-52 pada tahun 2007. Di antara masanya di AS dan di Vietnam, terdapat pergeseran dalam karyakarya Streitmatter-Tran, dari yang berbasis isu dan konseptual, kepada yang berbasis studio tradisional dan keterampilan. Hal yang menjadi bertahan kemudian adalah mengenai sentralitas perhatian terhadap material, dengan mentransformasi kebiasaan mendekati secara filosofis dan diskursif untuk menjadi menyentuh dan menilai ulang langgam kebiasaan. Melaluinya, ia banyak berupaya menimbang ulang makna material dalam kehidupan sehari-hari. Richard Streitmatter-Tran menjalankan program residensinya di ISBI-Bandung dan FSRD-ITB, pada September 2016.

FSRD ITB & ISBI, BANDUNG

Waq Waq Tree (version 2)

Origin of The World

Earthenware, engobe, tree wood 110 x 60 x 192 cm 2016

Earthenware, engobe 32 x 19 x 15 cm 2016

Raised in the USA, Streitmatter-Tran was trained in interrelated media in Massachusetts College of Art, Boston. He becomes a lecturer and researcher in institutions such as MIT Media Lab, Harvard University, and RMIT International Universities, Vietnam. Streitmatter-Tran was also a prominent figure in the establishment of DIA Projects, which became one of the leading experiment and studio space for contemporary art in Ho Chi Minh City, Vietnam. He has exhibited internationally, among which in the 52nd Venice Biennale in 2007. Between his time in the US and then in Vietnam, Streitmatter-Tran identifies a shift of approach in his works, formerly following a line on the conceptual and being issue based, into a return to more traditional studio and on craftmanship. What persists then, is the centralism of the material, transforming a philosophical and discursive way of approaching into getting in touch and reexamination of customs and habitude. Through it, he attempts to reconsider materials of everyday life. Richard Streitmatter-Tran did his residency program in ISBI-Bandung and FSRD-ITB, September 2016.

Ryota Shioya JA PA N

Supported by: Asia Center

Karya-karya Ryota, dalam kepiawaian teknis keramik yang tinggi, juga menghadirkan kekuatan material yang mengintervensi ruang luar. Karya-karyanya yang cenderung abstrak, tidak secara khusus menyimbolkan sesuatu, namun selalu dihadirkan di ruang-ruang umum atau ruang terbuka. Darinya, ia menyandingkan pengalaman estetik sebagai momen yang teraksentuasi di atas pengalaman dan pensuasanaan sehari-hari. Dalam program residensi JCCB4, Ryota Shioya melanjutkan proyek HitoTema yang sudah dikerjakannya di berbagai tempat sejak tahun 2011. Dalam seri ini, Ryota membuat rekam keartefakan jabat tangan, yang dicetaknya dari menempatkan tanah liat di antara kedua tangan subyek pada tempat-tempat umum. Hasilnya akan dikumpulkan dalam jumlah besar dan disusun secara instalatif. Rekam cetakan menjadi perwakilan tentang pertukaran atau serah terima yang kita lakukan sebagai manusia. Bekerja secara terpola, Ryota menggapai keintuitifan dengan terinspirasi oleh gagasan matter and memory yang diungkapkan oleh filosof Henri Bergson. Ryota Shioya menjalankan program residensi JCCB4 di ISBI-Bandung, Bandung, pada Agustus - September 2016.

ISBI, BANDUNG

HiToTema Site specific Installation Variable Dimension 2016

Ryotaâ&#x20AC;&#x2122;s works puts material strength in interference and dialogue with the outdoors and public spaces. His rather abstract works doesnâ&#x20AC;&#x2122;t necessarily signify anything in particular, yet presents a resounding existence in being featured in public. In such a way, it sends aesthetic experience forward as an accentuated moment over everyday experience and atmosphere. In the JCCB4 residency program, Shioya Ryota took up his HitoTema project which has been executed in various places since 2011. In the series, Ryota creates an artifactual record of hands shaking, cast from placing clay between the two hands in contact, from subjects in public places. The generated castings are then compiled in huge numbers and presented in an installative manner. The castings, then becomes a representation on the trades and reciprocations that we made as humans. Working through patterns, he convenes the conscious and subconscious over matter and memory, as elaborated by Henri Bergson. Ryota Shioya did his Residency program in ISBI-Bandung, Bandung, August - September 2016.

Matter and Memory Glazed Stoneware Variable Dimension (maximum height 32 cm) 2016

Soe Yu Nwe M YA N M A R

Berasal dari Myanmar, Soe Yu Nwe tinggal dan bekerja di Albion, Michigan, AS, sebagai perupa. Ia lulus pendidikan sarjana seni rupa dari Albion College, dan baru-baru ini lulus dari tingkat pascasarjana dalam keramik dari Rhode Island School of Design (RISD). Karya-karya Yu Nwe utamanya berangkat dari pengalaman hidup lintas budaya yang dipunyainya, sebagai peranakan Tionghoa di Myanmar, yang pergi belajar dan menetap di Amerika. Persoalan identitas, maka menjadi direpresentasikan secara kuat olehnya, dan tampil sebagai entitas yang cair, rapuh, dan terfragmen. Olahan-olahan bentuk Yu Nwe tampil sebagai gambaran pemandangan emosional, mempergunakan bagian-bagian elemen alam dan bagian tubuh sebagai perpanjangan cabang ekspresi ketajaman dan keperihan dalam fenomena tumbuh kembang yang termanusiakan. Soe Yu Nwe terpilih melalui proses open call. Ia menjalankan program residensi JCCB4 di Arskala Principle Studio, Yogyakarta, pada November 2016.

A R S K A L A P R I N C I P L E S T U D I O , Y O G YA K A R TA .

Maternal Hand, Reflected Stoneware, Paint 60 x 145 x 92 cm 2016

Born in Myanmar, Soe Yu Nwe currently lives and works as an artist in Albion, Michigan. She holds a BFA in Art from Albion College, and recently graduated MFA in Ceramics in Rhode Island School of Design (RISD). Yu Nweâ&#x20AC;&#x2122;s works departs from her cross-cultural living experience; as a Chinese descent in Myanmar who went to study and stays in the US. As such, spectrums of identity becomes an issue resoundly represented in her works, seemingly portrayed as an entity of fluid, fragile, and fragmented qualities. The resulting works of Yu Nwe comes to shape as a composition of emotional landscape, utilising depictions of nature elements and body parts as points of poignance through a phenomenon of growth in being human. Snake Fruit Tree Earthenware, Paint 40 x 29 x 43 cm 2016

Soe Yu Nwe was chosen through open call for JCCB4 residency program. She did her residency in Arskala Principle Studio, Yogyakarta, November 2016.

Thomas Quayle Australia

Quayle, berbasis di Australia, lulus dari National Art School Australia dengan spesialisasi keramik pada tahun 2013. Kekaryaan keramik Thomas Quayle hadir dalam olahan-olahan bentuk figuratif yang berwarna kemuda-mudaan, bersifat ekspresif selagi mengesankan rasa mentah. Bentuk ungkapan yang demikian berpadu dengan stilasi figur-figur itu sendiri yang nampak seolah terbiasakan, menjadi atau menemui, memproses keadaan untuk menjadi biasa. Dengan mimik dan bahasa tubuh yang menunggu, merenung, berpikir, dan merasa sejenak; figurfigur yang dibuat oleh Quayle datang menampilkan tangkapan momen jeda yang seakan telah memudar perlahan. Partisipasi Thomas Quayle dalam program residensi JCCB4 adalah atas rekomendasi dari Vipoo Srivilasa (AUS). Ia menjalankan program residensi JCCB4 di Agung Ivan Studio, Bali, pada Agustus 2016.

AG U N G I VA N S T U D I O , B A L I

A Gathering of Subconscious Earthenware, Acrylic Variable Dimension 2016

An Audience with Wisdom Earthenware, Acrylic Variable Dimension 2016

Quayle graduated from the National Art School, Australia, with honors degree in ceramics in 2013. His works in ceramics mainly depicts figures, with a distinct pale colour pallette displaying a subdued expressiveness, complements a raw overall impression. Such an expression, coalesces with the halted gesture of the figures, seemingly between alternate courses, in being and encountering perhaps, looking to discern. With figures postured looking in wait, brooding, thinking, and seemingly experiencing a change of feel; Quayleâ&#x20AC;&#x2122;s works captures a certain juncture of interlude, which in itself emanating an inherent weathered disposition, fading and evaporating slowly. Thomas Quayleâ&#x20AC;&#x2122;s participation in the JCCB4 residency program was on the recommendation of Vipoo Srivilasa (AUS). He did his JCCB4 Residency program in Agung Ivan Studio, Bali, August 2016.

Uji â&#x20AC;&#x153;Hahanâ&#x20AC;? Handoko INDONESIA

Mengakar dalam medan seni rupa kontemporer Indonesia, dan berbasis di Yogyakarta, Hahan dikenal luas lewat visual budaya dan budaya visual populer yang ia hadirkan dalam karya-karyanya. Melalui nukilan yang tampil sedemikian berselera wawasan global, Hahan juga menjelajahi dan melintasi jangkauan muatan dalam pada karyanya. Terutama pada karyakaryanya yang belakangan, ia menyebrangi lingkup konteks medan seni rupa sebagai muatan gagasan dan sasaran tematik, terutama mengenai sentralitas median distribusi dalam medan dan mekanisme seni rupa kontemporer Indonesia. Karakter-karakter dan tokoh-tokoh dalam penggambarannya seolah menjadi muncul dan mencuat, menanggapi konteks yang mengelilingi penciptaannya sendiri, untuk hadir dalam percampuran yang khas. Hahan menjalankan program residensinya di Sango Ceramics, Semarang, pada Oktober 2016.

SANGO CERAMICS, SEMARANG

Deeply rooted in the contemporary art world of Indonesia, the Yogyakarta-based Hahan is widely known through the use of popular visual culture found in his works. Through such rather global insights of artistic taste, Hahan also explores and traverses the boundaries on its inner basis of production. His latest works has shown cross of theme into the context of the art world, primarily on the centrality of the market and distribution means in Indonesia. The characters Hahan created then appears as if taking authority of themselves, making statements and reacting to the perceived deterministic context surrounding their own creation. Hahan did his Residency program in Sango Ceramics, Semarang, October 2016.

Liability: Between Lack and Achievement Daiso casting, Steam coal clay drying, Glaze spray, Autorun burning kiln, Vacuum plating in ceramics 250 x 56 x 60 cm 2016

PARTI CI PATI N G ARTISTS

Agugn INDONESIA

Lekat dengan praktis seni grafis dalam disiplinnya yang ketat, Agung Prabowo alias Agugn adalah perupa muda lewat karya-karya cukil kayunya. Dalam rupa dwimatra dan tingkat kerumitan yang tinggi, ia mengembangkan corak bentuk yang khas—yang melintasi penceritaan dengan kekontrasan ungkapan tanda dan warna. Melalui karyanya “Nirbaya Jagratara,” ia meraih penghargaan sebagai pemenang utama pada Kompetisi Trienal Seni Grafis IV, 2012. Keikutsertaan Agugn dalam JCCB mengetengahkan suatu bentuk tantangan menerjemah tersendiri yang ingin turut diperkenalkan dalam pameran ini. Memindahkan perupaannya ke dalam medium trimatra memberikan karakter teknis dan daya ungkap yang berbeda. Sehingga karakter penciptaan Agugn sendiri dan dunia penceritaan yang dibawanya, menjadi diajak untuk tersusun ulang. Dengan mempertahankan abstraksi dan ejawantah tanda yang serupa, karyanya hadir membawa olah-ekspresi baru lewat bahan lempung. Having strong background in the tight discipline of printmaking, Agung Prabowo a.k.a. Agugn is a young artist known widely for his woodcut works. Through a high level of complexity, his two-dimensional works takes form in a particular style which transcends personal narratives with a contrast of symbolism in colour. His work “Nirbaya Jagratara,” won him the premier award at the Competition of The 4th Indonesian Printmaking Triennale, 2012. His participation in JCCB presents a unique challenge in translating between medium, which is alaso what the Biennale is about. Transforming his method of working into the threedimensional sphere gives different technical characteristics and way of conveying. Hence the character and the world of narratives embbeded in his works are reconstructed, via a similar way of abstracting and manifesting signs, in new expressions of clay.

Kundika VII Stoneware, Colour Clay 7,5 x 6 x 26 cm 2016

Kundika IX Stoneware, Colour Clay 8 x 8 x 25,5 cm 2016

Alice Couttoupes AUSTR ALIA

Tinggal dan bekerja Sydney, Alice Couttoupes lulus dari College of Fine Arts, University of New South Wales sebagai sarjana seni rupa pada tahun 2013. Utamanya bekerja dengan medium keramik, Couttoupes meninjau batasan-batasan capaian dan perupaan dalam bahan lempung dan keramik sendiri. Dalam perhatian khusus terhadap objek-objek organik—terutama dunia tanaman—gambaran dalam karya-karya Couttoupes menemukan arah pada penjelajahan seputar botani era kolonial, dan lingkup sosio-politik serta persoalan lingkungan, sebagai dampak yang menyertainya. Dalam ketertarikan lebih lanjut terhadap konteks yang mengiringi ingatan nasional, sejarah, dan identitas di Australia, gagasan-gagasan yang hadir dalam karyanya berjajar dengan bagaimana bahasa dan simbol beroperasi membentuk dan mengikat kelompok-kelompok dalam masyarakat

My Blue China, My Blue Flowers (青花), Plates #1 Jingdezhen Porcelain, Southern Ice Porcelain, Cobalt Glaze 40 x 8 cm 2016

Alice Couttoupes is a Sydney based artist who works primarily in ceramics. Drawn to the physicality of working with clay, her practice requires constant experimentation as her objects test the limits of the material. Fascinated by the natural– particularly botanical—world, the subject of her work is an exploration of the processes of colonial botany and the consequential enduring sociopolitical and environmental implications. She is interested in ideas surrounding national memory, history and identity within the Australian context, and how language and symbols work to shape and bond groups within societies.

My Blue China, My Blue Flowers (青花), Plate #3 Jingdezhen Porcelain, Southern Ice Porcelain, Cobalt Glaze 40 x 10 cm 2016

Ane Fabricius Christiansen DENMARK

Dalam kesenian berkeramiknya, Ane Fabricius menjadi lain sebab karya-karyanya jarang menyentuh atau membentuk lempung secara langsung. Modus operandinya dalam bekerja lebih menyerupai peneliti kebudayaan yang membongkar makna-makna sosial yang tertanam dalam obyek-obyek keramik yang kita kenali pada kehidupan sehari-hari. Dalam citarasa tata latar dan efek visual yang halus, karya-karya Ane Fabricius membingkai alam benda yang memperpanjang gambaran psikologi manusia. Pendekatannya didukung oleh keutamaan persoalan subyek penceritaan, sehingga bahan dan teknik menjadi cair dan mengikuti. Karyakarya Ane Fabricius menjadi seni konsepp di mana gagasan itu sendiri menentukan bentuk. Ia bekerja dengan medium patung, instalasi, video, dan fotografi, dengan keramik sebagai yang utama. Berbasis di Kolding, Denmark, ia telah banyak berpameran secara internasional. Ia juga merupakan anggota dari kelompok seni VERSUS. Ane Fabricius Christiansenâ&#x20AC;&#x2122;s ceramic practice is unusual in the sense that rarely are her fingers directly in the material. Her modus operandi is more that of the cultural analyst who decodes social meanings embedded in ceramic objects that we recognise from everyday situations. Added to this is a keen eye for stage-setting and visual effects, with the result that her works are very precisely framed as a type of still life of human psychology. Her practice is supported by the story that she wants to tell, and material and technique are therefore wholly subordinated to the overarching idea. For her, no approach is alien in the work of creating meaning. Thus she works conceptually, which is to say that the idea itself defines the form of the work. Ane Fabricius Christiansen works with sculpture, installation, video and photography, with clay as her main material. She is based in Kolding, Denmark, and has exhibited in galleries and museums both in Denmark and internationally. Furthermore she is member of the prize-winning art group VERSUS.

Head Crutch Ceramics, Wood 15 x 15 x 140 - 170 cm 2016

Antonella Cimatti

I TA LY

Antonella Cimatti, terlahir di Faenza, Italia, merupakan murid dari Carlo Zauli di Instituto d’Arte (Sekolah Keramik Nasional) di Faenza. Di mana ia juga menjadi pengajar di program studi Desain sejak tahun 1979. Ia lulus dengan penghargaan dari Academia di Belle Arti (Akademi Seni Rupa) di Bologna, 1979. Dari waktu ke waktu ia juga mengajar di proyek-proyek seperti “Artist Fellowship Exchange, European Communities,” di Art and Design Schools, Portsmouth, Inggris, pada tahun 1991 dan di Turnhout, Belgia, pada tahun 1995. Pada tahun 2011 ia diundang untuk berpartisipasi di Paviliun Italia, 54th International Art Exhibition, Bienal Venesia, dan Triennale Design Museum di Milan pada tahun 2016. Ia telah menerima berbagai penghargaan, seperti Silver Prize dari “The 4th World Ceramic Biennale 2007, Korea International Competition.” Ia seringkali berpartisipasi dalam lokakarya-lokakarya dan residensi internasional. Ia juga merupakan anggota World Crafts CouncilEropa. Faenza-born Antonella Cimatti was a student of Carlo Zauli at the Istituto d’Arte (State School of Ceramics) in Faenza, where she has been teaching Design since 1979. She also received a degree with distinction from the Accademia di Belle Arti (Fine Arts Academy) in Bologna in 1979. She has also taught for brief periods, through projects such as “Artist Fellowship Exchange, European Communities”, in Art and Design Schools in Portsmouth, England, in 1991 and at Turnhout in Belgium in 1995. In 2011, she was invited to participate in the 54th International Art Exhibition at the Venice Biennial, in the Italian Pavilion and in 2016 at the Triennale Design Museum in Milan. She has received numerous prizes, & acknowledgments, the most prestigious being the Silver Prize, from “The 4th World Ceramic Biennale 2007 Korea International Competition”. She is often invited to participate in international worshops and residencies. She is a member of the World Crafts Council-Europe.

Butterflies Porcelain, Paperclay, Slip Trailing 170 x 180 cm 2015

Clare Twomey UNITED KINGDOM

Clare Twomey adalah seniman Inggris yang juga adalah peninjau riset di University of Westminster yang seringkali bekerja dalam instalasi-instalasi, patung, dan karya-karya site-specific berskala besar. Dalam 10 tahun terakhir ia telah berpameran di tempat-tempat seperti Victoria and Albert Museum, Tate, Crafts Council, Museum of Modern Art Kyoto Jepang, Eden Project, dan Royal Academy of Arts Inggris. Dalam karyakaryanya Twomey memberi perhatian pada bahan, praktik kria, dan konteks sejarah serta sosial. Instalasi-instalasi Clare Twomey mengemban konteks sosial dan kesejarahan dengan menyediakan tempat sebagai titik mula. Seringkali karya -karyanya hadir hanya pada kerangka kerja ini. Sejumlah instalasinya, sebagai bagian dari proses, menghilang atau habis di tengah jalannya pameran. Seringkali pola perilaku pengamat juga secara konseptual disertakan sebagai bagian dari karya Twomey. Clare Twomey juga aktif terlibat dalam penelitian-penelitian di area seni terapan, termasuk dalam menulis, mengkuratori, dan juga mencipta. Ia membuat karya-karya yang juga turut mempertimbangkan ulang dan memperluas wilayah pengetahuan tentang karya-karya instalasi skala besar. Clare Twomey is a British artist and a Reader of research at the University of Westminster who works with clay in large-scale installations, Sculpture and site-specific works. Over the past 10 years she has exhibited at the Victoria and Albert Museum, Tate, Crafts Council, Museum of Modern Art Kyoto Japan, the Eden Project and the Royal Academy of Arts. Within these works Twomey has maintained her concerns with materials, craft practice and historic and social context. Clare Twomey’s installations have the social and historical context in which the installation is created as their point of departure. Often they only exist within these frameworks. A number of her installations disappear or perish in the course of the exhibition period as part of the work. Often the onlooker’s mode of behaviour is conceptually included in Twomey’s works. Clare Twomey is actively involved in critical research in the area of the applied arts, including writing, curating and making. She has developed work, which expands the fields’ knowledge of larger scale installation works.

A Moment in Time Video Projection 1 Minute 19 Seconds 2016

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Diego Akel BRAZIL

Diego Akel telah bekerja sejak tahun 2002 melalui ilustrasi, seni rupa, fotografi, dan animasi, dengan menggabungkan kesemuanya di dalam karya-karyanya. Dengan lebih dari 50 film animasi dihasilkannya sejak tahun 2006, di antara kepengarangannya sendiri dan karya-karya komisi, film Akel menjadi acuan dalam animasi eksperimental kontemporer. Ia telah muncul di laman-laman daring seperti Colossal, Mixed Grill, Matti Mattila, Ufunk, Hypeness, Cartoon Brew, dan seringkali dikutip di majalahmajalah perfilman Brasil seperti Filme Cultura. Film-film pendeknya telah dipamerkan di banyak festival dan pemutaran di seluruh dunia, dengan juga telah memenangkan sejumlah penghargaan. Diego juga adalah kurator, produser, pengajar, dan dosen animasi. Pada tahun 2014 ia juga memberikan lokakarya animasi di sekolah Accademia di Belli Arti yang bergengsi, di Bologna, Italia, atas undangan OTTOmani Association of Animators. Saat ini Diego meriset animasi sebagai sebuah bentuk spontan penciptaan artistik, yang mempergunakan peralatan mobile dan campuran sejumlah teknologi dan cara pendekatan tertentu. Diego Akel works since 2002 with illustration, fine arts, photography and animation, and mixes all these approaches in his works. With more than 50 animated films done since 2006, between authoral and commissioned pieces, his work is a reference in the contemporary experimental animation, appearing in websites like Colossal, Mixed Grill, Matti Mattila, UFunk, Hypeness, Cartoon Brew and which have been quoted in specialized Brazilian film magazines such as Filme Cultura. His short films have been exhibited in many festivals and screenings all over the world, and won several Prizes. Diego also is an animation curator, producer, lecturer and teacher, and in 2014 he gave a workshop in animation at the prestigious Accademia di Belli Arti, in Bologna, Italy, in a invitation from the OTTOmani Association of animators.

Flows (Fluxos)

Today Diego researches animation as an spontaneous form of artistic creation, utilizing mobile devices and a mix of several technologies and approaches.

Animated Stop Motion Film Made with Plasticine 1920 x 1280 Full HD Video 2 Minutes 42 Seconds 2014

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Eddy Prabandono INDONESIA

Terlahir di Pati, Jawa Tengah, Eddi Prabandono mempelajari seni rupa di Institut Seni Indonesia (ISI) Yogyakarta. Ia kini tinggal dan bekerja dengan silih berganti di antara Yogyakarta dan Okinawa, Jepang. Eddi Prabandono adalah seniman yang menyertakan unsur desain, perancangan, perencanaan, dan konstruksi dalam menghasilkan karya-karya patung berukuran besarnya—dengan rencana kerja yang memerlukan perhitungan cermat. Bagaimanapun, karya-karyanya tidak hanya sekedar menubuh sebagai barang-barang struktural; atas pendekatannya yang menghadirkan evolusi bahasa ekspresi dalam mencipta. Karya monumentalnya dari “Luz Series,” yang menggambarkan kepala putrinya dalam patung tanah liat raksasa seberat 25 ton, dikomisikan untuk ART / JOG 11. Dengan caranya yang khas dalam memanipulasi bahan—baik yang temuan dan industrial, maupun yang bebasbentuk, mudah dimanipulasi, dan organik—sebuah rasa petunjuk tanda yang khas berkelindan menjadi muncul di antara objek dan kecairan mengungkap pesan. Born in Pati, Central Java, Eddi Prabandono studied Art at Institute of Art (ISI) Yogyakarta. He currently lives and works between Yogyakarta and Okinawa, Japan. Eddi Prabandono is an artist who involves design, planning, and construction in creating his large-scale sculpture pieces—with work plans that need careful calculation. However, his pieces does not turn into merely structural things, in light of the way he incorporated an evolution of languages of expression in creating them. His monumental work from the “Luz Series,” which depicts a 25-tonne clay sculpture of her daughter’s head, was commissioned for the ART / JOG 11. By his particular way of manipulating materials —whether they be found and industrial, or those fully freeforming, manipulable, and organic—a slanted sense of clues emerge, on which the object and a fluidity of conveying messages coalesce

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Greedy Chair, Dining Plates and Plants (Paddy) 50 x 50 x 300 cm 2016

Eva Larsson SWEDEN

Eva Larsson terlahir pada tahun 1964 di kota BorĂĽs, Swedia Barat. Setelah dalam perjalanan selama setahun, ia mengawali pembelajarannya sebagai perupa. Studinya membawa ke kota Stockholm di mana ia masih tinggal hingga hari ini. Eva mendapatkan gelar sarjananya dari Konstfack, University College of Arts and Design, pada tahun 1988, dan telah berkesenian semenjak itu. Ia juga memperkaya diri lewat sejumlah kursus yang berhubungan dengan seni rupa. Dalam empat tahun terakhir Eva memfokuskan kerjanya dalam karya-karyanya sendiri. Ia memamerkan karya -karyanya dalam banyak pameran tunggal dan kelompok. Karya-karya patung figur manusia yang diolah menggunakan teknik raku menjadi pusat dari kekaryaannya pada masa ini. Ia diwakili oleh Dewan Kesenian Swedia, Museum-museum di banyak kota dan daerah di Swedia. Eva juga adalah pemilik paruh waktu dari satu galeri seni keramik kontemporer di pusat kota Stockholm. Galeri Kaolin, yang dibawahinya tersebut, memamerkan karyakarya seni terutama dari negara-negara Nordik, dan juga dari Asia dan Eropa. Eva Larsson was born in 1964 in BorĂĽs on the west coast of Sweden. After a year of traveling she began her artist education. The studies brought her to Stockholm where she still lives today. Eva received her bachelorâ&#x20AC;&#x2122;s degree from Konstfack, University College of Arts and Design, in 1988 and has been working with art since then. She has taken numerous arts-related courses.

Stargazers Raku Fired Clay Installation (14 figures) 120 x 120 x 350 cm 2016

During the last four years Eva has been working exclusively with her own art. It has resulted in numerous of solo and group exhibitions. The work with sculptures of raku fired human figures has been central for her work during this period. She is represented in the Swedish Art Council, and Museums in many different cities and counties in Sweden. Eva is also part owner of a gallery in the centre of Stockholm that shows contemporary ceramic art. The name of the gallery is Kaolin and it shows art from mostly Nordic countries but also from Asia and Europe.

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Geng Xue

PEOPLE’S REPUBLIC OF CHINA

Melalui perjalanannya mengelilingi dunia, dan pengalaman dalam budaya-budaya yang berbeda, Geng Xue mengembangkan satu gaya kontemporer yang mencerminkan rasa penasaran dan semangatnya akan tradisi. Patung-patungnya mempertontonkan sifat ini. Bagi animasi stopmotion “Mr Sea” (2014), Geng mempergunakan keramik untuk menyusun cerita yang menyerupai cerita-koleksi cerita era Dinasti Qing. Melaluinya, cerita yang naratif bergabung dengan penjelajahannya pada bahasa visual dalam medium. Bagi pameran tunggalnya di Galeri Klein Sun, “Borrowing an Easterly Wind,” Geng Xue menelisik teks-teks kuno dari filosof Taois Zhuang Zi untuk menciptakan satu karya media bercampur yang menjembatani pemahamannya atas dunia Timur dan Barat. Kecairannya dalam mempergunakan fotografi, patung, cat air, dan video menggambarkan pengertiannya tentang gagasan metafisik “pipa-pipa surga” atau “tian lai” yang berusia lebih dari 2000 tahun. Pada tahun yang sama ia ditunjuk sebagai profesor seni patung di Central Academy of Fine Arts.

Mr, Sea Film 13 Minutes 15 Seconds 2013 - 2014

Through her travels across the globe and her immersion in different cultures, Geng Xue developed a contemporary style that is indicative of her curious nature and passion for tradition. In particular, her sculpture work exemplifies this disposition. For the stop-animation film “Mr Sea” (2014), Geng uses ceramics to craft a tale reminiscent of the stories found in the Qing Dynasty collection ‘Strange Tales from Make-do Studio,’ merging narrative story with her exploration of the medium’s visual language. For her 2015 solo exhibition at Klein Sun Gallery, “Borrowing an Easterly Wind,” Geng Xue probed the ancient texts of the Daoist philosopher Zhuang Zi to create new mixed media works that bridge her understanding of the East and West. Her fluid use of photography, sculpture, watercolor, and video illustrate her understanding of the 2,000-year-old metaphysical concept of the “pipes of heaven” or “tian lai.” In the same year, she was appointed as a professor of sculpture at the Central Academy of Fine Arts.

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The Poetry of Michaelangelo Film 19 Minutes 9 Seconds 2015

Gita Winata INDONESIA

Continuity Japanese Bizenyama Clay, Indonesian Plered Clay, Hand Built Noborigama (2 pcs) 29 x 40 x 33 cm 2016

Lulus dari program sarjana kria keramik FSRD-ITB, Gita Winata melanjutkan studinya untuk mengambil gelar Master Desain dari tempat yang sama. Pada tahun 2015 ia lulus dari program doktoralnya di Kurashiki University of Science and the Arts, Japan, dengan penelitian “Vessel and Tradition in Ceramic Art.” Saat ini ia juga mengajar di kria keramik ITB. Karya keramiknya menggabung-gabungkan pengetahuan antarbahan yang lanjut, dengan jugaberlandaskan kuat pada pengetahuan penggunaan masing-masing darinya dalam tradisi keramik sendiri. Digubah dalam penyelesaian bentuk dalam teknik handbuilding yang presisi dan kompleks, mereka hadir sebagai penjelajahan yang juga berada pada tingkatan lanjut. Graduated BFA from ceramics craft department Bandung Institute of Technology (ITB), Gita Winata went on to pursue his study to take up an MFA degree in the same institution. In 2015, he graduated from doctoral programme in Kurashiki University of Science and the Arts, Japan, with his research “Vessel and Tradition in Ceramic Art.” He is currently teaching in the ceramics craft department of ITB, while also being an artist. His ceramic works combines specific and advanced comprehension of materials, with also being based on traditional ceramics materials and practice between them. Shaped and finished in a precise and complex-structured handbuilding technique, his works came in presence as an advanced exploration in the medium.

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Heri Dono INDONESIA

Heri Dono tak dipungkiri merupakan salah satu dari perupa kontemporer Indonesia generasi akhir 1980-an yang paling dikenal di medan seni rupa kontemporer internasional. Heri Dono dikenal lewat instalasi yang merupakan hasil dari eksperimentasinya atas wayang Jawa. Dalam pertunjukan wayang elemen artistik dan ekstra-artistik melebur— seni rupa, nyanyian, musik, dongeng, promosi mitologis akan filsafat kehidupan, kritik sosial, dan humor. Dalam melukis, karya-karya Heri Dono memanfaatkan deformasi liar dan fantasi bebas yang memunculkan karakter-karakter dari cerita pewa-yangan, dengan dimensi tambahan dari pengetahuan mendasarnya akan film-film kartun anak, film animasi, dan komik. Dalam kesemuanya, Heri Dono terkadang menyisipkan pendapat kritis pribadinya akan isu sosial-politik di Indonesia dan mancanegara.

Heri Dono is unquestionably one among the Indonesian contemporary artists from the late 1980s generation that are best known to contemporary art international community. Heri Dono is known through his installation that results from his experiments with the most popular Javanese folk theater: wayang. In the wayang performance a number of artistic and extra-artistic elements–visual arts, singing, music, storytelling, mythology promotion of a philosophy of life, social criticisms, and humor–merge. In his paintings Heri Dono makes the most use of wild deformations and free fantasies out of which emerge characters of wayang stories, while adding his profound knowledge of children’s cartoon films, animation films, and comics. In all these Heri Dono will sometimes insert his own critical remarks on socio-political issues in Indonesia and abroad.

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Bumi Yoni Terra Cotta, Mixed Media (10 pcs) 29 x 19 x 14 cm 2016

Kyoko Uchida JA PA N

In My Room (Series, 1 - 9) Glazed Stoneware, Hand Built Variable Dimension 2016

Kyoko Uchida tinggal dan bekerja di Yokkaichi, perfektur Mie, Jepang. Terinspirasi dari wadahwadah periode Yayoi di Jepang prasejarah, dan juga dari Yordania kuno, ia menciptakan karya dengan mempergunakan teknik coiling lama. Proses coiling memerlukan waktu lebih lama namun memberikan perupanya kontrol penuh atas lempung Shigaraki lokal yang dipergunakannya, selagi juga memperlihatkan integritas dari material keramik sendiri. Karakter ini juga memberikan kesan hangat dan siluet yang primordial pada karya-karya-nya. Kyoko Uchida lives and works in Yokkaichi, Mie prefecture. Inspired by vessels from the Yayoi period of prehistoric Japan as well as ancient Jordan, she creates her work using the old method of coiling. The process of coiling requires more time but gives the artist full control over the local Shigaraki clay she works with, while drawing out the integrity of the material. It also gives her work a warm and primordial silhouette.

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Kyungwon Baek SO UTH KO RE A

Terlahir di Daegu, Kyungwon Baek lulus dari studi sarjana dan pascasarjana keramik di Seoul National University. Karya-karyanya banyak berupa patung yang memberdayakan bentuk dan tradisi wadah (vessel) keramik. Terinsiprasi dari peralatan mekanis dan rupa arsitektur, ia bekerja secara intuitif dengan membangun dari dasar. Dari yang seperti tapak cetak biru, bentuk-bentuk dibangun olehnya ke atas tanpa rencana dan tanpa pemikiran secara sadar. Melaluinya, ia menjelajah rasa dan stimuli, dengan juga bertemu dalam dialog dan tanggapan dari orang lain dalam prosesnya. Ia memenangkan nominasi kehormatan di Cheongju International Craft Biennale 2011. Ia juga merupakan seniman residensi di Guldagergaard International Ceramic Research Center di Denmark pada 2014, dan di Gimhae Clayarch Museum, Korea Selatan, pada tahun 2015. Born in Daegu, Kyungwon Baek graduated with BFA and MFA in ceramics from Seoul National University. Her vessel-sculpture works uses slabbing and coiling technique, which draws inspiration from architecture and mechanical devices. After drawing blueprints, coils are build on the slab to be formed intuitively, designed in advance to be worked upon without being thought. The process explores stimuli and a grasp of developing feel, especially through processes of dialogue with viewers and getting feedback. She won an honorable mention at Cheongju International Craft biennale in 2011. She was the resident artistof Guldagergaard International Ceramic Research Center in 2014 in Denmark and of Gimhae Clayarch Museum in 2015 in South Korea. She had two solo shows at Guldagergaard International ceramic Research Center in Denmark and Gallery Sikijang in Seoul. She participated in a number of group exhibitions including Kap-Sun Hwang und seine SchĂźler at Handwerk Galerie in 2016 in Germany, 360 Degrees of Separation at Purdue University Galleries in 2016 in U.S and Vivid Dream at ClayArch Gimhae Museum in 2015 in South Korea.

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Container in an Architectural Mood (Series 04, 06, 07, 08) Porcelain (06, 07), Stoneware (04, 08), coiling and pinching, reduction Variable dimension 2016

Serial Stoneware, coiling and pinching, reduction 27 x 7 x 6,5 cm 2016

Divided Porcelain, coiling and pinching, reduction 30,2 x 10 x 7,5 cm 2016

Masha Ru & Dina Roussou RUSSIA / GREECE / NETHERLANDS

Masha Ru adalah perupa dengan latar belakang di ilmu alam, yang tinggal dan bekerja di Amsterdam. Proyek-proyeknya menggabungkan matematika dan penelitian ilmiah dengan pendekatan personal, aspek antropologis, dan kebudayaan, serta elemen estorik dan spiritual. Pada tahun 2007 ia lulus dari Lomonosov Moscow State University dan pindah ke Belanda untuk proyek doktoral matematika di Eindhoven University of Technology, di mana ia lulus pada tahun 2011 dengan spesialisasi pada analisis citra. Pada tahun 2013-2014 ia terlibat dalam proyek residensi dan riset di Rijksakademie van Beeldende Kunst, Amsterdam. Konstantina Roussou alias Dina adalah perupa dan juru masak yang terlahir di Athena. Studi-studi sebelumnya di bidang desain panggung teater di T.O.C.gr menggugah ketertarikannya pada fotografi dan instalasi / patung. Terlibat sebagai desainer panggung di banyak produksi teater, ia juga bekerja sebagai asisten desainer kostum, dan membentuk tim desain interior khusus bagi bisnis katering. Lulus dari Gerritt Rietveld Academie, pada Dogtime Department Bachelor title of Fine Arts, ia mengembangkan kemampuan video dan instalasi dan mempelajari bagaimana mengolah gagasan-gagasan tidak umum akan persepi, ruang, waktu, dan dimensi. Masha Ru is a creative with the background in natural science, who lives and works in Amsterdam. Her projects combine mathematics and scientific research with a personal approach, anthropological and cultural aspects, esoterical and spiritual elements. In 2007 she graduated from Lomonosov Moscow State University and moved to the Netherlands to work on a PhD project in Eindhoven University of Technology. In 2011 Masha obtained a doctor degree in Mathematics with specialization in image analysis and graduated with honours from a part-time programme at Photo Academy Amsterdam. In 2013-2014 she followed a two-years research art-in-residency programme at Rijksakademie van Beeldende Kunst, Amsterdam.

EAT*A*BLE episode 9: Cooking Clay Site-specific happening Variable dimension 2016

Konstantina Roussou a.k.a. Dina is a visual artist and chef cook, born in Athens. Former studies on theatre stage design at T.O.C.gr triggered her photographic and installation / sculpture fascination for the world. Participated as a set designer in many theatrical productions, she also worked as assistant costume designer and formed an interior design team assigned specially for catering business. An alumni of Gerrit Rietveld Academie, Dogtime Department Bachelor title of Fine Arts in 2013, she further developed skills in video and installation and learned how to manage the [strange] concepts about perception, space, time and dimensions.

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Mo hamad Rizal Salleh M A L AY S I A

Seeds: The Journey of Life Multiple Sculptural Objects Hand Built 120 x 120 cm 2016

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Terlatih sebagai keramikus di The School of Art & Design, Universiti Teknologi MARA, Malaysia, Rizal Salleh kemudian mendapatkan beasiswa dari pemerintah Malaysia untuk melanjutkan studi pascasarjana di Nagoya University of Arts, Jepang. Ia belajar di bawah pengawasan perupa-perupa keramik Masamichi Yoshikawa & Masaaki Shibata.

Trained as a ceramists at The School of Art & Design, Universiti Teknologi MARA, Malaysia, Rizal Sallehwas then awarded scholarship by the Government of Malaysia to pursue post-graduate studies at the Nagoya University of Arts, Japan under advisory of well know ceramic artists Masamichi Yoshikawa and Masaaki Shibata.

Ia mengkhususkan diri pada teknik meja putar dan keramik handbuilt. Menjelajahi rubahbentuk lempung basah, ia mengembangkan teknik handbuilt pribadi yang menghasilkan karya-karya yang mampu berdiri tegak sendiri, dengan diisi semangat hutan hujan pegunungan di kampung halamannyaâ&#x20AC;&#x201D;Sarawak, Malaysia. Kini ia adalah seniman studio dan pengajar di Universiti Teknologi MARA di Industrial Ceramics and Ceramic Fine Art sejak 2009 .

He specialises in wheel throwing and hand build ceramic techniques. Exploring the malleability of the wet clay, he developed an individual hand building techniques to create freestanding artworks inspirited from the rich rainforest mountainous of his home countryâ&#x20AC;&#x201C;Sarawak, Malaysia. He is currently a studio artist and educator, being a lecturer at Universiti Teknologi MARA since 2009.

Nadya Savitri INDONESIA

Nadya Savitri telah ikut serta dalam sejumlah pameran signifikan di Indonesia, seperti CP Biennale: Interpellation pada tahun 2003, dan Jakarta Biennale: Beyond the Limits and Its Challenge pada 2006. Ia menyelesaikan studi-nya pada tahun 2004 di Fakultas Seni Rupa dan Desain ITB, dari program studi kria keramik; dan mendapatkan gelar master dari tempat yang sama pada tahun 2006. Pada tahun yang sama Nadya meneruskan studinya di Jepang hingga tahun 2009 di Tokyo University of the Arts. Pengalaman belajarnya di studio kria keramik membuatnya mampu meluaskan wawasan dan mengembangkan teknik, terutama dalam bahan porselen. Dalam karakter yang dingin, rapuh, dan tertembus cahaya, porselen menjadi bahan kesukaannya. Dalam lima tahun terakhir Nadya utamanya mempergunakan teknik slip casting dalam membuat objekobjek kehidupan sehari-hari. Dalam mempergunakan teknik ini, ia mampu menirunya dalam bentuk dan rupa yang sama. Baginya, proses ini menjadi tindakan menggores memori dalam objek, untuk membekukan waktu dari objek itu sendiri. Mereka nampak familiar namun berbeda. Melaluinya kenangan dan sejarah dari benda menjadi diperbaharui.

Cravings Porcelain Diameter 29 cm 2016

Nadya Savitri has participated in several important art exhibitions in Indonesia. Some of them are CP Biennale: Interpellation in 2003 and Jakarta Biennale: Beyond The Limits and Its Challenge in 2006. She finished her study in 2004 at the Faculty of Fine Art and Design ITB, majoring in ceramics craft and gained her masterâ&#x20AC;&#x2122;s degree in 2006. In the same year, Nadya continued her study to Japan until 2009 at Tokyo University of The Arts. Her study experience at the ceramics craft studio enables her to broaden her knowledge and enhance her techniques in ceramics, specifically in using porcelain. She really loves this type of clay because of its character that seems cold, fragile, and translu-scent. For the last five years, Nadya has mainly been using slip casting techniques in producing objects easily found in the day to day life. By using this technique, she is able to create imitations of objects with the same shape and form. To her, this process is an act of engraving a memory on an object to freeze the time of the object. At the end, the ceramic objects produced are a memory of an object. Looks like an object we are familiar with, but different. It is to refresh the memory and history of objects.

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Panca DZ INDONESIA

Panca DZ adalah seorang perupa yang tinggal dan bekerja di Bandung. Ia lulus dari program studi Desain Produk, Fakultas Seni Rupa dan Desain Institut Teknologi Bandung. Apresiasi Panca terhadap sejarah tato membawanya kepada satu penelitian lebih dalam tentangnya. Meneruskan pengamatannya atas tato Indonesia tradisional, Panca meneliti tatotato kriminal di Indonesia. Sejak tahun 2010, bersama dengan Rumah Cemaraâ&#x20AC;&#x201D; sebuah lembaga non-profit yang berfokus pada isu HIV dan narkobaâ&#x20AC;&#x201D;Panca terlibat dengan banyak program sosial. Sejalan dengan riset tato, Panca mencoba mengumpulkan bahasa kebanggan yang sekaligus putus asa dalam rupa yang gelap, yang diisi simbolisme dan cerita, yang muncul dari bentuk-bentuk renggutan kehidupan. Tema yang sedemikian rupa selalu memukai Panca, tentang bagaimana tato dan persentuhan sosial dapat mencerminkan keindahan dalam bertahan hidup di dunia. Panca DZ is an Indonesian artist whom currently lives and works in Bandung, Indonesia. Graduated from Faculty of Art and Design at Institute of Technology Bandung, majoring in Product Design. Pancaâ&#x20AC;&#x2122;s appreciation in the history of tattoo brought him to a deeper research towards it. Following his observation of traditional Indonesian tattoo, Panca continue to research criminalization tattoos in Indonesia. Since 2010, together with Rumah Cemara, a non-profit organization focusing on HIV and drugs related issues, Panca has been involved in social programs towards the issues. Along with the tattoo research, Panca is trying to collect these proud and desperate languages of dark visual that overloaded with symbolism and story, arising from cruel form of deprivation. This has always fascinates Panca, how tattoos and social engagement could reflect the beauty of surviving the world.

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God of Life (In collaboration with Kandura Studio) Glazed Stoneware 12 x 23 x 16 cm each (10 pcs) 2016

God of War (In collaboration with Kandura Studio) Glazed Stoneware 11,5 x 15 x 17 cm each (10 pcs) 2016

Sarah O’Sullivan AUSTR ALIA

Karya-karya keramik Sarah O’Sullivan menarik garis dari persoalan fungsi domestik sebagai sebuah konteks, namun jarang yang betul-betul fungsional. Proses yang dimanfaatkannya berkebalikan dari karya akhir yang dihasilkan. Sarah mencipta dengan teknik slip-casting yang dirancang untuk membentuk repilka yang persis sama; bagaimanapun, hasil akhirnya selalu unik dan hanya satu kali dihasilkan. Mudah untuk menjadi tidak memperhatikan sesuatu yang biasa yang kita pergunakan setiap hari. Karya-karya Sarah mencoba untuk meninggalkan kebanalan ini dan justru menyoroti keindahan yang dapat kita temukan pada bendabenda di sekitar kita. Dalam praktik keseniannya, ia juga membagi satu kegemaran mempergunakan ulang dan memaknai ulang, atau menggagas ulang objek dan rancangannya. Sarah seringkali mempergunakan bentuk-bentuk tradisional dan benda-benda temuan dengan menambahkan cerita baru. O’Sullivan memfokuskan proyek riset pascasarjana seni rupanya pada tahun 2012 pada citraancitraan Australia di atas porselen. Selama studi ini ia mengikuti program magang tiga bulan di pusat kesenian masyarakat asli Australia di Ikuntji, NT. Sarah O’Sullivan’s ceramic work draws from domestic function as a context and yet is rarely functional. The process utilised is a contradiction to the final pieces created. Sarah employs a production process of slip-casting that is designed to create exact replicas; however the end result is always unique, one-off pieces. It’s easy to overlook something ordinary we use everyday. Sarah’s work tries to expel this banality and instead highlight the beauty we can find in the objects around us. Within her practice, she also shares a love of re-using and reinterpreting or reconceptualising objects and designs. Sarah often utilised traditional forms or found objects and adds a new story, whilst still referencing the notion of sentiment. O’Sullivan focused her 2012 Master of Fine Art research project on Australian imagery on porcelain. During this study she undertook a three-month internship at a remote Indigenous Art Centre in Ikuntji, NT. Waratah Stained and Carved Porcelain 10 x 10 x 18 cm 2016 Photographed by Debbie Gallulo

Gymea Lily Hand painted porcelain 14 x 14 x 22 cm 2016 Photographed by Debbie Gallulo

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Takashi Hinoda JA PA N

Takashi Hinoda membuat karya-karya keramik dengan bentuk-bentuk eksentrik, yang diselimuti dengan gambar-gambar yang cerah nan datar. Persandingan di antara sosok figur tiga dimensional dengan grafis dua dimensional menghasilkan suatu ekspresi dengan jejak-jejak ironi yang sebanding dengan afirmasi atas sisi ketegangan yang terkandung dalam masyarakat masa kini. Hinoda tertarik dengan bagaimana di dunia modern, informasi dan benda-benda material berpindah dan dikonsumsi dengan sangat cepat. Kecepatan ini sendiri telah menjadi landasan masyarakat kita sekarang. Menghubungkannya dengan alam bawah sadar, Hinoda mendekatkannya dengan gambaran penglihatan atau visi di dalam mimpi. Pergerakan dalam mimpi yang tidak terkungkung hukum fisika dan hukum alam, adalah yang digambarkan ulang olehnya, yang meski tidak riil mampu merubah kenyataan lewat alam bawah sadar. Membuat keramik baginya memiliki kutub yang berbeda dengan instalasiâ&#x20AC;&#x201D;yang harus dialami dan dirasakan langsung, memiliki kesementaraan. Keramik sementara lebih mencari nilai abadi dan monumental. Dalam menggabungkan keduanya dalam karya-karyanya, terdapat kontras yang mempertemukan ingatan sementara dan yang tetap.

Ouroboros Stoneware Coil-built,Air-brushed Engobe, Underglaze Pigments and Glazes 45 x 60 x 45 cm 2016 Photographed by Kazuo Fukunaga

Takashi Hinoda produces ceramic works of eccentric forms and covers them with flat and vivid images. The co-existence of three-dimensional figures and twodimensional graphics generates a complex and unique expression with hints of irony as much as affirmations of todayâ&#x20AC;&#x2122;s society where anxiety lurks. Hinoda is interested how in modern society, information and material things are moved and consumed so rapidly. The crazy speed is at the foundation of our society now. Relating the perspective with the subconscious, Hinoda pairs it with his interest on visions people see in their dreams. The movements of things and phenomenon we see in our dreams are not influenced by the laws of physics (gravity and inertia). Although the visions we see in our sleep are not the reality, he believes that they have the power to change the reality through our subconscious mind. Making ceramics, for him, is very different with making installationsâ&#x20AC;&#x201D;which has to be entered and physically experienced. While making ceramic pieces seek something for a sense of eternity and monumental value, In combining both in his works, there exists a sense of contrast which also combine the ephemeral and fixated memory.

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Her Light Speed Stoneware Coil-built,Air-brushed Engobe, Underglaze Pigments and Glazes 105 x 49 x 41 cm 2010 Photographed by Kazuo Fukunaga

Teri Frame U N I T E D S TAT E S O F A M E R I C A

Teri Frame lulus sebagai sarjana seni rupa dari the Kansas City Art Institute dan pascasarjana dari The Pennsylvania State University. Meski aslinya sekolah sebagai keramikus; performance, video, dan seni cetak digital telah menjadi bagian dari karya-karyanya. Ia kerap kali berbolak-balik di antara medium-medium ini. Tema-tema dalam karyanya seringkali mengikutsertakan persoalan kecantikan dan proporsi, genetika, eugenika, rekayasa genetik, identitas, dan operasi estetika. Teri menjelajahi bagaimana kecantikan dan proporsi terhubung dengan penuaan, penyakit, kecacatan, dan ras. Tubuh-tubuh “non-normatif” melalui jelajah karya, diperlihatkan telah keluar dari alam manusia, dan turun ke tingkatan hewan. Kecacatan dalam bentuk dan permukaan tubuh manusia telah sering termarjinalkan. Mereka yang mengemban tanda-tanda yang sedemikian rupa dijauhkan dari kehidupan masyarakat dan seringkali di-hewan-kan.

Simians

Early Humans

Hybrids

Video Performance 5 Minutes 31 Seconds 2016

Video Performance 8 Minutes 30 Seconds 2016

Video Performance 9 Minutes 35 Seconds 2016

Teri Frame received her BFA from the Kansas City Art Institute and her MFA from The Pennsylvania State University. Although she was trained as a ceramist, performance, video, and digital imaging have come into her work, and she continues to move among these genres. Themes within her work include notions of human beauty and proportion, genetics, eugenics, genetic engineering, identity and aesthetic surgery. Teri examines how notions of beauty and proportion relate to aging, disease, disability and race. “Non-normative” bodies have often been shunted from the human realm to that of the animal. Disfigurements in the form and surface of the human body are often marginalized. Those who bear such marks are estranged from public life and are often animalized.

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Tomoko Sakumoto JA PA N

Tomoko Sakumoto terlahir di Okayama, Jepang. Ia mempelajari pendidikan seni, dengan fokus pada keramik, sebelum kemudian mengambil jalur pascasarjana dalam keramik di bidang desain. Ia mengganggap jenjang-jenjang proses yang banyak dalam keramik sebagai sesuatu yang menantang dan tidak membosankan. Karya-karyanya menampilkan pola-pola garis yang menjadi bertemu dengan bentuk tiga dimensional padat keramik. Bentuk dan pola yang tergaris adalah citraan-citraan dari dalam kepalanya, yang merupakan hasil dari proses kekriaan, atau perbincangan antar bahan. Garis-garis yang dibuatnya merupakan pertumpukan dari bahan keramik sendiri yang telah diwarnai. Nuansa kesederhanaan juga dipertahankan olehnya lewat pilihan untuk membuat karya-karyanya dengan teknik mencetak.

Form 161 From 25 Porcelain Casting 30 x 37 x 24 cm (3 pcs) 2016

Tomoko Sakumoto was born in Okayama. She studied art education, majoring in ceramics; before . going to graduate schoolto study ceramic further from design viewpoint. Her rather simple approach and visual of works counter reflects the many processes in ceramics, which is not boring. Her works mainly show the intersection of stripe pattern with the solid of ceramics. Such form and patterns are drawn from imaging in mind, which passes through the craft processes or conversation of materials. She makes a lot of parts which I cast clay that added a color to into a plaster mold, and the form of the art object and a color of the stripe have been laid by piling up them. The production using the plaster mold is the method that she arrived at to draw a straight line necessary to express the simple beauty.

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From 161 From 25 Porcelain Casting 30 x 37 x 24 cm 2016

INSIDE THE EXHIBITION

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CURRICULUM VITAE

Agung Prabowo a.k.a Agugn INDONESIA

Education 2005-2010 2004-2005

FSRD-ITB, Fine Art, Printmaking Studio UPI, Bandung, Art Education

2013

2012

Solo Exhibitions 2016 2015 2013

AGUGN: Printing Life in the Cosmos, Vinyl on Vinyl Gallery, Makati City, Manila. unguarded guards, Jogja Contemporary, Yogyakarta we went wild, Krack Studio, Yogyakarta Natural Mystic, Bentara Budaya, Jakarta, Yogyakarta, Bali, and Solo

Selected Group Exhibitions 2016

2015

2014

128

2011

Homo Habilis – Handy Man, 2nd Jogja International Mini print Biennale, Sangkring Artspace, Yogyakarta Universal Influence, ArtJog9, Jogja National Museum, Yog yakarta Multiple Juncture, Mizuma Gallery, Singapore Lipat Ganda, Dia.Lo.Gue. Art Space, Jakarta 33 Prints, exhibition of three winners of Jogja Mini Print Biennale 2014, Jogja National Museum, Yogyakarta Infinity in Flux, ArtJog8, Taman Budaya Yogyakarta The Collective Young from Southeast Asia, Mizuma Gal lery, Singapore Dia Adalah Sejuta Umat Manusia yang Ada di Seluruh Dunia, NAIF’s anniversary, RuRu Gallery, Jakarta Hisashi Tenmyouya X Indieguerrilas, Mizuma Gallery, Singapore Ayatana, Indonesia Contemporary Art and Design (ICAD), Grand Kemang Hotel, Jakarta Legacy of Power, ArtJog, Taman Budaya Yogyakarta Jogja Mini Print Biennale, Bank Indonesia Museum and Mien Gallery, Yogyakarta Impresiones Gigantes, International Print Exchange and Exhibition, Palacio del Almirante, Granada, Spain

AIMPE, Awagami International Miniature Print Exhibition, Inbe Art Space, Tokushima, Japan Subject Matters: A Locus Collectivism, Art:1 Gallery, Jakarta Triennale Seni Grafis Indonesia IV, Bentara Budaya, Jakarta, Solo, Yogyakarta, and Bali Bandung New Emergence vol.4, Selasar Sunaryo Art Space, Bandung Pameran Ilustrasi Cerpen Kompas 2011, Bentara Budaya, Jakarta, Solo, Yogyakarta, and Bali Those Good Old Days, Galeri Kita, Bandung Long Live Milo Sundae, Soemardja Gallery, Bandung For Whom the Bell Tolls, Survey III, Edwin’s Gallery, Jakarta Awards

2014

2012

Three Best Works, Jogja Mini Print Biennale, Yogyakarta Young Artist Award, ArtJog, Yogyakarta First Prize, Triennale Seni Grafis Indonesia IV, Bentara Budaya, Jakarta

Alice Couttoupes AUSTR ALIA

Education 2009-2013

KUDOS Emerging Artist and Designer Award, Kudos Gal lery, Paddington, NSW The Shape of Things to Come, COFAspace, Paddington, NSW A Fresh Perspective, Kerrie Lowe Gallery, Newtown, NSW Subversive Clay, The Australian Ceramics Triennale Con ference, The Queens Theatre, Adelaide, SA

Combined Bachelor of Arts, Bachelor of Fine Arts with Honours (First Class), College of Fine Arts, University of New South Wales

Solo Exhibitions 2015 2014

Fairgrounds, Chalkhorse Gallery, Darlinghurst, NSW

Awards/Grants

Eponymic Emperialisms, Chalkhorse Gallery, Darling hurst, NSW

2016

Selected Group Exhibitions 2016

2015

2014

2013

Freedman Foundation Travelling Scholarship Exhibition, UNSW Galleries, Sydney, NSW The Gold Coast International Ceramic Art Award Swamp, Join the Dots Gallery, Sydney, NSW The Barn, Gruin Gallery, Southampton, New York The Return To Beauty, Edwina Corlette Gallery, Brisbane, QLD Porcelain Masters, Kerrie Lowe Gallery, Sydney, NSW North Queensland Ceramic Art Award, Pinnacles Gallery, Townsville, QLD Group show- Untitled, Kunstraum Gallery, Brooklyn, NY

2015 2014

2013

Freedman Foundation Travelling Scholarship Arts Projects for Individuals and Groups, Australia Council for the Arts The Marten Bequest Traveling Scholarship ArtIncubator Foundation recipient ArtStart Grant, Arts Council of Australia ArtIncubator Foundation recipient The UNSW/COFA Art Award The UNSW/COFA Alumni Award The Trudie Alfred Bequest Scholarship Finalist for KUDOS Emerging Artist and Designer Award Arc Art and Design Grant

Choice, Beaver Galleries- Australian Ceramics Triennale, ACT Metarealism, William Wright Projects, NSW The Dash, SOMA Studios, Surry Hills, NSW Ashtray, Chasm, Bushwick, New York Witness Above Ground, Gallery 151, Chelsea, New York Slow Burn, Kudos Gallery, Paddington, NSW Hatched, Perth Institute of Contemporary Art (PICA), Northbridge, WA The End is the Beginning, Galleries UNSW, Paddington, NSW Unforeseen, Inexplicable, F124F space, Paddington, NSW

129

Ane Fabricius Christiansen DENMARK

Education 2006

Designskolen Kolding, Kolding, Denmark

2004

Bergen Academy of Art and Design, Norway

2011

Det fremmede, Kunstnersammenslutningen RIMBAUD, Ny Tap, Copenhagen, Denmark In Sanity, art group SCENE, Officinet, Copenhagen, Denmark

Awards/Grants

Selected Exhibitions 2017

2016

Talisman – magical objects, art group VERSUS, CLAY Museum of Ceramic Art Denmark Soloshow, PLADS Artspace, Aarhus, Denmark Memories from a Rainy Season, soloshow, Tentacles, Bangkok Olo – Mærkbart, Kouvola Art Museum Poikilo, Kouvola, Finland Dansk keramik, Det Ny Kasket, Thisted, Denmark

2015

2014

2013

130

Accumulation, art group FLOK, Nicolai Kunst & Design, Kolding, Denmark 360 Degrees of Separation, Fountain Gallery, Lafayette, USA Makers of Today, Kunsthal Nord, Aalborg, Denmark Meditations on a Hobby Horse, VERSUS, Galleri Kraft, Bergen, Norway she, VERSUS, Officinet, København and Spanien 19C, Aarhus, Denmark G3, FLOK, Kanonbatteri, Dueodde, Bornholm, Denmark Med leret som gidsel, Vestjyllands Kunstpavillion, Vid ebæk, Denmark Squander, curator of international exhibition at Galleri Pagter, Kolding, Denmark Hyperprismen, public installation, Nicolai Kulturkompleks, Kolding, Denmark Spor, FLOK, SixtyEight, Copenhagen, Denmark Glasurglæder, Vejen Kunstmuseum, Vejen, Denmark New Nordic Ceramic Art, Vendsyssel Kunstmuseum, Hjørring, Denmark

2015 2013

2012

The Danish Arts Foundation, Danish Crafts, Danmarks Nationalbanks Jubilæumsfond af 1968, Grosserer L. F. Foghts Fond, Hielmstierne-Rosencroneske Stiftelse, Knud Høj gaards Fond, De Bielkeske Legater, Kolding Kommune Annie and Otto Detlefs Ceramic Award for VERSUS’ contribution to the Danish ceramic art scene, Denmark Award of honor, Annie og Otto Detlefs Almennyttige Fond, Denmark Commendation, 7th NASPA Ceramics Talent Award, Keramikmuseum Westerwald, Höhr-Grenzhausen, Germany Award for VERSUS´ exhibition Meditations on a Hobby Horse, The Danish Arts Foundation

Angie Seah SINGAPORE

Education 2000

1999

Bachelor of Fine Arts Degree with DistinctionRMIT (Royal Melbourne Institute of Technology) Australia

2013 National Arts Council International Development Grant for Titanik Gallery artist residency Singapore International Foundation art grant for The Unifiedfield Artist residenc National Arts Council International Development Grant for Venice Biennale Singapore International Foundation art Grant for The Unified field artist residency Granada, Spain National Art Council International Development Grant f or The Unified field artist residency Granada, Spain

Diploma in Visual Arts (Sculpture),LaSalle College of the Arts (SIA), Singapore

Selected Exhibitions 2016

2015

2014

Open studio for Art After Dark At CCA (Centre of contem porary arts) Gillman Barracks, Singapore 2 Performances with DXXXXD artist collective and Wu Junhan

2012

“ A thousand horses running in my head” exhibition at Fukuoka Asian Art Museum, Japan “The everyday life Orchestra” performance with 12 local junior high school students, Fukuoka Asian Art Museum, “Unsembles: A place of Collisional Encounter “Unknown” Live Performance with Sanematsu Akira and Yamauchi Katsura, Fukuoka Asian Art Museum, Japan “Ensembles” Live Performance with Sanamatsu Akira, Ose Izumi and Nakamura Yuji, Art Space Tetra, Fukuoka Japan

2011

National Arts council travel grant for “MIS en arbyme” in ZKM Germany National Arts council Presentation and Promotion grant for “Primal Screams” solo exhibition The Arts Fund exhibition grant for “Primal Screams” solo exhibition at The Substation Singapore International Foundation art grant 2012 for Poland exhibition and performance

Singapore International Foundation 2011 for Artist Resi dency in Chiang

Singapore France festival - ‘Open Sea’ group exhibition at Musee d ‘ Art Contemporain de Lyon MAC, France. Modern Love group exhibition to mark LASALLE’s 30th anniversary, Institute of Contemporary Arts Singapore General Assembly of Interested Parties and Testing Grounds presents GAIP Festival of performance Art, Mel bourne Australia “In every grain of sand, there is a world” solo exhibition at the Victoria College of the arts, Melbourne Australia supported by Asialink, VCA and Art Incubator Singapore “CURRENT Sound/Body/Sight” Art festival at Conduits art space, Melbourne Australia

131

Antonella Cimatti I TA LY

Educations 1979

1975

1973

1981

1985 1988

Academy of Fine Arts, Bologna, Italy Diploma of Fine Arts (student of Adriano Bacillieri, Daniele Degli Angeli e Mauro Mazzali). Italian National Institute of Ceramic Art, Faenza, Italy Diploma of “Magistero”, Thesis with Carlo Zauli. Italian National Institute of Ceramic Art, Faenza, Italy Diploma of “Maestro d’Arte per la Ceramica” (Student of Aldo Rontini) Specialization courses abroad “Techniques of Japanese Ceramic Decoration”, Municipal Institute of Ceramics, Toki, Japan. “Technique of Lithophaine on porcelein”, École Nationale d’Art Decoratif, Limoges, France. “Jewerly Design”, Portsmouth College of Art and Design, England.

Selected Exhibitions 2015

2014

2013

132

2012

Gyeonggi International Ceramic Biennale, South Korea Scultura ceramica contemporanea in Italia, Gnam, Galleria d’arte Moderna, Roma, Italy 4th Biennial Shanghai International Contemporary Porcelain, Shanghai Museum of Arts and Craft, Shanghai, China Selected at the Exhibition – competition Ceramics of Europe – 13th Westerwaldprize Keramik Museum Westerwald, Höhr-Grenzhausen, Germany Selected at the Exhibition – competition “ 4th International Triennial of Silicate Arts, International Ceramics Studio, Kecskemét, Hungary Exhibition and Workshop at International ceramic art festival in Sasama, Japan.

2011

The IV International Festival of Postmodern Ceramics, City Museum in Varazdin, Croazia. The 4rd Taiwan Gold Teapot Prize exhibition at Yingge Ceramics Museum, Taiwan. MunGyeong Chasabal (tea bowl) festival 2012, exhibition and workshop MunGyeong, South Korea International Contemporary ceramic art exhibition 2012, Jingdezhen festival 2012 4X4, Vernice Art Fair, Forlì, Italy Ceramics Now Exhibition, The Paintbrush Factory, Cluj-Napoca, and Budapest, Romania (catalogue). 54thInternational Art Exhibition at the Venice Bienial, in the Italian Pavilion, Turin, Italy (catalogue).

54th International Art Exhibition at the Venice Biennial, in the Italian Pavilion, for the Emilia Romagna region.

Selected Awards 2015 2014 2013 2012

2011 2011

Honorable mention, Gyeonggi International Ceramic Biennale, South Korea First Priz, Sixth International Small Teapot Competition, AMOCA,Pomona, California. Public Prize MunGyeong Chasabal(Tea Bowls) Festival 2013, South Korea Honorable mention with merit, The 4rd Taiwan Gold Teapot Prize exhibition at Yingge Ceramics Museum, Taiwan Honorable mention, 7th Cheongju International Craft Competition, South Korea. First Prize ex-aequo, Seapot -teapot competition , Portugal.

Arya Pandjalu INDONESIA

Educations 1995 2014 2012

2011

Print Making Department at the Indonesia Institute of the Art, Yogyakarta, Indonesia Garden Of Delight, Biasa Artspace, Jakarta – Bali, Soundgarden, ARK Galerie, Jakarta.

Selected Group Exhibitions 2015

2014

2013

2012

“Mencegah Bara” Galeria Fatahillah Jakarta Infinity in Flux, ArtJog #8, Taman Budaya Jogjakarta. Keep the fire on, Survive Garage, Jogjakarta Gambar, Museum Dan Tanah Liat. On Mirror, Gallery Nasional Indonesia, Jakarta Contemporary Eye of Indonesian Art & Culture Heritage,DiaLoGue Artspace, Jakarta.

Biennale Jogja XI – Equator #1 Beyond the East, Macro Museum, Roma Illustrasi cerpen kompas, Bentara Budaya Jakarta. Beastly 2011, Cemeti Art House, Yogyakarta. Ekspansi, Pameran Besar Patung Kontemporari Indonesia, Galeri Nasional, Jakarta. ArtJog #10, Taman Budaya Yogyakarta. My Garden, The One Minutes Foundation; deBuren Brussel, Central Museum Utrecht, Kunsthal KadE Amersfoort, Marres Maastricht, NIMk Amsterdam. City One Minutes, The One Minutes Foundation; Guangdong, Guagzhou, China. Pufrok; Theater Zeebelt, Den Haag (NL)

Awards/ Grants 2010

1st price, Spilzman Award, Berlin

Portable, Biasa Artspace, Bali Trienalle Seni Patung Indonesia, Gallery Nasional Indonesia, Jakarta. Melihat Indonesia, Ciputra World, Jakarta. Legacy of Power, ARTJog 2014, Yogyakarta, Indonesia. PARX, out door group exhibition at Ciputra Art Centre. praBiennale Jogja Mini Print, Gallery ISI, SEA+ Triennale, Gallery Nasional, Jakarta, Indonesia Hutan di Titik Nol, Sangkring Art Space, Yogyakarta Steak Daging Kacang Ijo, Museum Dan Tanah Liat, Yogya Art-JOG 2012, Taman Budaya Yogyakarta, Indonesia. Jogja Agro Pop, Taman Budaya Yogyakarta, Indonesia Art Dubai, 2012 Kembar Mayang, Museum Widayat, Magelang Re-Claim, Gallery Nasional, Jakarta

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Awangko Hamdan M A L AY S I A

Education 2005 2002

1984

Postgraduate Diploma in Teaching and Learning, UNIMAS Master of Arts (Visual Arts), National Institute of the Arts, Australian National University (ANU), Canberra, Australia

2011

Bachelor in Arts and Design (Ceramics), UiTM Shah Alam, Selangor

Selected Solo Exhibitions

Awards

2002

2012

2000

Dialogue, Canberra School of Arts Foyer Gallery, Australian National University, Canberra, Australia Passion, Chancellery Hall, Universiti Malaysia Sarawak, Kota Samarahan, Sarawak

Selected Group Exhibitions 2015

2014

2012

134

ICACA’15 Arts Exhibition, DeTAR Putra, UNIMAS Echoes of Sarawak, Galleria, Westberly House, Kuching Gawai Art Exhibition, Sarawak Plaza, Kuching Earthworks, Galeri PETRONAS, KLCC, Kuala Lumpur Sarawak Closed Art Exhibition (1MCAT), Galleria, Westberly House, Kuching Transformasi 2014, Contemporary Visual Art Exhibition of Sarawak Historical Images (1MCAT), Sarawak State Library, Kuching SELSIUS-USM International Ceramic Festival, Muzium & Galeri Tengku Fauziah (MGTF), Universiti Sains Malaysia, Pulau Penang ASEAN Tourism Forum Art Exhibition, 1MCAT Exhibition, Atrium DUN Sarawak Exotic Borneo, 1MCAT Festival Exhibition M50, Galleria, Kuching Recent Works, FACA Gallery, Universiti Malaysia Sarawak

2007 2002

ECITRA 2012 (Reflection), FACA Gallery, Universiti Malaysia Sarawak Members Only, National Visual Arts Gallery, Kuala Lumpur Is it madness. Is it beauty. - Rotor - Siobhan Davies. London. Present Traces - Ceramics in Contemporary Art.GI Holdegard. Denmark. Rotor - Siobhan Davies. London. GI Holdegard. Ceremics in Contemporary Art, Denmark. Collecting the Edges - Denver Art Museum. Made in China -Thing Tang Trash - Upcycling in Contemporary Ceramics. Norway. Permanenten The West Norway Museum of Decorative Art

Anugerah Perkhidmatan Cemerlang 2011 (APC) UNIMAS Sijil Perkhidmatan Cemerlang 2006 (SPC) UNIMAS Juror’s Choice Artwork, Visual Arts Competition organized by Labuan Corporation.

Clare Twomey UNITED KINGDOM

Educations 1991 – 1994 1994 -1996 2005 -2009 2009 – present

2002 Edinburgh College of Art, BA (Hon’s) Ceramics The Royal College of Art, MA Ceramics and Glass AHRC Research Fellow University of Westminster Research Fellow University of Westminster

2001

Gun Show - Soil Gallery, Seattle, USA Guns and Roses - Transit, London Kaphenberg Biennial - Austria, Denmark IST World Ceramic Biennial - Korea. (Awarded certifi cate of merit) Porcelain Triennial - Nyon, Switzerland. (Awarded City of Nyon Exhibition prize) Manises Biennial De Ceramica – Spain Museum of Modern Art - Kyoto, Japan. Edinburgh Makers.

Site Specific Exhibitions

Awards

2014

2009

ACE funding Specimen - Royal Academy

2006

ACE funding Trophy V&A

2004

AHRC Research Fellow - University of Westminster, London

2013

2012

2011

Piece by Piece - The Gardiner Museum, Toronto. Canada Marking the Line -Soanes Museum, London. Exchange - The Foundling Museum, London

2002 Plymouth Porcelain a new collection Plymouth Museum and Art Gallery

2001 hibition

Is it madness. Is it beauty. - Rotor - Siobhan Davies. London. Present Traces - Ceramics in Contemporary Art.GI Holdegard. Denmark. Rotor - Siobhan Davies. London. GI Holdegard. Ceremics in Contemporary Art, Denmark. Collecting the Edges - Denver Art Museum. Made in China -Thing Tang Trash - Upcycling in Contemporary Ceramics. Norway. Permanenten The West Norway Museum of Decorative Art

1999 1998

London Arts Board - London Visual Arts Artist Fund. City of Nyon Exhibition Prize - Porcelain Triennial ExSelected Makers index Crafts Council Exhibition Prize - Ceramic Contemporaries 3 Royal British Sculpture Society - membership award.

Selected Group Exhibitions 2007 2006

Think Tank - Contemporary Applied Arts, London White Spirit - Foundation Bernardaud, Limoges, France

135

Danijela Pivašević-Tenner SERBIA/ GERMANY

Educations 2007-2010 2006 1999-2006 1995-1999

2011 Postdiploma “Master of Art in Art Therapy” MA. at The Berlin Weissensee School of Art Guest Studies at The Berlin Weissensee School of Art Diploma, University Belgrade, Academy for Contemporary Art (FPU) Department “Ceramic & Glass” State Highschool for Design in Belgrade Department “Textil”

Selected Exhibitions 2015

2013

2012

136

Competition for Young German Artists at cultural Foundation Frechen, Germany VIII. Ceramic Biennal of El Vendrell, Spain National Museum of Slovenia III. International Ceramic Triennal UNICUM, Ljubljana, Slovenia ‘Back to Earth’ - FROM PICASSO TO AI WEIWEI Rediscovering Ceramics in Art, Herbert Gerisch Stiftung Neumünster, Germany ‘STEINHART WEICHGESPÜLT’ in the Atelierhaus in Anscharpark Kiel, Germany 8th International Biannual of Ceramics Kapfenberg, Austria ‘Work in Progress’ young european contemporary art, the annual cultural festival of the city of Neumünster, Germany ‘Keramik dieser Welt’ International Ceramics Sympo sium Römhild in the Galerie Handwerk Koblenz, Germany 5th International Porcelain Workshop Kahla at the KAHLA “Points of fire” Berlin, Germany Solo exhibition ‘Offene KomPositionen’ at the Ceramic Museum Kellinghusen, Germany Exhibition at the Museum August Kestner Hannover, Germany Exhibition ‘Begegnungen’ with Kristin Grothe, Parlia ment of Schleswig-Holstein, Germany 35. International Ceramic Symposium “Porcelain Another Way” Walbrzych at the Galeria Szkła i Ceramiki in Wrocław, Poland ‘In Form gegossen’ International Ceramics Exhibition at the Galerie Handwerk Munich, Germany

Solo exhibition ‘La|by|rinth’ at the SchleswigHolstein’s state museum „Schloss Gottorf“, Germany ‘ABWARTEN UND-’ Guest at Fine Arts and Ceramics Class Muthesius Academy of Kiel Prof. Kerstin Abraham in Husum Castle, Germany 57. Faenza Ceramic Art Competition at the Internation al Museum of Ceramics in Faenza, Italy 5. International Porcelain Workshop

Diego Akel BRAZIL

Selected Careers 1998 Trilogia “Na Escrivaninha” 1999 Abducão 2002 Corredor da Morte 2006 O Facínora Manifesto da Animação Total Epiléptico-Mídia Experimental Expressionista Expresso ou O Gabinete do Dr. Akel (co-direção) 2007 Neuro TV Alucina 15 Baixa-Frequência 2008 Faróis 2009 Linhas e Espirais Golpe Postal

2012 Maria da Glória Balada do Guarda-Roupa 2014 Fluxos 2015 Classificados Prainha Muro Sexta à noite Mobilis Poliglota Magazine Madrugada Bandeira Luzes do Estúdio Pretas Repentino Onda Ouro Preto Rasgo Orvalho Micro-Macro Fotogramas Máscara Terça-feira.

137

Dina Roussou GREEK/ NETHERLANDS

Educations 2013 2005 1999

Gerrit Rietveld Academie (NL), Bachelor in Fine Arts – Dog time department The Theatre of changes//T.O.C.GR, Scenography //Stage design and costumes for theatre! 4thVocational school of Athens (GR), Conservation of Art and Archaeological Funds // Restoration of clay pottery

Selected Exhibitions 2016 Performance Biennial #1, ‘No Future’. Video installation/ Collaboration with Kristine Hymøller, Athens, GR Mag het licht aan’ festival, Tolhuistuin. For HIVOS *People unlimited*, Amsterdam, NL 2015

2014

2013

2012

2011

138

Age of Wonderland, Eindhoven Design Week, Claynialism & EAT*A*BLE @ Eindhoven Design Week,Age of Wonderland, balancing Green & Fair Food NL DEAD DARLINGS 8, Art Auction, Photo 30x40 @Looiersgraght 60 Gallery, NL! Cooking Clay @ The Bookstore Foundation/ The Shelf - collaboration with Masha Ru, Rijks AcademieAlumni (NL)! De Apple Center, by Taak – Symposium ‘Surrounding Education’ Cooking Clay, collaboration withMasha Ru. Art Rotterdam, [ EXIT ] with water, video installation, ROUTE DU NORD LIGHT (Rock-Paper-Scissors),Roodkapje Gallery (NL) Gerrit Rietveld Academie Graduation show, [ EXIT ], video installation (NL) Gerrit Rietveld Academie, Dogtime department, Sculpture, Group exhibition (NL) Cheapart Athens, Photo series P.I.G.S, @ Loods6, participation, Amsterdam (NL)! Ukrop @ De Slang, ‘Liquid Modernity’ Sculpture – group exhibition (NL)! Si.Si.Spex 1 @ KGF Studio, ‘site/sight specific’ sculpture – group exhibition (NL)

Eddie Hara INDONESIA/ SWITZERLAND

Educations 1980 – 1989

Indonesian Institute of Arts (ISI), Yogyakarta, Indonesia

1989 – 1990

Akademie voor Beeldende Kunst Enschede (AKI), the Netherlands

2011

“Indonesian Eye: Fantasies and Realities”, Ciputra Artpreneur Center, Jakarta, Indonesia and the Saatchi Gallery, London, UK “Art Amsterdam”, Artipoli Gallery, Noorden, the Netherlands “Art Stage Singapore”, Nadi Gallery and Canna Gallery, Singapore “Hong Kong International Art Fair (ART HK 11)”, Nadi Gallery, Hong Kong “New Pop New World”, Element Art Space, Singapore

Selected Solo Exhibitions 2013 2011

“Peculiar Vibration Of The Empty Ocean”, INSIGHT Sec tion of the 1st Art Basel Hongkong, Semarang Gallery, Hongkong “Carnival of the FUNtastic”, Nadi Gallery, Jakarta, Indo nesia “Sweet Beast”, Atelier Katharina F, Basel, Switzerland

Selected Group Exhibitions 2015

Art Paris 2015, Element Art Space, France Art Basel Hongkong, Nadi Gallery, Hongkong Art Philippines, Equator Art Project, Manila, The Philipines Art Stage Singapore, Nadi Gallery and Semarang Gallery, Singapore

2014

Art Basel Hongkong, Nadi Gallery, Hongkong Art Stage Singapore 2014, Nadi Gallery and Semarang Gallery, Singapore

2013

“1st Art Basel Hongkong 2013”, Nadi Gallery, Hongkong Art Stage Singapore, Nadi Gallery. Singapore

2012

Korea Tomorrow, Seoul Art Center, Seoul, South Korea. Scope Art Fair, Willem Kerseboom Gallery, Basel, Switzerland Art Hongkong 2012, Nadi Gallery, Hongkong Art Stage Singapore, Nadi Gallery, Singapore

139

Eddie Prabandono INDONESIA

Education

Awards/Grants

2015

2012 2009

Luzhu Artist Studio Program −Toufen, Miaoli, Taiwan

Selected Group Exhibitions 2016

2015

2014

Art Stage Jakarta, respresented by NuNu fine art, Sheraton Grand Jakarta, Gandaria City, Jakarta - Indonesia. “ Things, Human & Their Celebration “ Green Art Space, Greenhost Boutique Hotel, Yogyakarta - Indonesia. Formosa 101 Art Fair, respresented by NuNu fine art, expo dome, Taipei - Taiwan. “ A Beatiful New World “ International Contemporary Art Exhibition, The 2nd Nanjing International Art Festival, Nanjing - China. “ Family And Friends “ ROH Projects, Equity Tower Bulding, SCBD, Jakarta - Indonesia. “INFINITY IN FLUX “−ART|JOG|8, Taman Budaya Yogyakarta , Yogyakarta, Indonesia “BITTERSWEET” Cemeti Art House, Yogyakarta, Indonesia “FRONTIERS REIMAGINED” Sundaram Tagore Gallery,Palazzo Grimani, The Venice Biennale 2015, Venice, Italy

“VERSI” Trienal Seni Patung Indonesia #2Indonesia National Gallery, Jakarta, Indonesia “CULTURE AND SOCIAL COST” Khon Kaen University Khon Kaen, Thailand 2014 Bazaar Art Jakarta, ROH Projects The Ritz - Carlton Jakarta Pacific Place, Jakarta Indonesia “EXPOSURE” Sin Sin Fine Art Hong-Kong “Passion / Posession” Hong-Kong Art Center, Hong-Kong “PARX” Lotte Ciputra Casablanca, Jakarta,Indonesia

140

2003 2002 1998

Indonesian Artist of the year 2011 Tempo Magazine Winner of a 2009/2010 Asian Artist Fellowship, sponsored by the Freeman Foundation for the Vermont Studio Center, Johnson, Vermont, USA Finalist of Philip Morris Indonesia Art Award, Jakarta, Indonesia Artist Studio Program - The Okinawa Bank, Okinawa, Japan Nagasawa Art Park (NAP) – The Japan Foundation

Elodie Alexandre FRANCE

Educations 2012-2013

MA Ceramics, Distinction, Cardiff Met, Cardiff School of Art and Design, UK

2008-2011

BA(Hons) Ceramics, First Class Honours, Cardiff Met, Cardiff School of Art and Design, UK

Selected Exhibitions 2015 Wales

2014

14th Biennial of Ceramics, Andenne, Belgium Summer Open Exhibition, Cardiff M.A.D.E., Cardiff, Galliversary Summer Show, Quercus Gallery, Bath, England Rising Stars, Smiths Row, Bury St Edmunds, England Patterns of Enquiry, Quercus Gallery, Bath, England Featured Maker, Oriel Myrddin Gallery, Camarthen, Wales Rising Stars, Milton Keynes Art Centre, Milton Keynes, England Rising Stars, New Ashgate Gallery, Farnham, England MA Degree Show, Howard Gardens Gallery, Cardiff School of Art and Design, Cardiff, UK

2013

2012

2011

Fragile! In transit, travelling pop up exhibition, UK, Denmark, Sweden

Tiles Forever, India Habitat Centre, New Delhi, India Project Network, Grimmerhus, Museum of International Ceramic Art, Denmark Project Network, Apple House Gallery, International Ceramic Centre, Denmark Fresh, British Ceramics Biennial, Spode Factory, Stoke-onTrent, UK Art in Clay, Hatfield, Hertfordshire, UK New Designers, London, UK BA Degree Show, Howard Gardens Gallery, Cardiff School of Art and Design, Cardiff, UK

141

Eva Larsson SWEDEN

Education 2014-2015

Konstfack, University Collage of Art and Design, Stockholm

1984-88

Konstfack BI, University collage of art and de sign, Stockholm

Selected Solo Exhibitions 2016

“Trancending Boarders”Galleri Bergman, Karlstad,Sweden

2015

“Crossroads” Edsvik Konsthall, Sollentuna, Sweden

2014

“Inside-Outside” Kaolin, Stockholm, Sweden “Inside-Outside, Part two” Galleri Jeanette Ölund, Borås, Sweden

Selected Group Exhibitions 2016

Galleri Maralto, Smögen, Sweden “Fat på fot” Kaolin, Stockholm

2015

“Seasonal feeling” Isetan, Shinjuku, Tokyo, Japan

2014

“Scandinavian Summer” IDÉE SHOP, Nihonbashi, Tokyo, Japan Galleri Bovallsstrand, Sweden

2013

“Vi jobbar med det”Keraniskt center, Höganäs, Sweden

Grants and awards 2016

142

Stockholms Stads three-year studio grant

Geng Xue PEOPLE’S REPUBLIC OF CHINA

Educations 2011-2014 2013 2002-2007

The Central Academy of Fine Arts , Print stu dio, MFA. Beijing,China. Karlsruhe University of Arts and Design, international exchange student, Germany The Central Academy of Fine Arts, Sculpture studio, BFA, Beijing,China

Solo Exhibition 2015

2014

2010 2009

‘GengXue-Borrowing an Easterly Wind’, Kleinsun Gallery, New York City, U.S. ‘GENG XUE’, University of Applied Arts, Vienna, Austria. ‘Mr.Sea -- GengXue’ Art Museum of Nanjing University of the Arts (AMNUA), Nanjing,China.

2014

2013

“ I A Call-Girls-Attcack”, Karlsruhe University of Arts and Design, Karlsruhe ,Germany. 「心有灵犀」XuBingCurated,ChengPin Gallery,Taibei,Taiwan. Exhibition of Invited Artists- Seto international ceramic and glass exchange program, Japan.

2012

‘CAFAM FUTURE’, CAFA Museum, Central Academy of Fine Arts, Beijing, China.

Awards/ Grants 2014

‘Mr.Sea -- GengXue’s solo show’, ZERO Art Center, Beijing, China.

Short Film ’Mr.Sea’ is granted ‘The Best Production’ Award at the 2014 CAISSA RISING ARTING, Annual Nomination Exhibition for Students of Contemporary Art Academies, Today Art Museum, Beijing,China. ’Outstanding Graduate Award’, Graduate Show of The Central Academy of Fine Arts 2014. Beijing, China. ‘E.LAND’ Scholarship, Central Academy of Fine Arts. China.

GengXue solo show ,H.T Gallery , Beijing, China. ‘The Other Side -- GengXue’. National Museum of Wales, UK.

Selected Group Art Exhibitions 2015

Today Art and Fashion Award and Exhibition (TAFA), Today Art Museum, Beijing,China. Busan Biennale, Busan, South Korea “Landscape of Mind”-a group exhibition of young Chinese artsits. ARTMIA FOUNDATION,Beijing,China ‘E.LAND’ Scholarship, Central Academy of Fine Arts. China.

“Expanded Senses”, B3 Biennial, Biennial of the Moving Image, Applid Art Museum, Frankfurt, Germany. Chicago Expo ( Art Fair)----CAFA Special exhibition. Chicago. U.S.. Tradition and Innovation : The Human Figure in Contemporary Chinese Art. Chazen Museum of Art. University of Wisconsin-Madison, USA. Art Fair Tokyo 2015, Tokyo, Japan. HAFF International Animation Film Festival, Utrecht, Holland.

2013 ‘Silver Prize’ , 1895 China contemporary ceramic exhibition, Nantong, China. 2008 2007

‘Asian Artist Travel Grant’, Malaysia. ‘The banquet of HanXizai’ was awarded ‘The First Prize’ in “Graduate Show of Central Academy of Fine Arts 2007” .China.

Art Sanya- HuaYu Youth Award ,Sanya, China. NO BOUNDARY CODES, 2014 International_Youth New Media Art Exhibition, Vintage-LanJing Art Center.Beijing. China.

143

Gita Winata INDONESIA

Educations 2001-2005

S1 Program Studi Kriya (Keramik), Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung

2007-2009

S2 Program Magister Desain, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung

2011-2015

S3, Graduate School of Art (Ceramic Art), Kurashiki University of Science and the Arts, Japan

Selected Group Exhibitions 2015

Edsviks Konsthall, Sollentuna (separatutställning) ”Seasonal feeling” Isetan, Shinjuku, Tokyo, Japan

2014 Galleri Jeanette Ölund, Borås (separatutställning) ”Scandinavian Summer” IDÉE SHOP Nihonbashi, Tokyo, Japan Galleri Anna H Bovallstrand Inside-Ouside, Kaolin, Stockholm (separatutställning) 2013 ”Vi jobbar med det” Keramiskt Center, Höganäs Vimmerby konstförening, Vimmerby ”Kaolins 35-års jubileum, Kaolin, Stockholm 2011 2010

144

”Fat på vägg”Kaolin, Stockholm Galleri Sacré Coeur, Stockholm (separatutställning)

Heri Dono INDONESIA

Educations 1990-1991 1987-1988 1980-1987

International Artists Exchange Program, Christoph Merian Stiftung, Basel, Switzerland Studied Wayang KuIit with Sukasman in Yogyakarta, Indonesia Indonesian Institute of Arts (ISI), Yogyakarta, Indonesia

Selected Group Exhibitions 2016

Selected Solo Exhibitions 2016

Heri Dono: Angel’s Exodus, Tang Gallery, Bangkok, Thailand Heridonology, Mizuma Art Gallery, Japan Zaman Edan (The Age of Craziness), STPI, Singapore.

2015

Heri Dono – Animachines, Fargfabriken, Stockholm, Sweden. Joy/Fear, Mizuma Gallery, Gillman Barracks, Singapore. Heri Dono – Animachines, LAT. 63 Ostersund, Sweden.

1965:

Sorry is not Enough, Husslehof, Frankfurt, Germany. The Making of Trokomod, The Private Museum, Singapore.

2014

The World and I: Heri Dono Art Odissey, Retrospective Exhibition, ART:1, New Museum & Art Space, Jakarta, Indonesia. The World and I, Tyler Rollins Fine Art, New York, USA.

2013

Re-PLAY, OFCA International Sarang Building, Yogyakarta, Indonesia The Ship of History”, Sperl Galerie, Potsdam, Germany.

2012

Merapi:Beyond the Myths, Societe Generals Private Banking Gallery, Alliance Francaise de Singapore, Singapore. The Jester’s Court, Willem Kerseboom Gallery, Amsterdam, TheNetherlands. Heri Dono, Wada Fine Arts, Tokyo, Japan.

2011

Madman Butterfly, Rossi & Rossi Gallery, London, U.K. Pinnochio Syndrome, Hongkong International Art Fair, Hong Kong, organised by Edwin’s Gallery, Jakarta, Indonesia. Hommage an Raden Saleh, Schloss Maxen, Dresden, organized by Heimatverein Maxen e.V. und Schloss Maxen, Germany. The Lost Magician, Alexander Ochs Galleries Berlin I Beijing, Germany

2015

2014

Art Taipei, Taipei World Trade Center, Taiwan Dialogue with the Senses, Fatahillah Gallery, Jakarta Bazaar Art Jakarta, The Ritz-Carlton Jakarta, Pacific Place, Indonesia Performance art, Art Stage Jakarta, Sheraton Grand Jakarta, Gandaria City, Indonesia Art Stage Jakarta, Sheraton Grand Jakarta, Gandaria City, Indonesia Performance art, Art Stage Jakarta, Sheraton Grand Jakarta, Gandaria City, Indonesia In Search of Meaning, Human Figures in Global Perspective, MuseumDe Fundatie, Zwolle, The Netherlands Voyage -Trokomod, Indonesia Pavilion, Arsenale, 56th Venice Biennale, Venice, Italy Aku : Diponegoro, Galeri Nasional Indonesia, Jakarta, Indonesia. Veiling Fundamentals in Contemporary Art Through ASIA, OHD Museum, Magelang, Central Java, Indonesia. Exhibition and puppet performance “Wayang Legenda” for the GrandOpening of the National Gallery Singapore, Singapore. Langkah Kepalang Dekolonisasi 1945 – 1949 ( 70 tahun Kemerdekaan RI),Galeri Canna, Jakarta, Indonesia. Art Stage Singapore, Marina Bay Sands, Singapore, organized by Rossi & Rossi Gallery London & Hong Kong. Changwon Sculpture Biennale, Moonshin Museum, Masan, Busan, South Korea. . Homoludens 4, Emmitan Gallery, Surabaya, East Java, Indonesia. MUTARU Exploration, performance, Studio Kalahan, Jogjaklarta, Indonesia. Socio-Landscape, Kamboja National Museum, Preah Ang Eng,Phnom Penh, Kamboja. Melihat Indonesia, Ciputra Artpeneur Museum, Jakarta, Indonesia.

145

2013

2012

Art Stage Singapore, Pavilion Indonesia, Marina Bay Sands, Singapore. GREY, Grand Indonesia, organized by Talenta, Jakarta, Indonesia. Suko Pari Suko, Bentara Budaya Jogjakarta, Jogjakarta, Indonesia. ME, Art Basel Hong Kong, Hong Kong Conventional Hall, Hong Kong, Organized by Edwin Gallery Jakarta. Indonesia Contemporary Textile, GRASSI Museum, Leipzig, Germany. Indonesia Contemporary Art, Ho Chi Minh City Museum of Fine Art, Hoi Chi Minh City, Vietnam. Art Stage Singapore, Marina Bay Sands, Singapore, organized by Edwinâ&#x20AC;&#x2122;s Gallery Jakarta and Vanessa Art Link Jakarta, Indonesia. Platform 2012, Jan Manton Art at Metro Arts Galleries, Brisbane, Australia. Fantasy Islands, Louise Art Scope Basel, Basel International Art Fair 2012, Basel, Switzerland, Marcel Duchamp in South-East-Asia, Equator Art Project, Gillman Barracks, Singapore Awards

Awards 2014

2011

2009

146

Anugerah Adhikarya Rupa, Kementerian Pariwisata dan Ekonomi Kreatif Republik Indonesia. Visual Art Award 2011, for dedication, contribution and achievement in visual art fields from 2000 â&#x20AC;&#x201C; 2010 Indonesia Art Motoring Award, Indonesia Classic Car Owners Club, Jakarta, Indonesia AMICA Art Award, Male Favorite Artist, Jakarta, Indonesia.

He Wenjue PEOPLE’S REPUBLIC OF CHINA

Educations 1989 1994 – 1997 2003

BA in Modern Art, Shenzhen University Post Graduate Diploma in Painting, Center Academy of Fine Arts MA in Painting, Jilin Academy of Fine Arts

Solo Exhibitions 2015

2014 2013

2012

2011

Talk in Quanzhou,Wan Qi Art Center,(Wenzhou, China) EPOCH WRITING: Chinese Contemporary Art Invitation Exhibition: The First Round, Epoch Art Museum, (Wenzhou, China) The Temperature of History: CAFA and Chinese Representational Oil Painting, China Art Museum, Shanghai , (Shanghai, China) He Wenjue Lv Shanchuan Wu Daxing Exhibition, Joy Palace Le Pavillon Art, (Beijing,China) 2014

Power Lust Death WhiteBox Art Museum (Beijing,China) Scenery in Map – He Wenjue Solo Exhibition, New Gallery of Art (Shanghai, China) The Exhibition Tour of He Wenjue’s Works, Shi Jiazhuang Art Museum (Shi Jiazhuang,China) He Wenjue Solo Exhibition, Parkview Green Art (Beijing, China) Daily Images Solo Exhibitions, 798White Box of Beijing (Beijing, China)

2013

Bi—Cities: Solo Exhibitions of Chinese New PaintingHe Wenjue——Daily Images, Tian Ren He Yi Art Center (Hangzhou, China) Robb Report Cover Exhibition, China Central Place (Beijing, China) Movie Watching—He Wenjue’s Contemporary Painting Exhibition, Shanghai Pudong International Airport (Shanghai, China) Supper in Great Times, Michael Schultz Gallery Beijing (Beijing, China) Crossover Report-Personal Exhibition, Crossover Center (Beijing, China)

2012

Selected Group Exhibitions & Awards 2015

Four Seasons Pioneer, Shenzhen Convention & Exhibition Center (Shenzhen, China) Painting the Present, Certosa di San Giacomo, Via Certosa 1 - Capri (Capri, Italy ) The 2nd Nanjing International Art Festival Within Chinese New Painting at Post Financial Crisis Era, Poly Art Museum, (Nanjing, China) Returning and Sailing : The First International Contemporary Ceramics Art

2011

Dang Liang: The Annual Exhibition of Hunan Oil Painting Society, Li Art Museum, (Changsha, China) Yi Xiang Tian Kai: The New Chinese Paintings, Today Art Museum, (Beijing, China) Declining Painting, Jing Gallery, (Beijing, China) Social Landscape: The “Landscape Narration” in Chinese Contemporary Painting as well as Its Cultural Concept Changes, Chengdu International Communication Center for Cultural and Art Pieces, (Chengdu, China) Art & Fashion in Chongqing —International Biennial of Contemporary Art, ChongqingSunshine Shopping Mall, (Chongqing, China) Ethics as the DNA Art——The 9th Florence Biennale, Fortezza da Basso (Firenze, Italia) 2013 Art and Design 100 of White Box: 798White Box of Beijing (Beijing, China) Hidden Power——Group Art Exhibition, Hong Kong Contemporary Art Museum (Beijing, China) We:1994-2013 The 20th Anniversary Collective Exhibition The 2nd Western China International Art Exhibition, The Cultural and Art Center of Yinchuan, Ningxia (Yinchuan, China) Art .Frontier——The Contemporary Art Exhibition, Song Village, Beijing (Beijing, China) Shanghu Art Bank——The First Round of Chinese New Painting, Shang Hu Liu Dong Art Museum (Beijing, China) Annual Exhibition of Chinese New Painting, Tian Ren He Yi Art Center (Hangzhou, China) Duet——Art Invitation Exhibition, YuAo Art Center (Chongqing, China) Deconstruction and Style——Invitation Exhibition of Chinese Contemporary Art, Manai Art Space (Beijing, China)

147

Joris Link THE NETHERLANDS / UK

Education 1996-2001

Academy for art and design, ‘s-Hertogenbosch Sculpture and other media Residencies 2010 European ceramic work centre (Ekwc), ‘s-Hertogenbosch

Selected Exhibitions 2015

2014

2012

2011

148

Solo exposition Elements Willem 2 fabriek ‘s-Hertogenbosch exposition at Sundaymorning@Ekwc, Oisterwijk Group exposition ‘Zuidenwind’, EM Galerie, Drachten exposition ‘Verbinding in verbeelding’ Jeroen Bosch hospital ‘s-Hertogenbosch Bosch Parade ‘Uitschot’ KunstRAI 2014 Galerie Espace Enny duo exposition Universum achterhoek Galerie Espace Enny, Laag Keppel exposition in Antwerpen met Galerie Albus Lux Raw art fair, Rotterdam, Galerie Albus Lux Realisme, artfair, Amsterdam 3D print exposition by Majke Hüstege winner CBK/Toonzaal award 2012 duo exposition with Liesje Reykens, Periwinkle pressure Galerie Albus Lux bij ConsortArchitect, Rotterdam artfair, Galerie Albus Lux Realisme 12, Amsterdam Ceramicts Biennal 2011, Stoke on Trent - Engeland exposition Toonzaalprijs 2011-2012, ‘s-Hertogenbosch Gyeonggi International Ceramix Biennale 2011, Korea exposition cityhall, ‘s-Hertogenbosch. i.s.m. Lieke Tripaldelli

Jose Luis Singson PHILIPPINES

Education BFA Painting (2013) College of Fine Arts, University#of the Philippines Diliman, Quezon City, Philippines BS Communications Technology Management (2008) School of Management, Atene de Manila University Loyola Heights, Quezon City, Philippines

Selected Exhibitions 2015

2014

2013

2011

Suspension’of’Disbelief’ Manila,Philippines

1335MABINI

(solo)

Ermita,

And’the’Rest’is’History 1335MABINI(solo) Manila,Philippines Dusted National Commission#on Culture and the Arts (group). Manila, Philippines Curated by Mr. Noel Farol Sa’Kabilang’Banda’ Kaida Contemporary (group) Quezon City, Philippines ‘Distant’Galerie Anna (group) Mandaluyong City, Philippines Curated#by Mr. Marco Malto 12 P27 July Noche’Buena’Office of Culture and Design (group) Makati City, Philippines Curated by#Mr. Xavier Mañosa Art’by’The’Square’Foot’ Vietnam University of FineArts & Ho Chi Minh City Fine#Arts Museum#(group) Hanoi, HCMC, Viet Nam. Curated by Mr. Roberto Defeo and Reynaldo Concepcion

149

Joseph Hopkinson WA LE S/ U K

Education 2014 - 2015 2008 - 2011

MA Ceramics, Cardiff Metropolitan University. BA (Hons) Ceramics, Cardiff Metropolitan University.

Selected Careers and Exhibitions 2014 2013 2012

2011

150

Art in Clay, Hatfield House. July 2014 Cardiff Open Studios, Fireworks Clay Studios. May 2014 Art In Clay, Hatfield House. August 2013 Interactive Dinner Party, La Perdrix, France. March 2013 Fragile in Transit!, Traveling Ceramic Group Exhibition. 20112012 Doodle Bar, London, England. Milkwood Gallery, Cardiff, Wales. Maxwell Street Studios, Belfast, Northern Ireland. Snug Gallery, Hebden Bridge, England. Arabia Museum, Helsinki, Finland. Bornholme Kulturuge, Denmark. Featured in Ceramics Now Magazine and BBC Radio Ulster. Grimmerhus, Danish Ceramic Museum. April 2012 Applehouse Gallery, Skaelskor, Denmark. March 2012 Project Network, Guldagergaard, Denmark. FebruaryMarch 2012 Fireworks Graduate Residency, Cardiff. 2011 Art in Clay, Hatfield House. August 2011 New Designers, London. JuneJuly 2011 573 Degrees, Made in Roath, Cardiff. October 2011 Graduate Show, Cardiff School of Art and Design. June 2011

Kawayan de Guia PHILIPPINES

Selected Solo Exhibitions 2015

2012

2011

2010

BEZOAR (NONLINEAR DRAWINGS) MO Space, Fort Bonifacio, Makati City HALSEMA AXIS ART PROJECT MO Space, Fort Bonifacio, Makati City COPY RIGHT Ben Cab Museum, Baguio City BUWAYA Visual Art Center, La Trobe University Bendigo, Australia A LOT OF SOUND AND FURY SIGNIFYING NOTHING The Drawing Room, Makati City BOMBA Vargas Museum, Quezon City

Selected Group Exhibitions 2015

2014

2013

2012

2011

WASAK Arndt, Berlin, Germany THE VEXED CONTEMPORARY MCAD, College of St.Benilde, Manila AFTER UTOPIA Singapore Art Museum, Singapore SECRET ARCHIPELAGO Palais de Tokyo, Paris, France B&W PAINTINGS AND DRAWINGS Bencab Museum, Baguio City MELTED CITY 2 Blanc Gallery, Quezon City RE:VIEW 2014 Bencab Museum, Baguio City IMPETUS 3: CONSTRUCTS OF ABSENCE Now Gallery, Makati City REMIX 5 Ben Cab Museum, Baguio City MANILA VICE Musee International des Artes Modestes, Sete’, France VOL DE NUIT Ho Chi Minh City, Vietnam THE MONA LISA PROJECT Cultural Center of the Philippines COLLECTORS SHOW Helutrans, Singapore MEDIA/ART: KITCHEN Ayala Museum, Makati City

PULSE LOS ANGELES The Event Deck at L.A LIVE, downtown Los Angeles CONFESSIONS OF A SINNER Manila Contemporary, Manila NOTHING TO DECLARE Blanc Compound , Manila SCOPE BASEL Kaserne Basel, Klybeckstr, BaselSTORIES OF DREAMS AND REALITIES: Rossi & Rossi, London, UK CONTEMPORARY ART FROM THE PHILIPPINES FAMILY MATRIX Jonju International Film Festival ,Korea HONG KONG INTERNATIONAL ART FAIR Hong Kong Convention & Exhibition Centre INDIA ART SUMMIT New Delhi, India ART STAGE SINGAPORE Marina Bay Sands, Singapore

Selected Awards 2012

2011

2010

2008 2004

ATENEO ART AWARDS Finalist (A Lot of Sound and Fury Signifying Nothing) Manila, Philippines SIGNATURE ART PRIZE Finalist (Bomba)Singapore Art Museum ATENEO ART AWARDS (Bomba)Manila Philippines ATENEO ART AWARDS Finalist (Katas ng Pilipinas) Ma nila, Philippines 2009 NOKIA ART AWARDS 13 ARTISTS AWARD Cultural Center of the Philippines ATENEO ART AWARDS(Incubator) Manila, Philippines OUTSTANDING CITIZENS AWARD OF BAGUIO CITY guio City, Philippines JUROR’S CHOICE, ASEAN ART AWARDSNational Museum, Bangkok, Thailand

2003

PHILIP MORRIS ASEAN ART AWARDS Metropolitan Museum, Manila

SHORT MEMORY The Drawing Room Gallery, Gillman Barracks, Singapore REMIX 4 Ben Cab Museum, Baguio City EVERYDAY OBJECTS Ben Cab Museum, Baguio City

151

Kyoko Uchida JA PA N

Education 2001

Graduated from the Crafts Department of Art at Osaka University of Arts subject Ceramic Art course

Selected Solo Exhibitions 2016,14,12,09,08,06,04 HEART FIELD GALLERY (Aichi) 2015 14 Juichigatugarou (Tokyo) 2015 Gallery noivoi (Aichi) 2013 Contemporary Art Museum Ise (Mie) Gallery Yuragi (Kyoto) 2011 03 ART SPACE NIJI (Kyoto) 2011 Tuki no Niwa (Aichi) Selected Group Exhibitions 2016,14,12,10 HEART FIELD GALLERY (Aichi) 2015,14,13 Kokushinndou (Aichi) 2015,16 Hiratobashi Park (Aichi) 2015,14 12 Kennsyouji (Aichi) 2014,13 Shigaraki Ceramic Cultural Park (Shiga) 2014 12 Syofukan (Aichi) 2014 Nagakute Cultual Center (Aichi) 2013 Hankyu UMEDA Art Stage (Osaka) Aichi Arts Center ART SPACE X(Aichi) 2012 Tuki no Niwa (Aichi) Kokushinndou (Aichi) Asuke Nichigetudou (Aichi)

152

Kyungwon Baek SO UTH KO RE A

Educations 2010 2013

B.F.A in Ceramic Art, Seoul National University M.F.A in Ceramic Art, Seoul National University

Solo Exhibitions 2014

Applehouse, Guldagergaard International Ceramic Research Center, Skælskør, Denmark Si Ki Jang _ Chung So Young’s Dining Collection, Seoul, Korea

Selected Group Exhibitions 2016

2015

2014

2012

2011

Kap-Sun Hwang und seine Schüler, Handwerk Galerie, Munich, Germany 360 Degrees of Separation, Purdue University Galleries, U.S Vivid Dream, ClayArch Gimhae Museum, Gimhae, Korea Traditional Alcoholic Beverages with Side Dishes, Arumjigi Museum, Seoul, Korea Flower Vase, Si Ki Jang _ Chung So Young’s Dining Collection, Seoul, Korea DARK LIGHT: Black and White Contemporary Ceramics, The Ceramic House, Brighton, U.K Keramik skabt på Guldagergaard i Algade 37, Skæskør, Denmark New Site-East Asian Contemporary Ceramics Exhibition, New TaipeiCity Yingge Ceramics Museum, New Taipei City, Taiwan White in White 2ndepisode, LVSGallery, Seoul, Korea The Moon and Six pence, Art Gallery U, Busan, Korea

2010

Contemporary Ceramic Art in Asia, Hongik Museum of Art, Seoul, Korea

Awards 2011

Winner, Cheongju International Craft Biennale, Korea

153

Ljubica Jocic Kneževic REPUBLIC OF SERBIA

Education 1998

B.A. Ceramic Artist, Faculty of Applied Art and Design, Belgrade Postgraduate studies, M.A. degree in Ceramic Art, ” Ceramic sculpture for interior and exterior of public spaces for society humanization and education” Faculty of Applied Art and Design, Belgrade, professor Velimir Vukicevic studied ceramic sculpture in Tajimi Pottery and Design Ceramic Institute (Isho ken), Japan, professor Harumi Nakashima. Enrolled in Doctoral Studies-PhD in Applied Art and Design, University of Arts in Belgrade. Docent Professor for Ceramic Art and Styles and techniques in Ceramics on Belgrade Art University, Faculty of Applied Art and Design

2001

2002 2013 2015

11 solo exhibitions and more than 90 group exhibitions in Australia, Italy, Spain, Japan, Croatia, Slovenia, Serbia, USA, Austria, Romania and Korea. Participated in many cultural exchange programs, guest lecturer, international art colonies, symposiums and panel discussions in Japan, Korea, USA, Russia, Slovenia, Swiss and Serbia and art expo- Collect,Saatchi Gallery, London, UK and SOFA,Chicago, USA.

1998, 2002, 2011 Honorable Mention diploma in Ceramic Art Section on 5th, 6th and 9th International Competition MINO, Japan 1998

2001

154

Buying Up Award on October exhibition of Fine Art, Belgrade

2003

Award of Museum of Applied Arts at the 11th treenail of Contemporary Serbian Ceramic Art, Belgrade, SCG

2003

Diploma in Applied Arts category, FUNKSHION competition, Belgrade, SCG

2006

Buying up award from Belgrade city hall

1998

For the best achievements in Ceramics at the Faculty of Applied Arts from the Ivan Tabakovic Foundation

Grand Prix on 33rd May Exhibition of Applied Arts and Design, Belgrade Buying Up Award, Museum of Applied Arts, for 33rd May exhibition

2002, 2004 Honorable Mention Diploma on 4th and 5th Mashiko international competition, Japan 2008 2009

Judges recommendation award, Mashiko international competition, Japan II Prize, Belgrade Ceramic Biennale

2010

First prize in exhibition categories 3-Ceramics and glass, International exhibition Art in miniature, Majdanpek 2010, Serbia

2013

Premio CERSAIE di Edi.Cer.S.p.A on the 58. Premio Faenza, Italy

2014

Honorable Mention by the Judges nominated by Monika Gass, Keramik Europas 13. Westerwaldpreis Selects award on SOFA expo, Chicago, USA

2016

Merit Award, Taiwan Ceramics Biennale 2016

Awards 2002

The First Prize in category Ceramics, Glass and Textile, on 5th international biennial of Miniature Arts,G. Milanovac, Serbia

Maria Volokhova UKRAINE/ GERMANY

Educations 2006

Artist in Lab“, Scholarship from „Art Association Sach sen - Anhalt“ Postgraduate Scholarship

2005

Selected Exhibitions 2014

2013

2012

2011

Anatomia Europy, Lodz Contemporary Tableware, Lillstreet Art Gallery, Chicago Salone Satellite, Milano European Ceramic Context, Bornholm Berlin Design Selection /Inventory, Miami Walking Chair Gallery, Vienna IM DIALOG MIT DEM BAROCK, Gallery Handwerk at Neues Schloss, Schleißheim REFUGIUM. BERLIN AS A DESIGN PRINCIPLE, DMY Berlin SALONE SATELLITE, Milano Aus Berlin, DMY in Cooperation with Gallery Diet, Miami, USA Talents 10+1, Tendence , Frankfurt BER-JFK, NoHo Design District, New York Kuriositeitenkabinet: Wondertooneel der Natuur, Lloyd Hotel & Cultural Embassy, Amsterdam Sweet Freaks, Trendshow at Maison&Objet, Paris GIC Biennale, Icheon, Republik of Korea “Materials Revisited” - 10. Triennale für Form und Inhalte, Frankfurt am Main La Seda, Berlin “Poetry Happens - Made in Berlin”, Milano DMY, Berlin “lieben was”, Shedhalle, Tübingen “Designersblock”, London

Awards 2014

2011

2007

Ready Set Award, runner up, Lillstreet Art Center, Chicago 2013 Diessen Prize for Ceramics Richard - Bampi Prize /nomination NASPA Prize for Ceramics / nomination Gyeongi International Ceramix Biennale / honorable mention BKV - Prize 2007 for Young Applied Arts

155

Masha Ru RUSSIA/ NETHERLANDS

Education 2007-2011 2008–2011 2002–2007

Eindhoven University of Technology, Mathematical Image Analysis, The Netherlands (PhD) Photoacademy Amsterdam, graduation with honors, The Netherlands (BA) Lomonosov Moscow State University, Computational Mathematics and Cybernetics, Russia (MSc)

Selected Exhibitions 2016

2015

2014

156

European Ceramic Workcentre (EKWC), Oisterwijk, The Netherlands (group) Tolhuistuin, Amsterdam, The Netherlands, ‘Mag het licht aan’ (festival) De Vitrine, Amsterdam, The Netherlands (solo) ++ NRW forum, Dusseldorf Germany, ‘Sustainica’ (group) Transnatural, Amsterdam, The Netherlands, ‘Regeneration: The Soil Movement’ (group) West Wednesdays, Kulter, Amsterdam, The Netherlands, ‘InsideOut’ (screening) ‘Eat*a*ble’, Eureka! - Science Festival, Amsterdam, The Netherlands ‘Age of Wonderland’, Dutch Design Week, Baltan Laboratories, Eindhoven, The Netherlands ‘InsideOut’, Museum Night, Jugendstiltheater Klagenfurt, Austria ‘InsideOut’, 6th Moscow Biennale of Contemporary Art, Moscow, Russia ‘Are u Real @ Kulter’, A Lab, Amsterdam, The Netherlands ‘Surrounding Education’, de Appel arts centre / TAAK, Amsterdam, The Netherlands ‘Eat*a*ble’, Holland Festival Young Academies #1, Amsterdam, The Netherlands ‘Casting Doubts’, Mediamatic, Amsterdam, The Netherlands ‘Secrete Doctrine’, The Bookstore project space, Amsterdam, The Netherlands ‘Reflection’, LTArt.NL, Amsterdam, The Netherlands ‘Eat*a*ble’, Punt WG, Amsterdam, The Netherlands ‘Inventing everyday life’, Manifesta side-program, St-Petersburg, Russia ‘Nothing disappears, everything transforms’, Voronezh Center for Contemporary Art, Voronezh, Russia ‘High-Touch’, Contemporary Art Center Sokol, Moscow, Russia

2013

2012

2011

‘The Moving Museum of Clothes’, Centre of Education and Culture, Amsterdam, The Netherlands ‘All the attitudes, all the shapeliness, all the belongings’, RAM gallery, Rotterdam, The Netherlands ‘No Land’s Men’, De Punt, Amsterdam, The Netherlands ‘Bestiary’, Voronezh Center for Contemporary Art, Voronezh, Russia Reframe photography festival, Gallery Pennings, Eindhoven, The Netherlands ‘First Book’, Tsaritsyno Museum, Moscow, Russia ‘New Beginning’, Gallery ‘Placa’, Sveti Lovreč, Croatia ‘Perfect-Imperfect’, Slideluck Potshow III, curated by Erik Kessels, Oude Kerk, Amsterdam, The Netherlands ‘Sounds of the sea’, Museo Maritimo, Bilbao, Spain ‘MAP Photo’, Festival de la photographie de Toulouse, France ‘Eyephonography #3’, FNAC Castellana Madrid, Spain ‘Smoothie’, De Balie, Amsterdam, The Netherlands ‘The Visual Sound of Music’, Witte de Withstraat, Amsterdam, The Netherlands ‘Oog in Oog’, Fotogram, The Netherlands ‘TPPA’, The Hague museum of photography, The Netherlands ‘Oog in Oog’, Kunstkapele, Amsterdam, The Netherlands ‘Discontinuity’, The House of Rising, Amsterdam, The Netherlands ‘Salon Glue’, Sauna Gallery, London, UK ‘Gateway to the future’, Het Grachtenhuis, Amsterdam, The Netherlands ‘Rotterdam museum night’, Fotogalerie Rotterdam, The Netherlands

Awards/Grants 2015 2015 2014 2014 2014 2013 2013 2012 2011 2011 2009

Mondriaan Fund, Grant for Established Artists Creative Industries Fund NL, E-Culture, Starters Grant The Amsterdam Fund for the Arts (AFK) KPN, fellowship Rijksakademie Mondriaan Fund, Beurs Praktijkverdieping Prins Bernhard Cultuurfonds, Peter Paul Peterich Fonds Mondriaan Fund, Beurs Praktijkverdieping Volkskrant magazine nomination, TPPA ELLE nomination, TPPA GUP nomination, TPPA Viewbook conceptual photostory: 2nd public prize

Mohamad Rizal Salleh M A L AY S I A

Education

Awards

M.A. Studio Formative Arts (Ceramic), School of Art, Nagoya University of Arts, Nagoya, JAPAN. Graduation – March 2009

Major Award, Penang Art Open, MALAYSIA – 2015

B.A. (Hons) Art and Design (Ceramic), Faculty of Art and Design, Universiti Teknologi MARA, Shah Alam, Selangor Darul Ehsan, Malaysia. Graduation – May 2006 Diploma in Art and Design (Ceramic), Faculty of Art and Design, Universiti Teknologi MARA, Shah Alam, Selangor Darul Ehsan, Malaysia. Graduation - April 2004

Best Student’s M.A., School of Art, Nagoya University of Art, JAPAN – 2009 The Art Issue Awards, 1st Japanzine Art Issue, JAPAN – 2009 Grand Prix, ‘The 4th Decorated Terracotta Competition’ JAPAN – 2009 Grand Prix, ‘The 3rd Decorated Terracotta Competition’ JAPAN – 2008 Special Judge’s Award, ‘CBC New Artist Talent’, JAPAN – 2008

2016 2015 2014 2012

2011 2010 2009

2008

Best Student’s B.A. (Hons.) Art and Design (Ceramic), UiTM Shah Alam – 2006 The 7th International Ceramic Contemporary Exhibition, Balai Seni Visual Negara, Kuala Lumpur, Malaysia ‘Harapan’, Balai Seni Lukis Negeri Pulau Pinang, Malaysia ‘Ilham - FSSR’, Galeri Seni Shah Alam, Selangor Darul Ehsan

Gold Prize Award, Nagoya University of Arts (Ceramic Degree Exhibition) – 2006 ‘Upstart 05’ Nokia Creative Arts Awards, (finalist) – 2005

‘Urbanisation’, Galeri Seni Tuanku Nur Zahirah, UiTM Shah Alam ‘Ilham VI’, Pelita Hati Art Gallery, Kuala Lumpur ‘Bicara Sifu’, Petronas Art Gallery, Kuala Lumpur City Centre ‘Timbul’, Pelita Hati Art Gallery, Kuala Lumpur Nagoya University of Arts – Graduate Exhibition, Yada Gallery, Nagoya, Japan Foreign Artist’s Exhibition – Nagoya International Center, Nagoya, Japan The Exhibition of The 4th Decorated Terracotta, Hekinan Art Museum, Japan The Exhibition of The 3rd Decorated Terracotta, Hekinan Art Museum, Japan CBC New Artists Talent, CBC Gallery, Nagoya, Japan

157

Nadya Savitri INDONESIA

Education 2007 – 2009 2007 2004 – 2006

1999 – 2004

2010 Tokyo University of The Arts, majoring in Ceramic Craft (MFA). Research student at Tokyo University of The Arts, majoring in Ceramic Craft. Faculty of Visual Art and Design, Visual art department, Institut Teknologi Bandung, majoring in Visual Art (master degree). Faculty of Fine Art and Design, Design department, Institut Teknologi Bandung, majoring in Ceramic Craft (bachelor degree).

Solo Exhibitions 2010

“Ambivalensi”, Platform3, Bandung.

Selected Group Exhibitions 2007

“M1 Projects: Shinmatsudo Gyouten Geijutsu, a part of Toride Art project 2007, Matsudo central park, Chiba prefecture.

2008

“The Romance of Three Kingdom : 2008 China, Japan and South Korea New Century Pottery Art Exhibition”, China.

2009

158

“The Third Annual Alien Exhibition: Foreign Artist Making Work in Japan”, Tokyo University of The Arts Union Gallery, Tokyo, Japan. “Short Circuit: The Book and The Guts”, Asumu Gallery, Tokyo, Japan. “The 57th Tokyo University of The Arts Graduation Works Exhibition”, The University Art Museum, Tokyo, Japan. “Contemporary Archeology: Group Exhibition of 15 Young Sculptors from Bandung”, SIGIarts Gallery, Jakarta. “IN DE KOST”, workshop and exhibition at Selasar Sunaryo Art Space, Bandung. “Jakarta Contemporary Ceramic Biennale 1, North Art Space, Jakarta.

2011

“Bandung Initiative 5 : Veduta”, Vanessa Art link, Jakarta. Halimun : The Mist, A reflection upon the development of Indonesian contemporary art”, Lawangwangi Art and Science estate, Bandung. “Recent Art from Indonesia: Contemporary Art Turn”, S.Bin Art Plus, Singapore. “Percakapan Masa”, National Gallery, Jakarta. “Reality Effect”, National Gallery, Jakarta. “Shopping”, Nadi Gallery, Jakarta Art District. “Unnatural Selection”, Kendra Gallery, Seminyak, Bali. “S. Sudjojono dan kawan-kawan”, Kita Gallery, Bandung. “Bandung Contemporary Art Awards (BaCAA) ”, Lawangwangi Art & Science Estate, Bandung. “1001 Doors : Reinterpreting Tradition”, Marketing gallery Ciputra World, Jakarta. “Homo Ludens #2”, Emmitan CA Gallery, Surabaya.

Awards 25 Best works, Bandung Contemporary Art Award, Lawangwangi Art & Science Estate, Bandung.

Nao Matsunaga JA PA N / U K

Educations 2005 â&#x20AC;&#x201C; 2007 1999 -2002

Awards MA, Royal College of Art BA (Hons), University of Brighton

Selected Exhibitions 2015

2014

2013

2015 2013 2012 2010 2008 2007

Bursery, Art Council of Norway Winner, British Ceramics Biannual Award Windgate fellowship for ASU residency Winner, Jerwood Makers Open 2012. Shortlisted, Arts foundation fellowship for Ceramics, Bursary, Cove Park, Scotland. Bursary, Anglo Sweden society Maintenance Grant, Leverhume trust

Standing On The Verge/Live Up, (Solo) British Ceramics Biennial Mumbo Jumbo Kathedral, (Solo) Galleri Format, Oslo, Norway Monster Rock Circle, (Solo) Marsden Woo, London Selected byâ&#x20AC;Ś Limoncello, London Live Up/Blank Totem, London Design Festival Victoria & Albert Museum, London Ceramic Object, Galarie Format, Oslo, Norway Mixed Display, Marsden Woo Gallery, London Award Show, British Ceramics Biennial, Stoke-on-Trent, UK Sculptural Ceramics, Pangolin, London We Are New Here, Arizona State University Museum, Combine studios, Phoenix AZ, USA (solo)

2012 My Primal Memory, Daiwa Japan House, London (solo) Stones and Bones, Marsden Woo Gallery, London (solo) Jerwood Makers Open 2012, Jerwood space, London (Cat) Touring show 2011

Modern Languages, Galway city museum, Ireland (Cat) Modern Languages, National craft gallery, Kilkenny, Ireland British ceramic Biannual, Stoke-on-Trent. Introducing; Nao matsunaga, Kerry Jameson, Dawn Youll Marsden Woo, London Gallery artists show, Marsden Woo, London

159

Panca Dz INDONESIA

Education Bachelor of Design, Bandung Institute of Technology (ITB) Majoring Product Design Selected Exhibitions 2015

2016 2015

2014

2013 2012

2011 2010

MAKER’S MARK, Jogja Contemporary, Yogyakarta BLESS THIS BLOCK, Platform 3, Bandung Selected Group Exhibitions YOGYA ANNUAL ART, Sangkring Gallery, Yogyakarta ELABORAR, Perky Pedro, Bandung VOID, Langgeng Gallery, Magelang NOW: Here – There – Everywhere, Semarang Contemporary Art Gallery, Semarang ART INSIGHT, Artelier Gallery, Malaysia MANIFESTO 4 , National Gallery, Jakarta TRIBAL:RITE OF PASSAGE, Jakarta JAKARTA BIENALLE DESIGN & CRAFT, National Gallery, Jakarta BAZAAR ART, jakarta PRISMATIC VIBE, Fang Gallery, Jakarta INTERFACE: BANDUNG, Valentine Willy, Malaysia WHAT DO PICTURE WANT, Art:1 Gallery, Jakarta SWEET AGONY, dia.lo.gue artspace. Jakarta ART & MOTORING, National Gallery, Jakarta POSE HISTORIA , Vanessa Artlink, Singapore LETS BOUNCE, Jakarta Art District, Jakarta DRAWING THE DAY AFTER TODAY, Padi Artground Bandung UNSEGMENTED, Gallery Kita, Bandung RECREATExREPRESENTxREALITY, Soemardja Gallery, Bandung TRIBUTE TO S.SUDJOJONO, Maranatha Gallery, Bandung SOEMARDJA DESIGN WEEK, Soemardja Gallery, Bandung

Awards 2014 2015

160

ANUGERAH ADIRUPA IV CITRARAYA – 3rd Prize BANDUNG CONTEMPORARY ART AWARD IV - Semi Finalist

Pei-Hsuan Wang TA I W A N

Education 2012 2010

MFA, Cranbrook Academy of Art—Bloomfield Hills, MI, USA BA, Macalester College—Saint Paul, MN, USA

Solo Exhibition 2015 2014

2013

Like Paradise／天堂一一般, Jiang Shan Yi Gai Suo— Hsinchu, Taiwan Mobile Scapehood／膜拜境戶,FreeS Art Space,— Taipei, Taiwan Formation No.1: On Levitation／實驗漂浮的構 Bamboo Curtain Studio—Taipei, Taiwan Closer to Home／埠口,Tainan National University of the Arts, North Gallery—Tainan, Taiwan

Selected Group Exhibitions 2015 2014 2013 2012

2011

The Way to Healthy Living／養生之道, Howl Space+Absolute Space—Tainan, Taiwan Miniature Residence／微型居所, Fang Suo Commune—Guangzhou, China Functionality and Formation, 21th Century Museum of Contemporary Art—Kanazawa, Japan Degree Show, Cranbrook Art Museum Bloomfield Hills, MI, USA Chromophobia／懼色狂, Forum Gallery—Bloomfield Hills, MI, USA Off the Wall, Studio Couture—Detroit, MI, USA

Selected Awards/Grants 2013 2012-2013 2011-2012 2011

APPortfolio Selection, APPortfolio (www.apportfolioasia.com]) Dorchester Fellowship, Rebuild Foundation Merit Scholarship, Cranbrook Academy of Art Mary B. Bishop and Francis S Merritt Scholarship, Haystack Mountain School of Crafts

161

Richard Streitmatter-Tran VIETNAM

2012 EDUCATION 2003

2009

BFA. STUDIO FOR INTERRELATED MEDIA (SIM), GRADUATION WITH DISTINCTION. MASSACHUSETTS COLLEGE OF ART. BOSTON, UNITED STATES RMIT INTERNATIONAL UNIVERSITY VIETNAM . HO CHI MINH CITY, VIETNAM

2011

ROYAL MELBOURNE INSTITUTE OF TECHNOLOGY. GRADUATE CERTIFICATE IN TERTIARY TEACHING

SELECTED SOLO EXHIBITION 2015

2013 2009

2004

DIA PROJECTS. HCMC, VIETNAM (2015) A MATERIAL HISTORY OF MAN AND ANIMAL. INSTALLATION, SCULPTURE AND DRAWING. ART SPACE HUE. PAJU, KOREA (JUNE 2013) MATERIAL TURN. SCULPTURE AND DRAWING. KANDADA ART SPACE. TOKYO WHERE THERE IS LEFT, LET THERE BE RIGHT. VARIOUS WORKS-IN-PROGRESS. L’ESPACE, CULTUREL CENTRE FRANÇAIS DU HANOI BODY FRAME/VIDEO FRAME. VIDEO INSTALLATION AND PERFORMANCE

2012

2010

2013

162

2008 PALAIS DE TOKYO. PARIS, FRANCE. “SECRET ARCHIPELIGO”. CURATED BY KHAI HORI. 2ND NANJING INTERNATIONAL ART FESTIVAL. CHINA “A BEAUTIFUL NEW WORLD”. CURATED BY ELEONORA BATTISTON. ART STAGE SINGAPORE. “EAGLES FLY, SHEEPS FLOCK: BIOGRAPHICAL IMPRINTS - ARTISTIC PRACTICES IN SOUTHEAST ASIA”. CURATED BY KHIM ONG. MAM PROJECTS - WOMENS ART MUSEUM. HANOI, VIETNAM “DOUBT AND BELIEVE” EXHIBITION OF NGUYEN SON AND R. STREITMATTER-TRAN.

SINGAPORE ART MUSEUM (SAM). SINGAPORE V IDEO, AN ART, A HISTORY 1965-2010. A SELECTION FROM THE CENTRE POMPIDOU AND SINGAPORE ART MUSEUM COLLECTIONS. ASIA TRIENNIAL MANCHESTER 2011. INSTITUTION FOR THE FUTURE. CURATED BY BILJANA CIRIC WITH THE CHINESE ARTS CENTRE. GUANGZHOU TRIENNALE 4. ART DOMAIN MIGRATION. CURATED BY MARGARET ZHANG, GUANGDONG MUSEUM OF ART.

AWARDS

SELECTED GROUP EXHIBITION 2015

VIP ART FAIR (NEW YORK). “LIGHTNING STRIKING AT BOTH ENDS OF THOUGHT” NETWORKED PERFORMANCE. VILE/RATS IN COLLABORATION WITH TERENCE KOH, GALERIE THADDEUS ROPAC (SALZBURG/PARIS). SINGAPORE ART MUSEUM (SAM). SINGAPORE PANORAMA: RECENT ART FROM CONTEMPORARY ASIA. MANZI ART SPACE. HANOI DE RERUM NATURA (ON THE NATURE OF THINGS)

2005

2003

2000

ALUMNI AWARD FOR OUTSTANDING CREATIVE ACHIEVEMENT MASSACHUSETTS COLLEGE OF ART, BOSTON, MASSACHUSETTS. ASIA SOCIETY ASIA 21 YOUNG LEADER & DELEGATE ASIA SOCIETY ASIA 21 YOUNG LEADER’S SUMMIT. JAKARTA, INDONESIA TEACHER OF THE YEAR AWARD RMIT UNIVERSITY VIETNAM. RECIPIENT. MARTELL CONTEMPORARY ASIAN ART RESEARCH GRANT MEDIATING THE MEKONG. FOR THE ASIA ART ARCHIVE. HONG KONG. RECIPIENT. RON PLAZECK THEATER ARTS AWARD MASSACHUSETTS COLLEGE OF ART. BOSTON, MASSACHUSETTS. RECIPIENT. ROY H. BROWN SCHOLARSHIP MASSACHUSETTS COLLEGE OF ART. BOSTON, MASSACHUSETTS.

Ryota Shioya JA PA N

Education 2001,2002

Won a Tama Art University Scholarship

2003

Graduated from Ceramic course in Department of Craft at Tama Art University

2005

Completed graduate studies in the Plastic Arts and Mixed Media course in the art studies at University of Tsukuba

2011-2012

Japanese Government Overseas Study Programme for Artists / The Florence Academy of Fine Arts

Solo Exhibition 2012 2009 2007 2005

Prioria di San Lorenzo, Montelupo Fiorentino, Montelupo/Italy Gallery 6zbo Tokamachi/Niigata Ondi , gallery Idaten, Yanaka / Tokyo Galerie Tokyo Humanite lab, Kyobashi / Tokyo

Group Exhibition 2012

2011

“ HitoTeMa Installation / Workshop” CoBALTO Fiesole/Italy “ HitoTeMa Installation / Workshop” Cortyard of [Accacdemia di Belle Arti di Firenze] , Florence/Italy “ 25anni ANNIVERSARIO ERASMUS” MACRO Testaccio Rome/Italy “ StArt Point 2011/2012 ‘LONTANO DA DOVE’” Centro per l’Arte Contemporanea Luigi Pecci, Prato/ Italy “ AQA” PRESENT ART SPACE, Florence/Italy “ HitoTeMa Installation / Workshop with Esagonale” ARIA art gallery, Florence/Italy “ StArt Point 2011” Gallery EX3, Florence/Italy “YELL FOR TOHOKU” Yamatogawa brewery Aizuwakamatsu,Kitakata/Fukushima “Architecture with Art” KAKIAN at Suzuki Koumuten, Machida/Tokyo “EN Project” Suzuki Koumuten, Machida/Tokyo “AMABIKI 2011 Winter” district of Takaku, Washijyuku and Nakane, Sakuragawa city Sakuragawa/ Ibaraki

163

Sarah O’Sullivan AUSTR ALIA

Education 2015 2010-2013 2012

2007-2008

2003-2006

Working 925’ 14 week introductory course to silver-smithing, JamFactory Centre for Contemporary Craft and Design, Adelaide Bachelor of Art Education (incomplete) University of New South Wales (COFA), Sydney

2015

2014 2013 2008 2007

164

Wild Ones, Council of Objects, Adelaide

2015

Beyond Limitations, Clayarch Museum, Gimhae, South Korea Clunes Ceramic Award, Finalist, Union Bank Arts Centre, Clunes City of Hobart Art Prize, Finalist, Tasmanian Museum and Art Gallery, Hobart Turn, Turn, Turn, 60yrs of Ceramics at the National Art School Gallery, Sydney BeLonging, Australian Ceramics Triennial, Australian National University, Canberra

2014

2013

Bachelor of Fine Arts (Honours), National Art School, Sydney One Semester exchange, Glasgow School of Art, Scotland Skeleton drawing class, 10 weeks at the Australian Museum, Sydney

Selected Solo Exhibition 2016

2016

Masters of Fine Art (Ceramics), National Art School, Sydney

Adobe Creative Suite Digital Fabric Design, Ultimo TAFE, Sydney

2009

2005

Certificate III, Micro Business Operations, MTC Australia, Sydney

Certificate IV, TAE40110 Training and Assesment, Management Institute of Australia, Sydney

2011

2005

Selected Group Exhibition

2012

2011

Perminerala, Sarah O’Sullivan and Debbie Gallulo, Bondi Pavilion Gallery, Sydney Facets of Cerulean, Council of Objects, Adelaide Natura, Sarah O’Sullivan and Angus Fisher, Berrima Art Space, Berrima The Blue Line, Sarah O’Sullivan and Alexandra Standen, Mansfield Ceramics Gallery, Sydney Vestige, Craft, Melbourne Arboretum, Sabbia Gallery, Sydney Relocation, JamFactory Atrium, Adelaide Migration, Mura Clay Gallery, Sydney

Back to the table, Sturt Gallery, Mittagong Port Hacking Potters Prize, Hazelhurst Regional Gallery, Sydney 15.02.14 Art Month, Home@735, Sydney Emporio Armani Travelling Exhibition, Perth, Melbourne, Sydney Finalist, Sunshine Coast Art Prize, Noosa Regional Gallery, Tewantin Finalist, Ceramics Decal Award, Whitehorse Artspace, Box Hill Light and Lightness, VM Art Gallery, Karachi, Pakistan Artisans in the Gardens, Royal Botanical Gardens, Sydney Emporio Armani, National Art School, Post Graduate Exhibition, NAS, Sydney FONAS Plate Auction Fundraiser, NAS Cellblock, Sydney Make Your Mark, Breathing Colours, Sydney Lust, Brenda May Gallery, Sydney Missing Pages, Library Stairwell Gallery, NAS, Sydney FONAS Plate Auction Fundraiser, NAS, Sydney Make it, Gaffa Gallery, Sydney Resolution, Breathing Colours, Sydney

Awards/Grants 2015 2014 2013 2012 2011 2008 2006

Creative Industries Career Fund, Copyright Agency Beyond Limitations, Korean Mentorship Program Waverley Artist Studios, Six month residency Storrior Onslow Paris Residency, FONAS ArtStart Grant, Australia Council Emporio Armani Travelling Exhibition Award The NAS Aboriginal Art Centre Internship Program Object Gallery and Australia Council Mentorship, three month funded mentorship with Ceramic Artist Robin Best Andrew Pethlebridge Award Mura Clay Gallery Award

Soe Yu Nwe M YA N M A R

Education 2015 2013

MFA in Ceramics, Rhode Island School of Design (RISD), Providence, RI BFA in Art, Albion College, Albion, MI

Selected Exhibition 2016

2015

2014

The Tree of Life: 4th Southeast Asian Ceramics Exhibition, Ayala Museum, Makati, Philippines (pending) -selected to present Myanmar 22nd Annual Juried Exhibition of Modern and Contemporary Arts, Korean Cultural Center, Los Angeles, CA (Jurors: Max Presneill and David Bailey) (pending) Ceramics Triennial, Woods-Gerry Gallery, RISD, Providence, RI (pending) Solo Exhibition, Nature Reclaiming, Genesee Center for the Arts and Education, Rochester, NY(pending) Nature Gone Wrong, Drive-By Projects, Watertown, MA (pending) Solo Exhibition, The Self Reconfigured, Munro Gallery, Albion College, MI Solo Exhibition, Cold Bloom: Wintersession Ceramic Residency Exhibition, Metcalf Gallery, RISD, Providence, RI Two Persons Exhibition, Dialectics of Self, A. Thomas Ferreira Gallery, California State University, Long Beach, CA (Collaboration with Jungmok Lee) Working Artist in Residence (WARP) Exhibition, Artpark, Lewiston, NY [catalogue] 12th Annual Marge Brown Kalodner Graduate Student Exhibition, The Clay Studio, Philadelphia, PA Spring Wound (Graduate Thesis Exhibition), Rhode Island Convention Center, Providence, RI Kinsey Institute Juried Art Show, the Grunwald Gallery of Art, Indiana University, Bloomington, IN Of Earth (locally generated NCECA exhibition), Anchor Providence, Providence, RI

Biomimicry, Science Center, Brown University, Providence, RI [catalogue] Steal This Art, Granoff Center, Brown University, Providence, RI College Collective, Firehouse Gallery at Genesee Pottery, Rochester, NY (Jurors: Will Contino and Mitch Messina) Just Kiln Me (Ceramics Graduate Student Exhibi

2012

2011

tion), Sol Koffler Gallery, RISD, Providence, RI The Jenks Society for the Lost Museum in collaboration with artist Mark Dion, Rhode Island Hall,Providence, RI [catalogue] 2013 Ceramics Triennial, Woods-Gerry Gallery, RISD, Providence, RI Albion College Senior Art Major Exhibition, Albion College, MI Michigan Small Colleges Art Exhibition, Alma College, Alma, MI The Michigan Mud Juried Student Competition, Michigan Ceramic Arts Association, Delta College, University Center, MI Michigan Ceramics: 2012 Biennial Exhibition and Competition, Birmingham Bloomfield Art Center Robinson Gallery, Birmingham, MI (Juror: John Glick) Michigan Small Colleges Art Exhibition, Olivet College, Olivet, MI Michigan Mud 2011 Juried Student Show, Washtenaw Community College, Ann Arbor, MI Michigan Small Colleges Art Exhibition, Adrian College, Adrian, MI

Awards Association of Independent Colleges of Art and Design Post Graduate Teaching Fellowship, AICAD, Providence, RI, 2016 (nominated) Ceramic Wintersession Residency Award, Ceramic Department, RISD, RI (2015) Toby Devan Lewis Award, RISD, RI, Spring 2015 (nominated) Clay Club Scholarship, RISD, RI (2014-2015) Departmental Representative for Art School Haystack Collaborative, Ceramic Department, RISD, RI (2014) RISD Scholarship, Ceramic Department, RISD, RI (2013-2015) Outstanding Senior Art Major Award, Albion College, MI (2013) Whoâ&#x20AC;&#x2122;s Who among Students in American Universities and Colleges, Albion College, MI (2013) Scholarship Award, Michigan Ceramic Art Association, MI (2012) Third Place Award, Michigan Small Colleges Exhibition, Olivet College, Olivet, MI (2012) Honorable Mention, Michigan Small Colleges Exhibition, Olivet College, Olivet, MI (2012)

165

Takashi Hinoda JA PA N

Education

2014

1968 Born in Kobe-city, JAPAN. 1987-1991 Studied Ceramics at Osaka University of Arts, B.A.” 1994-1995 Joined Artists in Residence Program at Shigaraki Ceramic Cultural Park for ayear. 2002Teaches at Kyoto Saga University of Arts. 2010 Awarded Kyoto Prefecture Cultural Encouraging Prize. 2012 Nominated for”Artaq 3rd Street Art & Urban Arts Awards” (France)

2013

Currently lives and works in Kyotanabe-city, JAPAN. Selected Solo Exhibitions 2016 2015 2014 2013

2012 2011 2010 2009 2008 2007 2006

“Shades Of The World”Elsa Art Gallery,Taipei,Taiwan “Takashi HinodaCéramiques”ArianaMuseum, Geneve, Switzerland “Dust in a Vortex in a Vortex Swirling in a Vortex”imura art gallery,Kyoto “Unsounded Voices”DoladoBeach,Fist_Art Foundation presents,Puerto Rico “The Universe Once Was Mine”Elsa Art Gallery,Taipei,Taiwan “Old Pine, Conservatism” Galleria Finarte, Nagoya “Alternative Muscles”Imura Art Gallery, Kyoto “wound fever”Galleria Finarte, Nagoya “Allegory Exploded” INAX gallery 2,Tokyo “Allegory Transformed”Imura Art Gallery, Kyoto “Collapsing Perspective” Gallery ON ,Seoul,Korea “Oikos”Galerie 16,Kyoto “Collapsing Perspective” Galleria Finarte, Nagoya “Entartete”Galerie 16,Kyoto

Selected Group Exhibitions 2016

2015

166

International Animation Exhibition “Very Addictive - Re extension of Aesthetics in Daily Life” MOCA Yinchuan, China “Young Art Taipei”Sheraton Grande Taipei ,Taipei, Taiwan “Rencontre”The Museum of Ceramic Art, Hyogo “ARTISTIC PRACTICES Face up! @Art Fair Tokyo 2016 ”Tokyo International Forum,Tokyo ”OBJECTIF TERRE -18th edition of the Chateauroux international Bienniale of Ceramics” Chateauroux, France “Rokko Meets Art 2015”Mt.Rokko, Kobe-city

2012

2010

2009

“Scope New York” U.S.A. “Art Fair Kyoto” Hotel Monterey, 419-room,Kyoto “MondesCéramiques” Centre d’art des Pénitents Noirs /Aubagne,France “New Millennium Japanese Ceramics: Rejecting Labels & Embracing Clay”Northern Clay Center ,Minneapolis,U.S.A. “Art Fair Tokyo 2014” Tokyo International Forum,Tokyo “The 9th Paramita Museum Cearmic Art Grand Prize Exhibition”Paramita Museum, Mie “Yamato Dynamics”Mizuma Gallery,Gillman Baracks, Singapore “KSCA(Korean Society of Ceramic Art) International Spring Exhibition”Kangnam University ,Yongin,Korea “Crafting a Continuum: Rethinking Contemporary Craft ”Arizona State University Art Museum, Lobby, Lower Level South and Turk Galleries and the Ceramics Research Center “The International Prize of The Gyeonggi International Ceramic Biennale 2013”Halls 3, 4 - 3rd Floor, IcheonCeraMix Creative Center,Korea “ART TAIPEI 2013”Taipei World Trade Center, Exhibition Hall One,Taipei, Taiwan “Cho Kyoto 2013”Heisei Kyo-MachiyaKYOMO,Kyoto ”Fairytales, Fantasy, and Fear”Mnit Museum Craft+Design, North Carolina, U.S.A. “Ceramic/Figurative HirotoKitagawa,ShigekiHay ashi,TakashiHinoda” Takashimaya Department Store Art Gallery,Shinjuku andNihonbashi,Tokyo “Art Fair Tokyo 2012” Tokyo International Forum,Tokyo “Art Kyoto 2012”Kyoto International Conference Center, Annex Hall, Kyoto “Art Fair Tokyo 2010” Tokyo International Forum,Tokyo “SONAGI,Hare”KiMiArt,Seoul,Korea “PULSE New York”New York, U.S.A. “San Francisco Fine Art Fair”SanFrancisco,U.S.A. “Next Art Fair”Chicago,U.S.A. “Art Fair Tokyo 2009” Tokyo International Forum,Tokyo “Fragiles -Porcelain,Glass&Ceramics”Al-Sabah Art & Design , Kuwait “Treasure for the Future”Takashimaya Department Store,Tokyo and tour through Japan “Breaking the Mold : Contemporary Chinese and Japanese Ceramic Sculpture” Dennos Museu-

2008

Center, Michigan and tour, U.S.A. “Fragiles -Porcelain,Glass&Ceramics” Gallery 113, Kortrijk, Belgium “Utpia” Atelier Xiao-Dong ,Beijing, China “Masters of Disguise”Mint Museum of Craft + Design, North Carolina ,U.S.A. “RelaciónCerámica”Onomachi Department Store, Wakayama city “Asia Top Gallery Hotel Art Fair 2008” Hotel New Otani, Tokyo “Art+Design Fair 2008”Park Avenue Armory, New York, U.S.A. “True Grit -Frames,Fixations And Flirtations” McColl Center for Visual Arts,North Carolina, U.S.A.

2007

“SOFA NY 2007” Seventh Regiment Armory ,New York,U.S.A. “The Hands on Movement -Crafted Form in Dialogue” LiljevalchsKonsthall,Stockholm, Sweden “Asian Contemporary Art Fair New York 2007” Pier 92, New York, U.S.A. “Fragiles -Porcelain,Glass&Ceramics” Design Miami 2007, U.S.A.(Curated by Die Gestalten Verlag)

2006

“SOFA NY 2006 (International Expositions of Sculpture Objects & Functional Arts)” Seventh Regiment Armory ,New York ,U.S.A. “Takashi+2:East Meets East Takashi Murakami and Takashi Hinoda” Casa Nova Gallery ,Santa Fe, U.S.A. “SOFA Chicago 2006” Festival Hall, Navy Pier, Chicago, U.S.A. “Human Form in Clay- the Minds Eye “ Shigraki Ceramic Cultural Park, and tour through Japan.

Selected Public Collection Musée de la Ville de Vallauris, France. Shigaraki Ceramic Cultural Park Artist in Residence Program, Shiga,Japan. INAX Title Musuem ,Tokoname,Japan. The National Museum of Art ,Osaka,Japan. Arizona State University Art Museum Ceramic Research Center, U.S.A . Mint Museum of Craft + Design, North Carolina ,U.S.A. fist art foundation, Pueruto Rico RBC Wealth Management Art Collection,Minneapolis,U.S.A. MuséeAriana/Genève,Switzerland The Museum of Ceramic Art, Hyogo

167

Teri Frame U N I T E D S TAT E S O F A M E R I C A

Educations 2008 2005

Master of Fine Arts, The Pennsylvania State University, University Park, PA, Concentration: Visual Art Bachelors of Fine Arts, Kansas City Art Institute, Kansas City, MO, Concentration: Art History and Ceramics

Selected Solo Exhibition Raptors Reynolds Gallery, University of the Pacific, Stockton, CA, 2016. (forthcoming) Invitational Channeling Raptors Australian Ceramics Triennale Conference, Canberra, Australia, 2015. Invitational Avioanthropocenes and Other Hominids, Acorn Gallery, Clemson University, Clemson, SC, 2014. Traveler’s Tales: A Work in Progress, PlatteForum, Denver, CO, 2013. Window Project Digital Arts Entertainment Laboratory, Georgia State University, Atlanta, GA, 2012. Curator: Elizabeth Strickler Pre-human, Posthuman, Inhuman: Acts I-VI Tampa Convention Center, Tampa, FL, 2011. Alberta College of Art and Design, Calgary, AB Canada, 2011. Pre-human, Posthuman, Inhuman: Early Humans Kansas State University, Manhattan, KS, 2011. Invitational. Selected Group Exhibitions 50 Women: A Celebration of Women’s Contribution to Ceramics, The American Jazz Museum, Kansas City, MO, 2016 (forthcoming). Invitational. Curators: Anthony Merino, Alex Kraft. Makers, Mentors & Milestones, Location TBA, Kansas City, MO, 2016 (forthcoming). Curator: Keira Norton. Chromophobia, Grand Arts, Kansas City, MO, 2016 (forthcoming). Curator: Peregrine Honig Title TBA, Bunker Center for the Arts, Kansas City, MO, 2016 (forthcoming). Stepping Up Delegate Exhibition, Canberra, Australia, 2015. Invitational. Embodying Deferment/Empowering Difference, Roberta Avon Fiskum Gallery, Whitewater, WI, 2015. Better Culture and Literature: Issue 5, (on-line exhibition)

168

bettermagazine.org, 2014. Invitational. Not a Cup: Sculptural and Conceptual Ceramics, Indianapolis Art Center, 2014. Rapid Pulse International Performance Festival, Defribillator Gallery, Chicago, IL 2014. Invitational, Curator: Joseph Ravens NCECA Projects Space, Wisconsin Center, Milwaukee, WI, 2014. Jurors: Linda Ganstrom, Dawn Holder, Paul Sacaridiz Dark Matter: Palomar College Boehm Gallery 4th Ceramics Biennial, San Marcos, CA, 2014. Invitational, Curator: Sasha Reibstein, Roxanne Jackson GyeongGi International Ceramics Biennale, Special Feature Exhibition, South Korea, 2013. Invitational, Curator: Mi-Sum Rheem Earth Moves: Shifts in Ceramic Art and Design, Arvada Center, Arvada, Colorado, 2013. Jurors: Linda Ganstrom, Bebe Alexander, Collin Parson (catalog) VKunst Frankfurt V: Wherever You Are, Frankfurt, Germany, 2013. Jurors: Christoph von Low, Andreas Gruelech NCECA Biennial, Houston Center for Contemporary Craft, Houston, TX, 2013. Jurors: Cristina Cordova, Namita Gupta Wiggers, Richard Notkin (catalog) Video and Performance Screening, Foundry for Art, Design + Culture, Cohoes, NY, 2012. MIA, Armory Center for the Arts, Pasadena, CA 2012. Curator: Alanna Simone ArtPrize, Calder Plaza, Grand Rapids MI, 2012. Curatorial Team: Adoration Detroit No Rules: Contemporary Clay, Elmhurst Art Museum, Elmhurst, IL 2012. Invitational, Curators: Aaron Ott & Staci Boris (catalog) Selected Awards/Grants Lighton International Artist’s Exchange Program Award, 2015. University of Wisconsin-Whitewater, Professional Development Funding, 2015. University of Wisconsin-Whitewater, Professional Enrichment Funding, 2015. University of Wisconsin-Whitewater, First Year Programs Funding, 2015. NCECA Projects Space Honorarium, 2014. University of Wisconsin-Whitewater, Professional Enrichment Funding, 2014. University of Wisconsin-Whitewater Professional Development Funding, 2013. PlatteForum Honorarium, 2013. MacDowell Colony Travel Grant, 2013 Leon Levy Foundation Grant, 2012.

Thomas Quayle AUSTR ALIA

Educations 2006 2009 2012 2013

Macquarie fields high school Certificate IV Fine Arts Campbelltown TAFE National Art School Bachelor degree Ceramics major National Art School Honors degree Ceramics major

Selected Exhibition 2015

2014

2013

2012

Turn Turn Turn- National Art School Gallery Biggie smalls - Casula powerhouse Hell-o - Projects 107 redfern Sculpture inside - Bondi Sculpture by the sea - Bondi Hidden - Rookwood cemetary Atrophy - Air space projects The intimate whole - Corner Cooperative Dismemberment - Galleryeight Donâ&#x20AC;&#x2122;t allow the lucid movement to dissolve - Galleryeight A fresh perspective - Kerry Lowe Gallery National Art School display - Gulgong Memorial Hall Mudita jetsam - building 5 National Art School Emporio Armani National Art School Post Graduate exhibition National Art School Gallery Ink earth - Library stairwell gallery Graduate exhibition - National Art School Gallery and Ceramic studioâ&#x20AC;&#x2122;s 2011 Plate tectonics - Lunch box cafe Dirt people - building 5 National Art School

Awards 2014 2013 2012

Clitheroe foundation emerging artist mentor program Ceramics Art and Perception Prize N.E Pethebridge Award

169

Tomoko Sakumoto JA PA N

Educations

Awards

2000 2002

2009 2011

Selected Exhibition

2012

2011

2014

2012

2013

2014

2015

2016

Okayama University, B.F.A. Okayama Prefectural University, M.F.A.

170

Sakumoto tomokoʼ s object ʼ | gallery A-zone, Okayama Ceramica Viva - I ceramisti giapponesi premiati a Faenzaʼ | Istituto Italiano di Cultura di Tokyo, Tokyo & gallery VOICE, Gifu Enjoying Ceramic Art - Gourmet of Ceramic ʼ | The Shigaraki Ceramic Cultural Park, Shiga Rittai butsubutsu-tenʼ | Bunkamura Gallery, Tokyo TOMOKO SAKUMOTO EXHIBITION-Form From-ʼ | NAGI MUSEUM OF CONTEMPORARY ART, Okayama All kinds of Celamics - 20 Years of the Artist in Residence Programʼ | The Shigaraki Ceramic Cultural Park, Shiga Ceramica contemporanea giapponese in Italia : il Premio Faenzaʼ | Istituto Giapponese di Cultura in Roma, Italy Osaka Gallery Selection - The point of view of female artist -ʼ | Hankyu Umeda Main Store, Osaka A Way to Connect with the World - Ceramic Art to Look, See, and Feelʼ | Museum of Modern Ceramic Art, Gifu MINIMAL ARTʼ | Gallery A-zone, Okayama ART FAIR TOKYO 2014ʼ | Tokyo International Forum, Tokyo Méér kunst van het decoreren - Kunstenaars delen hun geheimenʼ | Keramiekcentrum Tiendschuur Tegelen, Netherland Tomoko Sakumoto Solo Exhibitionʼ | Gallery A-zone, Okayama Artists of Faenza + Eri Dewa + Tomoko Sakumotoʼ | Sekiguchi Museum, Tokyo FORM FROMʼ | TEZUKAYAMA GALLRY, Osaka

2nd Volvo Art & Design Competition, Award of Excellence The 5th World Ceramic Biennale Korea 2009, Selected 57th International Competition of Ceramic Art, Italy, Premio Cersaie Faenza 30th Chozasho Tokoname Ceramic Art Exhibition Prize, Selected 9th Marusen Culture Award 13th Okayama Arts and Culture Award, Grand Prix International Ceramics Festival Mino ‘14, Selected

Uji ‘Hahan’ Handoko Eko Saputro INDONESIA

Educations 2009

2012

MFA at the Faculty of Fine Arts and Design, Indonesia Institute of Arts,Yogyakarta – Indonesia

Selected Solo Exhibitions 2015 2014

2013

2012 2011

‘Sauce for Contemporary Art Problems’, Equator Art Projects – Singapore ‘Internationalism = Less Than 24 Hour Week End’, Darren Knight Gallery, Sydney – Australia ‘Dallas Art Fair’, Tristian Koenig – USA ‘Eat, Art, Sleep, Repeat!!!’, The Landmark Mandarin Oriental – Hong Kong ‘Graphite, Dust and Indian Ink of Hahan (and other art works)’, Equator ArtProjects – Singapore ‘Welkome Mate’, Project Gallery, Queensland College of Art, Griffith University, Brisbane – Australia ‘Blurred The Boundaries The Language of Fertile Ground’, Hurley )( Space,Bali – Indonesia ‘In Account Number We Trust’, Langgeng Gallery, Jakarta Art District – Indonesia

Selected Group Exhibitions 2014

2013

‘The 7th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art Queensland Art Gallery, Brisbane, Australia. ‘Marcel Duchamp In South-East Asia’, Equator Art Projects – Singapore ‘Gangster Nation’, Bazaar Art Jakarta, The Ritz Carlton, Jakarta – Indonesia ‘Fantasy Island’, Louis Vuitton, Marina Bay Sands – Singapore ‘Abandoned Trolley Project’ – Australia 2011 ‘Beastly of Indonesia Contemporary Art 2011’, Cemeti Art House, Yogyakarta Indonesia ‘BREST FEST 2012’, Center Cultural France, Yogyakarta – Indonesia ‘Jogja Agro Pop’, Jakarta Art District, Jakarta – Indonesia ‘The Alleys of a City Named Jogja, Primo Marella Gallery, Milan – Italy ‘3 PROJECTS BY DANIUS KESMINAS AND COLLABORATORS’, Monash University Museum of Art, Melbourne – Australia

Awards 2008

Top 30 Finalist: Sovereign Asian Art Prize, awarded by the Sovereign Art Foundation

2005

The Best Art Work of Dies Natalis ISI Yokyakarta 2XXI-2005, awarded by Indonesia Institute of Art

‘Jogja Agro Pop’, Equator Art Projects – Singapore ‘The List’, Campbelltown Arts Centre, Sydney – Australia ‘Art Basel Hong Kong 2014’, Arndt, Hong Kong Convention and Exhibition Center – Hong Kong ‘Do You Believe in Angels’, mo_space, Manila – Philippines & Equator Art Projects – Singapore ‘Art Stage Singapore 2014’, Marina Bay Sands – Singapore Jakarta Biennale 2013’ with Ace House Collective, Basement Jakarta Teater, Taman Ismail Marzuki, Jakarta – Indonesi ‘Dollanan #2’, Jogja National Museum, Yogyakarta – Indonesia ‘ABC Art Berlin Contemporary, Berlin – Germany ‘Sydney Contemporary 2013’, Equator Art Projects, Carriageworks, Sydney – Australia ‘Art Basel Hong Kong 2013’, Langgeng Gallery, Hong Kong Convention and Exhibition Center – Hong Kong ‘Art Stage 2013’, Marina Bay Sands – Singapore

171

ACKNOWLEDGEMENT

4TH JAKARTA CONTEMPORARY CERAMIC BIENNALE WOULD LIKE TO EXPRESS OUR HIGHEST GRATITUDE AND APPRECIATION TO THOSE WHO INVOLVED FOR THEIR CONTRIBUTION TO THE EVENT

Restu Imansari Kusumaningrum , Henny and Tulus Wichaksono (Bumi Purnati). Christina Lim, Tom H. Tandio. Kioen Moe , Evy, Sri, Eky, Aptian and crew Metro TV team . Veranika and big family of Wale and Taru. Inda C. Noerhadi and Cemara 6 Gallery-Museum. Enin Supriyanto, Ricky Pesik, Joshua Simandjuntak, Triawan Munaf (Bekraf ). Tubagus Andre Sukmana, Rizki Ayu Ramadhana, Afrina Rosmani, Desy and GNI team. Hilmar Farid, Steni, (Ditjen Kebudayaan). Pustanto Martono and Aris (Subdit. Seni Rupa). Team Studio Keramik Prodi Seni Rupa FSRD – ITB. Deni Yana and team ISBI Bandung. Adam Pushkin, Irma Chantily (The British Council –Jakarta). John Adsit, Puri Ardini (and Jenggala Team). Michela Linda Magri and Qissera el Thirfiarani (Istituto Italiano di Cultura). Robert Lejon and Sweden Embassy in Jakarta. Sapto Utomo Hidajat, Pamela Hidajat, Grace and Team Of Sango Ceramics – Semarang. Sujud Dartanto, Endang Lestari, Okta, Sidik and Arskala Principle Team. Timboel Rahardjo, Purnomo – Bantul. Dida Braja and Ari Ahadrian (SMKN14). Ade Darmawan, Reza ‘Asung’ Afisina and crew ruru Gudang Sarinah. Mia Maria. Nicholas Tan. Oka Mahendra, and Tanteri Ceramic Team. Agung Ivan and family. James de Rave, Abduh Azis, Irawan Karseno. Tita Djumaryo and Ganara Team. Tisa Granicia and Nuri Fatima (and Kandura Team). Shaula Supit (Erasmus Huis-Jakarta). Inge Santoso, Tommy Sutomo, Natasha Sidharta, Rachel Ibrahim, Amalia Wiryono. Nurul Komari , Barry, Diana, Femia, Kato, Puput, Yui (The Japan Foundation - Jakarta). Sarah Younan, Vipoo Srivilasa. Andonowati and Team Lawangwangi. Ade ‘Babab’ and Windy (Flashy). Argya Dhyaksa Nindita. Irawan Hadikusumo and Pararupa- Surabaya. Arif Yudi, Yumma Loranita Theo, Alghorie. Ginggi and Family of JAF. Achadiat Joedawinata and Ibu Rini. Pak Kuturan and Family- Pejaten Bali. Danuh and Galeri Soemardja team. Bayus Cargo-Bali. Feri Ametia Pratama, Rieza Numan and Aeroterrascan Indonesia. Aryo Wisanggeni, Carla Bianpoen, Richard Horstman, Kevin Murray, Dewi Ria Utari. Dedy Koswara, Ria Lirungan, Armand and MRA group). Vivi Yip, Ardini. Jongrye Tang and Debora Pesik (KCCI), Jeong-ok Jeon, and other individuals and group who helped and supported the 4th JCCB 2016.

172

THE COMMITTEE

Kepanitiaan / Organiser The 4 th JCCB 2016

Penggagas / Founders The JCCB Asmujo J. Irianto, Rifky Effendy

Director Rifky Effendy Artistic Director Asmudjo J. Irianto Curators Nurdian Ichsan , Rizki A. Zaelani Residency Coordinator Nia Gautama Assistants Akbar Adhi Satrio (FSRD-ITB) , Erik Rifky Prayudhi (ISBI-Bandung), Nadzifa Hidayati, Nesa Pratama, Natas Setiabudhi, Apri Susanto (Yogyakarta) Secretary Andi Nadya Aurora Finance Tania Kardin Editors Yacobus Ari Respati, Axel Ridzky Ramadhan English Translators Henny Roland, Yacobus Ari Respati Graphic Design Satrio Yudho, Yosefa Aulia Exhibitions Coordinators Puja Anindita, Eldwin Pradipta, Team GNI, Rizal Aziz Muhammad, Wildan Indra Sugara, Muhammad Zakiy Zulkarnaen Photography and Video Artists, Team of JCCB-4, Aero Visual Studio ( Bandung), Anjar Tanjung (Bali)

173

ACHADIAT STUDI O