Closing the Gap: Indonesian Contemporary Art by MiFA gallery

Angki Purbandono Ay Tjoe Christine Budi Ubrux Eko Nugroho Entang Wiharso F.X. Harsono Gusti Agung Mangu Putra Haris Purnomo I Gusti Ngurah Udiantara Jompet Kuswidananto Maria Indria Sari Prilla Tania Soni Irawan Samsul Arifin Sigit Santoso Tromarama Ugo Untoro Ugy Sugiarto Yudi Sulistyo

Published in association with the exhibition

indonesian contemporary art

January 20 – March 18 2011

Melbourne International Fine Art (MiFA) Level 1, 278 Collins St, Melbourne, 3000 Victoria, Australia w w w.mifa.com.au +61 3 9663 3304

Curators: Bryan Collie, Mikala Tai and Anita Archer Indonesian Consultants: Heri Pernard Art Management Exhibition Consultant: Santy Saptari Public Programs: Louise Joel Education Officer: Nicole Anderson Publicity: Lara Macpherson Design: Plug2Studio, Melbourne Editing: Anita Archer, Bryan Collie, Louise Joel and Mikala Tai Photography: MiFA Gallery - Pia Johnson / Artwork photography – Courtesy of Heri Permad Art Management Box Image: Eko Nugroho, (detail) Duo Petualang Berbulu, 2010, Installation, hardboard, embroidery, 300 x 600 cm

ISBN: 978-0-9807731-3-2

This catalogue is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission.

CONTENTS

INTRODUCTION BY BRYAN COLLIE, MIKALA TAI AND ANITA ARCHER

AMAR MAKRUF NAHI MUNKAR Do Good Deeds, Abandon Bad Ones BY RIFKY EFFENDY

THE ROLES OF PRIVATE INITIATIVES IN THE CREATION AND DEVELOPMENT OF ART IN INDONESIA BY SANTY SAPTARI

THE SOUTHEAST ASIAN ART MARKET 2005 – 2010: An Overview By PATRICIA CHEN

ARTISTS AND PLATES: AY TJOE CHRISTINE

SIGIT SANTOSO

ENTANG WIHARSO

UGO UNTORO

FX HARSONO

SAMSUL ARIFIN

SONI IRAWAN

EKO NUGROHO

BUDI UBRUX

I GUSTI NGURAH UDIANTARA

GUSTI AGUNG MANGU PUTRA

HARIS PURNOMO

UGY SUGIARTO

PRILLA TANIA

TROMARAMA

MARIA INDRIA SARI

ANGKI PURBANDONO

102

YUDI SULISTYO

106

JOMPET KUSWIDANANTO

108

BIOGRAPHIES A-Z

112

INTRODUCTION Since MiFA opened we have been keenly

heightened sense of community and an

aware that Indonesian contemporary

entrepreneurial spirit ; a society that

art has been sadly unrepresented in

has embraced the opportunities offered

Australia. It appears that despite our

by global technology and its information

geographic proximity to this culture

superhighway.

soaked archipelago Australians have had little exposure to the artistic explosion

The result is an artistic community rich

happening across the water. ‘Closing

in talent, vision and connection.

the Gap: Indonesian Contemporary Art’

community linked by an innate flow of

seeks to readdress this disparity and

creativity through the generations, be it

showcase the cutting edge of contemporary

dance, music, painting or words.

Indonesian art. With artists revelling

of artists who are not afraid to consider

in newfound freedom of expression their

their past, present or future and take

navigation of Indonesia’s political,

great pride in putting these ideas into

social and economic change has lead

a global arena.

to internationally lauded works of

our nearest neighbour, we in Australia

contemporary art. It is with great

may be one of the last to recognise what

delight and honour that MiFA, teamed with

a seminal time this is in their artistic

Anita Archer Fine Art, bring these works

development.

to Melbourne.

one has the privilege of witnessing art

A group

Whilst Indonesia may be

It is not often that

history in the making – think France The opening of MiFA in early 2010 set

in the 1880s or America in the 1960s –

the stage for serious discussion of this

but this is certainly such a time for

concept: an exhibition to encapsulate

Indonesian art.

the current state of contemporary Indonesian art, with representation from

It is with the greatest of pride

senior practitioners through to emerging

that MiFA brings ‘Closing the Gap:

talents, exploring the wide variety of

Contemporary Indonesian Art’ to

styles and subject matter in a concise

Australia.

and cohesive way.

destination, but a journey, one which we

In the end,

the

This exhibition is not a

artists were selected to illustrate

look forward to continuing to travel with

three themes: social, political and the

our Australian and Indonesian friends

personal; new realism; and new media.

into the future.

The premise behind the title was the idea of Closing the Gap which physically

Bryan Collie, Mikala Tai and Anita Archer

exists in the form of the Timor Sea and metaphorically exists in the form of cultural, artistic, political and linguistic differences between Indonesia and Australia. For the majority of Australians, Indonesia conjures up two very disparate images: sun soaked, party laden beaches in Bali; or media driven headlines and images of terrorism.

In reality, these

are the two absolute extremes.

between, lies a country drenched in

history and culture; a people with a

Do Good Deeds, Abandon Bad Ones Rifky Effendy

Amar Makruf Nahi Munkar:

The above title is taken from the Quran,

motive.”1

a teaching about the importance to do

One cannot deny the fact that S.

good deeds, a mark of a good Moslem.

Soedjojono has brought about changes and

Many passages in the Quran mention how

renewal in the modern Indonesian art

important it is to do good deeds and

consciousness and practice. His words

abandon bad ones, and how that defines

left a deep mark and their echoes are

a good Moslem. Like the majority of

still heard today. His famous term, “jiwa

Indonesians, I am also a Moslem, albeit

kethok” or the “revealed soul”, became a

perhaps not a pious one. There is,

canon in the later development of art. He

however, another reason that makes me

believed that a work of art should reveal

use the title. It was also the title of

its soul, which the artist must strive

a 1998 work by Agus Suwage, presented in

to explore and present, armed with his or

an exhibition at Galeri Padi Bandung, and

her belief in the country and love for

several years later it found its way to

it. Soedjojono wrote: “What is art? It’s

the artist’s black van, emblazoning the

very difficult to answer this question, as

car as a cut sticker.

difficult as explaining what electricity is. People can sense and use the power of

How art takes sides within the nation and

electricity, but they can’t explain what

the society

electricity actually is. The same is true for art. I can’t explain what art is, but

In this essay, the acts to do good deeds

perhaps I can show you examples of the

and abandon bad ones are more about

things that people have made, things that

themes in the Indonesian artwork. 1939

we acknowledge as the fruits of art. They

was a new beginning for the Indonesian

provide a glimpse to the realm of art,

world of art as S. Soedjojono (1914-

thus enabling us to perceive what art is.

1986), a founder and member of PERSAGI

If an artist makes a work of art, it is

(The Association of Indonesian Drawing

none other than the artist’s soul laid

Masters) affirmed that art and painting

bare. Art is the revealed soul. So, art

must take the side of the struggle

is the soul.”2

toward an independent nation, free from colonialism. Art and painting were thus

To Soedjojono, the choice to take up

free to find its own character and colour,

realism constituted an ideological

but they must still take the side of the

choice. He explained it in an interview

truth in relation to the reality of the

with Dr. Huyung, in an art publication

society.

issued in 1949. “Why do I choose realism?

Because it is more real to me. Had Soedjojono once said: “This is how we

Yogya been occupied by someone, I would

are. This is our reality. The painting

seize the real Yogya back. If I don’t

that has in their core the soul of

eat, I will have to eat rice, real

the reality, one that does not seek to

rice. If I want to claim sovereignty, I

find beauty in the ancient era of the

want real sovereignty, not a symbolic

Majapahit or Mataram kingdoms or in the

one. [Symbolism] is not fulfilling,

mind of the tourist, will last as long as

not real. European painting before the

the world exists. High art comes from our

Renaissance adhered to realism. At

daily realities, does not diverge from

the end of the day, such isms are just

the patterns of our lives, is processed

tools for expressions. Realism can’t

within the life of the artist, created

turn Indonesian painting bad. Cezanne

and tossed around in the camp of reality

once said, ‘Off with beauty, off with

regardless of moral or traditional

l’art pour l’art.’ But it was only a

values, has no intention whatsoever, and

reckoning for that time, to do away

encourages us through some profound inner

with the adventurers who relied on mere

Our

What is it that the artists today try to

art adventurers see modern painting and

defend or fight for?

followed suit, without understanding what

FX Harsono, an artist who was involved in

Cezanne had meant. We must therefore make

the New Arts Movement in the seventies

our own reckoning that is suitable for a

and experienced the cacophony of the

new philosophy: People need food.”3

Reformation Era wrote that there is a similarity between the conditions of

The acts of taking a stand and defending

today and those of the Persagi era, or

the truth thus take on an almost mystical

the early days of modern Indonesian

significance, a mantra of sorts, relying

painting. This similarity lies in

on something that exists between the

the tendency among the artists to

material and the intangible. “The people”

take a strong stance toward defending

and “the nation”, for example, are more

the people. They position the people

imagined entities that have arisen due

as an inseparable part of their

to the new nationalism. They are almost

artistic expressions. The artists

abstract, united by one state ideology

feel the constant stimulus to explore

and one official language, but in reality

communicative art idioms, armed with a

there are a multitude of ethnic groups,

certain social sensibility that would not

religions, languages, faiths, and even

give rise to art rejuvenation that is

perhaps ideologies in Indonesia. “The

based on mere technicality. Later artists

truth” for a nation or a people is a

still present social criticism and ideas

construction made by a group of people

pertaining to political, economic, social

with the political interest of forming a

and cultural issues. The themes they

country that was free from colonialism,

chose not only present the problems of

independent and sovereign. Perhaps what

the common villagers, but also talk about

the author Goenawan Mohamad wrote is

other social problems in modern life.5

of interest here: he thinks that the word “Indonesia” was in itself an act

Perhaps that explains a bit how the

of resistance, a challenge against the

Indonesian contemporary art is more

name of “Dutch Indies”. As each political

concerned about the social situations

moment at the time constituted a form of

and tensions within the nation rather

resistance, the moment one was prepared

than, for example, spirituality or

to go to jail, or to be cast away or shot

individualism. Global issues about Islam

dead, the word “Indonesia” was invariably

(or the Islamophobia) and the terrorism

hinted at.

that Indonesians have also experienced

find no place in their works. There was The search for the truth in the realities

a time when Islamic art or calligraphy

of the new society has always been taking

grew from abstract art, formalism and

place alongside the intellectual quest

decorativism that had germinated in the

among the Indonesian artists, starting

academic world in Bandung and Yogyakarta

from the artists from the leftist

from the 1960s to 1980s. That, however,

Lekra movement (the League of People’s

was considered as a mere anomaly in the

Culture), the GSRB (New Arts Movement),

Indonesian art world.

on to the artists of the Reformation Era. It is as if people believe that

The critic Trisno Soemardjo (1916 – 1969)

artists have strong antennae and must

once wrote an article for the exhibition

thus be able to capture vibes from the

of works by students of the art academy

society and sense the people’s problems,

in Bandung (the current Faculty of

subsequently using the signals they

Art and Design, Bandung Institute of

receive as an inducement for their

Technology) in 1954. In it he stated that

artistic travails.

formalism and abstract art adopted from

Do Good Deeds, Abandon Bad Ones Rifky Effendy

Amar Makruf Nahi Munkar:

techniques but with low morality.

Do Good Deeds, Abandon Bad Ones Rifky Effendy

Amar Makruf Nahi Munkar:

Western formalism should be immediately

considered as being far removed from

abandoned because they were not suitable

academic standards at the time, unruly,

for the social and cultural situations

banal and shrewd.

of the Indonesian society at the time. Trisno wrote that the works were only

Some members of the PIPA group would

processed within school walls, in a mere

subsequently join the New Arts Movement

laboratory (of the West)—a process he

(GSRB) initiated by FX Harsono (an

deemed artificial.6

important figure in the Black December incident) and Jim Supangkat. The GSRB

As Harsono has mentioned, proponents

issued an important manifesto that

of social realism who tend to lean

contributed much to new ideas in the

toward the political left rely on the

Indonesian art world, paving the way for

communicative aspect of the artwork by

further developments in the Indonesian

exploring new idioms that would enable

contemporary art. Essentially, the

the audience to feel involved. This

GSRB strove to bring art closer to the

does not necessarily mean the usage of

realities of life, armed with social

slogans as often found in resistance

awareness, conscience and artistic

posters or street protests, although they

freedom. GSRB members tried to open up

also use such elements in their works.

the space for artistic expressions,

Ronald Manullang and Haris Purnama, for

exploring a multitude of artistic

example, have developed works of realism

possibilities. They held performances

using images from the popular culture,

in public places, made works of

historical icons or art icons of the

installation, graffiti, multimedia works

West, as well as political icons. They

and many more. They helped pave the way

do this by employing the strategy of

for new realism or new photorealism.

appropriation and allegory. The struggle of identity in the midst of Manulang and Purnama were active in an

global temptations

art movement that took place in the seventies as members of PIPA (Kepribadian

The easy access to information due to the

Apa, or literally “What Personality”). It

advent of the internet and the progress

was an art movement that challenged the

of communication technology drastically

elitist system in art education at the

changed the practices of art in the

time and defied the efforts to move away

2000s, an era often called the “post-

from social realism due to the political

reformation” era. It especially affects

repression on anyone or anything deemed

how the artists perceive themselves

related to the communist party and Lekra.

within the art constellation and how they

This political repression was related to

are involved in the rapid circulation

the attempted coup on 30 September 1965,

of global imagery. In the social and

allegedly done by the communist party.

political arenas after the Reformation,

After the coup, Suharto and his New

Indonesia seemed to become a free-for-

Order regime tightened their grip on the

all territory, open for all kinds of

population. The PIPA group—consisting of

interests. As multi-party democracy

artists Dede Eri Supria, Gendut Riyanto,

and freedom of the press took hold in

Tulus Warsito, Wienardi, Budi Sulistyo,

Indonesia, the country encountered a

Bonyong Munni Ardhi, Slamet Ryadi,

range of problems that seemed to spring

Haris Purnama, Redha Sorana and Ronald

up in all aspects of life after the

Manulang, as well as two musicians, Jack

demise of the New Order regime. The

Dody and Sapto Raharjo—staged their

artwork at the time often presents or

protest by holding an exhibition that

hints at such chaos.

gave rise to controversies as it was

soldiers from the palace of Java (the

who through his mural works or other

Palace of Yogyakarta or Solo), with

idioms invariably hints at social

uniforms, headgears and weapons, but

injustice. He creates humans with

without the body and flesh. We can only

peculiar hands and heads: they have claws

hear the speaker blaring the sounds of

instead of hands, similar to those of

the drums. Jompet’s work presents a form

a scorpion, and their heads are shaped

of the syncretic culture between the

like an upside-down conical, wide-brimmed

Javanese and the colonial through the

bamboo headgear of a peasant. Sometimes

soldiers’ attributes but with imaginary

the heads are shaped like a factory, or

bodies. The cultural and political forces

sometimes they have helmets in place of

in the life of a nation are presented as

heads, just like superhero characters in

something intangible, a ghost that exists

Japanese anime. Nugroho often includes

in our daily lives without our realising

biting, multi-interpretative remarks in

it.

almost all his works. Meanwhile, works by Ay Tjoe Christine Entang Wiharso’s version of social

talk about subjects pertaining to the

reality is a different thing altogether.

dominance of a masculine culture within

He often presents harsh and expressive

the society, ingrained in the personal

works, with the objective of mocking

and spiritual experience of each person,

a group of people who he thinks

whether through doctrines of nationalism,

are creating problems. Meanwhile,

religious dogmas or teaching, or by any

Haris Purnomo presents paintings and

other means. Her works move toward a

installations of tattooed babies in

deeper, more profound realm, are very

realistic appearance, representing the

subtle in expressing her anxiety, with

chaos and anxiety in facing the future of

lyrical and poetic expressions. Works by

the nation.

Ugo Untoro, Budi Ubrux, Agung Mangu Putra and Sigit Santoso distinctly present

Their occupation with the problem of

fragments of problems encountered within

identity within the society leads some

the post-reform society, using their

artists to retrace their paths, trying

personal perspectives.

to find the root of the problem through themselves. In his latest projects, FX

Today, globalisation is a credo and

Harsono has been exploring the issue of

at the same time also a temptation.

political identity among Indonesians

It is a new visage that immediately

of Chinese descendants, especially in

moulds a post-modern culture. To the

terms of events of the past in which

young art practitioners who have become

they often became the scapegoats. In the

increasingly familiar with the digital

history of the republic, there had been

technology, the new media and advanced

two political events that victimized the

information technology, art serves as

Chinese Indonesians; i.e. the events in

an arena for self-articulation, in the

1965 and 1998. FX Harsono’s works seem

midst of the accelerating rhythm of the

to present the two events in a series of

era, while challenging and risking their

narratives that also serves to introduce

self-identities in the more fluid forms

to the public the search for identity

of imaginations. Video works by such

among the Chinese Indonesians.

artists as Prilla Tania and Tromarama, for example, betray the opposite approach

Jompet Kuswidananto talks about an

to the new media. Prilla Tania uses

interesting issue through his kinetic-

simple subjects from her surroundings

electronic installation, Java’s Machines:

and acts as an observer, combining the

Phantasmagoria, presenting a group of

real and the virtual, and sometimes we

Do Good Deeds, Abandon Bad Ones Rifky Effendy

Amar Makruf Nahi Munkar:

Take, for example, works by Eko Nugroho,

Do Good Deeds, Abandon Bad Ones Rifky Effendy

Amar Makruf Nahi Munkar:

can no longer differentiate between the

dysfunctional museums and the dominance

two. She also explores other art media

of the market. All of them act to make

such as photography, site-specific objects

the development of art in Indonesia

and performance works—and often all these

different from those of other countries,

different media are present in one work.

where institutions such as the museums as well as non-commercial organizations help

Stop-motion animation video from

to determine the direction in which the

Tromarama reveals the joy in the effort

art develops.

to bring life to elements from our surroundings such as domestic chinaware. Meanwhile, works by other artists such

Rifky Effendy is a writer and independent

as I Gusti Ngurah Udiantara, Bayu

curator, residing in Bekasi, West Java.

Yuliansyah, Sony Irawan, Samsul Arifin, Ugy Sugiarto, Yudi Sulistyo and Angki

objects, while experimenting with the

1 Sudjojono, S. (1946) Seni Loekis, Kesenian dan Seniman. Yogyakarta: Indonesia Sekarang 2 Ibid. 3 Siregar, A. TH. (2010) Senirupa Modern Indonesia: Identifikasi Permasalahan dan Analisis Wacananya. Unpublished Master’s Dissertation. Bandung: University of Technology Bandung 4 Mohamad, G.. (2009) Catatan Pinggir [online] available from http://caping. wordpress.com/2009/08/ [accessed 5.8.2010] 5 Harsono, F.X. (2009) Seni Rupa, Perubahan, Politik. Magelang: Langgeng, pp. 112 6 Wiyanto, H. (2007) ‘Terjepit Diantara Soedjojono dan Hopman.’ Kompas daily, 18

media—painting, photography or industrial

March

Purbandono betray the delight of selfarticulation in the midst of banal images. These artists seem able to conquer and re-interpret the global and rowdy images and transfer them into their artistic realm, albeit by risking the issue of identity. They find new iconography by taking and making use of popular imagery, comics or graffiti, as well as local and global icons. They then transfer these images and icons onto the canvas or into three-dimensional

objects or materials. Udiantara, Samsul, Ugy and Soni play with signs from a range of sources in the contemporary life. Bayu Yuliansyah works with pencil drawing and Yudi Sulistyo employs his mastery in painting and moulding three dimensional objects to create illusions of objects’ surface and material characteristics. Angki Purbandono, meanwhile, presents compositions of objects through scans. To close this essay, I wish to say that the development of Indonesian contemporary art continuously provides new challenges for the informed observers. This is in line with the dynamics within the nation, the strengthening globalisation and the skewed reality in the Indonesian world of art especially in relation to the

weakness of art institutions, such as the

pikiran si turis, akan hidup terus selama

yang termaktub dalam kitab suci Al-

dunia ada. Sebab seni yang tinggi ialah

Qur'an, yang pada intinya sebuah ajaran

pekerjaan yang berasal dari hidup kita

tentang kebaikan, merupakan salah satu

sehari-hari, diolah di dalam kehidupan

ciri yang hanya dijumpai pada kaum

seniman sendiri, yang tidak keluar dari

Muslim; tidak ada pada umat-umat lain.

pola hidup sehari-hari dan diciptakan

Bahkan keistimewaan umat Islam justru

serta dilemparkan di kemah dengan tidak

dicirikan dengan adanya sifat amar

mengingat moral atau tradisi, juga tidak

makruf nahi mungkar. Banyak ayat yang

bermaksud ini dan itu, hanya mendorong

menyebut tentang amar makruf nahi mungkar

oleh satu paksaan dalam yang memaksa.”1

dan menggandengkannya dengan sifatsifat kaum Muslim. Saya, adalah seorang

Sosok Soedjojono- tak disangkal- membawa

muslim

pembaharuan dalam kesadaran dan praktek

yang juga dianut oleh sebagian

besar masyarakat Indonesia. Walaupun ada

seni rupa modern Indonesia dan kata-

beberapa tingkat atau kategori seorang

katanya masih terngiang keras dan

muslim di Indonesia, mungkin saya

membekas hingga saat ini. Ungkapannya

digolongkan yang tak begitu ta'at atau

Jiwa Khetok atau jiwa yang tampak,

dari golongan yang disebut disini kaum

menjadi kanon dalam sejarah perkembangan

abangan. Tapi juga karena kalimat Amar

kemudian. Jiwa tampak menjadi watak

Makruf Nahi Mungkar pernah digunakan dan

dari sebuah karya yang harus digali

menjadi judul sebuah karya perupa Agus

dan diwujudkan oleh seniman sendiri

Suwage pada tahun 1998, di Galeri Padi

dengan didasari oleh keyakinan seiring

Bandung, yang beberapa tahun kemudian

dengan tumbuhnya rasa kebangsaan. Ia

dituliskan dengan cutting sticker pada

mengungkapkan :

body mobil van hitamnya. “Apakah kesenian itu? Untuk menjawab Keberpihakan Seni Dalam Konteks Nation

ini susah sekali. Sama susahnya dengan

dan Masyarakat

memberi keterangan atau jawaban kalau orang bertanya: apakah listrik itu?

Membela yang benar, menjauhi yang

Orang bisa menangkap dan memakai kekuatan

salah adalah arti literal dalam bahasa

listrik, tetapi menerangkan apa listrik

Indonesia , dalam tulisan saya lebih

itu sebenarnya orang tak bisa. Begitu

diarahkan kepada pokok soal dari karya-

juga kesenian. Untuk menerangkan kesenian

karya seni rupa di Indonesia. Tahun 1939,

itu saya tidak bisa, tetapi barangkali

merupakan awal baru bagi perjalanan seni

saya bisa dengan jalan contoh-contoh

rupa, dimana S. Soedjojono (1914-1986),

dari buah-buah buatan orang yang sampai

pelukis PERSAGI (Persatuan Ahli Gambar

sekarang diakui sebagai buah kesenian

Indonesia) menyatakan dengan tegas, bahwa

membuka sedikit tabir dunia kesenian

pada prinsipnya seni lukis dan kesenian

sampai bentuk kesenian tadi bisa

haruslah berpihak pada perjuangan

terlihat. Kalau seorang seniman membuat

menuju bangsa yang mandiri, bebas dari

suatu barang kesenian, maka sebenarnya

kolonialisme, bebas mencari corak dan

buah kesenian tadi tidak lain dari

wataknya sendiri, namun haruslah berpihak

jiwanya sendiri yang kelihatan. Kesenian

pada suatu kebenaran berkaitan dengan

adalah jiwa kétok. Jadi kesenian ialah

realita masyarakat.

jiwa.”2

Soedjojono pernah mengungkapkan: ” Inilah

Maka baginya, corak realisme merupakan

keadaan kita. Inilah realita kita. Dan

pilihan ideologis, ia menyatakan di dalam

seni lukis yang berjiwa realita ini, yang

publikasi Kesenian pada 1949 dalam sebuah

tidak mencari kebagusannya di zaman kuno

wawancara dengan Dr. Huyung.

Majapahit atau Mataram atau pula di hidup

Membela Yang Benar , Menjauhi Yang Salah oleh Rifky Effendy

Amar Makruf Nahi Munkar:

Judul diatas diambil berdasarkan kalimat

Membela Yang Benar , Menjauhi Yang Salah oleh Rifky Effendy

Amar Makruf Nahi Munkar:

“Apa sebab saya pergi ke Realisme?

masyarakat baru, yang juga didasari

Realisme buat saya lebih reel. Kalau

pokok pikiran pergerakan intelektual

Yogya diambil orang, saya mau rebut

para seniman, mulai dari gerakan seniman

reel Yogya. Kalau saya tidak

LEKRA (Lembaga Kebudayaan Rakyat) ,

makan,

saya mesti makan nasi. Reel nasi. Kalau

Gerakan Seni Rupa Baru Indonesia (GSRB),

saya rebut kedaulatan, saya mau reel

hingga era reformasi. Seniman seperti

kedaulatan. Simbolis tidak mau. Tidak

juga diniscayakan memiliki antena,

kenyang, tidak nyata. Seni lukis Eropa,

dimana harus bisa menerima getaran

sebelum renaisans, menganut realistik.

atau sinyal persoalan masyarakat bisa

Akhirnya isme itu, hanya suatu alat untuk

ditangkap, dan kemudian menggerakan daya

berkata. Realisme tak dapat bikin buruk

artistik mereka. Lalu apa yang hendak

seni lukis Indonesia. Cezanne pernah

diperjuangkan atau dibela saat ini ?

berkata, Weg met de schoonheid, weg met l’art pour l’art. Ini adalah hanya suatu

F.X Harsono, sosok seniman yang pernah

afrekening pada waktu itu saja. Untuk

terlibat dalam GSRB didekade 1970-an dan

menghilangkan avonturir yang berteknik

juga mengalami hiruk-pikuk era reformasi

saja, tapi rendah moralnya. Avonturir

menuliskan dalam artikel-artikelnya

kita melihat moderne schilderkunst lalu

antara lain adalah adanya persamaan

ikut saja, tidak mengerti apa maksud

antara masa awal perkembangan (PERSAGI)

Cezanne. Dari itu, ada baiknya kita buat

hingga kini. Persamaan itu adalah sikap

afrekening, cocok dengan filsafat baru:

kepedulian dan keberpihakan yang kuat

“Rakyat butuh makan.”

pada rakyat. Alih-alih menempatkan rakyat

sebagai bagian yang tak terpisahkan dari Keberpihakan dan pembelaan terhadap suatu

ekspresi seninya. Maka seniman terdorong

kebenaran sebuah bangsa menjadi semacam

secara terus – menerus mengeksplorasi

suatu ajimat yang mistik, bersifat

idiom-idiom rupa yang komunikatif,

keniscayaan, ada dan tiada. Rakyat

dengan kepekaan sosial yang juga

dan bangsa misalnya,

melahirkan pembaruan yang bukan sekedar

lebih bersifat

entitas yang dibayangkan karena munculnya

keterampilan

nilai artistik belaka.

nasionalisme baru, nyaris abstrak ,

Belakangan para seniman tetap menampilkan

dengan satu kesatuan sebuah negara

tema kritik sosial dan ide penciptaan

berideologi dan berbahasa yang sama ,

yang berorientasi pada masalah politik,

karena nyatanya di Indonesia ada banyak

ekonomi, sosial dan kebudayaan. Tema-tema

suku , agama, bahasa dan kepercayaan

mereka tidak hanya menampilkan masalah

bahkan hampir mungkin ideologi. Kebenaran

rakyat kecil di pedesaan, tapi juga

bagi sebuah bangsa atau rakyat bersifat

soal ketimpangan sosial lainnya dalam

konstruksi yang dibangun oleh sekelompok

kehidupan modern.5

orang yang berkepentingan secara politik untuk membentuk negara yang bebas dari

Mungkin ini sedikit menjelaskan,

kolonialisme, merdeka dan berdaulat.

bagaimana seni rupa kontemporer Indonesia

Mungkin ungkapan

lebih banyak membicarakan tentang situasi

sastrawan Goenawan

Mohamad menarik; kata ”Indonesia”,

dan ketegangan sosial bangsa daripada,

menurutnya, dengan sendirinya sebuah

misalnya mencari persoalan dalam nilai-

perlawanan bagi kata ”Hindia Belanda”.

nilai keagamaan atau individualisme.

Karena setiap saat dalam aktivitas

Isu – isu global tentang dunia Islam

politik masa itu adalah perlawanan, kata

(atau Islamophobia) dan terorisme yang

”Indonesia” sudah tersirat ketika orang

juga dialami oleh masyarakat Indonesia,

siap masuk penjara. Atau dibuang. Atau

tidak mendapatkan perhatian khusus

ditembak mati.4

untuk diangkat dalam karya-karya mereka. Walaupun seni rupa yang bernada ke

Mencari kebenaran dalam realitas

Islaman atau kaligrafi yang bersumber dari

pemberangusan politik yang beralienasi

dan dekorativisme di akademi yang pernah

dengan partai komunis pasca G30 S PKI,

berkembang di Bandung dan Jogjakarta,

termasuk LEKRA, dan yang diperburuk

antara 1960 hingga dekade 1980-an, namun

dengan

hanya dilihat semacam anomali dalam

Suharto dan Orde Baru. Kelompok PIPA

perkembangannya.

terdiri dari Dede Eri Supria, Gendut

pengawasan ketat rezim penguasa

Riyanto, Tulus Warsito, Wienardi, Budi Bahkan kritikus Trisno Soemardjo (1916

Sulistyo, Bonyong Munni Ardhi, Slamet

â&#x20AC;&#x201C; 1969) pernah menulis artikel untuk

Ryadi, Haris Purnama, Redha Sorana,

sebuah pameran mahasiswa akademi seni

Ronald Manulang, dan dua musisi, Jack

rupa Bandung (ITB) tahun 1954, lebih

Dody and Sapto Raharjo. Memprotes dengan

tegas bahwa formalisme dan abstraksi yang

membuat pameran yang dianggap diluar

mengadposi cara pendidikan formalisme

kaidah akademik pada saat itu, ugal-

Barat untuk segera ditinggalkan karena

ugalan, banal dan kritis.

salah satunya tidak sesuai dengan situasi sosial - budaya masyarakat pada waktu

Beberapa dari anggota PIPA juga

itu. Trisno menulis bahwa karya-karya itu

bergabung dengan GSRB yang dimotori FX.

hanya diproses di antara dinding-dinding

Harsono (tokoh Desember Hitam ) dan

sekolah dan laboratorium (Barat) belaka,

Jim Supangkat. Lebih jauh GSRB membuat

suatu proses yang dianggapnya kunstmatig

manifesto penting yang menyumbangkan

(dibikin-bikin).

pemikiran-pemikiran baru dan konstruktif

bagi perkembangan seni rupa kontemporer. Seni realisme sosial yang lebih

Pada intinya mereka berupaya mendekatkan

condong ke arah politik kiri, seperti

kembali kepekaan sosial dan kebebasan

yang diungkapkan oleh Harsono diatas,

seni pada kehidupan nyata masyarakat dan

mengandalkan aspek komunikasi dengan

lingkungannya, sebagai konteks pokok

pencarian bentuk idiom-idiom baru

persoalan. Memberi ruang kebebasan untuk

untuk melibatkan apresiasi publiknya.

mengembangkan secara luas menjelajahi

Tapi bukan juga bentuk- bentuk slogan

kemungkinan artistik. Performance di

dalam poster-poster perjuangan atau

ruang publik, seni instalasi, grafiti,

protes jalanan, maupun papan reklame

multi-media dan lain sebagainya, yang

dan sebagainya, walaupun unsur-unsur

juga membidani kemunculan corak melukis

tersebut banyak digunakan sebagai

realisme atau fotorealisme baru.

elemen atau tanda-tanda bagi karya-karya mereka. Ronald Manullang, Haris Purnama,

Pergumulan Identitas Ditengah Godaan

misalnya, mereka secara artistik menyerap

Global

dan mengembangkan karya realisme melalui citraan yang banyak bersumber dari

Kemudahan -kemudahan informasi dengan

dunia populer , ikon â&#x20AC;&#x201C; ikon sejarah dan

berkembangnya teknologi internet dan

seni barat, maupun ikon politik dengan

komunikasi membuat wajah praktek seni

menggunakan strategi apropriasi dan

rupa banyak berubah di era 2000-an,

alegori.

atau disebut pasca reformasi. Terutama bagaimana cara para perupa melihat diri

Manulang dan Purnama terlibat aktif dalam

mereka dalam konstelasi dan terlibat

gerakan seni di era 1970-an , terutama

dalam sirkulasi citraan global yang

sebagai anggota PIPA (Kepribadian Apa).

bergerak cepat. Dalam ranah sosial-

Sebagai sebuah gerakan seni yang bereaksi

politik pasca reformasi, Indonesia

dan memberontak terhadap situasi dalam

menjelma menjadi wilayah yang seakan

sistem pendidikan seni yang cenderung

terbuka lebar bagi segala kepentingan.

elitis dan adanya upaya menjauhi bentuk

Dengan berjalannya demokrasi multipartai

seni realisme -sosial, akibat dari

dan kebebasan media massa, Indonesia

Membela Yang Benar , Menjauhi Yang Salah oleh Rifky Effendy

Amar Makruf Nahi Munkar:

perkembangan seni abstrak, formalisme

Membela Yang Benar , Menjauhi Yang Salah oleh Rifky Effendy

Amar Makruf Nahi Munkar:

dihadapkan pada berbagai persoalan

pencarian identitas masyarakat keturunan.

disegala sendi kehidupan pasca OrdeBaru. Kekusutan ini juga seringkali

Hal yang menarik direpresentasikan lewat

direpresentasikan melalui karya – karya

karya instalasi kinetik – elektronik

seni.

, Jompet Kuswidananto, dengan kaya Java's Machines : Phantasmagoria,

yang

Karya – karya Eko Nugroho misalnya,

menyajikan barisan tentara Keraton Jawa

melalui mural dan idiom lainnya, selalu

(Jogja atau Solo), dengan seragam,

menyentil persoalan ketimpangan sosial

topi dan senjata, namun tanpa daging

dengan caranya sendiri. Menciptakan

atau tubuh. Hanya suara tetabuhan yang

manusia dengan tangan dan kepalanya

terdengar dari sebuah pengeras suara.

yang aneh; tangan bercapit seperti

Karya Jompet menghadirkan sebuah kekuatan

kalajengking, kepala seperti caping (topi

budaya sinkretik, antara budaya Jawa

petani) terbalik atau sebuah bangunan

dan kolonial , secara simbolik dengan

seperti pabrik, bahkan menggunakan helm

menciptakan bentuk atribut tentara dengan

seperti sosok superhero dalam film Jepang.

ilusi dan tubuh imajiner. Disini pokok

Nugroho juga seringkali menuliskan teks-

soal tentang suatu kekuatan politik –

teks menyentil yang multitafsir pada

budaya dalam kehidupan sebuah bangsa,

hampir seluruh tubuh karyanya.

diwujudkan sebagai sesuatu yang taktampak, seperti hantu yang selalu ada

Persoalan realitas sosial versi Entang

dalam keseharian, disadari maupun tidak.

Wiharso berbeda, ia banyak menampilkan karya-karya secara garang dan keras

Sementara karya-karya perupa Tjoe

serta ekspresif, dengan tujuan olok-

Christine menengarai berbagai subjek

olok terhadap segolongan masyarakat yang

yang berhubungan dengan dominasi budaya

menimbulkan persoalan. Haris Purnomo

maskulinitas yang telah bersemayam

dengan menyajikan lukisan dan instalasi

dalam darah daging masyarakat sebagai

sosok-sosok bayi bertato berbagai simbol

pengalaman batin personal, apakah itu

dibadannya yang digarap secara realistik,

melalui doktrin nasionalisme, dogma dan

merepresentasikan tentang kekalutan

ajaran agama, maupun aspek kehidupan

dan kekhawatiran menghadapi masa depan

lainnya. Karyanya lebih memasuki ruang

bangsa.

yang lebih dalam lagi dan terasa subtil dalam memproyeksikan citra pergumulannya,

Pergumulan dengan persoalan identitas

dengan ungkapan yang lebih liris dan

masyarakat kemudian membawa sebagian

puitik. Karya – karya Ugo Untoro , Budi

seniman untuk kembali mencari akar

Ubrux, Agung Mangu Putra, dan Sigit

persoalan dari masa lalu melalui

Santoso, dengan caranya masing-masing

persoalan dalam diri. F.X Harsono

menghadirkan fragmen-fragmen gerak

dalam beberapa proyek terakhir menguak

perlintasan persoalan yang ada dalam

persoalan politik identitas masyarakat

masyarakat pasca – reformasi, lewat

keturunan Tionghoa di Indonesia, Terutama

berbagai sudut pandang personal mereka.

terkait dengan peristiwa masa lalu, dimana keberadaan mereka seringkali

Globalisasi adalah sebuah kredo dalam

dijadikan kambing hitam politik. Dalam

kehidupan saat ini dan sekaligus

sejarah sejak berdirinya republik,

godaan sebuah masyarakat. Wajah baru

setidaknya ada dua kejadian

yang serta – merta membentuk sebuah

politik

dengan korban masyarakat keturunan,

budaya post-modern. Bagi praktisi seni

peristiwa 1965 dan 1998. Karya Harsono,

generasi muda yang semakin dekat dengan

seolah mengangkat kedua peristiwa itu

teknologi dijital, media baru dan

dalam suatu rangkaian alur narasi yang

informasi, seni menjadi semacam wilayah

sekaligus untuk membawa publik suatu

untuk mengartikulasikan diri ditengah

tanda dari berbagai sumber disekitar

mempertaruhkan identitasnya dalam formasi

kehidupan mutakhir. Bayu Yuliansyah

imajinasi yang lebih cair. Karya

dengan drawing pensil dan Yudi Sulistyo

- karya

seperti Prilla Tania dan Tromarama, lewat

melalui kepekaan melukis dan membentuk

garapan-garapan videonya, memperlihatkan

yang menghasilkan ilusi -ilusi sebuah

perilaku terhadap media baru dengan

karakter permukaan dan materi benda-

cara sebaliknya. Tania memilih subyek-

benda, dan Purbandono yang menghadirkan

subyek yang sederhana seperti dari

susunan benda -benda melalui scanografi.

lingkungan sekitarnya, kadang berperan sebagai pengamat saja, dengan menyatukan

Akhir kata, perkembangan seni rupa

antara ruang nyata dan virtual, yang

kontemporer di Indonesia, semakin

kadang dalam beberapa hal tak lagi bisa

menantang untuk terus diamati. Seiring

dibedakan.

dengan dinamika ditubuh bangsa maupun globalisasi , dan juga realitas dalam

Selain karya video, Tania menjelajahi

dunia seni yang banyak ketimpangan,

juga medium fotografi, objek site –

terutama sehubungan dengan lemahnya

spesifik dan

institusi, seperti tak berfungsinya

performance, seringkali

medium ini sekaligus hadir dalam satu

museum dan hanya bersandar pada kekuatan

karya. Video animasi stop-motion dari

pasar. Semua aksi untuk mengembangkan

kelompok Tromarama, menghadirkan

seni rupa Indonesia berbeda dengan

kesenangan menekuni dan menghidupkan

negara-negara lainnya, dimana lembaga-

elemen – elemen yang ada dalam kehidupan,

lembaga seperti musium juga organisasi

apakah itu benda-benda keramik

yang bukan komersil (non-profit) membantu

domestik, maupun mahluk-mahluk fiksi

dalam menentukan arah perkembangannya.

dan lain sebagainya. Kesenangan baru dalam mengartikuliasikan diri ditengah kebanalan citraan ditunjukan oleh para

Rifky Effendy, Penulis yang bekerja

perupa seperti, karua-karya I Gusti

sebagai kurator independen tinggal di

Ngurah Udiantara, Bayu Yuliansyah, Sony

Bekasi, Jawa Barat

Irawan, Samsul Arifin, Ugy Sugiarto, Soni Irawan, Yudi Sulistyo, dan Angki Purbandono. Mereka seperti mampu menaklukan dan menafsirkan kembali citraan liar dan global kedalam ranah dunia artistiknya sendiri, walaupun tampaknya harus mempertaruhkan persoalan identitas. Mereka menemukan bentuk-bentuk ikonografi baru dengan banyak mengambil dan menggunakan citraan populer, komik, grafiti, maupun ikon-ikon lokal maupun global dan kemudian diangkat ke atas kanvas, atau olahan bentuk tiga dimensional. Disinilah kemudian mereka bersimulasi dengan medium, baik melalui

1 Sudjojono, S. (1946) Seni Loekis, Kesenian dan Seniman. Yogyakarta: Indonesia Sekarang 2 Ibid. 3 Siregar, A. TH. (2010) Senirupa Modern Indonesia: Identifikasi Permasalahan dan Analisis Wacananya. Unpublished Master’s Dissertation. Bandung: University of Technology Bandung 4 Mohamad, G.. (2009) Catatan Pinggir [online] a vailable from http://caping. wordpress.com/2009/08/ [accessed 5.8.2010] 5 Harsono, F.X. (2009) Seni Rupa, Perubahan, Politik. Magelang: Langgeng, pp. 112 6 Wiyanto, H. (2007) ‘Terjepit Diantara Soedjojono dan Hopman.’ Kompas daily, 18 March

lukisan, fotografi maupun dengan materi industrial. Udiantara, Samsul, Ugy dan Soni dengan memainkan dan bersimulasi dengan tanda-

Membela Yang Benar , Menjauhi Yang Salah oleh Rifky Effendy

Amar Makruf Nahi Munkar:

percepatan jaman sekaligus menantang dan

Santy Saptari

The roles of private initiatives in the creation and development of art in Indonesia

In the West public art institutions

of modern art and the Fatahillah Museum

play a tremendous role in supporting

in North Jakarta, accommodates another

the creation and development of art.

public collection of modern art which

First and foremost, they are custodians

belongs to the Jakarta City Council1.

of art: they collect and conserve

Both museums consist of relatively modest

artworks which testify to the greatest

art collections and emerged in the 1990s.

artistic achievements of national and

And while these public spaces have been

international artists. They also nurture,

a welcomed addition to the Indonesian

support and promote artistic careers by

art world they have made little, if any,

providing dynamic public space for their

influence on the burgeoning contemporary

works to be appreciated and communicated.

art world.

Hence, public art institutions are the epicenter of the Western art world

Interestingly, despite the absence of

as they collect, conserve and display

public institutions with high quality

important artworks of the times.

examples of modern and contemporary art

It is unfortunate, however, that this

like the case in the West, the Indonesian

important role of public art institutions

modern and contemporary art scene has

is less evident in countries such as

always been dynamic. For example, since

Indonesia where contemporary art has only

the 1990s, Southeast Asian art market has

been a recent development. In Indonesia

been dominated by Indonesian artists. In

public art institutions and other public

recent years, the presence of Indonesian

museums have always struggled with

artists has not only continued to grow

issues relating to funding, expertise and

but has demanded both commanding prices.

professional management, which to great

For example, in the list compiled

extent limit their potential and as well

by C-Arts magazine, 18 out of 30 top

as their credibility in the eyes of the

contemporary Southeast Asian artists in

public.

the market in 2008 were from Indonesia and their works contributed to the

These ongoing problems have prevented

earning of US$ 1, 959, 693 of US$ 2, 767,

public institutions in Indonesia from

4472.

reaching parity with their Western counterparts resulting in the Indonesian

How is that possible? According to Helena

contemporary scene having a starkly

Spaanjard, this reflects the reality that

different structure than that of the

for Indonesia, the modern art scene

Western art world. The idea of public

has mainly been stimulated by private

museums itself in Indonesia has never

initiatives, starting with Indonesia’s

been part of the culture.

first president, Soekarno3. Considerably

The public

museums that do exist are largely

the most important ambassador and patron

remnants of Dutch Colonialism without

of modern Indonesian art, he built

any connection to the people and are

Indonesia’s first private collection.

generally perceived as repository of

With a collection of approximately 3000

old dusty or even creepy objects. Many,

works of art4 his palaces were adorned

not surprisingly, are in dilapidated

with important paintings and sculptures

condition, with little attendance and

by Indonesia’s most famous artists.

often missing collections.

He befriended both local and foreign

artists who were at that time living in The two public art institutions located

Indonesia, mentored and appointed some

in the country’s capital city, Jakarta,

of them to be the presidential painters.

are the only of their kind in Indonesia.

He was such an influential art connoisseur

The National Gallery opened in 1998 and

whose taste has set a standard of art

houses several government collections

collecting in Indonesia. Until today,

Association of Indonesian Art Lovers

collection is works by Soekarno’s

to bring together different groups of

favourite painters. Soekarno’s five

collectors to discuss issues on the

volumes that document his art collection

development of art in Indonesia6. Some

remain, to this day, an important

of the activities they organized were

reference for many collectors.

art seminars and talks. Although topics

After Soekarno, the role of private

were often limited to art market but the

collectors were taken up by upcoming

attempt was imperative to fill the gap in

businessmen in the 1970s and 1980s which

generating discussions and intellectual

were buying works of art from artists,

discourses.

galleries or fine art auction houses . 5

This period witnessed the important role

The awareness of the needs for

of these private initiatives in hunting

disseminating information and knowledge

down and buying back works by Indonesian

associated with the development of

artists overseas. This collecting process

contemporary art in the country also

was also made easier by the fact that

prompted some initiatives in creating

many international auction houses, such

the first few art magazines dedicated to

as Glerum, Christies and Sothebys started

the art practice in Indonesia. In 2004,

to enter the market. Many collectors even

Visual Arts magazine was born. It was

went as far as Europe and USA to collect

at that time the first art magazine which

Indonesian art.

was professionally run and dedicated solely to focus on issues in contemporary

Beyond simply collecting art, many

art practice in Indonesia. In 2007,

collectors in Indonesia at that period

another magazine was launched, C-Arts

were also responsible for encouraging

magazine. Aiming a much broader audience

artistic production by providing artistic

the magazine is bi-monthly published

materials for creation of works. Their

in English to cover issues on the

involvement with the artist’s extended

contemporary practice in Asia, especially

to funding artists to travel to other

in Southeast Asia.

countries, such as Europe and the USA to visit different art museums, providing

The period also witnesses the

access to international art magazines and

proliferation of various art

books which gave the artists unparalleled

publications, often funded by collectors

exposure to art outside Indonesia. Dr.

wishing to document their collection.

Oei Hong Djien, notably one of the most

Although publications of art books are

influential collectors in Indonesia, was

quite often surrounded by controversies

one of those collectors who is known to

as many people cynically view them

have facilitated such opportunity for

as one way of enhancing the value of

many artists that he both collected and

works owned by a particular collector,

befriended.

such publications to some extent are imperative in term of documenting and

As the artistic development and the art

giving access to the public a glimpse of

market significantly grew in Indonesia in

the variety of Indonesian art which would

the early 2000s, the roles of private

be otherwise hidden from the public.

initiatives such as that of Dr Oei Hong Djien were broadened. Many collectors

Some of the most significant activities

started to develop the foundations of

initiated during the period were the

an art world that could sustain the

two art biennales held in Jakarta

development of contemporary art in

in 2003 and 2005 by several private

Indonesia.

collectives: the CP Biennales. Initiated

In 2002, several collectors

initiated an art association called

by Djie Tjianan, a prominent collector

Santy Saptari

The roles of private initiatives in the creation and development of art in Indonesia

the core collection of many collectors’

Santy Saptari

The roles of private initiatives in the creation and development of art in Indonesia

of contemporary Indonesian art and

still consider that at this moment in

supported by several important corporate

time, these places are still the best

and international art organizations,

alternatives to keep the works safe and

including among others, Prince Claus Fund

in good condition. Because interestingly,

of the Netherlands and Asian Cultural

despite the significant development of

Council Rockefeller Foundation, New York,

the contemporary art scene in Indonesia

these events managed to present works

in the past years, the country has not

by important local and international

acquired for itself a proper public

artists representing works in various

institution to collect, research,

mediums7. The events did not only give

display and write history of Indonesian

artists platforms to create works which

contemporary art, unlike Singapore

were non-commercial, but they provided

or Thailand, which have established

a comprehensive overview of the dynamic

for themselves international standard

and vitality of Indonesian contemporary

contemporary art museums. In essence the

art scene. Despite all these significant

role of the collector in Indonesia has,

efforts, many of the above activities are

for all extents and purposes, become

no longer initiated for various reasons.

similar to that of the Western public art

This also reflects one of the problematic

institutions as custodians of Indonesian

challenges in the Indonesian contemporary

contemporary art.

art world where many activities are often sporadic, inconsistent and not

If in the early days, the roles of

sustainable.

private initiatives fall many in the realms of collecting, mentoring and

Collecting, however, continues to be a

giving financial supports to artists, in

significant activity for many private

today’s art world, their roles are going

individuals in Indonesia and the most

one step further. These days, there

influential force in the Indonesian

seem to be an increasing awareness in

contemporary art world. As their

promoting and bringing Indonesian art to

collections grow, many collectors

the international levels. Hence in the

are confronted with a problem of

past few years, many witness the various

accommodating their collection resulting

efforts initiated by private individuals

in the opening of several private

and collectives in exposing Indonesian

museums in recent years in Indonesia

contemporary art to the international

and abroad. In Magelang, Central Java,

art world through exhibitions in foreign

we can find Oei Hong Djien Museum of

art institutions and participations

Modern and Contemporary Indonesian Art,

in regional and international art

which houses one of the most important

fairs. For example, in 2010 alone there

private collections in Indonesia with

were two major events featuring works

more than 1000 works of art by most

by Indonesian contemporary artists

famous Indonesian artists8. In Jakarta,

overseas. In March, 20 selected works

there is Rudy Akili Museum built in 2006

by contemporary Indonesian artists were

and in Singapore, there is Art Retreat,

on display at the 12th Paris Art Fair,

established by Indonesian collector Kwee

ARTPARIS+GUESTS 2010. An initiative

Swie Teng in 2003 whose vision among

which was made possible by a prominent

other is “to encourage public display

Indonesian collector, Deddy Kusuma. Just

of private collections” and “encourage

a few months after, works by several

collaborations with other private

Indonesian contemporary artists were also

collectors to exhibit their collections

exhibited at the Museum of Contemporary

in the museum” . Although access and

Art Shanghai from July to August. Under

research into the collections of these

the banner “Contemporaneity: Contemporary

museums are often rather limited, many

Art in Indonesia”, this exhibition

Santy Saptari is a Melbourne-based

collection of a well-known Indonesian

independent consultant specialises in

collector, Haryanto Adikoesoemo.

modern and contemporary Indonesian art

Collaborated with international top

and currently heads Santy Saptari Fine

curators, these two events were

Art that she established in 2010. She

initiated, managed and funded by these

has extensive experience in leading

private individuals. The combination

commercial and public institutions in

of affluence, influence and network of

Jakarta, Singapore and Amsterdam.

these private individuals has managed to realize such prestigious events which are clearly significant for the development of Indonesian contemporary art. Surely, efforts from private initiatives in the creation and development of art should not be underestimated. In fact, in a country where the roles of public institutions are less developed, private initiatives have arguably been a powerhouse in supporting the creation and development of art in many ways. They are more responsive and often provide answers to the arising needs of the local art trends and development as they are less confined with issues surrounding the state-run institutions, such as funding, bureaucracy or cultural and political agenda that have to be aligned to. Consequently, they have replaced the roles of public art institutions in collecting, conserving, nurturing artistic development and educating the public. Although these initiatives are driven by different motives which are often perceived negative, but nevertheless their supports are significant in facilitating, cultivating and driving the contemporary art scene. They fill the void and help realize potentials which would otherwise be lost.

1 Spanjaard, H. (2008) Indonesian Odyssey: A Private Journey Through Indonesia’s Most Renowned Fine Art Collections. Singapore: Equinox Asia, pp. 12 2 C-Arts: Asian Contemporary Art and Culture. (2008) ‘30 TOP SEA ARTISTS 2008’. C-Arts, Vol. 04, pp.74-79 3 Spanjaard, H. (2008) Indonesian Odyssey: A Private Journey Through Indonesia’s Most Renowned Fine Art Collections. Singapore: Equinox Asia, pp. 12 4 Tempo Online (2001) Dicari: Lukisan Koleksi Bung Karno [online] available from: http://majalah.tempointeraktif.com/id/ arsip/2001/01/29/INT/mbm.20010129.INT77300. id.html [accessed 13.09.2010] 5 Spanjaard, H. (2008) Indonesian Odyssey: A Private Journey Through Indonesia’s Most Renowned Fine Art Collections. Singapore: Equinox Asia, pp. 17 6 Saptari, S. (2010) Interview with Hauw Ming, Founder of Association of Indonesian Art Lovers. 15.09.2010 7 CP Foundation. CP Biennale [online] available from: http://biennale.cpfoundation.org/cpb_2005.html [accessed 13.09.2010] 8 OHD Museum (2008) OHD Museum of Modern & Contemporary Indonesian Art [online] available from: http://ohd-artmuseum. blogspot.com [accessed 13.09.2010] 9 Art Retreat: A Private Museum. Art Retreat [online] available from: http:// www.artretreatmuseum.com/main.htm [accessed 13.09.2010]

Santy Saptari

The roles of private initiatives in the creation and development of art in Indonesia

consisted of 25 works from the private

oleh Santy Saptari

Peran pihak-pihak swasta dalam mendorong pertumbuhan dan perkembangan seni rupa di Indonesia

Institusi-institusi seni pemerintah

merupakan penemuan bangsa-bangsa

di negara-negara barat, terutama

Barat dan bukan bagian dari kebudayaan

museum-museum seni, memainkan peranan

Indonesia. Museum-museum pemerintah

yang sangat penting dalam mendorong

yang ada di Indonesia pun sebagian

pertumbuhan dan perkembangan dunia seni

besar adalah peninggalan bangsa Belanda

rupa. Institusi-institusi tersebut

yang saat ini sering terlihat seperti

berperan sebagai custodians of art

kehilangan relevansinya dan sering kali

atau pemelihara yang mengoleksi dan

dipandang hanya sebagai tempat penuh

menyimpan karya-karya seni terbaik

benda-benda tua yang berdebu bahkan

hasil karya seniman-seniman nasional

menyeramkan. Tidaklah mengherankan jika

maupun internasional. Institusi-

banyak sekali museum-museum di Indonesia

institusi tersebut juga berperan besar

yang kondisinya sangat menyedihkan, tidak

dalam memelihara dan mengembangkan

hanya terbengkalai dan sepi pengunjung

karir artistik para seniman dengan

namun sering kali juga hilang atau rusak

menyediakan sarana dan prasana dimana

koleksinya.

hasil karya mereka dapat diapresiasi dan diperkenalkan kepada masyarakat luas.

Di Indonesia saat ini terdapat dua museum

Dengan demikian institusi-institusi seni

seni millik pemerintah yang terletak

pemerintah di Barat menjadi penggerak

di ibukota Jakarta. Galeri Nasional

utama dalam perkembangan dunia seni rupa

yang dibuka pada tahun 1998 menampung

Barat melalui pengumpulan, penyimpanan

beberapa koleksi seni modern Indonesia

dan pemajangan karya-karya seni penting

milik pemerintah; serta Museum Fatahillah

dari berbagai jaman.

di Jakarta Utara yang menampung koleksi seni modern Indonesia milik Dewan Kota

Sayangnya, peran penting dari institusi-

Jakarta1. Kedua museum tersebut memiliki

institusi seni pemerintah seperti yang

koleksi seni yang sederhana. Walaupun

diuraikan diatas kurang dapat dirasakan

keberadaan kedua museum tersebut

di negara-negara yang perkembangan

merupakan tambahan penting dalam dunia

seni rupanya masih terbilang baru

seni rupa Indonesia, sayangnya keberadaan

seperti di Indonesia. Institusi dan

mereka belum memberikan pengaruh yang

museum seni pemerintah di Indonesia

cukup besar dalam perkembangan seni rupa

pada umumnya masih terperangkap dalam

kontemporer di Indonesia.

berbagai masalah seperti minimnya dana, sumber daya manusia yang kurang memadai dan pengelolaan profesional yang pada akhirnya tidak hanya membatasi potensi lembaga-lembaga tersebut untuk berkembang namun juga mengurangi kredibilitas mereka di mata masyarakat. Sehingga institusi-institusi seni pemerintah di Indonesia tidak memiliki kedudukan yang sama seperti institusiinstitusi seni pemerintah di negaranegara Barat dan hal ini mengakibatkan dunia seni rupa Indonesia memiliki stuktur yang berbeda dibandingkan dengan dunia seni rupa di Barat. Secara historis, ide museum sebagai suatu tempat untuk mengumpulkan, menyimpan

dan meneliti suatu bidang studi, memang

Walaupun peranan lembaga-lembaga seni pemerintah sangatlah minim di Indonesia, namun perkembangan dunia seni rupa modern dan kontemporer di Indonesia sangatlah dinamis. Sebagai contoh, sejak tahun 1990an pasar seni rupa Asia Tenggara sebagian besar telah didominasi oleh karya-karya para seniman Indonesia. Dalam beberapa tahun belakangan ini, kehadiran karya-karya dari para seniman Indonesia tidak saja semakin nyata, namun karya-karya tersebut juga memiliki nilai yang semakin tinggi. Dari daftar yang dikumpulkan oleh majalah C-Arts, 18 dari 30 karya-karya seni kontemporer termahal di pasar Asia Tenggara pada tahun 2008 berasal dari Indonesia dan nilai karyakarya tersebut mencapai US$ 1, 959, 693 dari total US$ 2, 767, 4472.

Peran para kolektor ini tidak terbatas

Helena Spaanjard, hal ini menggambarkan

pada mengkoleksi karya-karya seni saja,

realitas dunia seni rupa Indonesia yang

namun mereka juga berperan penting dalam

sejak jaman seni rupa modern dahulu

mendorong penciptaan karya-karya seni

perkembangannya telah banyak dibentuk

dengan menyediakan berbagai bahan-bahan

dan digerakkan oleh pihak-pihak swasta,

untuk berkarya. Dukungan para kolektor

dipelopori oleh presiden pertama

terhadap para seniman juga termasuk dalam

Indonesia, Soekarno3. Soekarno bukan saja

konteks menyediakan dana bagi mereka

seorang duta seni dan art patron yang

untuk pergi ke luar negeri, seperti Eropa

paling penting dalam seni rupa modern

dan Amerika, untuk mengunjungi berbagai

Indonesia namun beliau juga adalah pihak

museum seni di negara-negara tersebut

swasta pertama yang membangun koleksi

dan juga memberikan akses ke majalah-

seni rupa Indonesia. Dengan koleksi

majalah seni rupa internasional yang

yang tidak kurang dari 3000 karya seni4,

saat itu masih relatif sulit didapat.

istana-istananya dihiasi oleh karya-karya

Dengan demikian, para seniman tersebut

seni penting dari para seniman terbaik

mendapat exposure yang luar biasa

Indonesia. Dia juga bersahabat baik

terhadap perkembangan seni rupa di luar

dengan banyak seniman, baik seniman lokal

Indonesia. Dr. Oei Hong Djien, yang

maupun seniman internasional yang saat

merupakan salah satu kolektor penting di

itu tinggal di Indonesia. Beliau juga

Indonesia, adalah salah satu kolektor

menjadi mentor dan mengangkat beberapa

yang memberikan kesempatan tersebut bagi

seniman untuk menjadi pelukis-pelukis

para seniman yang karyanya beliau koleksi

istana. Soekarno adalah seorang art

dan juga para seniman yang beliau kenal

connoisseur atau ahli seni yang sangat

baik.

berpengaruh sehingga selera artistiknya pun telah dijadikan acuan dalam

Ketika perkembangan artistik dan pasar

mengkoleksi seni rupa Indonesia. Hingga

seni rupa tumbuh secara signifikan pada

saat ini, koleksi utama banyak kolektor

awal tahun 2000an, peran-peran pihak

di Indonesia adalah karya-karya dari

pihak swasta seperti Dr. Oei Hong Djien

seniman-seniman kesukaan Soekarno. Buku-

menjadi semakin luas. Banyak kolektor

buku koleksi lukisan dan patungnya yang

mulai membangun pilar-pilar utama dunia

diterbitkan dalam 5 volume pun hingga

seni rupa yang diharapkan mampu menyokong

kini masih menjadi panduan bagi para

perkembangan seni rupa kontemporer

kolektor dalam mengkoleksi karya seni.

Indonesia.

Pada tahun 2002 misalnya,

beberapa kolektor berinisiatif

membangun

Setelah Soekarno, peran mengkoleksi

suatu asosiasi seni yang disebut

diambil alih oleh para pelaku bisnis di

Asosiasi Pecinta Seni Indonesia atau

tahun 1970 dan 1980s yang membeli karya-

ASPI untuk menyatukan visi dalam seni

karya seni dari seniman, galeri atau

rupa dan membahas isu-isu penting dalam

balai lelang5. Pada periode tersebut para

perkembangan seni rupa di Indonesia6.

kolektor pribadi ini berperan penting

Beberapa kegiatan yang diadakan adalah

dalam mencari dan membeli kembali karya-

seminar-seminar dan diskusi-diskusi seni

karya seniman tanah air yang terdapat

rupa. Walaupun topik-topik pembahasan

di luar negeri. Proses mengkoleksi ini

terkadang hanya terbatas pada isu-isu

dipermudah dengan adanya banyak balai

pasar seni rupa, namun inisiatif tersebut

lelang-balai lelang asing seperti Glerum,

cukup penting untuk mengisi kekosongan

Christies dan Sothebys yang mulai

pembahasan mengenai perkembangan seni

memasuki pasar di Indonesia. Banyak

rupa pada umumnya.

kolektor pada jaman tersebut bahkan pergi ke Eropa dan USA untuk membeli karya-

Kesadaran akan pentingnya penyebaran

karya seni rupa Indonesia.

informasi dan pengetahuan mengenai

oleh Santy Saptari

Peran pihak-pihak swasta dalam mendorong pertumbuhan dan perkembangan seni rupa di Indonesia

Bagaimana hal itu bisa terjadi? Menurut

oleh Santy Saptari

Peran pihak-pihak swasta dalam mendorong pertumbuhan dan perkembangan seni rupa di Indonesia

perkembangan seni rupa kontemporer

organisasi penting internasional antara

dalam negeri pun telah membuat beberapa

lain, Prince Claus Fund dari Belanda

pihak swasta menerbitkan beberapa

dan Asian Cultural Council Rockefeller

majalah seni rupa yang didedikasikan

Foundation, New York, kedua acara

khusus untuk membahas perkembangan

tersebut berhasil menampilkan karya-

seni rupa di Indonesia. Pada tahun 2004

karya penting dari seniman lokal dan

misalnya, lahirlah majalah Visual Arts

internasional yang berkarya dalam

yang pada saat itu merupakan majalah

berbagai medium7. Kedua acara tersebut

seni rupa pertama yang dikelola secara

tidak saja menyediakan para seniman

profesional dan secara khusus membahas

suatu platform untuk menciptakan

soal praktek dan isu perkembangan seni

karya-karya yang non-komersil, namun

rupa kontemporer di Indonesia. Pada

kedua acara tersebut juga memberikan

tahun 2007, terbitlah majalah C-Arts.

ikhtisar komprehensif akan dinamika

Untuk mencakup pembaca yang lebih luas,

dan kekuatan perkembangan seni rupa

majalah yang terbit setiap dua bulan

kontemporer Indonesia. Sayangnya banyak

ini pun muncul dalam bahasa Inggris

dari usaha-usaha penting seperti yang

untuk membahas perkembangan seni rupa

diuraikan diatas tidak lagi diadakan

kontemporer di Asia, terutama Asia

karena berbagai macam hal. Ini juga

Tenggara.

menggambarkan salah satu tantangan terbesar dalam seni rupa kontemporer

Pada masa-masa ini, berbagai pihak

Indonesia dimana banyak kegiatan-kegiatan

menerbitkan berbagai macam buku seni rupa

penting seringkali diadakan secara

yang sering kali diprakarsai oleh para

sporadis, kurang konsisten dan tanpa

kolektor yang ingin mendokumentasikan

kelanjutan.

karya-karya koleksinya. Sayangnya, penerbitan buku-buku seni rupa seperti

Meskipun demikian, kegiatan mengkoleksi

ini sering kali diiringi dengan berbagai

karya seni tetap menjadi kegiatan penting

macam kontroversi karena banyak orang

bagi banyak pihak pribadi di Indonesia

menilai penerbitan buku-buku semacam ini

dan menjadi salah satu kekuatan utama

hanyalah salah satu cara untuk mendongrak

yang berpengaruh dalam

nilai dari karya-karya yang dimiliki

dunia seni rupa kontemporer di Indonesia.

oleh para kolektor tersebut. Sebenarnya,

Seiring dengan pertumbuhan jumlah

penerbitan buku-buku tersebut memiliki

koleksi mereka, banyak kolektor mulai

makna yang cukup penting karena buku-buku

dihadapi dengan permasalahan untuk dapat

tersebut merupakan dokumentasi kekayaan

menampung koleksi-koleksi mereka. Hal ini

seni rupa Indonesia serta memberikan

mengakibatkan banyak dibukanya beberapa

akses kepada masyarakat luas untuk

museum pribadi dalam beberapa tahun

dapat melihat dan menikmati segelintir

terakhir, baik di Indonesia maupun di

dari kekayaan seni rupa Indonesia

luar negeri. Di Magelang, Jawa Tengah,

yang

perkembangan

tidak dapat dilihat dan dinikmati oleh

misalnya ada Oei Hong Djien Museum of

masyarakat umum tanpa kehadiran buku-buku

Modern and Contemporary Indonesian Art

tersebut

yang menampung salah satu koleksi pribadi

yang paling penting di Indonesia dengan Beberapa inisiatif signifikan yang

jumlah lebih dari 1000 karya-karya seni

diprakarsai oleh beberapa pihak swasta

para seniman terbaik di Indonesia8.

pada periode tersebut antara lain seperti

Di Jakarta ada Rudy Akili Museum

diadakannya dua biennale seni rupa pada

yang dibangun pada tahun 2006 dan di

tahun 2003 dan 2005, yang dikenal dengan

Singapura, ada Art Retreat yang didirikan

nama CP Biennale. Diprakarsai oleh Djie

oleh kolektor Indonesia Kwee Swie Teng

Tjianan, seorang kolektor seni rupa

tahun 2003, yang memiliki visi antara

terkemuka dan didukung oleh

lain untuk â&#x20AC;&#x153;mendorong koleksi-koleksi

beberapa

rupa kontemporer Indonesia ke dunia seni

dan â&#x20AC;&#x153;mendorong kolaborasi-kolaborasi

internasional, baik melalui berbagai

dengan berbagai kolektor pribadi untuk

pameran di institusi-institusi seni rupa

memamerkan koleksi-koleksi mereka di

di luar negeri maupun melalui berbagai

museumâ&#x20AC;? . Walaupun seringkali akses

partisipasi dalam bermacam-macam art

dan riset ke koleksi-koleksi dalam

fair regional maupun internasional.

museum-museum tersebut masih kadang

Sebagai contoh, pada tahun 2010 saja

kala terbatas, banyak yang beranggapan

telah diselenggarakan dua acara penting

bahwa setidaknya untuk saat ini, tempat-

yang menampilkan karya-karya seni rupa

tempat tersebut masih menjadi alternatif

kontemporer Indonesia di luar negeri.

terbaik untuk menyimpan karya-karya

Pada bulan Maret, 20 karya terpilih dari

seni rupa Indonesia dalam keadaan aman

beberapa seniman kontemporer Indonesia

dan dalam kondisi yang baik. Karena

dipamerkan pada Paris Art Fair ke-12,

sayangnya, walaupun perkembangan seni

ARTPARIS+GUESTS 2010. Sebuah inisiatif

rupa kontemporer Indonesia sangat pesat

yang dapat dilaksanakan berkat usaha

dalam beberapa tahun terakhir, bangsa

satu kolektor ternama Indonesia, Deddy

Indonesia masih belum memiliki suatu

Kusuma. Hanya beberapa bulan sesudahnya,

institusi seni publik yang baik untuk

kembali karya-karya beberapa seniman

dapat mengumpulkan, meneliti, memamerkan

kontemporer Indonesia juga dipamerkan

dan menuliskan sejarah seni kontemporer

di Museum of Contemporary Art Shanghai

Indonesia. Hal ini sangatlah berbeda

dari bulan Juli hingga Agustus. Dengan

dengan negara-negara tertangga seperti

tema â&#x20AC;&#x153;Contemporaneity: Contemporary

halnya Singapura atau Thailand yang

Art in Indonesiaâ&#x20AC;?, pameran tersebut

telah memiliki museum-museum seni rupa

membawa 25 karya koleksi pribadi dari

berstandar internasional. Dalam hal ini,

seorang kolektor ternama Indonesia

peran para kolektor di Indonesia dalam

lainnya, Haryanto Adikoesoemo. Kedua

berbagai segi dapat disejajarkan dengan

acara tersebut dicetuskan, dikelola dan

peran insitusi-institusi seni pemerintah

didanai oleh pihak-pihak pribadi melalui

di negara-negara Barat, yaitu sebagai

kerjasama dengan berbagai kurator penting

custodians atau pemelihara

internasional. Perpaduan dari kekayaan,

seni rupa

kontemporer Indonesia.

pengaruh dan kekuatan jaringan dari para kolektor pribadi ini telah berhasil

Seperti telah diuraikan diatas, peran

menyelenggarakan acara-acara bergengsi

pihak-pihak swasta di Indonesia sejak

tersebut yang tentunya memberi kontribusi

awal sangatlah besar dalam perkembangan

penting bagi perkembangan seni rupa

seni rupa Indonesia karena mereka tidak

kontemporer Indonesia.

saja mengapresiasi dan mengkoleksi karyakarya seniman bangsa namun juga berperan

Tentunya usaha-usaha dari berbagai pihak

dalam memberikan dukungan spiritual dan

swasta dalam mendorong pertumbuhan dan

finansial bagi para seniman. Pada saat

perkembangan seni rupa tidak dapat

ini, peranan pihak-pihak swasta semakin

dipandang sebelah mata, terutama di

bertambah dan menaiki satu tahap yang

negara dimana institusi-insitusi seni

lebih penting lagi. Dalam beberapa waktu

pemerintahnya belum berkembang dengan

terakhir, telah terlihat adanya kesadaran

baik; usaha-usaha dari berbagai pihak

yang sangat tinggi dari berbagai pihak

swasta seperti yang telah diuraikan

akan pentingnya mempromosikan dan membawa

diatas menjadi penggerak utama dalam

seni rupa Indonesia ke tingkat dunia.

menyokong pertumbuhan dan perkembangan

Sebagai akibatnya, dalam beberapa tahun

seni rupa dalam berbagai bentuk. Pihak-

belakangan ini telah banyak usaha yang

pihak swasta tersebut seringkali lebih

diselenggarakan oleh pihak-pihak pribadi

responsif dan dapat memberikan solusi

dan kolektif untuk mempromosikan seni

atas kebutuhan-kebutuhan yang timbul

oleh Santy Saptari

Peran pihak-pihak swasta dalam mendorong pertumbuhan dan perkembangan seni rupa di Indonesia

pribadi untuk dipamerkan ke publikâ&#x20AC;?

oleh Santy Saptari

Peran pihak-pihak swasta dalam mendorong pertumbuhan dan perkembangan seni rupa di Indonesia

dalam perkembangan seni rupa lokal

Santy Saptari adalah seorang konsultan

karena mereka relatif tidak dibatasi

seni independen dengan spesialisasi

oleh faktor-faktor yang mengikat

di seni rupa Indonesia modern dan

institusi-institusi pemerintah, seperti

kontemporer yang berbasis di Melbourne.

keterbatasan dana, birokrasi atau agenda

Dia juga mengepalai Santy Saptari Fine

budaya dan politik yang harus ditaati.

Art yang didirikannya pada tahun 2010.

Dengan demikian, pihak-pihak swasta

Beliau memiliki berbagai pengalaman di

ini dengan mudahnya dapat menggantikan

komersial dan non-komersial organisasi

peranan lembaga-lembaga seni pemerintah

di berbagai negara termasuk, Indonesia,

dalam mengkoleksi, menyimpan, memberikan

Singapore dan the Netherlands.

dukungan kepada seniman serta memberikan pendidikan tentang seni rupa kepada masyarakat luas. Walaupun usaha-usaha dari pihak-pihak swasta seringkali dilatarbelakangi oleh berbagai motif yang terkadang dianggap negatif,

dukungan dan

peranan mereka telah terbukti penting dalam memfasilitasi, menumbuhkan dan menggerakkan dunia seni rupa kontemporer di Indonesia. Mereka berhasil mengisi kekosongan yang ada dan membantu merealisasikan potensi-potensi seni rupa Indonesia yang mungkin tidak dapat direalisasikan tanpa dukungan dan usaha mereka.

©Santy Saptari 2010

13.09.2010]

Singapore4. The local auction market,

designation that is mainly referenced by

located in Jakarta, has frequent auctions

the art auction circle, loosely refers to

of nearly one in every 3 weeks5. At

the trading of artworks by artists from 5

the dealer’s level, the trading of

of 12 countries that geographically lie

Southeast Asian art tends to be much less

south of China, north of Australia, and

structured and much more nationalistic6.

east of India within the Asian region. Weighted by the strength of collectors’

Validation

buying power, the market is predominantly driven by art from Indonesia, followed

Comparatively, the museum scene is

by Philippines, Vietnam, Thailand,

less buoyant. In the absence of a

Malaysia and Singapore, to the tune of

strong network of well-funded cultural

roughly three parts (Indonesian) to one

institutions in Southeast Asia,

(others). This dominance has to do with

museums in Singapore play the role of

the passion and long-standing traditions

a ‘surrogate validator’ for emerging

of art collecting associated with affluent

and mid-career artists in the region.

Indonesians as well as the quality of

The overall cultural and business

art that is produced by artists from

infrastructure in Singapore has been

respected institutions in Yogyakarta and

functioning more like an “entrepot of

Bandung.

arts” (Zukin 1995, pp. 202-6) than the cultural capital it aspires to be -- a

From an art market viewpoint, one can

role that has more to do with geography,

posit that the story of the Southeast

good neighbourly trade relations,

Asian art auction market is broadly the

superior art and business infrastructure

narrative of an enlarged Indonesian

than its innovative art productions or

market, and such will be the focus of

scholarship.

this essay. This essay is intended to be an exploratory overview into the subject.

Even with the wealth of artistic

This is done by looking at components

heritage that resides in Southeast Asia,

that contribute to the workings of

opportunities to acquire and deepen the

the auction market - its players, its

knowledge of and expertise in Southeast

validating institutions, its history

Asian art history within the region has

and recent performance. Statistics of

been severely limited. Without it7, there

auctions in Australia have been included

is a dearth of trained art writers,

to give readers a bearing and a point

historians and critics who could provide

of entry into understanding this very

the much-needed critical insights for

animated market. In it, references would

those interested to navigate the art

also be made of contemporary art and

and the market. Sadly, expansions in the

artists. By this, working criteria of

art market and investments in museum

artists embracing the ‘present’ and the

facilities in recent years have not been

‘now’ in their works, in time, place,

matched by parallel developments in

practices and values, are generally

research and scholarship and this has

applied .

become a liability. The existing pool

of writers and scholars, mostly educated Players and salerooms

abroad or self-taught, have been playing a perpetual game of musical chairs, from

Today, the regional auction marketplace

project to project, show to show. Next

principally resides in Hong Kong and

to the sensationalism and the fanfare

Singapore --Christie’s, Sotheby’s and

of auctions put together by highly-

Larasati in Hong Kong3; Borobudur,

organised and media-savvy auction houses,

Masterpiece, Larasati and 33Auction, in

voices of the already-fragmented cultural

Patricia Chen

An overview

The Southeast Asian art market 2005 – 2010:

The Southeast Asian art market, a

Patricia Chen

An overview

The Southeast Asian art market 2005 – 2010:

institutions have been reduced to a mere

Figure 1

whimper.

(see end of text)

There is generally a lack of agreement in the artists that auction houses and

Today, Southeast Asia’s art auction

museums ‘validate’ . With the exception of

turnover stands at roughly 51% of

Agus Suwage, ‘successful’ market-endorsed9

Australia’s13 (Figure 1) and 12% of

artists are generally not equally well-

its Asian counterpart14. Australian

regarded by the academia. A striking

Aboriginal art market, on the other

case-in-point is I. Nyoman Masriadi, a

hand, is about 22% of Southeast Asia’s.

37-year old contemporary artist who had

Since the peak of 2007, the Australian

his very first regional solo show at the

and the Aboriginal art markets have been

Singapore Art Museum (8Q), a year after

registering a contraction of 59% and

his ‘ascension to stardom’ in the auction

57% by 2009 respectively. In contrast,

market10. This ‘power of the market’ is

Southeast Asia’s market peaked in 2008

also echoed by Taylor

and shrank by 42% in the span of one

(2003, pp. 186),

year. “Auctions of contemporary Southeast

The contemporary Southeast Asian art

Asian art in Singapore at Sotheby’s and

market had its early activities between

Christie’s

2003-200515. Those were the years many of

since 1996 are interesting

illustrations of how the art market

today’s contemporary artists were first

controls information,

‘launched’ in the auction market, much

discourse, art

historical practices in relation to

to the applause of collectors who had,

contemporary art in Southeast Asia as

by then, become quite jaded of works of

opposed to how artists view the issue.

romanticised village scenes, portraiture

For example, most of the paintings at

and traditional cultural expressions. By

auction have never been published in any

2005, prices of a handful of contemporary

art historical sense.”

artists scaled to 5-digit sums for the first time. But it had turned out to be

On the other hand, Indonesia’s ‘better-

a ‘false start’ as it was quickly met

circulated’ artists who are regulars

with a dampener a year later as interest

in regional and international biennales

in contemporary Chinese art rose fast

and exhibitions, Heri Dono, FX Harsono,

and furious. Not only did Indonesian

Entang Wiharso and S. Teddy, tend to have

collectors find contemporary Chinese

a feebler auction market.

art refreshing in content, they were

At this stage,

auction prices appear to be powered by

attracted to its potential for financial

a totally separate set of dynamics that

gains on the global stage. Consequently,

runs contrary to established conventions

by end of 2006, buying from top 10% of

of circulation and validation. The

the Indonesian market migrated to the

art auction market is a good place

Chinese market16 and auction turnover in

to understand collectors’ tastes and

Southeast Asia dived 16%.

preferences. The biennales are places to see ‘thought-provoking’ art. There

However, that chapter turned out to

is little integration between the two.

be short-lived. As record prices were

The art market is generally inefficient

being fetched for works by the likes

and in many ways, the current imbalance

of Zhang Xiaogang, Fang Lijun, Liu Ye,

between the artistic and the commercial

Cai Guo-Qiang at Sotheby’s 4th sale of

may not be that uncommon for an emerging

contemporary Asian art in New York,

market, as historical developments in the

Chinese art became unaffordable and

more-established Western art markets may

Indonesian collectors were eventually

show at various points in history12.

priced out. As disparity in values

Art

prices, to a certain degree, reflect that.

between the two markets soon became

started ‘toppling’ modern artists in 17

but this time, along with new collectors

out of top 30 spots in auction turnover.

and ‘investors’ from Taiwan and Hong

Price escalations finally culminated in

Kong. The Chinese chapter showed them how

the sale of a contemporary work by Nyoman

lucrative investments in contemporary art

Masriadi, The Man from Bantul (The Final

could be. Not wanting to ‘miss the boat’

Round) (Illustration 3) at HK$7,820,000

a second time, the collectors started to

(AUD 1,344,084), some 3 weeks after the

focus on contemporary Southeast Asian

collapse of Lehman Brothers. To date, it

art.

remains the most expensive contemporary Southeast Asian art ever sold.

The defining moment of the market happened in April of 2007 when Putu Sutawijaya’s Looking for Wings, was hammered down at

In the same sale, prices for Chinese

SGD 95,000 (AUD 77,570), nearly 12 times

and Indian art took a severe beating.

its average estimate. Being the highest

Through it, collectors witnessed how

price ever paid for a contemporary work

vulnerable the contemporary art market

in Southeast Asia then, it received

can be to changes in market liquidity

phenomenal media coverage and that

and economic conditions and sentiments

further fuelled interest in contemporary

remained sombre for about a year as

art and the idea of art investment.

collectors took stock. As these changes took place, values in contemporary works

Figure 2

were re-assessed and interest in the

(see end of text)

modern was gradually revived17. Prices of young debutants in 2008 proved to

Buying came to such a feverish pitch

be unsustainable and suffered hefty

that by the end of 2007, for the first

crashes. By the end of the first half of

time in the history of the market,

2010, dollar turnover of works by modern

sales of contemporary art superseded

artists rose to roughly equal those of

those of modern art. From a mere 26% in

contemporary artists (Figure 2). Even as

2006, contemporary art sales tripled to

the proportion of contemporary lots sold

dwarf sales in modern art within 2 years

decreased relative to the modern, there

(Figure 2).

is still a strong demand for contemporary works and average prices have been on the

The boom saw volume expansions in every

road to recovery (Figure 4).

price bracket, especially for works costing SGD 10,000 – 50,000 (AUD 8,165-

Figure 3

40,825). Notably, hammer prices above the

(see end of text)

SGD 50,000 (AUD 40,825) category hit 12% in 2008, creating a new price category

The high performers

never before associated with contemporary

To further understand differences in

art.

trend and taste, it is helpful to look at the high performers of the respective

In a market with strong demand for

auction markets. Table 5 compares the

contemporary works and limited supply,

profile of top 10 auction artists in

young debutants were favourably received

Southeast Asia and Australia.

and competition for artworks became so intense that prices rose at a breakneck

Table 4

speed. Young artists were commanding

(see end of text)

prices of between SGD 10,000- 50,000 within months of their ‘inauguration’ in

Overall, Southeast Asia’s relatively

the auction market. Contemporary artists

youthful market is reflected in the

Patricia Chen

An overview

The Southeast Asian art market 2005 – 2010:

apparent, collectors started to return,

Patricia Chen

An overview

The Southeast Asian art market 2005 – 2010:

value of its turnover. The sum total of

Thus far, developments have been

auction turnover contributed by top 10

promising: Indonesian art has been

artists adds up to AUD 23.23 million in

represented in many regional and

Australia whereas Southeast Asia stands

international art fairs18 and exhibitions

at about 69% of that. Out of the top 10

and the reception has been extremely warm

artists featured, only markets of 4 of

and encouraging. Sotheby’s and Christie’s

Southeast Asia’s artists achieved values

auction previews are also suggestive of

of over a million dollars, as opposed to

pockets of burgeoning demand of Southeast

8 in Australia. And out of that, Lee Man

Asian art - in addition to Singapore,

Fong’s market, stands head and shoulders

Jakarta and Hong Kong, they now tour

above the rest. In Australia, there are

Taipei. The collector pool is steadily

many more of such representations in this

expanding.

segment and its distribution appears to be more evenly spread.

Southeast Asia does not have the validation infrastructure that Australia

Traces of strong demand of contemporary

has. Neither can the maturity of its

Southeast Asian art are still evident

collectors or the availability of

today. Like Australia, whose list is made

resources compare. Yet, in spite of

up of artists who were born in the late

these, the market has grown spectacularly

19th or early 20th century, Southeast

in such a short span of time and chances

Asia, too, has its fair share of artists

are that it will continue to do so -

from the same era. But unlike Australia,

because of the sheer amount of artistic

three relatively ‘young’ Southeast Asian

talent, propelled by unrelentingly strong

contemporary artists stood out – I.

demand from Indonesian collectors with

Nyoman Masriadi, Handiwirman Sahputra and

deep pockets. However, its ascension to

Agus Suwage, for achieving ‘cult status’

the global stage will be shackled until

in turnover.

and unless scholarship is owned and deeply valued, capability is developed

That said, interestingly, the number of

hand-in-hand with investments in physical

lots that contributed to these totals

infrastructure and weaved into the

are significantly less in Southeast

workings of the market, and the larger

Asia than in Australia, implying that

regional and international art world.

the per unit of cost of artworks sold in Southeast Asian is higher. This is

It is one thing to be selling to regional

especially apparent when one compares

collectors and quite another to persuade

lots of artists with auction totals in

an international audience, especially

close enough ranges : Brett Whiteley

those who are accustomed to buying from

with Nyoman Masriadi (40 vs 16 lots)

markets with sophisticated art market

and Charles Blackman or Arthur Ernest

mechanisms and validation systems backed

Streeton with Hendra Gunawan ( 71 &

by a whole suite of expertise. Southeast

18 lots vs 10 lots). This signifies the

Asia needs to develop that for it to

intensity of demand and wealth that

be seen as one of the major centres of

supports the Indonesian market.

artistic innovations that it has the potential to become.

The Southeast Asian art market in 2010 is a market that is consolidating, recovering from the doldrums of 2009. It is also a market in transition, trying to find its place and its identity in an

increasingly seamless global marketplace.

References

for any use made of the information it provides. Any reproduction or

Aidan, W. (2003, September). ‘Locating

representation of all or part of the

Art Worlds: London and the Making of

information or graphics by any means

Young British Art.’ Blackwell Publishing

whatsoever that does not include a

on behalf of The Royal Geographical

mention stating source © Patricia Chen

Society (with the Institute of British

is illegal and represent a breach of

Geographers), Area, Vol. 35, No. 3, pp.

251-263

Patricia Chen independently researches, writes and speaks on the subject of the

ASEAN (2010), ASEAN- Overview [online]

Southeast Asian art market, supported

available from: http://www.aseansec.

by a comprehensive database of Asian

org/64.htm [accessed 11 September 2010]

and Southeast Asian auction transactions that she owns and manages. She also

Chen, P. (2008, October). Is the

conducts pre-auction valuation appraisals

Southeast Asian art market riding on

and customised research for private

a bubble? Deductions from a survey of

and corporate clients. Graduated with a

the Southeast Asian regional art market

Master’s in Art Business (Distinction)

2003 – 2008 (Unpublished Master’s

from the Sotheby’s Institute of Art,

Dissertation).

Patricia is a columnist for “Collectors’

Institute of Art

Singapore: Sotheby’s

Guide to the Southeast Asian art market” for C-Arts and has also written for

Chen, P. (2010a). Database of Southeast

the Australian Art Market Report and

Asian artworks in regional auctions 2000-

Financial Times. She was also Founding

2010. Unpublished.

General Manager of Sculpture Square, a not-for-profit contemporary 3-dimensional

Chen, P. (2010b, June) ‘Collectors’ Guide

art space in Singapore the late 90’s and

to the Southeast Asian art market.’ C-

is a strong proponent of art education

Arts, Vol 14, centrespread, unpaginated

and learning through the arts.

Chen, P. (2009a) ‘Much ado about nothing?.’ Art Market Report, Issue 32 Second Quarter 2009, pp. 18-20 Chen, P. (2009b, March 7) ‘Dark days, high hopes.’ Financial Times (London Edition), Collecting, pp.5 Chen, P., (2009c) ‘Contemporary Art in Auctions.’ C-Arts, pp. 26-32 Furphy, J. (2010) The Australian Art Sales Digest.

Retrieved from:

http://

www.aasd.com.au/ [accessed 31 August 2010] Taylor, A.N. (2003) ‘Writing Contemporary Southeast Asian Art History. ‘ In: Reid, A. ed. Southeast Asian Studies. Pacific Perspectives. The Program for Southeast Asian Studies Monograph Series of Arizona State University and the Asian

Patricia Chen

An overview

The Southeast Asian art market 2005 – 2010:

The Author accepts no responsibility

Patricia Chen

An overview

The Southeast Asian art market 2005 – 2010: 36

Pacific Monograph Series of the UCLA Asia Institute, 2003, pp. 179-192 Watson, P. (1992) From Manet to Manhattan, The Rise of the Modern Art Market. New York: Random House Zukin, S. (1995) The cultures of cities. Oxford: Blackwell

1 The 12 countries include member countries of ASEAN, The Association of Southeast Asian Nations, a political entity, namely Brunei, Burma, Cambodia, Indonesia, Laos, Malaysia, Philippines, Singapore, Thailand and Vietnam, plus Papua New Guinea and East Timor. More information on ASEAN at ASEAN (2010). 2 A broad working definition is applied because the art market is young and undergoing transition. A simplistic chronological time-based criterion is applied to the classification of artists as opposed to strict academic criteria of contemporary and modern practices as this is an art business essay. Results generated need be read as collectors and the art trade in Southeast Asia also, rightly or wrongly, generally refer to them. Exceptions are applied on a case-by-case basis, where young contemporaries exhibit modern tendencies in their works and vice-versa. Most of the contemporary artists were born around the 60s and 70’s. Modern artists generally refer to the generation of artists who existed before, mostly born around end 19th century and beginning of 20th century. 3 Christie’s first sale in Singapore in 1994 was titled “Southeast Asian pictures”. Sotheby’s joined the bandwagon 2 years after with “Fine Southeast Asian paintings”. The market has, since 2003, expanded with the entry of Indonesian players that set up salerooms in Singapore. 4 These auction houses include Southeast Asian works in their auctions of Asian art, i.e. artworks from China, Taiwan, Japan, India and Korea. Such artworks, where present, have been excluded in the database of Southeast Asian artworks in this study. 5 Due to frequent auctions, quality of works sometimes suffers. Indonesian auction data has been excluded for the purpose of ensuring tightness in the quality of data samples collated so that meaningful readings on the market can be generated. Hence, the data primarily focuses on auctions in Singapore and Hong Kong only. 6 For information on the broader Southeast Asian art scene, in Indonesia, Singapore, Vietnam, Philippines and Thailand, the following can be accessed : www.ivaa-online. org/archive/ ,www.cemetiarthouse.com, www. sagg.com.sg , www.vietnam-art-guide.com and www.filipinoart.org , www.rama9art.org . These are by no means exhaustive. 7 While Art History is offered as a subject by different art institutes, there is no faculty or resource that is dedicated to continued research and scholarship within

umbrella of Asian art were compared with that of Southeast Asian. For this study, Asian art comprises art that is auctioned by Christie’s and Sotheby’s in Hong Kong and include works from China/ Hong Kong, India, Korea and Japan. It excludes works with Southeast Asian origins. 15 Some exceptions are Heri Dono and Dede Eri Supria, whose works have been in auction since 2000 and 1998 respectively. 16 Chen, P. (2008). Gathered from interviews with dealers and auction house representatives. 17 ee Chen, P. (2009a, 2009b and 2009c) for detailed accounts. 18 Some of the art fairs that saw participation by Indonesian galleries and artists included Art Shanghai, Art Paris, Hong Kong International Art Fair, Melbourne Art Fair, CIGE Beijing and Art Singapore.

Southeast Asia. Interestingly, probably spurred by the rise of the Chinese and Indian art markets, there was a spike in the number of Master’s level programmes in Asian and Contemporary Art in the past 3 years in Singapore, but none offered a Bachelor’s degree in the same disciplines. 8 Chen, P (2008), pp. 41-48. Results of interviews with 14 key representations from auction houses, galleries, collectors and curators, museum representatives and academics on validated artists in Southeast Asia were put against historical auction data pointed to the fact that good money has not gone after validated artists or artists with high levels of circulation. 9 Defined as artists who achieve top prices and dollar volume in auctions. 10 Masriadi’s first regional solo show, Black is my last weapon opened at the Singapore Art Museum (8Q) in August 2008. His work first raised eyebrows at a Sotheby’s auction nearly a year before, when Jangan tanya saya tanya presiden was hammered down at SGD 300,000 (AUD 234,394). It was then the highest price ever paid for a contemporary work, a record that would be repeatedly beaten thereafter. A year later, The Man from Bantul (The Final Round), again made history when it was sold at HKD 7.8 million (AUD 1.344 million). Exchange rate of 1 SGD = AUD 0.78 and 1HKD = AUD 0.17 were applied for sales on 16 September 07 and 6 October 2008 from Sotheby’s website. 11 Nora Taylor is a noted scholar on South and Southeast Asian art, especially on Vietnamese art. She is the Professor of South and Southeast Asian art at the School of Art Institute of Chicago. 12 Watson, P. (1992) and Aidan While (2003) are excellent resources for a detailed history of the modern and contemporary art markets in Europe and America. 13 Australian art auction data from Furphy, J. (2010). Data selected for illustration excludes Australian Aboriginal and overseas art. Southeast Asian art auction data from Chen, P (2010). This is only a rough gauge as Furphy’s YTD does not state the months included in the sample. Chen’s data included auctions in the first half of 2010. This includes both the Contemporary and Modern art from Indonesia, Philippines, Thailand, Malaysia and Singapore. Currency exchange 1 AUD = SGD 0.8165 applied to data where original sources are not represented in Australian dollars. 14 Chen, P. (2010b). Here, Christie’s and Sotheby’s sales in Hong Kong under the

2006

150 100

The auction market

50 2007

Auction Turnover (AUD million)

Australian art market Australian Aboriginal art market Southeast Asian art market

2008

Time period (Year)

2010 (YTD)

2009

Figure 1 : The Southeast Asian versus the Australian and the Australian Aboriginal art markets. Australian art auction data from Furphy, J.(2010). Data selected for illustration excludes overseas art. Southeast Asian art auction data from : Chen, P (2010a).

Figure 2 : Price Structure of contemporary Southeast Asian art in auctions 2006-2010. Source: Chen, P (2010a). The percentages do not add up to a hundred as the remainder comprise contributions from modern works.

80 % 5% 7%

60 %

2% 4%

2% 3%

30% 18%

22%

26%

20 %

23% 15%

14%

11% 18%

20% 11%

14%

time period (year)

SGD 5,000 (AUD 4,083) SGD 5,000 - < 10,000 (AUD 4,083 - < 8,165) SGD 50,000 - < 100,000 (AUD 40,825 - < 81,6 SGD 10,000 - < 50,000 (AUD 8,165 - < 40,825 > SGD 100,000 (AUD 81,650) 39

1H2010

2009

2008

2007

0 %

2006

Percentage of lots (%)

40 %

Figure 3 : Volume and Average Prices of contemporary Southeast Asian works in auctions, 2009 â&#x20AC;&#x201C; 2010 (YTD). Source : Chen, P. (2010b), The base currency in this article has been converted to Australian dollars, at the rate of 1 AUD = SGD 0.8165. 1H 09 denotes the first half of 2009. 2H 09, the second half of 2009 and so on.

Contemporary Lots sold Average Prices

400

350 25

Lots Sold

300 250

200

150 10 100 50

0 1H 09

2H 09

Time Period

1H 09

Average Hammer Price (â&#x20AC;&#x2122;000 AUD)

450

Australian Art Auction Market Top 10 Lots# (AUD) in the Current Year

Southeast Art Auction Market Top 10 Lots∂ (AUD) in the Current Year

Dollar Value Sold

Lots Sold

Artist

Dollar Value Sold

$7,261,117

Nolan, Sidney Robert (1917-1992)

$ 5,295,477

Lee Man Fong (Indonesian, 1933-1988)

$4,637,520

Brack, Cecil John (John) (1920-1999)

$ 2,739,483

Nyoman Masriadi (Indonesian, 1973 - )

$2,622,041

Whiteley, Brett (1939-1992)

$ 1,715,503

Hendra Gunawan (Indonesian, 1918–1983)

$1,748,813

Blackman, Charles (1929 - )

$ 1,690,669

Affandi (Indonesian, 1907–1990)

$1,728,201

Streeton, Arthur Ernest (1867–1943)

$ 934,910

Handiwirman Sahputra (Indonesian, 1975-)

$1,361,923

Perceval, John De Burgh (1923-2000)

$ 819,815

Le Pho (Vietnamese, 1907–2001)

$1,175,389

110

Lindsay, Norman Alfred Williams (1879-1969)

$ 769,842

Agus Suwage (Indonesian, 1959- )

$1,080,819

Drysdale, George Russell (1912-1981)

$737,593

Romualdo Locatelli (Italian, 1905–1943)

$897,494

Rees, Lloyd Frederic (1895-1988)

$ 664,075

Fernando Cueto Amorsolo (Filipino, 1892–1972

$720,000

Oliver, Bronwyn (1959-2006)

$630,244

Rudolf Bonnet (Dutch, 1895-1978)

Lots Sold Artist

Table 4 : Top 10 lots in Southeast Asian and Australian art auction markets. # Australian art auction data from Furphy, J.(2010) as of 31 August 2010. Data selected for illustration excludes Australian Aboriginal and overseas art. ∂Southeast Asian art auction data from : Chen, P (2010a). This includes both the Contemporary and Modern art from Indonesia, Philippines, Vietnam, Thailand, Malaysia and Singapore. Currency exchange 1 AUD = SGD 0.8165 applied to data where original sources are not represented in Australian dollars. ¶ Lee Man Fong’s auction total was helped by the sale of a rare ‘Bali Life’ canvas sold for a world record price of HKD 25.3mil (AUD 3.55 million), a record for the artist and for a Southeast Asian painting in auction.

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010:

Pasar seni rupa Asia Tenggara, suatu

di Hong Kong;3 Borobudur, Masterpiece,

unjukan yang terutama diacu oleh

Larasati, dan 33Auction di Singapura.4

lingkaran lelang seni, secara longgar

Pasar lelang lokal, di Jakarta, sering

mengacu kepada perdagangan benda-benda

mengadakan lelang dengan frekuensi nyaris

seni karya seniman dari lima dari 12

satu kali setiap tiga minggu.5 Pada

negara yang secara geografis terletak di

tingkatan penjual, perdagangan karya seni

selatan Cina, utara Australia, dan timur

Asia Tenggara cenderung jauh lebih tak

India, di dalam wilayah Asia. Dipengaruhi

berstruktur dan nasionalistis.6

oleh kekuatan daya beli para kolektor, pasar ini terutama digerakkan oleh

Validasi

karya seni dari Indonesia, diikuti oleh Filipina, Vietnam, Thailand, Malaysia,

Dibandingkan dengan pasar seninya,

dan Singapura, secara keseluruhan

pemandangan di dunia museumnya kurang

berbanding sekitar tiga (Indonesia)

meriah. Dalam ketiadaan jaringan kerja

banding satu (yang lain). Dominansi ini

yang kuat yang terdiri atas lembaga-

berhubungan dengan gairah serta tradisi

lembaga budaya dengan pendanaan kuat

lama mengoleksi karya seni yang dikaitkan

di Asia Tenggara, museum-museum di

dengan kelas atas Indonesia, selain

Singapura memainkan peran sebagai

juga dengan mutu seni yang dihasilkan

“lembaga pengesah pengganti” bagi para

oleh para seniman dari lembaga-lembaga

seniman baru dan seniman tengah-karier.

terhormat di Yogyakarta dan Bandung.

Secara keseluruhan, infrastruktur budaya dan bisnis di Singapura bekerja

Dari sudut pandang pasar seni, kita dapat

lebih sebagai “pelabuhan-bebas seni”

mengajukan ide bahwa kisah pasar lelang

(“entrepôt of arts”, Zukin 1995, hal.

seni Asia Tenggara secara umum merupakan

202 – 6), ketimbang sebagai ibukota

narasi pasar Indonesia yang diperluas

budaya sebagaimana ia inginkan—peran yang

dan itulah yang akan menjadi fokus esai

lebih berkaitan dengan masalah geografi,

ini. Esai ini ditulis sebagai tinjauan

hubungan dagang yang baik dengan para

eksploratif mengenai masalah tersebut.

tetangga, serta infrastruktur seni dan

Hal ini dilakukan dengan menelaah

bisnis yang unggul, ketimbang dengan

komponen-komponen yang berkontribusi pada

produksi atau kajian seninya yang

bekerjanya pasar lelang—para pemain,

inovatif.

lembaga pemberi validasi, sejarah, serta kinerjanya akhir-akhir ini. Statistika

Bahkan dengan kekayaan warisan seni yang

lelang di Australia disertakan guna

ada di Asia Tenggara, kesempatan dalam

memberi arah serta pintu masuk bagi

wilayah tersebut untuk memperoleh dan

para pembaca demi memahami pasar yang

memperdalam pengetahuan dan kepakaran

sangat dinamis ini. Dalam esai ini,

tentang sejarah seni Asia Tenggara

akan disampaikan acuan tentang seni dan

selama ini sangatlah terbatas. Tanpa hal

seniman kontemporer. Dengan demikian,

itu,7 ada kekurangan penulis, sejarawan,

secara umum diterapkan suatu kriteria

dan kritikus seni terlatih yang mampu

tentang seniman yang merangkul ‘masa

menyediakan wawasan kritis yang sungguh

kini’ dan ‘kekinian’ dalam karyanya,

diperlukan bagi mereka yang tertarik

serta dalam hal waktu, tempat, praktik,

mengarungi dunia seni dan pasarnya.

dan nilai.2

Sayangnya, pengembangan dalam hal pasar seni dan investasi dalam bidang fasilitas

Pemain dan ruang penjualan

museum pada tahun-tahun belakangan ini

belum dipadani dengan perkembangan yang Saat ini, pasar lelang regional terutama

sejajar dalam bidang riset dan kajian,

berada di Hong Kong dan Singapura—

dan ini menjadi suatu kerugian. Tandon

Christie’s, Sotheby’s, dan Larasati

penulis dan cendekiawan yang ada,

lelang tampak didorong oleh dinamika yang

atau belajar sendiri, telah terus-

secara total terpisah dan bertentangan

menerus terlibat dalam permainan “rebutan

dengan konvensi yang ada mengenai

kursi”, berpindah dari satu proyek ke

sirkulasi dan validasi. Pasar lelang seni

proyek lainnya, dari pertunjukan yang

merupakan tempat yang baik untuk memahami

satu ke yang lain. Berada di samping

selera dan preferensi kolektor. Biennale

sensasionalisme dan gegap gempitanya

merupakan tempat untuk melihat seni yang

lelang yang dijalankan oleh rumah-rumah

“memprovokasi pikiran”. Sedikit sekali

lelang yang sangat teratur dan sadar-

ada perpaduan antara keduanya. Pasar seni

media, suara dari lembaga-lembaga budaya

secara umum tak efisien dan, dalam banyak

yang memang telah terpecah-pecah itu

hal, ketidakseimbangan yang ada kini

melemah menjadi sekadar rintihan.

antara yang artistik dan yang komersial bisa jadi bukanlah hal yang ganjil untuk

Pada umumnya kurang ada kesepakatan

pasar yang baru muncul, sebagaimana

dalam

diperlihatkan oleh sejarah perkembangan

hal seniman yang “divalidasi”

oleh rumah-rumah lelang dan oleh museum.8

pasar seni yang lebih mapan di Barat pada

Dengan kekecualian Agus Suwage, para

berbagai tahap.12 Harga-harga karya seni

seniman “sukses” yang disokong pasar pada

yang dijual, sampai tingkat tertentu,

umumnya tidaklah dihargai secara setara

merefleksikan hal itu.

oleh kalangan akademisi. Contoh kasus yang istimewa adalah I Nyoman Masriadi, seorang seniman kontemporer 37 tahun yang

Gambar 1 (end of text)

pameran tunggal pertamanya di tingkat regional diselenggarakan di Museum

Saat ini, omset lelang seni Asia

Seni Singapura (8Q), setahun setelah

Tenggara kira-kira 51% dari omset lelang

“kebangkitannya sebagai bintang” di pasar

Australia13 (Gambar 1) dan 12% dari lelang

lelang.10 “Kekuatan pasar” seperti ini

seni Asia.14 Di sisi lain, pasar seni

juga disebut-sebut oleh Taylor (2003,

Aborigin Australia kira-kira sebesar

hal. 186),

22% dari pasar seni Asia Tenggara.

Semenjak mencapai puncak pada 2007, pasar “Pelelangan karya seni kontemporer Asia

seni Australia dan Aborigin mencatat

Tenggara di Singapura di Sotheby’s dan

kontraksi masing-masing sebesar 59% dan

Christie’s sejak 1996 memberikan gambaran

57% menjelang 2009. Secara kontras,

menarik mengenai bagaimana pasar seni

pasar Asia Tenggara memuncak pada 2008

mengendalikan informasi, wacana, praktik

dan mengerut sebesar 42% dalam jangka

historis seni dalam kaitannya dengan

waktu setahun. Pasar seni kontemporer

seni kontemporer di Asia Tenggara, yang

Asia Tenggara memiliki aktivitas awalnya

kontras dengan bagaimana para seniman

pada 2003 – 2005.15 Itulah tahun-tahun

melihat masalah tersebut. Contohnya,

ketika banyak dari seniman kontemporer

sebagian besar lukisan di pelelangan

kini pertama kalinya “diluncurkan” di

belum pernah diterbitkan dalam arti

pasar lelang, dengan sambutan hangat

sejarah seni apa pun.”

kolektor yang saat itu telah jenuh dengan karya-karya yang menampilkan pemandangan

Di sisi lain, seniman-seniman Indonesia

desa yang diromantisasi, potret-potret,

yang memiliki “tingkat peredaran yang

dan ekspresi budaya tradisional. Pada

lebih tinggi”, yang rutin hadir di

2005, karya-karya segelintir seniman

berbagai bienal dan pameran regional

kontemporer menanjak mencapai angka

serta internasional—Heri Dono, FX

lima digit untuk kali pertama. Tapi,

Harsono, Entang Wiharso, dan S. Teddy

hal itu ternyata merupakan “awal palsu”

D.—cenderung memiliki pasar lelang yang

karena segera teredam setahun kemudian,

lebih lemah. Pada tahap ini,

ketika minat untuk seni kontemporer Cina

harga

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010:

sebagian besar terdidik di luar negeri

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010:

meninggi cepat. Para kolektor Indonesia

penjualan seni kontemporer melampaui

tidak saja berpendapat bahwa seni

penjualan karya seni modern. Dari hanya

kontemporer Cina menyegarkan dalam hal

26% pada 2006, penjualan karya seni

isi; mereka juga tertarik pada potensi

kontemporer berlipat tiga dan jauh

keuntungan finansial di tingkat global.

melampaui penjualan karya seni modern

Akibatnya, pada akhir 2006, pembelian

dalam dua tahun (Gambar 2).

dari 10% teratas dari pasar Indonesia berpindah ke pasar Cina dan omset lelang

Pada lonjakan ini, terjadi ekspansi

di Asia Tenggara ambruk 16%.

volume dalam setiap rentang harga,

terutama untuk karya-karya seharga SGD Akan tetapi, babak tersebut ternyata

10.000 – 50.000 (AUD 8.165 – 40.825 atau

singkat saja. Seiring dengan harga-

Rp68 juta – Rp344 juta). Patut dicatat

harga tinggi menembus rekor yang diraih

bahwa harga penjualan di atas kategori

oleh karya-karya seniman seperti Zhang

SGD 50.000 (sekitar Rp344 juta) mencapai

Xiaogang, Fang Lijun, Liu Ye, Cai Guo-

12% pada 2008, membuat kategori harga

Qiang pada penjualan seni kontemporer

baru yang sebelumnya tak pernah dikaitkan

Asia yang keempat oleh Sotheby’s di

dengan seni kontemporer.

New York, karya seni Cina menjadi tak terjangkau dan para kolektor

Dalam pasar dengan permintaan tinggi

Indonesia pada akhirnya tersingkir.

atas karya-karya kontemporer dan dengan

Saat kesenjangan nilai di antara dua

pasokan terbatas, para debutan muda

pasar tersebut segera menjadi jelas,

disambut hangat dan persaingan untuk

para kolektor mulai kembali, tapi kali

karya seni menjadi begitu intens sehingga

ini bersama kolektor-kolektor baru dan

harga-harga melaju dengan kecepatan

“investor” dari Taiwan dan Hong Kong.

tinggi. Para seniman muda meraih harga

Babak Cina ini menunjukkan kepada mereka

sekitar SGD 10.000 – 50.000 dalam

betapa bisa menguntungkannya investasi

beberapa bulan setelah “perkenalan”

di bidang seni kontemporer. Tak ingin

mereka di pasar lelang. Para seniman

ketinggalan kereta untuk kali kedua,

kontemporer mulai “menggusur” para

para kolektor mulai berfokus pada seni

seniman modern di 17 dari 30 tempat

kontemporer Asia Tenggara.

teratas dalam hal omset lelang. Eskalasi harga akhirnya memuncak pada penjualan

Saat penting pasar ini terjadi pada

karya kontemporer oleh Nyoman Masriadi,

April 2007 ketika karya Putu Sutawijaya,

The Man from Bantul (The Final Round)

Looking for Wings, terjual seharga SGD

(Gambar 3), yang mencapai HKD 7.820.000

95.000 (AUD 77.570 atau sekitar Rp650

(AUD 1.344.084 atau kira-kira Rp9

juta), nyaris 12 kali lebih tinggi

miliar), sekitar tiga minggu setelah

daripada perkiraan rata-ratanya. Sebagai

keruntuhan Lehman Brothers. Sampai saat

harga tertinggi yang pernah dibayarkan

ini, ia tetap merupakan karya kontemporer

untuk karya kontemporer di Asia Tenggara

Asia Tenggara termahal yang pernah

saat itu, hal ini memperoleh liputan

terjual.

media yang luar-biasa dan hal itu lebih jauh lagi memacu minat dalam seni

Dalam penjualan yang sama, harga-harga

kontemporer dan ide investasi seni.

untuk karya seni Cina dan India mengalami kekalahan besar. Sepanjang penjualan

Gambar 2 (end of text)

tersebut, para kolektor menyaksikan betapa pasar seni kontemporer bisa begitu

rentan terhadap perubahan dalam hal Laku pembelian menjadi begitu bergairah

likuiditas pasar dan kondisi ekonomi,

sehingga pada akhir 2007, untuk pertama

dan atmosfer bertahan kelabu selama

kalinya dalam sejarah pasar seni,

sekitar setahun saat para kolektor

harga yang merupakan rekor dunia, sebesar

perubahan-perubahan ini terjadi, harga-

HKD 25,3 juta (AUD 3,55 juta atau Rp 29

harga karya kontemporer dinilai ulang

miliar), suatu rekor bagi sang seniman

dan minat terhadap karya modern secara

dan bagi lukisan Asia Tenggara dalam

berangsur-angsur bangkit kembali.

pelelangan.

Pada 2008, harga karya-karya seniman baru terbukti tak dapat dipertahankan dan terjungkal hebat. Pada akhir paruh

Secara keseluruhan, pasar Asia Tenggara

pertama 2010, omset dalam dolar dari

yang relatif muda tecermin dari nilai

karya-karya seniman modern meningkat

omsetnya. Jumlah total omset lelang dari

sampai kira-kira sama dengan omset dolar

sepuluh seniman teratas mencapai AUD

seniman kontemporer (Gambar 2). Bahkan

23,23 juta di Australia (sekitar Rp205

saat proporsi lot karya kontemporer

miliar), sementara jumlah total omset

berkurang dibandingkan dengan lot

lelang di Asia Tenggara berada sekitar

karya modern, tetap ada permintaan kuat

69% dari itu. Dari sepuluh seniman

terhadap karya-karya kontemporer dan

teratas yang ditunjukkan dalam tabel,

harga rata-rata berada dalam jalan menuju

hanya pasar dari empat seniman Asia

perbaikan (Gambar 4).

Tenggara yang mencapai nilai lebih dari sejuta dolar, dibandingkan dengan delapan

Gambar 3 (end of text)

seniman di Australia. Dari keempat itu, pasar Lee Man Fong jauh berada di atas yang lain. Di Australia, ada lebih banyak

Para pelaku berkinerja tinggi

perwakilan dari segmen tersebut dan

Untuk dapat lebih baik memahami perbedaan

distribusinya tampak lebih merata.

dalam hal tren dan selera, akan membantu bila kita melihat para pelaku berkinerja

Jejak-jejak permintaan tinggi

terhadap

tinggi di masing-masing pasar lelang.

karya-karya seni kontemporer Asia

Tabel 5 membandingkan profil dari sepuluh

Tenggara masih terlihat kini. Seperti

seniman lelang teratas di Asia Tenggara

Australia, yang daftarnya terdiri atas

dan Australia.

para seniman yang lahir pada akhir abad ke-19 dan awal abad ke-20, Asia

Tabel 4 (end of text)

Tenggara juga memiliki banyak seniman dari zaman yang sama. Tapi, tak seperti di Australia, tiga seniman Asia Tenggara

Tabel 4: Sepuluh lot teratas dalam pasar

kontemporer yang relatif “muda” tampak

lelang seni Asia Tenggara dan Australia.

sungguh menonjol—I Nyoman Masriadi,

# Data lelang seni Australia dari Furphy,

Handiwirman Syahputra, dan Agus Suwage—

J (2010) sampai 31 Agustus 2010. Data

dalam meraih “status legenda” dalam hal

yang dipilih untuk penggambaran ini

omset.

tidak menyertakan karya-karya Aborigin Australia dan karya-karya asing. ∂ Data

Yang menarik, jumlah lot yang

seni Asia Tenggara dari: Chen, P (2010a).

berkontribusi dalam angka total ini

Ini mencakup baik karya kontemporer

secara signifikan lebih kecil di Asia

maupun modern dari Indonesia, Filipina,

Tenggara dibandingkan di Australia;

Vietnam, Thailand, Malaysia, dan

menyiratkan bahwa harga per unit karya

Singapura. Nilai tukar 1 AUD = SGD 0,8165

seni yang dijual di Asia Tenggara

dipakai untuk data yang sumber aslinya

lebih mahal. Ini terutama jelas saat

tidak dituliskan dalam dolar Australia.

kita membandingkan jumlah lot dari

¶ Nilai total lelang karya Lee Man Fong

seniman-seniman dengan jumlah omset

terbantu dengan penjualan lukisan “Bali

lelang dalam kisaran yang mirip: Brett

Life” yang langka yang terjual dengan

Whiteley dengan Nyoman Masriadi (40 lot

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010:

mempertimbangkan keadaan. Ketika

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010:

berbanding dengan 16 lot), serta Charles

Menjual kepada kolektor regional itu satu

Blackman atau Arthur Ernest Streeton

hal, dan membujuk audiens internasional

dengan Hendra Gunawan (berturut-turut

adalah hal yang lain lagi, terutama

71 dan 18 lot, dibandingkan dengan 10

audiens yang terbiasa membeli dari

lot). Ini menunjukkan besarnya kekayaan

pasar dengan mekanisme yang canggih

dan tingginya tekanan permintaan yang

dan sistem validasi yang didukung oleh

mendukung pasar seni Indonesia.

seperangkat keahlian. Asia Tenggara perlu mengembangkan hal itu agar dapat dilihat

Pasar seni Asia Tenggara pada 2010 adalah

sebagai salah satu pusat utama inovasi

pasar yang sedang berkonsolidasi, dalam

artistik, status yang memang mungkin ia

penyembuhan setelah kejumudan masa 2009.

capai.

Ia juga merupakan pasar yang sedang berubah, sedang berupaya mencari tempat

Penulis tak bertanggung jawab atas

dan identitasnya dalam pasar global yang

penggunaan apa pun dari informasi

berjalan kian mulus.

yang disediakan di sini. Salinan atau representasi dari seluruh atau sebagian

Sejauh ini, perkembangan yang ada tampak

informasi atau grafik dengan cara apa pun

menjanjikan: seni Indonesia telah

terwakili dalam banyak pasaraya seni

tidaklah sah dan merupakan pelanggaran

regional dan internasional18 serta pameran

hak cipta.

dan penerimaan terhadap karya-karya ini sejauh ini hangat dan memberi semangat.

Patricia Chen secara independen meneliti,

Intipan awal (preview) lelang Sotheby’s

menulis, dan berbicara tentang pasar

dan Christie’s juga menyiratkan tempat-

seni Asia Tenggara, didukung oleh suatu

tempat yang mencatat permintaan tinggi

basis data riset yang lengkap bagi klien

terhadap seni Asia Tenggara—di samping ke

privat dan korporasi. Lulus dengan gelar

Singapura, Jakarta, dan Hong Kong, mereka

Master’s dalam Bisnis Seni (Distinction)

kini berkunjung ke Taipei. Tandon para

dari Sotheby’s Institute of Art, Patricia

kolektor terus membesar.

adalah kolumnis untuk “Collectors’ Guide to the Southeast Asian Art Market” untuk

Asia Tenggara tak memiliki infrastruktur

C-Arts dan juga menulis untuk Australian

pemberi validasi seperti di Australia.

Art Market Report dan Financial Times.

Kedewasaan para kolektor dan ketersediaan

Ia juga merupakan pendiri dan general

sumberdaya di kedua tempat ini pun tak

manager Sculpture Squre, suatu ruang

dapat diperbandingkan. Meski demikian,

seni kontemporer tiga dimensi nirlaba

pasar seni Asia Tenggara telah tumbuh

di Singapura pada akhir 1990-an dan

spektakuler dalam jangka waktu yang

merupakan pendukung gigih pendidikan seni

begitu singkat, dan mungkin akan terus

dan pembelajaran melalui seni.

berkembang—karena besarnya bakat-bakat seni yang ada, didorong oleh permintaan yang senantiasa tinggi dari para kolektor Indonesia berkantung dalam. Akan tetapi, kenaikannya ke tingkat global akan tertahan sampai dan kecuali bila kajian ilmiah dimiliki dan dihargai, kemampuan dikembangkan berdampingan dengan investasi dalam hal infrastruktur fisik dan dijalin ke dalam fungsi pasar, dan dalam dunia seni regional dan

internasional yang lebih luas.

Aidan, W. (2003, September). ‘Locating Art Worlds: London and the Making of Young British Art.’ Blackwell Publishing on behalf of The Royal Geographical Society (with the Institute of British Geographers), Area, Vol. 35, No. 3, hal. 251-263. ASEAN (2010), ASEAN- Overview [dalam jaringan] dapat diakses di: http://www. aseansec.org/64.htm [diakses 11 September 2010]. Chen, P. (2008, October). Is the Southeast Asian art market riding on a bubble? Deductions from a survey of the Southeast Asian regional art market 2003 – 2008 (Disertasi Master’s yang belum diterbitkan). Singapura: Sotheby’s Institute of Art. Chen, P. (2010a). Database of Southeast Asian artworks in regional auctions 2000-2010. Tidak diterbitkan. Chen, P. (2010b, Juni) ‘Collectors’ Guide to the Southeast Asian art market.’ C- Arts, Vol 14, sisipan tengah, tanpa nomor halaman. Chen, P. (2009a) ‘Much ado about nothing?.’ Art Market Report, Issue 32 Second Quarter 2009, hal. 18-20. Chen, P. (2009b, March 7) ‘Dark days, high hopes.’ Financial Times (London Edition), Collecting, hal.5. Chen, P., (2009c) ‘Contemporary Art in Auctions.’ C-Arts, hal. 26-32. Furphy, J. (2010) The Australian Art Sales Digest. Diambil dari: http://www.aasd.com. au/ [diakses pada 31 Agustus 2010]. Taylor, A.N. (2003) ‘Writing Contemporary Southeast Asian Art History. ‘ Dalam: Reid, A. ed. Southeast Asian Studies. Pacific Perspectives. The Program for Southeast Asian Studies Monograph Series of Arizona State University and the Asian Pacific Monograph Series of the UCLA Asia Institute, 2003, hal. 179-192. Watson, P. (1992) From Manet to Manhattan, The Rise of the Modern Art Market. New York: Random House. Zukin, S. (1995) The cultures of cities. Oxford: Blackwell.

1 Ke-12 negara tersebut mencakup negaranegara anggota ASEAN, Asosiasi Bangsabangsa Asia Tenggara, suatu entitas politik yang terdiri atas Brunei, Burma, Kamboja, Indonesia, Laos, Malaysia, Filipina, Singapura, Thailand, dan Vietnam, ditambah dengan Papua Nugini dan Timor-Leste. Informasi lebih jauh tentang ASEAN dapat diperoleh di ASEAN (2010). 2 Suatu definisi kerja yang luas diterapkan karena pasar seni rupa ini masih muda dan sedang mengalami transisi. Suatu kriteria sederhana yang kronologis berbasis-waktu diterapkan untuk melakukan klasifikasi seniman, ketimbang suatu kriteria akademik yang ketat mengenai praktik-praktik kontemporer dan modern, karena ini merupakan esai bisnis seni. Hasil yang diperoleh perlu pula dipertimbangkan karena kolektor dan praktik jual-beli seni di Asia Tenggara juga secara umum mengacu kepada hal tersebut, terlepas apakah hal itu benar atau salah. Kekecualian dibuat dengan mempertimbangkan kasus per kasus, bilamana seniman-seniman muda masa kini menunjukkan kecenderungan modern dalam karya mereka, atau sebaliknya. Sebagian besar seniman kontemporer lahir sekitar tahun 1960-an dan 1970-an. “Seniman modern” secara umum mengacu kepada generasi seniman yang ada sebelumnya, sebagian besar lahir pada sekitar akhir abad ke-19 dan awal abad ke-20. 3 Penjualan Christie’s yang pertama di Singapura pada 1994 diberi judul “Gambargambar Asia Tenggara”—Southeast Asian Pictures. Sotheby’s bergabung dalam barisan dua tahun kemudian, dengan lelang “Lukisan Adiwarna Asia Tenggara”—Fine Southeast Asian paintings. Sejak 2003, pasar ini membesar dengan masuknya pemain-pemain Indonesia yang membuka ruang penjualan di Singapura. 4 Rumah-rumah lelang ini menyertakan karyakarya Asia Tenggara dalam pelelangan karya seni Asia mereka, yaitu karya-karya seni dari Cina, Taiwan, Jepang, India, dan Korea. Karya-karya seni semacam itu, bilamana ada, tidak disertakan dalam basis data karya seni Asia Tenggara dalam tinjauan ini. 5 Akibat seringnya lelang, mutu karya kadang turun. Data lelang Indonesia tidak disertakan demi menjamin keketatan kualitas percontoh data yang dikumpulkan sehingga dapat diperoleh pembacaan bermakna terhadap pasar. Karena itu, data yang diambil terutama berfokus hanya pada lelang-lelang di Singapura dan Hong Kong. 6 Untuk informasi mengenai dunia seni Asia Tenggara yang lebih luas, di Indonesia, Singapura, Vietnam, Filipina, dan Thailand, situs-situs berikut ini dapat diakses: www.

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010:

Referensi

Oleh Patricia Chen

Sebuah Tinjauan

Pasar Seni Rupa Asia Tenggara 2005 – 2010: 48

ivaa-online.org/archive/ ,www.cemetiarthouse. com, www.sagg.com.sg , www.vietnam-art-guide. com, dan www.filipinoart.org , www.rama9art. org. Ini sama-sekali bukanlah daftar lengkap. 7 Sementara Sejarah Seni ditawarkan sebagai pelajaran di berbagai lembaga seni, tak ada lembaga pendidikan atau sumberdaya yang dikhususkan untuk menjalankan penelitian dan kajian yang menerus di dalam Asia Tenggara. Menariknya, mungkin karena didorong oleh kebangkitan pasar seni India dan Cina, ada lonjakan dalam jumlah program setingkat pascasarjana untuk studi Seni Asia dan Kontemporer dalam tiga tahun terakhir di Singapura; tapi tak ada yang menawarkan pendidikan serupa di tingkat sarjana. 8 Chen, P (2008), hal. 41-48. Hasil wawancara dengan 14 perwakilan kunci dari rumah-rumah lelang, galeri, kolektor serta kurator, perwakilan museum, dan akademisi mengenai seniman yang tervalidasi, yang diperbandingkan dengan data lelang secara historis, menunjukkan fakta bahwa uang dalam jumlah besar tidaklah mengikuti para seniman yang tervalidasi atau seniman dengan tingkat peredaran yang tinggi. 9 Didefinisikan sebagai para seniman yang telah meraih harga tinggi dan meraup uang dalam jumlah besar dalam pelelangan. 10 Pameran tunggal pertama Masriadi di tingkat regional, “Black is my last weapon”, dibuka di Museum Seni Singapura (8Q) pada Agustus 2008. Karyanya pertama kali membuat orang terperangah pada lelang Sotheby’s hampir setahun sebelumnya, ketika Jangan tanya saya tanya presiden terjual seharga SGD 300.000 (AUD234.394, atau sekitar Rp 2 miliar). Saat itu, itulah harga tertinggi yang pernah dibayarkan untuk karya kontemporer; rekor yang akan berulang kali terpecahkan lagi setelah itu. Setahun kemudian, The Man from Bantul (The Final Round) sekali lagi membuat sejarah ketika terjual seharga HKD 7,8 juta (AUD 1,344 juta, atau hampir Rp 9 miliar). Nilai tukar sebesar 1 SGD = AUD 0,78 dan 1 HKD = AUD 0,17 dipakai untuk penjualan pada 16 September 2007 dan 6 Oktober 2008 dari situs web Sotheby’s. 11 Nora Taylor adalah cendekiawan terkemuka dalam hal seni Asia Selatan dan Tenggara, terutama mengenai seni Vietnam. Ia Guru Besar dalam hal Seni Asia Selatan dan Tenggara di School of Art Institute of Chicago. 12 Watson, P. (1992) dan Aidan While (2003) merupakan sumber yang sangat baik yang menyediakan sejarah terperinci mengenai pasar seni modern dan kontemporer di Eropa dan Amerika. 13 Data lelang seni Australia diambil dari

Furphy, J. (2010). Data yang dipilih untuk ilustrasi tidak menyertakan seni Aborigin Australia dan seni asing. Data lelang seni Asia Tenggara diambil dari Chen, P (2010). Ini hanyalah merupakan ukuran kasar karena YTD Furphy tidak menyebutkan bulan yang disertakan dalam percontoh. Data Chen mengikutsertakan lelang yang dilakukan pada paruh pertama 2010. Ini mencakup baik seni kontemporer maupun modern dari Indonesia, Filipina, Thailand, Malaysia, dan Singapura. Nilai tukar 1 AUD = SGD 0,8165 dipakai untuk data-data yang sumber aslinya tidak dituliskan dalam dolar Australia. 14 Chen, P. (2010b). Di sini, penjualan Christie’s dan Sotheby’s di Hong Kong, di bawah payung seni Asia, dibandingkan dengan seni Asia Tenggara. Untuk kajian ini, seni Asia mencakup seni yang dilelang oleh Christie’s dan Sotheby’s di Hong Kong dan mengikutsertakan karya-karya dari Cina/Hong Kong, India, Korea, dan Jepang. Ia tidak menyertakan karya-karya seni yang berasal dari Asia Tenggara. 15 Beberapa perkecualian adalah Heri Dono dan Dede Eri Supria, yang karyanya telah dilelang masing-masing sejak 2000 dan 1998. 16 Chen, P. (2008). Dari berbagai wawancara dengan penjual dan perwakilan rumah lelang. 17 Lihat Chen, P. (2009a, 2009b, dan 2009c) untuk uraian terperinci. 18 Beberapa pasaraya seni yang melibatkan partisipasi galeri dan seniman Indonesia mencakup Art Shanghai, Art Paris, Hong Kong International Art Fair, Melbourne Art Fair, CIGE Beijing, dan Art Singapore.

2006

150 100

Pasar lelang

50 2007

Omset lelang (juta AUD)

Pasar seni Australia Pasar seni Aborigin Australia Pasar seni Asia Tenggara

2008

Jangka waktu (Tahun)

2010 (YTD)

2009

Gambar 1 : Pasar seni Asia Tenggara versus pasar seni Australia dan Aborigin Australia. Data lelang seni Australia diambil dari Furphy, J.(2010). Data yang dipilih untuk ilustrasi tidak menyertakan seni asing. Data lelang seni Asia Tenggara dari:Chen, P (2010a).

Gambar 2 : Struktur harga seni Asia Tenggara dalam pelelangan 2006 â&#x20AC;&#x201C; 2010. Sumber: Chen, P (2010a). Persentase yang dituliskan tidak mencapai jumlah seratus karena sisanya terdiri atas kontribusi karya-karya seni modern. karya-karya seni modern.

80 % 5% 7%

60 %

2% 4%

2% 3%

30% 18%

40 %

22%

20 %

23% 15%

14%

11% 18%

20% 11%

14%

1H2010

2009

2006

2008

0 %

2007

Persentase Lot (%)

26%

Jangka waktu (tahun) <

SGD 5,000 (AUD 4,083) SGD 5,000 - < 10,000 (AUD 4,083 - < 8,165) SGD 50,000 - < 100,000 (AUD 40,825 - < 81,6 SGD 10,000 - < 50,000 (AUD 8,165 - < 40,825 > SGD 100,000 (AUD 81,650)

Gambar 3 : Volume dan harga ratarata karya seni kontemporer Asia Tenggara dalam pelelangan, 2009 â&#x20AC;&#x201C; 2010 (YTD). Sumber: Chen, P. (2010b). Mata uang yang dijadikan dasar dalam tulisan ini telah dikonversi ke dolar Australia, dengan nilai tukar 1 AUD = SGD 0.8165. 1H 09 mengacu kepada paruh pertama 2009; 2H09, paruh kedua 2009; dan seterusnya.

450

Jumlah lot kontemporer terjual Harga rata-rata

400

25 300 250

200

150

Harga (000 AUD)

10 100 50

0 1H 09

2H 09

1H 09

Jangka waktu

Jumlah Lot Terjual

350

Pasar Lelang Seni Australia 10 Lot Teratas# (AUD) dalam Tahun Berjalan

Pasar Lelang Seni Asia Tenggara 10 Lot Teratas∂ (AUD) dalam Tahun Berjalan

Nilai Dolar Karya Terjual

Jumlah Lot Terjual

Seniman

Nilai Dolar Karya Terjual

Jumlah Lot Seniman Terjual

$7,261,117

Nolan, Sidney Robert (1917-1992)

$ 5,295,477

Lee Man Fong (Indonesian, 1933-1988)

$4,637,520

Brack, Cecil John (John) (1920-1999)

$ 2,739,483

Nyoman Masriadi (Indonesian, 1973 - )

$2,622,041

Whiteley, Brett (1939-1992)

$ 1,715,503

Hendra Gunawan (Indonesian, 1918–1983)

$1,748,813

Blackman, Charles (1929 - )

$ 1,690,669

Affandi (Indonesian, 1907–1990)

$1,728,201

Streeton, Arthur Ernest (1867–1943)

$ 934,910

Handiwirman Sahputra (Indonesian, 1975-)

$1,361,923

Perceval, John De Burgh (1923-2000)

$ 819,815

Le Pho (Vietnamese, 1907–2001)

$1,175,389

110

Lindsay, Norman Alfred Williams (1879-1969)

$ 769,842

Agus Suwage (Indonesian, 1959- )

$1,080,819

Drysdale, George Russell (1912-1981)

$737,593

Romualdo Locatelli (Italian, 1905–1943)

$897,494

Rees, Lloyd Frederic (1895-1988)

$ 664,075

Fernando Cueto Amorsolo (Filipino, 1892–1972

$720,000

Oliver, Bronwyn (1959-2006)

$630,244

Rudolf Bonnet (Dutch, 1895-1978)

Tabel 4: Sepuluh lot teratas dalam pasar lelang seni Asia Tenggara dan Australia. # Data lelang seni Australia dari Fur-

phy, J (2010) sampai 31 Agustus 2010. Data yang dipilih untuk penggambaran ini tidak menyertakan karya-karya Aborigin Australia dan karya-karya asing. ∂ Data seni Asia Tenggara dari: Chen, P (2010a). Ini mencakup baik karya kontemporer maupun modern dari Indonesia, Filipina, Vietnam, Thailand, Malaysia, dan Singapura. Nilai tukar 1 AUD = SGD 0,8165 dipakai untuk data yang sumber aslinya tidak dituliskan dalam dolar Australia. ¶ Nilai total lelang karya Lee Man Fong terbantu dengan penjualan lukisan “Bali Life” yang langka yang terjual dengan harga yang merupakan rekor dunia, sebesar HKD 25,3 juta (AUD 3,55 juta atau Rp 29 miliar), suatu rekor bagi sang seniman dan bagi lukisan Asia Tenggara dalam pelelangan.

SOCIAL, POLITICAL & THE PERSONAL

150 x 125 cm

Study of First September Doll I 2010 Mixed Media on Canvas

page 56

AY TJOE CHRISTINE

BORN 1973

SIGIT SANTOSO

BORN 1964

200 x 150 cm

After the Crucifixion #2 I 2010 Oil on Canvas

page 59

ENTANG WIHARSO

BORN 1967

Varied Dimensions approximately 100 x 100 cm each

Detail I Undeclared Skins I 2010 Aluminium and Brass Cast

page 61

Varied Dimensions approximately 100 x 100 cm each

Undeclared Skins I 2010 Aluminium and Brass Cast

page 63

UGO UNTORO

BORN 1970

100 x 120 cm

d.h. 12 I 2008 Oil on Canvas

page 65

F.X HARSONO

BORN 1949

Edition of 5

Memory of a Name â&#x20AC;&#x201C; Rewriting The Erased # 2 I 2009 C- Print

page 67 (bottom)

Edition of 5

Memory of a Name â&#x20AC;&#x201C; Rewriting The Erased # 1 I 2009 C- Print

page 67 (top)

100 x 270 cm

Rewriting The Erased Name No. 6I 2010 Oil on Canvas

page 69

SAMSUL ARIFIN

BORN 1979

175cm

You Can See (Black) I 2010 Fabric and Dacron

page 71

175cm

You Can See (White) I 2010 Fabric and Dacron

page 73

175cm

Detail I You Can See (White) I 2010 Fabric and Dacron

page 72

SONI IRAWAN

BORN 1975

200 x 200 cm

Come to Me #2 I 2010 Oil bar, acrylic and permanent marker on canvas,

page 74

EKO NUGROHO

BORN 1977

300 x 600 cm

Detail I Duo Petualang Berbulu I 2010 Installation, hardboard, embroidery

page 77

300 x 600 cm

Duo Petualang Berbulu I 2010 Installation, hardboard, embroidery

page 78-79

New Realism

BUDI UBRUX

BORN 1968

200 x 150 cm

Stock Market I 2010 Oil on Canvas

page 83

I GUSTI NGURAH UDIANTARA

BORN 1976

117 x 109 cm

Level of Beauty I 2010 6 Layer Cutting Aluminum

page 85

GUSTI AGUNG MANGU PUTRA

BORN 1963

190 x 190xcm

Out of Control I 2010 Acrylic on Canvas

page 87

HARIS PURNOMO

BORN 1956

150 x 150 cm

The Pink Dot I 2010 Acrylic on Canvas

page 89

UGY SUGIARTO

BORN 1969

200 x 150cm

Muse I 2010 Acrylic on Canvas

page 91

New Media

PRILLA TANIA

BORN 1979

Detail s I Space Within Time #7 I 2010 Stop Motion Video, Edition of 6

page 95

TROMARAMA FEBIE BABYROSE BORN 1985

HERBERT HANS MARULI A. BORN 1984

RUDDY ALEXANDER HATUMENA

BORN 1984

Video animation, 3 min 18 sec Music by Brian Setzer

page 97

MARIA INDRIA SARI

BORN 1976

Varied Dimensions approximately 160 x 70 cm each

Playing in the Kitchen I 2010 Textile, thread, buttons, safety pin, zip and multiplex

page 100 - 101

150 x 60 cm

Playing in the Kitchen I 2010 Iextile, thread, buttons, safety pin, zip and multiplex

page 101

100 x 100 cm

I am big, you are small I 2009 Mixed Media

page 99

100

101

ANGKI PURBANDONO

102

BORN 1971

103

200 x 50 x 20 cm

Doremon I 2010 Neon Box

page 103

104

150 x 100 x 20 cm

Chili Dancer I 2010 Neon Box

page 104

105

100 x 150 x 20 cm

Sinchan Chili I 2010 Neon Box

page 105

YUDI SULISTYO

106

BORN 1972

107

270 x 135 x 210 cm

Memonry WW1 I 2010 PVC Pipe and Cardboard Pulp

page 107

JOMPET KUSWIDANANTO

108

BORN 1976

109

War of Java, Do You Remember? # 3 I 2008 Human sized figures in mixed media

page 109

110

111

Detail I War of Java, Do You Remember? I 2008 Human sized figures in mixed media

page and page 110 - 111

112

A-Z

BIOGRAPHIES

ARTIST’S

ANGKI PURBANDONO

Education »»

1994-9 Indonesia Institute of Art, Jogjakarta, Indonesia 1993-4 Modern School of Design Jogjakarta, Indonesia

1971, CEPIRING, INDONESIA, LIVES YOGYAKARTA, INDONESIA

Residency Program »»

2009 Artist in Residency Program at Fukuoka Asian Art Museum, Fukuoka, Japan

2006 – 2007 Landing Soon #1, Artist Residency at Artoteek Denhaag, The Netherlands & Cemeti Art House Jogjakarta, Indonesia 2005 - 2006 Asian Artist Fellowship at Changdong Art Studio, Seoul, South Korea 2004 1 month – Ruang Rupa Residency Program, Jakarta, Indonesia

Selected Solo Exhibitions »»

2010 Noodle Theory, Garis Art, Jakarta, Indonesia 2 Folders From Fukuoka, Vivi Yip Art Room II, Jakarta, Indonesia 2009 Kissing The Methods, Richard Koh Fine Art, Kuala Lumpur, Malaysia 2008 Happy Scan, Biasa Art Space, Seminyak, Bali, Indonesia 2007 Industrial Fiesta, Cemeti Art House, Jogjakarta 2006 Industrial Fiesta, Changdong Art Studio, Seoul, South Korea 2000 My Brain Packages, Centre Culturel Francais, Jakarta, Indonesia 1999 Kolasmaniac, Centre Culturel Francais, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 Rainbow Asia, Hangaram Art Museum of Seoul Art Center, Seoul, South Korea Contemporaneity: Contemporary Art in Indonesia, MOCA, Shanghai, China Asia Spectrum: Daegu Photography Biennale, Daegu Culture and Art Milestone,Vanessa Art Link,Jakarta, Indonesia Center, Daegu, South Korea ARTJOG 10, Taman Budaya, Jogjakarta, Indonesia Contemporary Art of Indonesia, MoCA Shanghai, China Emerging Wave, ASEAN - Korea Contemporary Photo Exhibition, GoEun Museum of Photography, Busan, South Korea Emerging Wave, ASEAN – Korea Contemporary Photo Exhibition, Hangaram Art Museum, Seoul, South Korea Saemangeum Flag Festival 2010, Saemangeum Seawall, Saemangeum, South Korea Space and Image, Ciputra World, Jakarta, Indonesia LOOK ! SEE ? Nadi Gallery, Jakarta, Indonesia 2009 4th Fukuoka Asian Art Triennale 2009 - LIVE and LET LIVE: Creators of Tomorrow Fukuoka Asian Art Triennale, Fukuoka, Japan Ilustrasi Cerpen Kompas, Bentara Budaya Jakarta, Jogjakarta and Bali, Indonesia Guru Oemar Bakri (Anonimous Project), Jogja Gallery, Jakarta, Indonesia BLUEPRINT of Jogja (Ruang MES 56), Tembi Contemporary Art Space, Jogjakarta, Indonesia Kocon 2009 Spring International Digital Design Invitation Exhibition, Silla University in Busan, South Korea City Oneminutes Project [video] Rietveld Arsenale – Venice Biennale, Arsenale Novissimo Venice, Italy KOMPILASI: A Survey of Contemporary Indonesian Art, BUS Gallery, Melbourne, Australia

113

BORN

Jakarta Biennale XIII 2009 ARENA: Zona Pertarungan, Jakarta City, Indonesia International Digital Design Invitation Exhibition, Zhejiang University of Techmology, China Jawa Baru #2, Garis Art Space, Jakarta, Indonesia 2008

REFRESH: New Strategies in Indonesian Contemporary Art – Valentine Willie Fine Art – VWFA Singapore, Singapore CUT: New Photography from Southeast Asia – Valentine Willie Fine Art – VWFA Kuala Lumpur, Kuala Lumpur, Malaysia Manifesto, National Gallery, Jakarta, Indonesia Boys|Girls-Contemporary Art, Youth Life and Culture in Two Parts, Edwin’s Gallery, Jakarta, Indonesia Indonesian Dream, Erasmus Huis, Jakarta, Indonesia Anonymous- Landing Soon Project by Artoteek Den Haag and Cemeti Art house, Erasmus Huis Jakarta, Indonesia 2nd Pose Project (Ruang MES56), Jogja Gallery, Jogjakarta, Indonesia

2007

3 Young Contemporaries 2007 – Valentine Willie Fine Art – VWFA Kuala Lumpur, Kuala Lumpur, Malaysia Kuota: Inbox 2007, National Gallery Jakarta, Indonesia FETISH: catalogue presentation, BIASA artspace, Jakarta, Indonesia International Digital Design Invitation Exhibition, Pai Chai University, South Korea Overload, Centre Culturel Francais, Jogjakarta, Indonesia FETISH: objects art project #1, BIASA artspace, Bali, Indonesia T-shirt from March, Bentara Budaya Gallery, Jogjakarta, Indonesia Anonymous-Landing Soon #1, Cemeti Art House and Cemeti Studio, Jogjakarta, Indonesia

2006

Open Studio – Document Changdong, Changdong Art Studio, Seoul, South Korea Goyang International Art, Goyang, Seoul, South Korea Bikini in Winter, LOOP Alternative Space, Seoul, South Korea Bitmap International Digital Photo Project, LOOP Alternative Space, Seoul, South Korea International Digital Design Invitation Exhibition, Joongbu University, Seoul, South Korea Alterorgasm, Kedai Kebun Forum, Jogjakarta, Indonesia

2005

About Beauty – Haus der Kulturen der Welt, Berlin, Germany Road/Route 1st Pocheon Asian Art Festival, Pocheon City, South Korea Space and Shadows – Contemporary Art from Southeast Asia, Haus der Kulturen der Welt, Berlin, Germany Unfolded City, Biennale Jogja VIII, Taman Budaya Jogjakarta, Indonesia Best Quality, CP Biennale Indonesia Bank Museum, Jakarta, Indonesia Revolution Ugly-No Beauty, Cemeti Art House, Jogjakarta, Indonesia Ruang MES56, Room No 1-EAT/347, Bandung, Indonesia Where Troubles Melt Like Lemon Drops, Koninklijke Academie voor Schone Kunsten Hogeschool Antwerpen, Belgium Omong Kosong#1, Cemeti Art House, Jogjakarta, Indonesia Trans Indonesia, Govett-Browster Art Gallery, New Playmouth, New Zealand Absolut Fotogram, Ruang Mes 56, Jogjakarta, Indonesia Milik Kita Bersama, Jogja Bergerak Radius 1 Km, Kedai Kebun Forum, Jogjakarta, Indonesia

114

Top Collection and Beauty Point [Video Art], Internet Project

Ueber Beauty (http://www.ueber-beauty.com), Haus der Kulturen der Welt/ House of World Cultures, Berlin, Germany 2004

Beauty Point [Video Art], International Media Art Award, Baden, Germany Beauty Point [Video Art], Jakarta International Film Festival, Jakarta Holiday in Jakarta, Passage de Retz, Paris, France Urban Moslem in Jogjakarta, Museum Nusantara, Delft, Netherlands Moslem Fashion of Indonesian Women, Common Ground: Aspects of Contemporary Moslem Life in Britain and Indonesia, An International Exhibition BritainIndonesia Photography Artists, Art National Gallery, Kuala Lumpur, Malaysia Photography Project Top Collection, Ruang Rupa, Jakarta, Indonesia Holiday in Jakarta, Lontar Gallery, Jakarta, Indonesia Vector Junkie: Undiscovered Teritory, Oktagon Gallery, Jakarta, Indonesia

2003-4

Transindonesia, Govett-Brewster Gallery, New Plymouth, New Zealand Life in Britain and Indonesia; An International Exhibition Britain-Indonesia Photography Artists, Indonesia Cool and Famous, Jogjakarta Art Biennale VII, Taman Budaya Jogjakarta, Jogjakarta, Indonesia

2002

Dedi Dores, Ruang MES56, Jogjakarta, Indonesia Donâ&#x20AC;&#x2122;t Try This at Home!, Rumah Soboman, Jogjakarta, Indonesia Kata Rupa, Gelaran Gallery, Jogjakarta, Indonesia

2001

Festival Kesenian Indonesia, STSI Padang Panjang, West Sumatera, Indonesia

2000

The Silent Chapter, Sika Contemporary Art Gallery, Ubud, Bali, Indonesia Art Photography Exhibition, Museum Negeri Denpasar, Bali, Indonesia

1999

REVOLUSI #9, Galeri Fotografi Jurnalistik ANTARA, Jakarta, Indonesia

1998

Slide Corner Slide Performance, Jogjakarta, Indonesia Message From Distortion, 50th Human Right Anniversary, Jogjakarta, Indonesia Festival Kesenian Jogjakarta X, Benteng Vredeburg, Jogjakarta, Indonesia Langkah, Ruang MES56, Jogjakarta, Indonesia Festival Kesenian Jogjakarta IX, Benteng Vredeburg, Jogjakarta, Indonesia

115

1997

AY TJOE CHRISTINE

Education »»

1992-1997 Institute Technology Bandung (ITB), Faculty of Art and Design, Graphic Art

Residencies »»

BORN 1973, BANDUNG,

Selected Awards »»

2009 SCMP Art Futures Prize Winner, Hongkong Art Fair 2004 Scholarship In Stiftung Kuenstlerdorf, Schoeppingen, Germany

WEST JAVA, INDONESIA

2008 Artist in residence, STPI, Singapore

2001 Top 5 of Philip Morris Indonesian Art Award

Selected Solo Exhibitions »»

2010 Symmetrical Sanctuary, SIGI Art Gallery, Jakarta, Indonesia Lama Sabakhtani Club, Lawangwangi, Bandung, Indonesia 2009 Panorama Without Distance, Hongkong Art Fair, Hongkong Convention & Exhibition Centre, Hong Kong Eating Excess, Singapore Tyler Print Institute, Singapore 2008 Interiority of Hope, Emmitan Gallery, Surabaya, Indonesia Wall Prison (part two), Scope Miami Art Fair, Miami, USA 2007 Silent Supper, Ark Galerie, Jakarta, Indonesia 2006 Eksekusi Ego, Edwin’s Gallery, Jakarta, Indonesia 2003 Reach Me, Cemeti Art House, Jogjakarta, Indonesia Aku/ Kau/ Uak, Edwin’s Gallery, Jakarta, Indonesia 2002 At The Day of German Unity, German Embassy, Jakarta, Indonesia 2001 Buka Untuk Melihat, RedPoint Gallery, Bandung, Indonesia

Selected Group Exhibitions »»

2010 ARTPARIS+GUESTS 2010, Grand Palais-Champs Elysees, Perancis, France 2009 Bandung Art Now, National Gallery, Jakarta, Indonesia Enam Pekan Perempuan, Salihara Gallery, Jakarta, Indonesia Awareness, Canvas International Art, The Netherlands Indonesia Contemporary Drawing, National Gallery, Jakarta 2008 International Print Talk: From The Dark Background of Etchings, Ark Gallery, Jakarta CIGE 2008, China World Trade Centre, Beijing, China Expose#1- A Presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi Gallery, Four Seasons Hotel, Jakarta, Indonesia Manifesto, National Gallery, Jakarta, Indonesia E-Motion, National Gallery, Jakarta, Indonesia 180 x 180, One Gallery, Jakarta, Indonesia Hello Print!, Edwin’s Gallery, Jakarta, Indonesia A Decade of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space, Bandung, Indonesia Shanghai Contemporary 2008, China 2007 Indonesian Contemporary Art Now, Nadi Gallery, Jakarta, Indonesia China International Gallery Exposition 2007, China World Trade Center Beijing,

116

China

Anti Aging, Gaya Art Space Gallery, Bali, Indonesia Intimate Distance, Indonesian Women Artists, National Gallery, Jakarta, Indonesia Conscience Celebrate, Gandaria Heights, Jakarta, Indonesia Shanghai Contemporary 2007, Main Fountain Square, Shanghai Exhibition Center, China Art Singapore 2007, The Contemporary Asian Art Fair, Suntec City, Singapore The 22nd Asian International Art Exhibition, Selasar Sunaryo Art Space, Bandung, Indonesia Petisi Bandung, Langgeng Gallery, Magelang, Indonesia Kuota 2007, National Gallery , Jakarta, Indonesia 2006

Jejak dalam Jejak, Goethe House, Goethe Institut, Jakarta, Indonesia China International Gallery Exposition, China World Trade Center Beijing, China Langgeng Contemporary Art Festival 2006, Langgeng Gallery, Magelang, Indonesia Indonesian Contemporary Art Now, Nadi Gallery, Jakarta, Indonesia

2005

Taboo and Transgression in Contemporary Indonesian Art, Johnson Museum, Cornelly University, New York, USA The Beppu Asia Biennale of Contemporary Art, Beppu Art Museum, Oita, Japan Tanda Kasih, Edwin’s Gallery, Jakarta, Indonesia Jejak-Jejak Drawing, Edwin’s Gallery, Jakarta, Indonesia 21th and Beyond, Edwin’s Gallery, Jakarta, Indonesia Vision & Resonance, Asian Civilization Museum, Singapore Petisi Bandung, Langgeng Gallery, Magelang, Indonesia Fragments-KII 13, Edwin’s Gallery, Jakarta, Indonesia

2004

Persepsi dalam Vibrasi, Edwin’s Gallery, Jakarta, Indonesia Sayap dalam Kata, Studio Budaya Langgeng, Magelang, Indonesia K-ein Weg, Kunstverein Vreden, Germany Schoeppingen zu Gast in Brauweiler, Koeln, Germany Bingkai Narasi Kecil-KII 12, Edwin’s Gallery, Jakarta, Indonesia Equatorial Heat, Shanghai Museum, China Girl Talk, Edwin's Gallery, Jakarta, Indonesia CP Open Biennale, National Gallery, Jakarta, Indonesia The 6th Triennale Mondiale D’Estampes Petit Format, Galerie d’Art Contemporain de Camalianes, France Beijing International Art Biennale 2003, China National Museum of Fine Art, China The 18th Asian International Art Exhibition, Hongkong Museum of Art, Hong Kong Kecil Itu Indah 11, Edwin’s Gallery, Jakarta, Indonesia Passion: Etno-Identity, The Indonesian Art Foundation (YSRI), Beijing and Shanghai, China

117

2003

BUDI UBRUX

Education »»

1984 Jogjakarta Senior Visual Art School (Sekolah Menengah Seni Rupa Jogjakarta SMSR), Painting Department

BORN 1968,

Selected Awards »»

YOGYAKARTA,

2002 Indofood Art Award, Jakarta, Indonesia 2000 Grand Prize Winner of Phillip Morris Indonesian Art Awards, National Gallery Jakarta, Indonesia

INDONESIA

Philip Morris Indonesia Art Awards, Singapore Art Museum

Selected Solo Exhibitions »»

2010 Togetherness, Parco Sculpture Park Delchianti, Italy 2008 Beyond the Headlines, iPreciation, Singapore 2002 Ilusi Koran, Semarang Gallery, Semarang, Central of Java, Indonesia Transisi, Bentara Budaya, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 Una Finestra Sul Mondo, Mycupoftea Gallery, Roma, Italy Space & Image, Ciputra World, Jakarta, Indonesia 2009 Blindness and Insight: Visions from the East, The Rotunda, Exchange Square, Hong Kong. 2007 Transposisi: Paintings Collection of Central of Java -Jogjakarta Collectors, Jogja Gallery, Jogjakarta, Indonesia Korea International Art Fair, Seoul, Korea Taipei Art Fair, Taipei, Taiwan 2005 Equatorial Heat, Edwin Gallery, Jakarta, Indonesia Art For Aceh, Edwin Gallery, Jakarta, Indonesia 2004 BARCODE, Jogjakarta Art Festival XVI, Indonesia Equatorial Heat, Sichuan, China 2003 Zaman Edan, Bentara Budaya, Jogjakarta, Indonesia 2002 Mata Hati Demokrasi, Taman Budaya, Surakarta, Central of Java, Indonesia Jula Juli, Bentara Budaya, Jogjakarta, Indonesia Dimensi Raden Saleh, Semarang Gallery, Semarang, , Indonesia Re-Kreasi, H. Widayat Museum, Mungkid, Jogjakarta, Indonesia 2001-2 Urip Mampir Ngombe, Bentara Budaya, Jogjakarta 2000 Phillip Morris Indonesia Art Awards, National Gallery, Jakarta, Indonesia Phillip Morries Indonesia Art Awards, Singapore Art Museum Singapore To Russia With Art, Russia 1998 Phillip Morris Indonesia Art Awards, Agung Rai Art Museum, Bali, Jogjakarta Art Festival X, Indonesia Yellow Art, Zurich, Switzerland 1997 Jogjakarta Art Festival IX, Indonesia 1996 Jogjakarta Art Festival VII, Indonesia 1988 Final Task Exhibition, SMSR, Jogjakarta, Indonesia 1987 With Kelompok PANDAWA, Karta Pustaka, Indonesia, Netherland Cultural Center,

118

Jogjakarta

EKO NUGROHO

Education »»

1997-2006 BFA, Indonesian Art Institute (ISI), Painting Department, Jogjakartar, Indonesia 1993-1997 High School for Fine Arts (SMSR), Jogjakarta, Indonesia

1977, YOGYAKARTA,

Selected Solo Exhibitions »»

2009 In the Name of Pating Tlecek, Nadi Gallery, Jakarta, Indonesia Hidden Violence, Cemeti Art House, Jogjakarta, Indonesia

INDONESIA,

Under The Shadow, Pekin Fine Art, Beijing, China Under The Shadow, Pekin Fine

LIVES

Solo Exhibition of Eko Nugroho, Galerie Nouvelles Image, Den Haag, The

Art, Beijing, China Netherlands

YOGYAKARTA,

2008 It’s All About Coalition, National Museum of Singapore (Commission Project),

INDONESIA

Singapore Pleasure of Chaos, Ark Gallerie, Jakarta, Indonesia Multicrisis Is Delicious, Semarang Gallery, Indonesia 2007 In Wonderland, Valentine Willie Fine Art, Kuala Lumpur, Malaysia 2006 Merdeka Atoe Sms, Toimoi, Jakarta, Indonesia 2005 Sorry I Am Late To Celebrate, Artnivora Gallery, Jakarta, Indonesia Eko Nugroho, Artoteek, Den Haag, The Netherlands 2004 Jauh Di Mata Dekat Di Hati, Workshop and Exhibition, Fukuoka Asian Art Museum, Japan Drawing Illustration in the Daily Newspaper “In Out”, Kunstvlaai, Westerpark, Amsterdam Welcome Back Mayonaise, Cemeti Art House, Jogjakarta, Indonesia 2003 Fight Me, Via-Via Cafe, Jogjakarta, Indonesia 2002 Bercerobong, (Like a Chimney), Cemeti Art House, Jogjakarta, Indonesia 2001 Indonesia Vs Televisi, Mural Exhibition for Public Space, at Panembahan Number 1 Jogjakarta, Indonesia 2000 Herk, Mural Exhibition at Apotik Komik gallery, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 Contemporaneity, MOCA Shanghai, China Indonesian Art Now: The Strategies of Being, Art Jogja 2010, Taman Budaya Jogjakarta, Indonesia Pameran Illustrasi Cerpen Kompas 2009, Travelling Exhibition: Bentara Budaya Jakarta, Bentara Budaya Jogjakarta, Balai Soedjatmoko-Solo, Bentara Budaya Bali, Indonesia Heat Wave, Lombard Freid Projects, New York, USA. Space and Image, Ciputra World Marketing Gallery, Jakarta, Indonesia Hongkong Art Fair Lonarte 10 Festival, alongside the beach in Calheta, Madeira Island, Portugal The 2010 Next Wave festival: The Ultimate Time lapse Megamix, Melbourne, Australia Paralinear, Pekin Fine Arts, Beijing, China. The Comical Brothers, National Gallery, Jakarta, Indonesia Lihat! Video Art form Indonesia, Galeria Jesus Gallardo, leno Mexico 2009 Miami Art Fair, USA Biennale Jogja X: Jogja Jamming, Taman Budaya Jogjakarta, Jogjakarta, Indonesia

119

BORN

Exposigns, Jogja Expo Center, Jogjakarta, Indonesia Cream International Festival for Arts and Media Yokohama, Japan Beyond the Dutch, Centraal Museum, Utrecht, The Netherlands 4TH International Architecture Biennale Rotterdam, Rotterdam, The Netherlands X Biennale de Lyon: The Spectacle of the Everyday, Lyon, France Tales from Wounded-Land, Tyler Rollins Fine Art, New York Fluid Zone, Jakarta Biennale XIII, Jakarta, Indonesia Dorodoro Doron, Hiroshima Contemporary Museum of Art, Hiroshima, Japan Designing Peace: A Show of Imagination, Museum of Contemporary Art and Design at the School of Design and Art, College of St. Benilde, Manila, Philippines. 2008 Expenditure, Busan Biennale 2008, Busan, South Korea Something From Nothing, Contemporary Arts Center, New Orleans, LA, USA Dari Penjara Ke Pigura, Salihara Gallery, Jakarta, Indonesia Manifesto, National Gallery, Jakarta, Indonesia, curated by Jim Supangkat, Rizki A. Zaelani, Farah Wardhani, Kuss Indarto Expose#1 – A Presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi Gallery, Four Season Hotel, Jakarta, Indonesia CIGE, China International Gallery Exposition, Beijing, China. The Bridge Art Fair, New York, USA. Gemaskered/Mask, Heden, The Hague, The Netherlands 2007 Geopolitical Of Animation, The Andalusian Centre of Contemporary Art, Sevilla, Spain Scope, Basel, Switzerland China International Gallery Exposition, China World Trade Centre Beijing, China Anti Aging, Gaya Fusion Art, Ubud, Bali, Indonesia Militia, OK Video, National Gallery, Jakarta, Indonesia Fetish, Biasa Art Space, Bali, Indonesia 100 Years Affandi, Gedung Arsip Nasional, Jakarta, Indonesia Wind From The East, KIASMA Museum of Contemporary, Helsinski, Finland The Past The Forgotten Times: Six Indonesian Artists Interpret Indonesian History, Traveling Exhibition: The Hague – The Netherlands, Cemeti Art House - Jogjakarta, Erasmus Huis - Jakarta, Yaitu Art House - Semarang, Bliz Art Shanghai, Fringe Festival – Singapore 2006 5th Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia Dirty Yoga, Taipei Biennale, Taipei Fine Art Museum, Taiwan Going Digital, The Kirk Theater, Utrecht, The Netherlands 2005 Sub/Version, OK Video, National Gallery, Jakarta, Indonesia Shadow And Spaces, HKW, Berlin, Germany Three Young Contemporaries, Valentine Willie Fine Art, Kuala Lumpur, Malaysia Bali Biennale, Denpasar, Bali, Indonesia 2004 Move On Asia, Animation and Single Channel Video Art Festival, Remo Gallery, Osaka, Japan Reformasi, Contemporary Indonesian Artist Post 1998, Sculpture Square, Singapore Melbourneconnection Asia, Kuala Lumpur, Hanoi, Manila, Jogjakarta, Shanghai Have We Met, The Japan Foundation Forum, Tokyo, Japan Equatorial Heat, Sichuan Museum, China Filter, De Schone Kunsten Gallery, Harlem, The Netherlands

120

2003 Countrybution, Jogjakarta Biennale, Taman Budaya, Jogjakarta, Indonesia

Ok Video, National gallery, Jakarta, Indonesia Exploring Vacuum, Cemeti Art House, Jogjakarta, Indonesia 2002 3030, Edwin Galeri, Jakarta, Indonesia Read, British Council, Jakarta, Indonesia Tali Ikat, (Fiber Connections)", Taman Budaya Jogjakarta, Indonesia Sama, Sama (Together), City Mural Project Flyover, Jogjakarta, Indonesia 2001 Gelart, Gelaran Budaya, Jogjakarta, Indonesia Kabinet Komik Indie, Gelaran Budaya, Jogjakarta, Indonesia 2000 Young Artist Exhibition 2000, Purna Budaya, Jogjakarta, Indonesia Buldozer, Bentara Budaya, Jogjakarta, Indonesia 1999 Jogjakarta Art Festival (FKY) XI, Jogjakarta, Indonesia Indonesian Art Festival (FKI), Benteng Vredeburg, Jogjakarta, Indonesia

Selected Performances »»

2010 Perseteruan Getah Bening, collaboration with Catur Kuncoro (puppeteer), Yennu Ariendra (musician), Ig Sugiarto (lighting designer), Gunawan Maryanto (writer) at Lembaga Indonesia Perancis, Jogjakarta, Indonesia Skandal Jeruk Purut, collaboration with Catur Kuncoro (puppeter), Toro (Puppeteer), Yennu Ariendra (musician). Private performance for American Arts Presenters at Yayasan Bagong Kussudiardjo, Jogjakarta, Indonesia. Perseteruan Tubuh, Anatomy Puppet Project for Biennale Anak Jogja at Taman Budaya Jogjakarta, Jogjakarta 2009 L’arc En Ciel Sous la Pierre (Rainbow Beneath A Stone) at the Open Air Theatre, Vaulx-en-Velin, Lyon, France. Veduta, Lyon “Bineale X”, France Contemporary Puppet Performance, collaboration with Catur Kuncoro (puppeteer), Toro (puppeteer), Yennu Ariendra (musician), Ig Sugiarto (lighting designer), Andy Seno Aji (stage designer) at Grand Indonesia Shopping Center Wonder Diamond, collaboration with Catur Kuncoro (puppeteer), Dr Matthew Isaac Cohen (Puppeter), Toro (puppeter), Yennu Ariendra (musician), Ig Sugiarto (lighting designer), Andy Seno Aji (stage designer) at Cemeti Art House, Jogjakarta, Indonesia 2008 Bungkusan Hati di Dalam Kulkas/A Wrapped Heart Inside the Refrigerator, Catur Kuncoro (puppeteer), Joned Suryatmoko (Theater director/writer), Eko Nugroho (Visual Artist), Yennu Ariendra (musician), Ig Sugiarto (lighting designer), Andy Seno Aji (stage designer). Teater Salihara, Jakarta, Indonesia

Selected Collections Tropen Museum, Amsterdam, The Netherlands Asia Society Museum, New York, USA Gallery of Modern Art (GOMA) Brisbane, Australia Contemporary Arts Center, New Orleans, USA Private Museum of Dr. Private Museum of Dr. Oei Ong Djien, Jogjakarta, Indonesia. Museum and Art Gallery of the Nothern Territory, Darwin, Australia Akili Museum, Jakarta, Indonesia Haus Der Kulturen Der Welt, Berlin, Germany Artoteek Den Haag/HEDEN , The Hague, The Netherlands ARK Gallerie, Jakarta, Indonesia

121

Cemeti Art House, Jogjakarta, Indonesia

Deutsche Bank, Frankfurt, Germany Valentine Willie Fine Art, Kualalumpur, Malaysia Singapore Art Museum, Singapore

Comissioned Works »»

2010 Art Jog 2010, Jogjakarta, Indonesia 2009 Cream, International Festival for Arts and Media Yokohama, Japan BMW Jakarta, Indonesia 2008 National Museum of Singapore, Singapore 2006 Queensland Art Gallery, Brisbane, Australia 2004 Fukuoka Asian Art Museum, Japan

Selected Residencies »»

2009 Veduta Project, Lyon Biennale X 2009, Lyon, France 2008 Contemporary Arts Center, New Orleans, LA, USA Singapore National Museum, Singapore Heden, Den Haag, The Netherlands 2007 Kiasma Museum of Contemporary Art, Helsinki, Finland 2006 Gallery of Modern Art, Queensland Art Gallery, Brisbane, Australia Taipei Fine Art Museum, Taipei, Taiwan 2005 Artoteek Den Haag, The Hage, The Netherlands Rimbun Dahan, Kuala Lumpur, Malaysia Haus der Kulturen der Welt, Berlin, Germany 2004 Amsterdam Graphics Atlier (AGA), The Netherlands

122

Fukuoka Contemporary Art Museum, Japan

WIHARSO BORN 1967,

Education »»

1994 Bachelor of Fine Arts in Painting, Indonesia Art Institute, Jogjakarta, Indonesia

Selected Awards »»

2007 Copeland Fellowship, Amherst College, Amherst, MA, USA Pollock – Krasner Foundation Grant

TEGAL,

2006 Vasl International Artists’ Workshop, Karachi, Pakistan Ford Foundation Travel Grant

INDONESIA

1996 Top Ten Painters, Indonesian Art Awards, Philip Morris Group of Companies and Indonesian Fine Art Foundation, Jakarta, Indonesia

Selected Residencies »»

2003 Galerie Tangente, Eschen, Liechtenstein 1999 Pacific Bridge Contemporary Southeast Asian Art, Oakland, CA, USA 1998 CentreCity Contemporary Arts, Providence, RI, USA

Selected Solo Exhibitions »»

2010 Love me or die, National Gallery of Indonesia, Jakarta, Indonesia 2008 Black Goat is my Last Defense, 5 Traverse Gallery, Providence, RI USA Black Goat, The Drawing Room Contemporary Art, Manila, Philippines Black Goat Space, Ark Gallery, Jakarta, Indonesia I am Black Goat, SMU Concourse, Singapore 2007 In Toxic, Rumah Seni Yaitu, Semarang, Central Java, Indonesia 2006 Puppet Blues, Western Michigan University, Kalamazoo, Michigan, USA 2005 Inter-Eruption, Bentara Budaya, Jakarta, Indonesia 2004 Sublime Tunnel, Circle Point Art Space, Jakarta, Indonesia Hurting Landscape: Between Two Lines, Gallery Agniel, Providence, Rhode Island, USA 2003 Hurting Landscape, Chouinard Gallery, Hong Kong Hurting Landscape, Rhode Island Foundation Gallery, USA Hurting Landscape, Circle Point Art Space, Washington, D.C., USA 2002 NusaAmuk, Indonesian National Gallery & Nadi Gallery, Jakarta, Indonesia Amuk, CP ArtSpace, Washington D.C, USA 2001 NusaAmuk, Indonesia National Gallery and Nadi Gallery, Jakarta, Indonesia NusaAmuk, Purna Budaya Art Center and Bentara Budaya Art Center, Jogjakarta, Indonesia Amuk, CP Art Space, Washington, D.C. USA 2000 Entang Wiharso, Chouinard Gallery, Hong Kong Meeting Souls, Gallery Agniel, Providence, Rhode Island, USA Visit to Sacred Place: Cultural Interrogation, Installation, Taman Martani, Indonesia 1999 Meeting Souls, Hewlett Gallery, Carnegie Mellon University, Pittsburgh, Pennsylvania, USA The New God Series, Hunt-Cavanagh Gallery, Providence, Rhode Island, USA The New God Series and Ceremony of the Souls, Java Gallery and Camara 6 Gallery, Jakarta, Indonesia 1998 Evidence on Earth, CenterCity Contemporary Arts, Providence, Rhode Island, USA Strange Journey, Santi Gallery, Jakarta, Indonesia

123

ENTANG

1997 Strange Journey, Native Gallery, Providence, Rhode Island, USA Strange Journey, Benteng Vrederburg Museum, Jogjakarta, Indonesia 1996 Idea is Form, National Gallery of Indonesia, Jakarta, Indonesia Idea is Form, Purna Budaya Art Center, Jogjakarta, Indonesia 1995 Conflict, Dreams and Tragedy, Purna Budaya Art Center, Jogjakarta, Indonesia 1994 Final Work, Sasana Ajiyassa, Art Institute of Indonesia, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 Rainbow Asia, Hangaram Art Museum of Seoul Arts Center, Seoul, South Korea And_Writers, First Nanjing Biennale, Jiangsu Provincial Art Museum, Nanjing, China Contemporaneity: Contemporary Art of Indonesia, MOCA Shanghai, Shanghai, China ARTJOG 10, Taman Budaya Jogjakarta, Indonesia Space & Image, Ciputra World, Jakarta, Indonesia The Grass Looks Greener Where you Water it, ARTPARIS + GUESTS 2010, Grand Palais, Paris, France 2009 Jogja-Jamming, Bienalla Jogja X, Jogja National Museum, Jogjakarta, Indonesia Post Tsunami Art, Primo Marella Gallery, Milan, Italy Highlith of ISI, Jogja National Museum, Jogjakarta, Indonesia In Rainbow, Esa Sampoerna Art House, Surabaya, Indonesia From 2D to 3D, Sin Sin Fine Art, Hong Kong Prague Biennale 4, Prague, The Czech Republic 2008 Self Portrait, Jogja Gallery, Jogjakarta, Indonesia Emotion, Indonesia National Gallery and Visual Art Magazine, Jakarta, Indonesia Manifesto, Indonesian National Gallery, Jakarta, Indonesia The Third Space: Cultural Identity Today, Mead Art Museum, Amherst, MA, USA Grounded in Space, Eli marsh Gallery, Amherst, MA, USA Indonesian Invasion, Sin SIn Fine Art Gallery, Hong Kong A New Force of South East Asia, Asia Art Center, Beijing, China Tribes, Sin Sin Fine Art, Hong Kong 2007 Wind from the East, Kiasma Museum of Contemporary Art, Helsinki, Finland The Big Picture Show, Singapore Art Museum, Singapore The International Print Portfolio: Artists’ Expression of Universal Human Rights, Michigan State University Museum, Michigan, USA Neo-Nation, Jogjakarta Biennale XI, Jogjakarta, Indonesia 2nd Open Terra Cotta Biennale, Dumaguete, Philippines Indonesia Contemporary Art Now, Nadi Gallery, Jakarta, Indonesia Fetish, Biasa Art Space, Bali, Indonesia (Un)Real, Indonesian National Gallery, Jakarta, Indonesia 2006 Interpreting, Semar Gallery, Malang, East Java, Indonesia Waging Peace, Hera Gallery, RI, USA Jakarta Biennale XIII, Indonesia National Gallery, Jakarta, Indonesia Ecounter", National museum of China, Beijing, China 2005 Actualizing Insight Virtuality, Indonesian Pavilion, 51st Venice Biennale, Italy Second Beijing Biennale, Beijing, China Jakarta Biennale XIII, Indonesia National Gallery, Jakarta, Indonesia Urban/Culture, CP Biennale, BI Building, Jakarta, Indonesia

124

Here & Now, Jogjakarta Biennale VIII, Jogjakarta, Indonesia

2004 Olympiade, Nadi Gallery, Jakarta, Indonesia Wings of Color, Wings of Words, Kyai Langgeng Art House, Magelang, Indonesia 2003 Passion: Etno-Identity, Capital Library Gallery, Beijing, China Leu Hai Su Art Museum, Shanghai, China & Galeri Canna, Jakarta, Indonesia 2002 Re-creation, Museum H. Widayat, Magelang, Indonesia The Mind's Eye of Democracy, Taman Budaya, Surakarta, Indonesia 2001 Not I, Am I?, Nadi Gallery, Jakarta, Indonesia Not Just the Political, Museum H. Widayat, Magelang, Indonesia The Problematic Desire, Casa de Cantabria, Madrid, Spain 2000 Indonesian Contemporary Art: A Cultural Journey, Museum of Modern Art, Moscow, Russia One Hundred Years of Modern Indonesian Art, One Gallery, Jakarta, Indonesia 1999 Art Beat, BankRI, Providence, Rhode Island, USA 6th Jogjakarta Biennial, Purna Budaya Art Center, Jogjakarta, Indonesia 1998 11th Indonesia National Biennial, Taman Ismail Marzuki, Jakarta, Indonesia 1995 Fifty Years of Freedom: Return of the Heart", Vela Art Gallery, Amsterdam, The Netherlands 1993 Bentara Budaya Art Centre, Jogjakarta, Indonesia 1991 3rd Jogjakarta Arts Festival Exhibition, Benteng Vrederburg Museum, Jogjakarta, Indonesia 1989 Reli Sketching, Sasana Ajiyasa, Art Institute of Indonesia, Jogjakarta, Indonesia 1988 Sasana Ajiyasa, Art Institute of Indonesia, Jogjakarta, Indonesia

125

1987 Art Institute of Indonesia, Jogjakarta, Indonesia

F.X HARSONO

Education »»

1987-91 Jakarta Art Institute, Indonesia 1969-74 STRI “ASRI”, Painting Department, Jogjakarta, Indonesia

BORN 1949,

Residency Program 2002-2003 The Amsterdam Grafisch Atelier, Amsterdam, the Netherlands

BLITAR, INDONESIA

1992 School of Art, University of South Australia, Adelaide, Australia

Selected Solo Exhibitions »»

2010 FX Harsono: Testimonies, Singapore Art Museum, Singapore 2009 The Erased Time, national gallery of Indonesia, Jakarta Surviving Memories, Vanessa Art Link, Beijing, China 2008 Aftertaste, Koong Gallery, Jakarta, Indonesia 2007 Titik Nyeri/ Point of Pain, Langgeng Icon Gallery, Jakarta, Indonesia 2004 Mediamor(e)phosa, Puri Gallery, Malang, Indonesia 2003 Displaced, National Gallery of Indonesia, Jakarta, Indonesia Displaced, Cemeti Art House, Jogjakarta, Indonesia 1998 Victim, Cemeti Gallery, Jogjakarta, Indonesia 1996 Suara (Voice), Cemeti Art Gallery, Jogjakarta, Indonesia 1994 Suara (Voice), National Gallery of Indonesia, Jakarta, Indonesia

Selected Group Exhibitions »»

2010 Contemporaneity: Contemporary Art in Indonesia, Museum of Contemporary Art, Shanghai, China Recent Art from Indonesia:

Contemporary Art-Turn, SbinArtPlus, Singapore

Pleasures of Chaos, Inside New Indonesian Art, Primo Marella Gallery, Milano, Italy 2009 Beyond The Dutch, Centraal Museum, Utrecht, the Netherlands Face Value, Exhibition of 4 artists, Agus Suwage, Budi Kustarto, Astari Rasyid and FX Harsono, SIGIarts, Jakarta, Indonesia TechnoSign, Surabaya Art link, Surabaya, Indonesia Milestone, Vanessa Art link, Jakarta, Indonesia 2008 Highlight, ISI, Jogja National Museum, Jogjakarta, Indonesia Art With Accent (Group Exhibition of artists from four countries China, Japan, Korea, and Indonesia), Guang Zhou, China Allegorical Bodies, A-Art Contemporary Space, Tai Pei City, Taiwan Res Publicum, Canna Gallery, Jakarta, Indonesia 3rd Nanjing Triennialle, Nanjing, China Manifesto, National Gallery, Jakarta, Indonesia Space/Spacing, Semarang Gallery, Semarang, Indonesia 2007 Quota 2007, Langgeng Icon Gallery, Jakarta, Indonesia Artchipelago Alert, Tony Raka Contemporary Art Gallery, Ubud, Bali, Indonesia Imagine Affandi, National Archive Centre organized by Semarang Gallery, Jakarta, Indonesia 2006 Out Now, Singapore Art Museum, Singapore The Past Forgotten Time, Cemeti Art House, Jogjakarta,

Indonesia

Anti Aging, Gaya Fusion Contemporary Art Space, Ubud, Bali, Indonesia

126

2005 Quota 2005, Langgeng Icon Gallery, Jakarta, Indonesia

Taboo and Transgression in Contemporary Indonesian Art, Herbert F. Johnson of Art Museum, Cornel University, USA Text Me, Sherman Gallery, Sidney, Australia Eksodus Barang, Nadi Gallery, Jakarta, Indonesia Reformasi, Sculpture Square, Singapore 2003 Exploring Vacuum 2, Cemeti Art House, Jogjakarta, Indonesia CP Open Biennale, Jakarta, Indonesia 2001 Membaca Frida Kahlo, Nadi Gallery, Jakarta, Indonesia International Print Triennial, Kanagawa, Yokohama, Japan Print In The Future, Cemeti Art House, Jogjakarta, Indonesia 2000 Reformasi Indonesia â&#x20AC;&#x201C; Protest in Beeld 1995 â&#x20AC;&#x201C; 2000, Museum Nusantara, Delft, the Netherlands The 3rd Kwangju Biennial, Kwangju, Korea 50 years Graphic Print in Indonesia, Bentara Budaya, Jakarta, Indonesia 1999 Art Document 1999, Kanazu Forest Museum, Kanazu, Japan Volume & Form, Singapore 1998 Meet 3:3 in Jogjakarta (3 Indonesian artists and 3 German artists), Purna Budaya, Jogjakarta, Indonesia 1997 Slot In The Box, Cemeti Art Gallery, Jogjakarta, Indonesia International Contemporary Art Festival, Tokyo, Japan 1996 Museum City Project, Fukuoka, Japan Tradition/Tension, Asia Society, New York, USA, exhibition continued to Vancouver (Canada), Perth (Australia) and Seoul (Korea) 1995 Asian Modernism, Japan Foundation, Tokyo, Japan 1994 Jakarta Biennial Contemporary Art, Taman Ismail Marzuki, Jakarta, Indonesia 1993 Baguio Art Festival, Baguio, the Philippines Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia 1992 Artist Regional Exchange (ARX 3), Perth, Australia Artists Week, Adelaide Festival, Adelaide, Australia 1987 Pasar Raya Dunia Fantasi, Seni Rupa Baru (SRB) Proyek I, Taman Ismail Marzuki, Jakarta, Indonesia 1985 Proses 85, Art on the Environment, Galeri Seni

Rupa Ancol, Jakarta, Indonesia

(in coorperation with Walhi and SKEPHI) 1982 Environmental Art, Parangtritis Beach, Jogjakarta, Indonesia 1979 Gerakan Seni Rupa Baru (New Art Movement III), TIM, Jakarta, Indonesia 1977 Gerakan Seni Rupa Baru (New Art Movement II), TIM, Jakarta, Indonesia 1976 Concept, New Art Movement, Balai Budaya, Jakarta, Indonesia 1975 1st Exhibition of Gerakan Seni Rupa Baru (New Art Movement), TIM, Jakarta, Indonesia 1974 All Indonesia Painting I, TIM, Jakarta, Indonesia

127

1973 Kelompok Lima Pelukis Muda (KLPM), Jogjakarta and Solo, Indonesia

GUSTI AGUNG

Education »»

MANGU PUTRA

1990 Indonesian Art Institute, Visual Communication Design, Jogjakarta, Indonesia

Selected Awards »»

2002 Indoford Art Award, second place, Jakarta, Indonesia 1994 Finalist for Phillip Morris Award for painting entitled ‘Imagination Under the

BORN

Sea’, Jakarta, Indonesia 1990 Best work of Visual Communication Design, 6th Anniversary of the Indonesian

1963,

Institute of Art, Jogjakarta, Indonesia

SANGEH,

1988 Best work of Visual Communication Design, 4th Anniversary of the Indonesian

BALI, INDONESIA

1984 SMKN I, Sukowati, Batu Bulan, Gianyar, Bali, Indonesia

Institute of Art, Jogjakarta, Indonesia

Selected Solo Exhibitions »»

2010 Teater Rakyat, National Gallery Jakarta, Indonesia 2008 Silent Worlds, Gajah Gallery, Singapore, Indonesia 2007 Mandala, Bidadari, Ubud-Bali, Indonesia 2006 Belief, Rupa Gallery, Singapore 2005 Spiritual Landscape, Gajah Gallery, Singapore 2003 Di Tepi Cahaya Bali, Bentara Budaya Jakarta, Indonesia 2002 Gerutu Air, Tanah dan Batu, Santi Gallery, Jakarta, Indonesia 2000 Nature, Culture, Tension, Jezz Gallery, Denpasar, Bali, Indonesia 1999 Solo Exhibition, Chedi Gallery, Ubud, Bali, Indonesia

Selected Group Exhibitions »»

2010 Bali and Beyond, Sanggar Dewata Indonesia, Bentara Budaya Bali, Indonesia Contemporaneity: Contemporary Art in Indonesia, MOCA, Shanghai, China 2009 Reborn, H2 Gallery, Semarang, Indonesia Milestone,Vanessa Art Link,Jakarta ,Indonesia “POLI{CROMATIC} V-Art,- Bentara Budaya Jogjakarta, Indonesia Art Taipei,Vanessa Art Link Beijing, China Indonesia Contemporary Drawing, Andi Galeri,Galeri Nasional Jakarta, Indonesia M Daegu City,Korea Selatan The Six Master From Bali,Maha Art Galeri,Denpasar Bali NextNature, National Gallery of Indonesia-Vanessa Art Link, Jakarta, Indonesia Milestone, Vanessa Art Link, Jakarta, Indonesia Second Odyssey,Srisasanti Gallery, Jogjakarta, Indonesia 2008 Expanding Contemporary Realism, Akili Museum Of Art ,Jakarta,Indonesia Manifesto,Gallery Nasional Indonesia,Jakarta Le Mayeur`s Lunchbreak, Santrian Gallery Merti Bumi,Lerep Art Village,Semarang,Indonesia Indonesia and the Mainstream, Canna Gallery at CIGE, Beijing, China The Highlight,Dari Medium Ke Transmedia,Indonesia Institute of The Arts Jogjakarta, Indonesia Two Generation of Contemporary Balinese Artists From Expressionism to Pop Art,Canna Gallery, Jakarta, Indonesia S D I Now,TonyRaka Art Gallery,Ubud-Bali Indonesia

128

Beijing Art Fair,China

Shanghai Art Fair,China Art with an Accent, Art64 Gallery-Vanessa Art Link, Guangzhou, China 2007 Ar(t)chepelago Alert, Tony Raka Art Gallery, Ubud Bali, Indonesia Global Warming, Tony Raka Art Gallery, Ubud Bali, Indonesia 2006 Angkor-The Djin Within,Gajah Gallery,Singapore The 7th Nude Crouquis Exhibition,Seoul,Korea 2005 Bali-Jeju,Jejudo Art Hall,Jeju,Korea Milestone,Vanessa Art House Jakarta,Indonesia Erotica,Tony Raka Gallery,Ubud Bali,Indonesia 2004 Reading Multi Culture,Haus der Weltkulturen,Berlin,Germany Milestone,Vanessa Art House,Jakarta,Indonesia Still Life,TonyRaka Gallery,Ubud Bali,Indonesia The Big Picture,The Fullerton Hotel,Singapore Tamarind,In Pursuit of Identity,Nava Art Gallery,Denpasar,Bali,Indonesia Contemporary Indonesia Fine Art,Art Singapore 2003 Grand Opening Exhibition,Tama Gallery,Ubud Bali,Inndonesia Penjelajahan Diri18 pelukis,Raka Gallery,Ubud Bali,Indonesia Membaca Raden Saleh,Semarang Gallery,Java,Indonesia Second Aniversary Exhibition of Canna Gallery,Jakarta,Indonesia 2001 Selamatkan Laut Kita,National Museum,Jakarta,Indonesia 2000 Aspect of a Mountain,Sidik Jari Museum,Denpasar,Bali,Indonesia 1999 Sanggar Dewata,Art Centre,Denpasar,Bali,Indonesia Ganesha Gallery,Jimbaran,Bali,Indonesia ASEAN Building,Jakarta,Indonesia 1998 Group Exhibition,Art Centre, Denpasar,Bali,Indonesia 1997 Bali Arts Festival,Art Centre,Denpasar,Bali,Indonesia 1996 Group Exhibition,Bali Clif Hotel,Bali,Indonesia 1995 Sanggar Dewata,Art Centre,Denpasar,Bali,Indonesia 1994 Arts for AIDS,Rudana Gallery,Ubud,Bali,Indonesia ASEAN Arts, Singapore Indonesian Arts Awards,Hotel Shangri-La,Jakarta,Indonesia Sanggar Dewata,Museum Gunarsa, Bali, Indonesia 1993 Sekolah Tinggi Seni Indonesia,Denpasar Bali, Indonesia 1992 Bintang Palapa, Surabaya, Java, Indonesia 1990 Sanggar Dewata,Art Centre,Denpasar-Bali, Indonesia

129

1987 Denpasar, Bali, Indonesia

HARIS PURNOMO

Education »»

1984 Indonesian Art Institute, Jogjakarta, Indonesia 1975 School of Art, Jogjakarta, Indonesia

BORN 1956 DELANGGU,

Awards »»

(painting, illustration, ornament), Jogjakarta, Indonesia 1974 Pratitha Adhikarya (painting, illustration, ornament), Jogjakarta, Indonesia

KLATEN, CENTRAL JAVA, INDONESIA

2007 The Schoeni Public Vote Prize, Sovereign Asian Art Prize Pratitha Adhikarya

Solo Exhibitions »»

2009 The Babies: Allegory of Docile Bodies, COCA Museum, Seattle, USA The Babies: Allegory of Docile Bodies, Bentara Budaya Jakarta, Indonesia 2008 Unbridgeable Future, Vanessa Art Link, Beijing, China Burn Baby Burn, Hong Kong International Art Fair, Hong Kong 2007 Alien:nation, Indonesian National Gallery, Jakarta, Indonesia 2006 Di Bawah Sayap Garuda, Nadi Gallery, Jakarta, Indonesia 1984 Luka Project, STSRI ‘Asri’ Campus, Gampingan Jogjakarta, Indonesia

Selected Group Exhibitions 2010 Homo Ludens, Emmitan CA Gallery, Surabaya, Indonesia Space and Image, Ciputra World, Jakarta, Indonesia Biennale X, Jogjakarta 2009 Scope Art Basel 2009, Switzerland Prague Biennale 2009, Prague, Czech Republic Hibridization, North Art Space, Jakarta, Indonesia Post-Tsunami Art, Primo Marella Gallery, Milan, Italy Art Bologna 2009, Italy Dallas Art 2009, USA 2008 Refleksi Ruang dan Waktu, V-Art Gallery, Jogjakarta, Indonesia The Highlight, Jogja National Museum, Jogjakarta, Indonesia Allegorical Bodies, A Gallery, Taipei, Taiwan Art Asia Miami 2008, Miami, USA Art Paris – Abudhabi 2008, Abudhabi, U.E.A. Art Taipei 2008, Taipei, Taiwan ACAF, New York, USA Reflective Asia, 3rd Nanjing Trienalle, Nanjing, China Shanghai Contemporary Art Fair 2008, Shanghai, China Canna Gallery, Jakarta, Indonesia CIGE 2008, Beijing, China Space/Spacing, Semarang Gallery, Semarang, Indonesia Manifesto, National Gallery of Indonesia, Jakarta, Indonesia 2007 Kuota:Inbox 2007, Indonesian National Gallery, Jakarta, Indonesia Art Singapore 2007, Singapore Shanghai Contemporary Art Fair 2007, Shanghai, China Imagined Affandi, Gedung Arsip Nasional, Jakarta, Indonesia 2006 Icon Jogjakarta, Yogya Gallery, Jogjakarta, Indonesia

130

2005 Kisi-Kisi Jakarta, The National Gallery of Indonesia

1986 Pasaraya Dunia Fantasi, Taman Ismail Marzuki, Jakarta Art Centre, Jakarta, Indonesia 1985 Proses 85, Pasar Seni Ancol Gallery, Jakarta, Indonesia 1983 Environmental Art, Parang Tritis Beach, Jogjakarta, Indonesian 1979 Kepribadian Apa (Pipa), Senisono Art Gallery, Jogjakarta, Indonesia Seni Rupa Baru, Taman Ismail Marzuki, Jakarta Art Centre, Jakarta, Indonesia 1978 Pelukis Indonesia Muda, Taman Ismail Marzuki, Jakarta Art Centre, Jakarta, Indonesia

131

1977 Kepribadian Apa (Pipa), Senisono Art Gallery, Jogjakarta, Indonesia

I GUSTI NGURAH UDIANTARA

Education »»

Selected Awards »»

BORN

Best Artist ISI's annual Dies Natalis 1997 Best Water Color Artist

TAMPAKSIRING,

INDONESIA

2000 Best Artist ISI's annual Dies Natalis 1999 Semi finalist of the Phillip Moris Indonesia Art Award

1976,

GIANYAR

1995 Indonesia Institute of Art (ISI), Jogjakarta, Indonesia

Selected Solo Exhibitions »»

2010 Pop Imagery, Semarang Gallery, Semarang, Indonesia 2002 From Contemplation to Comedy, Nadi Gallery, Jakarta, Indonesia

Selected Group Exhibitions »»

2010 Art Singapore, Singapore ARTJOG 10, Taman Budaya, Jogjakarta, Indonesia Semarang Contemporary Art Gallery, Jakarta Art District, Grand Indonesia, Jakarta, Indonesia Space & Image, Ciputra World, Jakarta, Indonesia 2009 Jogja Jamming, Biennale X, Taman Budaya, Jogjakarta, Indonesia Kado #2, Nadi Gallery, Jakarta, Indonesia IVAA Archive AID, National Museum, Jakarta, Indonesia In Rainbow, Esa Sampoerna Art House, Surabaya, Indonesia Spacing Contemporary, Jogja Art Fair #2, Taman Budaya, Jogjakarta, Indonesia 2008 Loro Blonyo Kontemporer, Tri Bhakti House, Magelang, Indonesia Jogja Art Fair #1, Taman Budaya, Jogjakarta, Indonesia Hybriditas, Jogja Gallery, Jogjakarta, Indonesia Sexy Nian, Jogja Gallery, Jogjakarta, Indonesia Re-Inventing Bali, Sangkring Art Space, Jogjakarta, Indonesia Survey, Edwin’s Gallery, Jogjakarta, Indonesia 2007 Neo-Nation, Biennale IX, Taman Budaya Jogjakarta, Indonesia Shanghai Art Fair, Shanghai, China ARTvertising, National Gallery, Jakarta, Indonesia Portofolio, Jogja Gallery, Jogjakarta, Indonesia Boeng Ajo Boeng !:100 Tahun Affandi, Bentara Budaya, Jogjakarta, Indonesia Shout Out !, FKY 2007, Taman Budaya Jogjakarta, Indonesia Sayap, I Nyoman Gunarsa Museum, Jogjakarta, Indonesia Tribute to Young Artists, Sangkring Art Space, Jogjakarta, Indonesia IVAA Book AID, Nadi Gallery, Jakarta, Indonesia

132

Eksistensi, Jogja Gallery, Jogjakarta, Indonesia

KUSWIDANANTO BORN 1976, JOGJAKARTA, INDONESIA

Education »»

1999 Gadjah Mada University, Jogjakarta, Indonesia

Honors and Awards »»

2010 Asia Art Award Finalist, Loop Gallery, Seoul, South Korea 2008 Academic Art Award, Jogjakarta Institute of Art, Jogjakarta, Indonesia

Residencies 2010 Geumcheon Art Space, Seoul, South Korea 2007 Cemeti Art House, Jogjakarta, Indonesia

Solo Exhibitions »»

2010 Java’s Machine: Phantasmagoria, Osage Gallery, Hongkong 2009 Java’s Machine: Phantasmagoria, Osage Gallery, Singapore 2008 Java’s Machine: Phantasmagoria, Cemeti Art House, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 Contemporaneity:Contemporary Art of Indonesia, Shanghai Museum of Contemporary Art, China Loss of the Real, Selasar Sunaryo Art Space, Bandung, Indonesia Art HK 10, Hongkong Asia Art Award Exhibition, Seoul Olympic Museum of Art, Seoul, South Korea The Tradition of The New, Shaksi Gallery, Mumbai 2009 Jogjakarta Biennale X, Jogja National Museum, Indonesia Beyond the dutch, Centraal Museum Utrecht, The Netherlands 10th Lyon Biennale, Musee d’art contemporaine, Lyon, France Perang, Kata dan Rupa, Salihara Gallery, Jakarta, Indonesia Tradition of the New, Sakshi Gallery, Taipei Magnetic Power, Coreana Museum of Arts, Seoul, Korea Biennale Cuvee, OK Offenes Kulturhaus Oberosterreich, Austria Kompilasi, Bus Gallery, Melbourne, Australia Jakarta Biennale, Indonesian National Gallery, Jakarta, Indonesia 2008 Yokohama Triennale, Yokohama, Japan Landing Soon, Group exhibition, Erasmus Huis, Jakarta, Indonesia Manifesto, Group Exhibition, National Gallery, Jakarta, Indonesia 2007 Jogjakarta Biennale, Taman Budaya Jogjakarta, Indonesia Equatorial Rhythms, Stenersen Museum, Oslo, Norway ‘OK Video #3, MILITIA, Indonesian National Gallery, Jakarta, Indonesia Anti Aging, Gaya Fusion Art, Ubud-Bali, Indonesia 2005 Fukuoka Asian Art Triennale, Fukuoka Asian Art Museum, Japan CP Bienalle, Indonesian Bank Museum, Jakarta, Indonesia Revolution Ugly, No Beauty, Cemeti Arts House, Jogjakarta, Indonesia 2004 Insomnia 48, Arts House, Singapore Move on Asia, SBS 1st Floor Atrium, Korea Artscope, Selasar Sunaryo Artspace,Bandung, Indonesia

133

JOMPET

Identities vs Globalization, Chiang Mai Art Museum, Bangkok National Art Gallery, Dahlem Museum, Berlin 2003 Transit, 8 views of Indonesia,

Umbrella Studio Contemporary Arts, Australia

Urban Art Project, Subway Stations, Melbourne, Australia 2002 Worm Fest III, Plastique Kinetic Worms, Singapore

Performance Collaborations »»

2009 Garibaba’s Strange World, Dance Theatre with Pappa Tarahumara and Hiroshi Koike 2006 King’s Witch, a contemporary orchestra with Tony Prabowo and Garasi Theatre Laboratory Mnemosyne, Collaborative work of Kunauka Theatre Company Tokyo and Garasi Theatre Laboratory

134

2002 - 2004 WAKTU BATU Series, Theatre performance by Garasi Theatre Laboratory

INDRIA SARI

Education »»

1995 Indonesia Art Institute, Jogjakarta, Indonesia

Awards »»

1982 - 1995 Sari won 86 times drawing competitions in regional, national and international

BORN

competitions, among others: 1982 World School Children’s Art Exhibition, Korean Children’s Center The Yook Young

1976,

Foundation

JOGJAKARTA,

1987 Ministry of Education and Culture DIY – Kyoto Prefecture, Kyoto, Japan

INDONESIA

1989 Shankar’s International Children’s Competition, New Delhi, India 1990 Ministry of Education and Culture DIY, Kyoto, Japan 1990 Painting Competition ASEAN, Jakarta, Indonesia

Selected Group Exhibitions »»

2010 Melepas Seragam, Ars Longa Gallery, Jogjakarta, Indonesia 2010 Jogja Art Fair 2010, Taman Budaya Jogjakarta, Indonesia 2010 10th Anniversary Exhibition of One Gallery, One Gallery, Jakarta, Indonesia 2010 Arts Liberation Front #1, Biasa Galery, Jogjakarta, Indonesia 2009 Rang Rawa Project – a project responding to a swamp in Bayem river, Sonopakis, Kasihan, Bantul, Jogjakarta, Indonesia 2009 Sanggar Bambu, Jogjakarta Biennial X, Jogjakarta National Museum, Indonesia 2009 Gebrak Guru Gambar, Beber Seni XII, Taman Budaya Jogjakarta, Indonesia 2008 Dinamika Estetika 45 Tahun SMSR, Taman Budaya Jogjakarta, Indonesia 2007 Gema Wanita, Beber Seni IX Jogjakarta, Benteng Vredeburg, Jogjakarta, Indonesia Sanggar Bambu, Tembi Gallery, Jogjakarta, Indonesia 2006 Ekspresi-Ekspresi Perempuan Jogja, Temby Gallery, Jogjakarta, Indonesia

135

MARIA

PRILLA TANIA BORN 1979,

Education »»

2001 Fine art, Bandung Institute of Technology, Indonesia

Selected Residencies »»

BANDUNG,

2008 Taipei Artist Village, Taiwan 2007 Arts residency program in Western Australia, International Art Space Kellerberrin Australia (IASKA) and Fremantle Arts Centre, Australia

INDONESIA

Solo Exhibitions »»

2008 Tanah di Dasar Samudera, Cemara 6 Gallery, Menteng, Central Jakarta, Indonesia

Selected Group Exhibitions »»

2010 Shopping, Nadi Gallery, Jakarta, Indonesia The Loss of the Real, Nu-Substance Festival by Common Room Network Foundation, Selasar Sunaryo Art Space, West Java, Indonesia Neuer Berliner Kunstverein, Video Of The Month, Mangga Tetangga (Neighbor´s Mango), Berlin, Germany MediActions, Japan 2009 Microcosmos, MD Art Space, Jakarta, Indonesia Hybridization, North Art Space, Jakarta, Indonesia Jakarta Biennale 2009, Jakarta, Indonesia Beyond the Dutch. Indonesia, The Netherlands and the visuals arts from 1900 until now, Centraal Museum Utrecht, The Netherlands 2008 Singapore National Museum, Singapore

2006-2008 The Past – The Forgotten Time, exhibition project by Cemeti Art House: Artoteek, The Hague; Netherlands Institute for War Documentation, Amsterdam; Cemeti Art House, Jogjakarta; Erasmus Huis, Jakarta; Rumah Seni Yaitu, Semarang; Biz-Art, Shanghai, and National Museum of Singapore (as part of M1 Fringe Festival) 2006 Base Gallery, Tokyo 2005 ICA, London, UK

Other Activities »»

2004 Established video collective VideoBabes with two other video artists, Ariani

136

Darmawan and Rani Ravenina

SONI IRAWAN

Education »»

2006 Indonesian, Institute of the Arts (ISI), Faculty of Fine Art, majoring in Graphic Art, Jogjakarta, Indonesia

1975,

Selected Awards »»

YOGYAKARTA,

2001 Phillip Morris ASEAN Art Award Finalist Best Five Phillip Morris Indonesian Art Award 1998 Best Graphic Work, Refleksi Zaman

INDONESIA

Selected Solo Exhibitions »»

2010 Ode to Permata Unguku, Semarang Gallery, Grand Indonesia, Jakarta, Indonesia 2001 Mural exhibition, Apotik Komik, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 ARTJOG 10, Taman Budaya, Jogjakarta, Indonesia Wallstreet Art, Galeri Salihara, Jakarta, Indonesia Space & Image, Ciputra World, Jakarta, Indonesia Dua Kota Dua Cerita, Semarang Gallery, Semarang, Indonesia 2009 Biennale Jogja, Jogja Jamming, Taman Budaya Jogjakarta, Jogjakarta, Indonesia Malaysia Art Expo, Kuala Lumpur, Malaysia Bazaar Art Fair, Ritz Carlton, Jakarta, Indonesia Jogja Art Fair #2, Taman Budaya Jogjakarta, Jogjakarta, Indonesia Fundraising Online IVAA archive aid 2009, Jogjakarta, Indonesia We’re All Millionaires, AOD Art Space, Jakarta, Indonesia In Rainbow, Esa Sampoerna Art House, Surabaya, Indonesia Guru Oemar Bakrie, Jogja Gallery, Jogjakarta, Indonesia HYBRIDIZATION, North Art Space, Jakarta, Indonesia STREET – NOISE, Semarang Gallery, Semarang, Indonesia Fresh 4 You, Jogja Gallery, Jogjakarta, Indonesia 2008 Jogja Art Fair (JAF) #1, Taman Budaya Jogjakarta, Jogjakarta, Indonesia Loro Blonyo Kontemporer, Magelang, Indonesia Urban Art Fest Mural Project, Kompas newspaper anniversary, Pantai Karnaval, Ancol, Jakarta, Indonesia 69 Sexy Nian , Jogja Gallery, Jogjakarta, Indonesia Komedi Putar , Jogja Gallery, Jogjakarta, Indonesia 2006 Fringers Art, Toi Moi Gallery, Jakarta, Indonesia 2005 Art For Aceh, Taman Budaya Jogjakarta, Jogjakarta, Indonesia 2004 Neo Indies, Kedai Kebun, Jogjakarta, Indonesia GEDEBOOK!!!, Kedai Kebun Forum, Jogjakarta, Indonesia Mural Exhibition, Duke Distro & Clothing, Bali, Indonesia 2003 CountryBution (Biennale Jogjakarta VII), Taman Budaya Jogjakarta, Jogjakarta, Indonesia Digital Art Exhibition, Gramedia Bookstore, Jogjakarta, Indonesia NOBODY, Mon Décor Gallery, Jakarta, Indonesia 2002 Age-hibition, Edwin Gallery, Jakarta, Indonesia Mural exhibition Mural Sama-sama (Apotik komik), Lempuyangan fly over, Jogjakarta, Indonesia

137

BORN

Eksplorasi Medium dan Gagasan (Graphic Exhibition), Bentara Budaya, Jakarta, Indonesia Asean Art Award exhibition, Bali, Indonesia Hitam Putih Rasa Strawberry, Purna Budaya, Jogjakarta, Indonesia Indonesian Art Award exhibition, National Gallery, Jakarta, Indonesia Plus (+) Edisi Khusus, Gelaran Budaya, Jogjakarta, Indonesia 2000 Kelompok Otak Berbenah (Graphic Exhibition), Lembaga Indonesia, Perancis, Jogjakarta, Indonesia Graphic exhibition coloring etching with Red Point & Eva Pietzkers, Jogjakarta, Indonesia 1999 Indonesian Graphic Exhibition, Cipta Taman Ismail Mardjuki Gallery, Jakarta, Indonesia Graphic Exhibition Jogjakarta Art Festival (FKY), Benteng Vredeburg, Jogjakarta, Indonesia Sebaiknya Pameran, (Graphic Exhibition), ISI Gallery, Jogjakarta, Indonesia Graphic Exhibition FKI I, Benteng Vredeburg, Jogjakarta, Indonesia Sanggar Bidar Sriwijaya, Purna Budaya, Jogjakarta, Indonesia Graphic Exhibition Lustrum III ISI Jogjakarta, Jogjakarta & Bali, Indonesia Tiga Kota (Printmaking exhibition), Jogjakarta, Bandung & Jakarta, Indonesia Menjelang Millenium Ketiga (Graphic Exhibition) with Alumnus ASRI, Menuju Indonesia Baru, Natour Garuda Hotel, Jogjakarta, Indonesia 1998 Refleksi Zaman (Graphic Exhibition), Benteng Vredeburg, Jogjakarta, Indonesia Alugraf (Printmaking exhibition) with Red Point, ISI Etch Studio Jogjakarta, Indonesia 1997 Jogjakarta Art Festival (FKY) Graphic Exhibition, Benteng Vredeburg, Jogjakarta, Indonesia Indonesian Art Institute (ISI) Dies Natalis, ISI Gallery, Jogjakarta, Indonesia 1996 Kelompok MISI Grafis 93, (Graphic Exhibition), Galleria Mall, Jogjakarta, Indonesia Dialog Dua Kota, (Graphic Exhibition), Cipta Gallery, Taman Ismail Mardjuki, Jakarta, Indonesia Jogjakarta Art Festival (FKY), Bentang Vredeburg , Jogjakarta, Indonesia Visual Art Students (Graphic Exhibition) with artists from Australia, Jogjakarta, Indonesia Indonesian Art Institute (ISI) Dies Natalis, Sasana Ajiyasa ISI, Jogjakarta, Indonesia 1995 Multimedia Exhibition with Cemeti Jogjakarta and Dutch artists, Jogjakarta,

138

Indonesia

ARIFIN BORN 1979,

Education »»

Selected Solo Exhibition »»

MALANG, INDONESIA

2007 Indonesia Institute of Art in Jogjakarta, Indonesia

2010 The Maker, Ark Galerie, Jakarta, Indonesia 2008 Goni’s Journey #1, Semarang Gallery, Semarang, Indonesia

Selected Group Exhibitions »»

2010 ART Singapore, Singapore ARTJOG 10, Taman Budaya Jogjakarta, Indonesia Space & Image, Ciputra World, Jakarta, Indonesia Soccer Fever, Galeri Canna, Jakarta, Indonesia 2009 Spacing Contemporary, Jogja Art Fair #2, Taman Budaya, Jogjakarta, Indonesia In Rainbow, Esa Sampoerna Art House, Surabaya, Indonesia 2008 REFRESH: New Strategies in Indonesian Contemporary Art - Valentine Willie Fine Art - VWFA Singapore, Singapore Behind the Pencils, Semarang Contemporary Art Gallery, Semarang, Indonesia A Slice of Indonesian Contemporary Art, Soka Gallery, Beijing, China Jogja Art Fair #1, Taman Budaya Yogyakarta, Jogjakarta, Indonesia Manifesto, Indonesian National Gallery, Jakarta, Indonesia 2007 Neo Nation-Biennale Jogja IX, Taman Budaya Jogjakarta, Indonesia 100 Tahun Affandi, Museum Arsip, Jakarta, Indonesia IVAA Book AID, Nadi Gallery, Jakarta, Indonesia Boeng Ajo Boeng : Tafsir Ulang Nilai-nilai Affandi, Museum Affandi, Jogjakarta, Indonesia 200 Tahun Raden Saleh : Ilusi-Ilusi Nasionalisme, Jogja Gallery, Jogjakarta, Indonesia Advertising, Indonesian National Gallery, Jakarta, Indonesia Bocor #3, Cemeti Art House, Jogjakarta, Indonesia Shanghai Art Fair, Shanghai, China 2006 2nd Triennial for Indonesian Graphic Art, Jakarta, Indonesia 2003 CP Biennale, Jakarta, Indonesia

139

SAMSUL

SIGIT SANTOSO

Education »»

1993 Bachelor of Fine Arts, Indonesia Institute of Arts (ISI), Faculty of Fine Art Jogjakarta, Indonesia

BORN 1964,

Selected Awards »»

2007 Finalist of Sovereign Asia – Asia Award, Hong Kong

JAVA,

2006 Finalist of Sovereign Asia - Art Award, Hong Kong

INDONESIA

1994 Best Work at Biennale IV, Jogjakarta, Indonesia Nominee among the best 10 of The Phillip Morris Group of Companies Indonesian Art Awards, Jakarta, Indonesia 1992 Best Work at Festival of Indonesian Art University Student 1990 Best Work at The V Anniversary of ISI, Jogjakarta, Indonesia 1987 Best Work at Festival of Indonesian Art University Student, Indonesia

Selected Solo Exhibitions »»

2005 Paradoks Batas, Edwin’s Gallery, Jakarta, Indonesia 2003 Painthinkting, Edwin’s Gallery, Jakarta, Indonesia

Selected Group Exhibitions 2010 Crossing And Blurring Boundaries, Andi’s Gallery, Galeri Nasional, Jakarta, Indonesia Reality Effect, SIGI Arts, Galeri Nasional Indonesia, Jakarta, Indonesia Homo Ludens, Emmitan CA Gallery, Surabaya, Indonesia Soccer Fever, Galeri Canna, Jakarta, Indonesia Transfiguration, Semarang Gallery, Grand Indonesia, Jakarta, Indonesia Space & Image, Ciputra World, Jakarta, Indonesia Recent Art Forum Indonesia, Soobin Art Plus, Singapore Masih Ada Gus Dur, Langgeng Gallery, Magelang, Indonesia Ecce Homo, Semarang Gallery, Semarang, Indonesia 2009 Reality Bites, 25th Anniversary of Edwin’s Gallery, Edwin’s Gallery, Jakarta, Indonesia Kado#2, Nadi Gallery, Jakarta, Indonesia Reach Art Project! – Act One, Edwin’s Gallery-Plaza Indonesia, Jakarta, Indonesia Biennale Jogja X, Sangkring Art Space, Jogjakarta, Indonesia Common Sense, Galeri Nasional, Jakarta, Indonesia Art Taipei 2009, Taiwan Rai Gedheg, Bentara Budaya, Jogjakarta & Jakarta, Indonesia Jejak-Jejak Drawing, Galeri Nasional, Jakarta, Indonesia Objective Border, Sri Sasanti Art House, Jakarta, Indonesia Distance, Tony Raka Gallery, Bali, Indonesia In Rainbow, Esa Sampoerna Art House, Surabaya, Indonesia Art Hongkong 2009, Hongkong Reborn, H2 Art Gallery, Semarang, Indonesia 2008 The Highlight: dari Medium ke Transmedia, FSR ISI, Jogjakarta, Indonesia Dari Penjara ke Pigura, Galeri Salihara, Jakarta, Indonesia Imagined Affandi, Semarang Gallery, Semarang, Indonesia

140

Manifesto, Galeri National Indonesia, Jakarta, Indonesia

Self Portrait, Jogja Gallery, Jogjakarta, Indonesia New Age-New Blending: New Generation Chinese & Indonesian Artists Exchange, New Age Gallery Collaboration with Edwin’s Gallery, Beijing, China Strategies Towards the Real – S. Soedjojono and Contemporary Indonesian Art, National University of Singapore Museum, Singapore Perang Kembang, Bentara Budaya, Jogjakarta, Indonesia A New Force of South East Asia: Group Exhibitions of Indonesian Contemporary Artists, Asia Art Centre, Collaboration with Edwin’s Gallery, Beijing, China 2007 Jogja Biennial, Sangkring Art Space, Jogjakarta, Indonesia Indonesian Contemporary, 1918 ArtSpace, Collaboration with Edwin’s Gallery, Shanghai, China Conscience Celebrate-September Art Events, Fine Art Exhibition, organized by Edwin’s Gallery, Gandaria City, Jakarta, Indonesia Boeng Ajo Boeng!, Bentara Budaya, Jogjakarta, Indonesia Imagined Affandi, Semarang Gallery, Semarang, Indonesia Gendakan, Bentara Budaya, Jogjakarta, Indonesia Domestic Art Objects/DAO, Jogja Gallery, Jogjakarta, Indonesia 2006 ICON: Retrospective, Jogja Gallery, Jogjakarta, Indonesia Behind the Realism, V-Gallery, Jogjakarta, Indonesia Wedding: Tobacco and Art, Magelang, Indonesia Pameran Seni Religius 2006, Galeri Nasional, Jakarta, Indonesia Scene of (Wo)man, One Gallery, Jakarta, Indonesia Draw, Museum dan Tanah Liat, Jogjakarta, Indonesia 2005 Paradoks Batas, Sigit Santoso and Sugiyo Dwiarso, Edwin’s Gallery, Jakarta, Indonesia KUOTA 2005 : Rupa dan Peralihan, Kemang Icon, Jakarta, Indonesia Intermezo, Langgeng Gallery, Magelang, Indonesia 21st and Beyond – Personality and Variance –, Edwin’s Gallery, Jakarta, Indonesia Equatorial Heat, Edwin’s Gallery, Jakarta, Indonesia Meta Etalase, Galeri Semarang, Semarang, Indonesia Realisme Banal, Gracia Art Gallery, Surabaya, Indonesia 2004 Equatorial Heat, Sichuan Museum, Organised by Edwin’s Gallery, China Bingkai Narasi Kecil – KII 12, Edwin’s Gallery, Jakarta, Indonesia Barcote, Taman Budaya, Jogjakarta, Indonesia Gedebook, Kedai Kebun, Jogjakarta, Indonesia Object(ify), Nadi Gallery, Jakarta, Indonesia The Water of Words, Bentara Budaya, Jogjakarta, Indonesia Persepsi dalam Vibrasi, Drawing Exhibition, Edwin’s Gallery, Jakarta, Indonesia 2003 The Age of Madness, Bentara Budaya, Jogjakarta, Indonesia KOMPAS Daily’s Short Story Illustration, Bentara Budaya Jakarta and Jogjakarta, Indonesia Passion: Etno-Identity, The Indonesian Art Foundation (YSRI), Beijing and Shanghai, China Reading Space, Muara Art House, Jogjakarta, Indonesia 2002 Mata, Nadi Gallery, Jakarta, Indonesia Tropical, Museum Benteng Vredeburg, Jogjakarta, Indonesia Kilas Balik, Edwin’s Gallery, Jakarta, Indonesia Exploring Realism, Galeri Canna, Jakarta, Indonesia Dimensi Raden Saleh, Galeri Semarang, Semarang, Indonesia

141

Diversity in Harmony, Taman Budaya, Jogjakarta, Indonesia

Paket 2002, Puri Art Gallery, Malang, Indonesia 2001 Contemporary Asian Art Exhibition, Art Singapore, Singapore International Convention and Exhibition Centre, Singapore Kecil itu Indah 9, Edwin’s Gallery, Jakarta, Indonesia 2000 Foto Realisme Indonesia, Edwin’s Gallery, Bali, Indonesia 1999 Ragam Bahasa Pelukis Muda, Edwin’s Gallery, Bali, Indonesia 1997 Kecil itu Indah 5, Edwin’s Gallery, Jakarta, Indonesia 1996 Kecil itu Indah 4, Edwin’s Gallery, Jakarta, Indonesia 1995 Touring Exhibition of Yayasan Seni Rupa Indonesia, Indonesia Indonesian Realism Image’s Exhibition, Jakarta, Indonesia The Six Senses, Edwin’s Gallery, Jakarta, Indonesia 1994 Biennale IV’s Exhibition, Purna Budaya, Jogjakarta, Indonesia The Indonesian Fine Arts Exhibition, Jakarta, Indonesia 1992 JADEX Exhibition, Jakarta Design Centre, Jakarta, Indonesia 1988 Commemorate of the Children, Book and Toy day’s Exhibition, Bentara Budaya Jakarta, Jakarta, Indonesia

142

1987 Group Exhibition, Purna Budaya, Jogjakarta, Indonesia

TROMARAMA FEBIE BABYROSE BORN 1985, JAKARTA, INDONESIA

Education »»

Febie Bachelor of Fine Art, Institute Technology of Bandung, Indonesia

Babyrose Herbert Hans Bachelor of Fine Art, Institute Technology of Bandung, Indonesia Maruli A.

»»

Ruddy

Bachelor of Fine Art, Institute Technology of Bandung, Indonesia

Alexander Hatumena

Screenings »»

2010 Long Night of the Austrian Museums, Kunsthalle Wien, Austria Children’s Season, Moving Image Gallery, SAM 8Q, Singapore

BORN

Arts for Health, Singapore National Eye Centre, Singapore

1984,

2009 A Window to the World, Hiroshima City Museum of Contemporary Art, Hiroshima,

JAKARTA,

Japan

INDONESIA

2008 Europe on Screen, Europe Film Festival, Jakarta, Indonesia

RUDDY ALEXANDER HATUMENA

2006 HELLO; FEST vol 3 Video Animation Festival, Jakarta, Indonesia

2007 URBANimation, Jakarta, Indonesia HELLO; FEST

Video After School vol#1, Universitas Widyatama, Bandung, Indonesia

BORN 1984, BAHRAIN, INDONESIA

vol 4 Video Animation Festival, Jakarta, Indonesia

Workshop »»

2009 Tropical Lab, Presented by Lasalle College of Arts, Singapore

Selected Solo Exhibitions »»

2010 MAM PROJECT 012: TROMARAMA, Mori Art Museum, Tokyo, Japan

Selected Group Exhibitions »»

2010 VideoZone V, The 5th International Video Art Biennial, Tel Aviv, Israel Art Gwangju 2010, KimDaeJung Convention Center, Gwangju, South Korea Experimentelle Deutche-Indonesien Musikvideos, Goethe-Institute, Jakarta, Indonesia I will cut thru: Pochoirs, Carvings, and Other Cuttings, The Center for Book Arts, New York/ The Heimbold Visual Arts Center, Sarah Lawrence College, Bronxville, NY, USA Contemporaneity / Contemporary Art in Indonesia, Museum of Contemporary Art Shanghai, Shanghai China A Changing Surface: Prints in the Age of Digital Media, Center for Contemporary Art, Sacramento, USA Lihat! Video Art from Indonesia, Gallery Jesus Gallardo, Leon, Mexico Crash Project: Image Factory, SigiArts Gallery, Jakarta, Indonesia Dua Kota Dua Cerita, Semarang Contemporary Art Gallery, Semarang, Indonesia Philagrafika 2010: The Graphic Unconscious, Philadelphia, USA Halimun The Mist, Lawangwangi Art and Science Estate, Bandung, Indonesia 2009 Jakarta Contemporary Ceramics Biennale #1, North Art Space, Jakarta, Indonesia Tropical Lab, Praxis Space, Lasalle College of Arts, Singapore FAIRIES, Vivi Yip Art Room, Jakarta, Indonesia

143

HERBERT HANS MARULI A.

OK. VIDEO COMEDY, 4TH Jakarta International Video Festival, National Gallery, Jakarta, Indonesia We’re All Millionaires, A.O.D Art Space, Jakarta, Indonesia C-Arts Show with Vivi Yip Art Room, Grand Indonesia, Jakarta, Indonesia Hybridization, North Art Space, Jakarta, Indonesia Cross Animate, space*c Coreana art & culture complex, Seoul, South Korea Bandung Art Now, National Gallery, Jakarta, Indonesia 2008 After Ten Years, Friends Call Us Unkle Book Launching, Live Visual Installation, Bandung, Indonesia Refresh: New Strategies in Indonesian Contemporary Art, VWFA Singapore, Singapore Singapore Biennale 2008 “Wonder”, Singapore A Decade of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space, Bandung, Indonesia Grafis Indonesia Sekarang, Tembi Contemporary, Bachelor of Fine Art, Institute Technology of Bandung, Indonesia 2006 Chapter One: Der Ach , Paper Model and Custom Sneakers Exhibition, Bandung, Indonesia

144

Bandung New Emergence, Selasar Sunaryo Art Space, Bandung, Indonesia

UNTORO BORN 1970

Education »»

1996 Indonesia Institute of Art ( ISI ), Jogjakarta, Indonesia

Selected Awards »»

PURBALINGGA,

2007 Best Artist and Work, Quota Exhibition, Galeri Nasional Jakarta by Langgeng Gallery, Indonesia 1998 Philip Morris Award Indonesian Art Award, Jakarta. The Best 5 Finalists

CENTRAL JAVA,

Philip Morris ASEAN Art Award in Hanoi, Vietnam

INDONESIA

1994 Philip Morris Indonesian Art Awards, Jakarta, Indonesia

Selected Solo Exhibitions »»

2009 Poem of Blood, Rome Contemporary Art Fair, Italy Nadi Gallery, Jakarta, Indonesia 2008 Terrible Desire, Langgeng Gallery, HK Art Fair, Hongkong Poem of Blood, Biasa Art Space-Bali, Shanghai Art Fair 2007 Poem of Blood, Taman Budaya, Jogjakarta, Indonesia Short Short Stories, Art Forum, Singapore Poem of Blood, National Gallery, Jakarta 2006 Short Short Stories, Valentine Willie Fine Art, Kuala Lumpur, Malaysia My Lonely Riot, GaleriBiasa, Bali, Indonesia 2004 Silent Texts, Edwin's Gallery, Jakarta, Indonesia 2002 Goro-Goro Ugo Untoro, Nadi Gallery, Jakarta, Indonesia 2001 Embun Gallery, Jogjakarta, Indonesia Boneka dan Buku, Rakuti Gallery, Surabaya, Indonesia 2000 Menggugat . . . Sisipus Tertawa, Java Gallery, Jakarta, Indonesia 1999 The Bad of Ugo, Sika Gallery, Bali, Indonesia 1996 Cemeti Gallery, Jogjakarta, Indonesia 1995 Corat-Coret 91-95, Bentara Budaya, Jogjakarta, Indonesia

Selected Group Exhibitions »»

2010 KIAF, Seoul, Korea 2010 ARTJOG 10, Taman Budaya, Jogjakarta, Indonesia Homo Ludens, Emmitan CA Gallery, Surabaya, Indonesia Arte Fiera, Bologna, Italy The Birth of Color, Syang Art Space, Magelang phan, Jogjakarta, Indonesia Puisi Rianto Tiwikromo, Galeri Semarang, Indonesia Space and Image, Ciputra World, Jakarta, Indonesia The Chomical Brothers, Galeri Nasional Jakarta, Indonesia 2009 Emotional Drawing, MOMAT, Tokyo, Kyoto, Japan Emotional Drawing, National Museum, Seoul, Korea ArtHK 09, Hongkong International Art Fair, Hong Kong Bentara Budaya Jogjakarta, Polychromatic, V-Art, Jogjakarta, Indonesia Kunduran Truk, Kersan Art Studio, Jogjakarta, Indonesia Indonesia Contemporary Drawing, Andi Gallery, National Gallery Jakarta, Indonesia Perang Kata dan Rupa, Komunitas Salihara Jakarta, Indonesia The Topologi of Flatness, Edwin Gallery, Jakarta, Indonesia

145

UGO

Funrising, IVAA Jogjakarta, Indonesia Next Nature, Vanessa Art Link, Jakarta, Indonesia 2nd Oddysey, Srisasanti, Jogjakarta, Indonesia Common Sense, SIGI Arts Jakarta, Indonesia Kado, Nadi Gallery, Jakarta, Indonesia Invito All’Opera (Invitation to the Artwork) a collaboration between Biasa ArtSpace and II Ponte Contemporanea Rome, Italy 2008 Tjap Djaran:Katuranggan di Bentara Budaya Jogjakarta, Jogjakarta, Indonesia Biasa Gila, Biasa Gallery, Jogjakarta, Indonesia Seksi Nian, Jogja Gallery, Jogjakarta, Indonesia Artikulasi/Articulate, One Gallery Jakarta, Indonesia Perang Kembang, Bentara Budaya Jogjakarta, Jogjakarta, Indonesia Animal Kingdom, Jogja Gallery, Jogjakarta, Indonesia Indonesian Invation, Sin-sin Gallery, Hongkong CIGE, Beijing, China Yustoni Voluntero, Cahyo Basuki Yopi, Ugo Untoro, D Tour, Koong Gallery, Jakarta Scias Cia – Ugo Untoro, Biasa Art Space, Bali Emotional Drawing, Momat, Tokyo, Japan Expose #1:A Presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi Gallery Sincere Subjects, SIGIarts Gallery, Jakarta Indonesian Contemporary All Star, Tujuh Bintang Art Space, Jogjakarta Arus-Arus Terpencil, Emmitan CA Gallery , Surabaya Hight Light, JNM, Jogjakarta 2007 Indonesia Contemporary Art now, Nadi Gallery, Jakarta FETISH, Biasa Art Space, Bali Imagined Affandi, Gedung Arsip Jakarta International Literary Bienale, Langgeng Gallery, Magelang Boeng Ajo Boeng, Bentara Budaya Jogjakarta, Jogjakarta ‘Conscience Celebrate’, Jakarta IAAE, Selasar Sunaryo, Bandung Quota, Langgeng Gallery, National Gallery Jakarta Quota, Edwin Galery, Beijing 2006 8 Young Contemporaries, Art Forum, Singapore Mysterious Dolls, Old Prints, Erasmus Huis, Jakarta, Indonesia Signed and Dated: 10th Anniversary, Valentine Willie Fine Art, Kuala Lumpur, Malaysia Icon – Grand Opening exhibition, Jogja Galeri, Jogjakarta, Indonesia Rampogan, Taman Budaya Solo, Indonesia Langgeng Contemporary Art Festival 2006, Langgeng Gallery, Magelang, Indonesia Art and Tobacco, Gedung Serba Guna, Magelang, Indonesia 2005 Beauty and Expression of Terror of Indonesian Contemporary Art, Gallery Loft, Paris, France The Broken Mirror: Portrait of the Self, Langgeng Gallery, Magelang, Indonesia Sculpture Expanded, CP Artspace, Jakarta, Indonesia 2004 Equatorial Heat: Indonesian Painters Exhibition, Sichuan Museum, Sichuan, China Objecthood, Taman Budaya, Jogjakarta, Indonesia Olympics-art exhibition, Nadi Gallery, Jakarta, Indonesia Sayap Kata, Sayap Rupa, Langgeng Gallery, Magelang, Indonesia

146

2003 Dolanan, Tanah Liat Studio, Jogjakarta, Indonesia

LOVE, Nadi Gallery, Jakarta, Indonesia Sorak Sorai Identitas, Langgeng Gallery, Magelang, Indonesia Borobodur Agitatif, Langgeng Gallery, Magelang, Indonesia Membaca Ruang-Ruang, Rumah Seni Muara, Jogjakarta, Indonesia Kado, Nadi Gallery, Jakarta, Indonesia What's in Your Pocket? Purna Budaya Art Centre, Jogjakarta, Indonesia Countrybution: 7th Jogjakarta Bienalle of Contemporary Art, Taman Budaya, Jogjakarta, Indonesia 2002 Jula-Juli Yogya, Bentara Budaya Gallery, Jogjakarta, Indonesia Not I. Am I? CP Artspace, Washington DC, USA Tali Ikat / Fiber Connections, Taman Budaya, Jogjakarta, Indonesia Urip Mung Mampir Ngombe, Bentara Budaya, Jogjakarta, Indonesia 2001 Keras Kepala, Cemeti Art House, Jogjakarta, Indonesia Not I am I? Nadi Gallery, Jakarta, Indonesia 1998 Biennale Jogjakarta, Jogjakarta, Indonesia Contemporary Indonesian Art, Duta Fine Art Foundation, Jakarta, Indonesia Philip Morris ASEAN Art Awards Exhibition, Hanoi, Vietnam 1997 Mata Perupa Bercermin di Kalbu Rakyat, Jogjakarta Palace, Jogjakarta, Indonesia Duo Exhibition, Galeri Kedai Kebun, Jogjakarta, Indonesia 1996 5th Jogjakarta Biennale, Jogjakarta, Indonesia Philip Morris Indonesian Art Awards Exhibition, Jakarta, Indonesia Slot in the Box, Cemeti Gallery, Jogjakarta, Indonesia 1995 Anak Negeri, Surabaya, Malang & Bogor, Indonesia 1988-1994 ISI Gallery, ISI Jogjakarta, Indonesia Solidaritas Seni Sono, Jogjakarta Festival of Art, Jogjakarta, , Indonesia Indonesia Jogjakarta Festival of Art (FKY), Jogjakarta, Indonesia The Jakarta International Fine Art Exhibition, Jakarta, Indonesia

147

Young Painter Artist of Jogjakarta Exhibition, Jogjakarta, Indonesia

UGY SUGIARTO BORN 1969, WONOSOBO, INDONESIA

Education »»

1989 Graduated from High school

Selected Solo Exhibitions »»

2009 Bodyscape, MD Art Space, Jakarta, Indonesia

Selected Group Exhibitions »»

2010 KIAF, Seoul, Korea Space & Image, Ciputra World, Jakarta, Indonesia 2009 C Art Talk & Show, Grand Indonesian Hotel, Jakarta, Indonesia PPKI 2009, Jakarta Convention Centre, Jakarta, Indonesia Up & Hope, D’peak Art Space, Jakarta, Indonesia Borderless World, 2nd Anniversary Srisasanti Gallery, Taman Budaya Jogjakarta, Indonesia BRI Platinum Bazaar Art Jakarta, The Ritz-Carlton Hotel, Jakarta, Indonesia Daegu Art Fair, Exco Building, Daegu City, Republic of Korea 2008 Freedom, Mon Décor, Taman Budaya Jogjakarta and Indonesia National Art Gallery, Jakarta, Indonesia Merti Bumi, Kampung Seni LEREP Ungaran, Semarang, Indonesia Kere Munggah Bale, Bentara Budaya Jogjakarta, Indonesia Tanda Tanda Zaman, Mon Décor Gallery, Jakarta, Indonesia 2007 The Thousand Mistery of Borobudur, Jogja Gallery, Jogjakarta, Indonesia Mahluk Bermain, Bentara Budaya Jogjakarta, Indonesia 200 Tahun Raden Saleh, Jogja Gallery, Jogjakarta, Indonesia 100 Tahun Affandi, Bentara Budaya Yogyakarta, Indonesia Shadows of Prambanan, Jogja Gallery, Jogjakarta, Indonesia Borobudur, Amanjiwo Resort Hotel, Borobudur Magelang, Indonesia

148

Neo Nation – Biennale Jogja IX, Sangkring Art Space, Jogjakarta, Indonesia

YUDI SULISTYO BORN 1972,

Education »»

2008 Indonesia Institute of Art (ISI), Jogjakarta, Indonesia

Selected Performances »»

2006 Trash Culture experimental performance, TPA Taman Sari, Bandung, Indonesia

JOGJAKARTA,

Selected Awards »»

2003 Finalist Indofood Art Award, Jakarta, Indonesia 1999 4th Winner Nomination, National Comic Competition Depdikbud Pusat Jakarta, Indonesia 1998 The Winner, National Comic Competition Depdikbud Pusat Jakarta, Indonesia Runner Up, National Comic Competition Depdikbud Pusat Jakarta, Indonesia 1997 Runner Up, National Comic Competition Depdikbud Pusat Jakarta, Indonesia

Selected Solo Exhibitions »»

2010 Bazaar Art Jakarta, Sygalls. Pasific Place - Ritz Carlton, Jakarta, Indonesia Art Jog 10, Indonesian Art Now: The Strategies of Being. Taman budaya, Jogjakarta, Indonesia 15 x 15 x 15 mini art project #3, recreate x reality x representation, Galeri Soemardja, Bandung, Indonesia 'UN SEGMENTED', Galeri Kita, Bandung, Indonesia 'Almost White Cube', CG Artspace, Plaza Indonesia 3rd floor, Jakarta, Indonesia ADOPT! ADAPT!, Tujuh Bintang Gallery, Jogjakarta, Indonesia HEROISME, Mon Décor Gallery, Jakarta, Indonesia 2009 'Everything You Know About Art is Wrong', Bale Tonggoh, Selasar Sunaryo Art Space, Bandung, Indonesia Art Fair Jakarta, Indonesia Up & Hope, D Peak Art Space, Jakarta, Indonesia Spacing Contemporary, JAF #2 / 2009, Jogjakarta, Indonesia Contemporary Archeology, SIGIart gallery, Jakarta, Indonesia Literary Biennale, Galeri Salihara, Jakarta, Indonesia EXPOSIGN 25th Anniversary Indonesia Institute of The Art (ISI), Jogja Expo Center, Jogjakarta, Indonesia Jogja Jamming, Jogja Biennale X, Taman Budaya, Jogjakarta, Indonesia Senang-Senang, Tujuh Bintang Art Space, Jogjakarta, Indonesia 2008 Neo Nation, Jogja Biennale IX, Jogja National Museum, Jogjakarta, Indonesia Manifesto, National Gallery, Jakarta, Indonesia Setelah Kebangkitan 20 Mei, Jogja Gallery, Jogjakarta, Indonesia Narrations of a Nation, Galeri Mon Décor, Jakarta, Indonesia Utopia Negativa, Langgeng Gallery, Magelang, Indonesia HERO, Tujuh Bintang Art Space, Jogjakarta, Indonesia Homo Homini Lupus, Galeri Mon Décor, Jakarta, Indonesia Deer Andry, Ruang depan S14, Bandung, Indonesia Metaphoria 15 x 15 x 15 project volume II, Soemardja Gallery, Bandung, Indonesia Indonesian Education exhibition, Bogor, Indonesia 2007 1001 Concept Magazine Cover, Concept Magz, Jakarta, Indonesia

149

INDONESIA

Tribute to Young Artist, Sangkring Art Space, Jogjakarta, Indonesia Insert Character, Kedai Kebun Forum, Jogjakarta, Indonesia Bandung Mall Portrait, collaborative exhibition with Wilfrid Rouff. CCF, Bandung, Indonesia Fictitious Reality, Soemardja Gallery, Bandung, Indonesia 2005 Thursday, collaborative exhibition with Hock E Aye Vi Edgard Heap of Birds Soemardja Gallery, Bandung, Indonesia

150

2004 Rupatorium, Aula Barat, ITB, Bandung, Indonesia

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