Shout! Indonesian Contemporary Art by MiFA gallery

shout

indonesian contemporary

art

shout

indonesian contemporary

Servizi museali

Servizi di vigilanza

art

THANK YOU TO

26 September- 9 November 2014

w w w.mifa.com. au Associazione Culturale Mnemosyne

TEAM MEMBERS Director and Curator: Bryan Collie

ROMA CAPITALE

MACRO Ufficio di Scopo

Amministrazione |

Curator: Santy Saptari

Sindaco | Mayor

Direttore (ad interim) |

Administration

Ignazio Marino

Director (ad interim)

Nicoletta Spada

Giovanna Alberta Campitelli

Maria Grazia Porfirio

Projects & Exhibition Coordinator : Mara Janessa Sison Public Relations & Social Media Consultant: Torey Karlin

Assessore alla Cultura,

Artist Liaison: Andita Purnamasari

Creatività e Promozione

Coordinamento tecnico

Documentazione video |

Italian Logistics Liaison: Naima Morelli

Artistica |

amministrativo e organizzativo

Video documentation

Design: Plug2Studio, Melbourne

Councillor for Culture,

della struttura | Museum

Marco Fabiano

Creativity and Artistic

Activities Coordinator

Promotion

Tina Cannavacciuolo

ISBN: 978-1-875311-37-8

Coordinamento, valorizzazione

Level 1, 421 Bourke Street, Melbourne, VIC 3000, Australia P: 0396633304, M: 0418391948, E: info@mifa.com.au

Ufficio collezione | Conservation office

Giovanna Marinelli

Paola Coltellacci

Sovrintendente Capitolino ai

e comunicazione delle

Beni Culturali |

attività della struttura e

Didattica | Education

Sovrintendente Capitolino

responsabile CRDAV |

Daniela Maggiori

for Monuments and Cultural

Coordination, valorization

Properties

and communication of the

CRDAV - Centro Ricerca e

Claudio Parisi Presicce

structure’s activities, and

Documentazione Arti Visive

CRDAV headmaster

CRDAV - Visual Arts Research

Pasquale Stassi

and Documentation Centre

Alessandro Califano

CONTENT

THANK YOU TO - CONTINUED

In collaborazione con ZETEMA

(biblioteca - fototeca,

Ufficio stampa e comunicazione | Press and Communication

archivio)

Ufficio mostre | Exhibitions

Office

Antonella Maria Carfora

Office

Patrizia Morici

(ufficio valorizzazione)

Benedetta Carpi De Resmini

Elena CannistrĂ

Anna Rita Dâ&#x20AC;&#x2122;Andrea

Alessandra Cappella

Relazioni esterne MACRO

FOREWORD H.E.Budiarman Bahar,

Ambassador of Indonesia to the Holy See By Santy Saptari & Bryan Collie, Curators

Italo Spinelli, Art Director of Asiatica

SHOUT! Indonesian Contemporary Art

INTRODUCTION Santy Saptari and Bryan Collie

ITALIAN FOREWORD & INTRODUCTION

ARTISTS & WORKS

Testaccio | External Affairs

Aditya Novali

Programma Artisti in

MACRO Testaccio

Andita Purnama

Progetti speciali |

residenza | Artists in

Teresa Emanuele

Angki Purbandono

Special projects

Residence Program

Bestrizal Besta

Alessandra Gianfranceschi

Rossana Miele

Erika Ernawan

Gatot Pujiarto

Gusmen Heriadi

Maria Indriasari

Sigit Santoso

I Gusti Ngurah Udiantara aka Tantin

Yudi Sulistyo

Aditya Novali

Andita Purnama

Angki Purbandono

Bestrizal Besta

Erika Ernawan

Gatot Pujiarto

100

Gusmen Heriadi

104

Maria Indriasari

112

Sigit Santoso

118

I Gusti Ngurah Udiantara aka Tantin

122

Yudi Sulistyo

126

Francesca Terracciano Redazione | Editorial Office Alessandra Olivari

vigilanza e di controllo | Vigilance

Didattica | Education

Mario Felice

Simonetta Baroni

Adriano Bramati Pietro Giuliani Alessandro Minardi

BIOGRAPHIES

ITALIAN ARTIST STATEMENTS

129

Istruttori servizi di

FOREWORD

A majority of the prominent modern artists in every period have strong interests in the spiritual dimension of life, which they express in the new art forms they create. The arts have always been integral to religion. Sacred pictures, sacred symbols, sacred dances, chants, hymns and tunes have been used in rituals, in places of worship, and as aids to prayer and meditation in various religions. In several places in Indonesia, for example, people can easily find traditional artworks which have religious meaning such as temples and statues in Bali. This is to say that art, in its nature, has a spiritual dimension. Aiming at introducing the color of Indonesian modern artworks and promoting noble values for human lives, the Embassy of the Republic of Indonesia to the Holy See presents an Indonesian contemporary art exhibition in conjunction with a famous Asian Film festival in Rome called Asiatica Film Mediale. Under the theme ‘’SHOUT!’’, this exhibition features Indonesian contemporary artworks which illustrate different human struggles against constant change and challenges in human lives. I dedicate my special thanks to Mr. Konfir Kabo and Melbourne Intercultural Fine Art (MiFA) Gallery, who have a great contribution to prepare the materials for this exhibition.The exhibition would not have been successful without relentless effort from him and the MiFA team. My appreciation must also go to Associazione Culturale Mnemosyne as organizer of the event and Museo d’Arte Contemporanea Roma (MACRO) which hosts the exhibition.The entire event was made possible with their valuable support.

The Ambassador of the

are living in.

Republic of Indonesia to the Holy See, H.E. Mr. Budiarman

We hope the exhibition will

Bahar and MiFA Gallery is

provide some insights into

proud to present SHOUT!

understanding of Indonesian

Indonesian Contemporary Art

contemporary art and create

as part of the 2014 Asiatica

future opportunities for

Film Mediale, held at Museo

artistic and cultural

d’Arte Contemporanea (MACRO)

exchanges between Indonesia

in Rome, Italy.

and Italy.

Featuring works by eleven

Bryan Collie &

Indonesian contemporary

Santy Saptari

artists, the exhibition aims

Curators

to call attention to the dynamism and vitality of young artistic talents in the Indonesian contemporary art scene:

Andita Purnama,

Aditya Novali, Angki Purbandono, Bestrizal Besta, Erika Ernawan, I Gusti Ngurah Udiantara, Gatot Pujiarto, Gusmen Heriadi, Maria Indriasari, Sigit Santoso and Yudi Sulistyo. These artists come from different cities in Indonesia but they are united in their artistic versatility and creativity in engaging with today’s relevant issues. Presenting sculptural works, painting, drawing and multimedia installations, this exhibition explores different aspects of human struggles against life’s constant changes and challenges. The themes explored are both personal and universal, drawing inspiration from their

Ambassador of Indonesia to the Holy See

personal life experiences and reflecting on the world they

Budiarman Bahar

The combination of vibrant

right to dream, to keep on

on languages is an area of

artistic qualities and

pushing ourselves beyond any

research which Asiatica has

international values

barricade and conformity,

used to promote the fields of

embodied by Shout!

convinced that without this

art and literary culture.

Indonesian Contemporary

crossing of borders we would

As we have reached our

Art,

all be much the poorer.

fifteenth edition, Asiatica

and documentary production

progressively confirms its

that we will present during

We give our heartfelt thanks

interdisciplinary vocation.

the Festival and within the

to the artists and all

We have the firm belief that

MACRO museum, is the result

the people who made Shout

the bonds between cinema, art

of a project made possible by

! possible, working with

and literature, allow us to

the collaboration between the

great passion and dedication

dynamically grasp the blend

Cultural Association Mnemosyne

for the success of the

of radical transformations of

and Melbourne Intercultural

exhibition.

the imagination, especially

Fine Art. This project is

from the expressive

promoted with enthusiasm and

experiences of the exchange

in close cooperation with the

between Asia and Europe.

Indonesian Embassy to the

Italo Spinelli

Holy See, led by the generous

Art director Asiatica

the cinematographic

This year Asiatica’s Focus is

sensibility of Ambassador

dedicated to Indonesia and to

Budiarman Bahar. This is a

the contemporary Indonesian

synergy between continents,

artists who will display

to offer to the city of

their artworks within Shout!

Rome a unique perception

Indonesian Contemporary Art.

of the complex landscape

This will offer the city of

of Indonesian contemporary

Rome a unique opportunity to

art. This will involve new

look into styles, languages,

understandings and exchanges

codes and creative horizons

between West and East in

originating from a great

order to fulfill the task of

country in Southeast Asia,

giving a space and a voice

inhabited by 250 million

to other narrations, which

people, where diverse

open our city to the world

cultures, religions and

confirming its vocation as a

ethnic traditions intertwine.

cosmopolitan capital.

The Contemporary Art Museum

The exhibition is accompanied

of Roma MACRO, directed by

by the extraordinary

Alberta Campitelli, is the

presence of the eleven young

ideal stage for a creative

contemporary Indonesian

energy that crosses borders

artists. It is a “shout” and

and different realities, as

a sign for strengthening of

it opens itself to new global

the value of each culture,

sceneries.

to reassert the fundamental

FOREWORD 10

The influence that cinema has

of self-preservation to serve

Bestrizal Besta’s realist

challenge and stir the

a way of survival. She says

proof of her existence in the

paintings, Stone Marking,

emotions of the audience

that ‘art making’ helped her

world. When everything else

Who am I? and Outside Inside

through his artworks. Mainly

overcome life’s hardships

disappears from this world,

explore one of the most basic

using threads and fabric in

and obstacles. Attempt to

memory stays alive in one’s

human emotions: fear and our

his works, Gatot pastes,

cope with the world and, more

mind. The preservation of

constant struggle to deal with

piles, tears, breaks, binds,

importantly, to thrive despite

the memories stands for the

it. As a parent, children are

as well as creates marks

whatever conditions that the

preservation of the self,

always Bestrizal’s subjects

and patterns to induce the

world present us with, seem

saving and keeping what is

of interest in his paintings.

audience into the realm of

to be a suitable place to

meaningful to keep her going

Children are the most honest

emotions. The result are works

start when introducing the

in the ever challenging

human beings and signify

that are tactile in nature

works of eleven Indonesian

world.

hope for human’s future

and expressive in spirit.

artists featured in this

as if scared of losing

generation. Through his

If a painter evokes emotions

exhibition: Andita Purnama,

them, Andita is tracing her

paintings, Bestrizal examines

through his brushstrokes,

Aditya Novali, Angki

personal journey in life,

the issue of fear in parents

Gatot generates feelings

Purbandono, Bestrizal Besta,

day by day. Singing in the

and how it makes an impact

through deconstruction and re-

Erika Ernawan, I Gusti Ngurah

Smokey Room is a life size

to the lives of children,

assembled of materials.

Udiantara, Gatot Pudjiarto,

installation made out of

both in positive and

draws his inspiration from

Gusmen Heriadi, Maria

woven used cassette tape

negative ways. The children

the everyday abnormalities in

Indriasari, Sigit Santoso and

ribbons.

in Bestrizal’s paintings

his surrounding environments.

Yudi Sulistyo. Presenting

ribbons are objects that are

are covered in cloths,

He finds in the absurdities of

works ranging from fabric,

personally significant to her

portrayed isolated and caged,

life’s events a new reality

mirror, hardboard to cassette

past life that she intends

yet, there are signs of

that is worth telling.

tape ribbons, the works of

to leave behind. Ripping

struggle to get out of the

Through his recreation of

these artists talk about

the ribbons off the tapes

restricting conditions. The

such events, he is interested

life and other existential

signifies her deconstruction

tension of such relationship

in the audience’s response to

issues as an individual and

of her past life to start

further illustrated through

such occurrences. Emotions,

collective. Some artists

over by slowly knitting and

conflicting words suggesting

are after all, responses to

look inwards and draw their

building a new one. The waving

fear and the attempt to fight

various things in life and

inspirations from their

process is a therapeutic

it, written on the background

are also our way of surviving

personal life experiences,

one that gives the artist a

of the paintings. Fear seems

the world. His works, thus,

while others take a step

safe haven to recollect past

to be a constant life’s

explore what it means to be

back and distance themselves

experiences. Cassette tapes

struggle that affects our

human, to feel and to express

to reflect and comment on

are recording tools of things

relationships with others

one self.

their surroundings. It is

that might give hints to

and hinders us from living

in the struggle to survive

the past and nostalgia, but

a better world. Through his

If Gatot’s works foreground

and thrive the artists

Andita cleverly leaves some

works, Bestrizal attempts to

the abnormalities of

unite in SHOUT! Indonesian

parts of her works unwoven,

examine the dynamic of such

life to examine human’s

Contemporary Art.

suggesting that the weaving

struggle in the hope to not

emotions, Maria Indriasari’s

of her memories is a journey,

giving in to fear and keep

explores the opposite. In

In her attempt to preserve

trying to be better.

her installation pieces

beautiful memories of her

of self-preservation and

life, Andita Purnama’s Singing

survival.

in the Smokey room, is an act

Weaving the memories

The cassette tape

life continuous process

Gatot

Destiny and Regret and Postpartum Sydrome: Sinked, Gatot Pujiarto aims to

Maria examines her personal

Santy Saptari& Bryan Collie

SHOUT!

Yoko Ono believes that Art is

struggle to keep away (or

them in relation to norms

freedom she wishes for, over

in his paintings Self-

locked away) her individual

and social expectations. Self

social conformity.

Hypnosis and Filling Up where

wishes, dreams and desires,

Image 01 to Self Image 04

in order to create a “normal”

depict four life-size mirror

In his work, I am Beautiful,

uniqueness of an individual

and ”idealistic” life for

panels of a standing naked

Therefore I exist #5, I Gusti

character through the formal

her family. Featuring three

women. The image of the woman

Ngurah Udiantara, also known

aesthetic configuration of

life size dolls, lying

is getting more and more

as Tantin, comments on the

different elements in his

hopelessly on a ladder, One

blurred, washed away by the

ideal construction of female

paintings: composition,

of Maria’s installation

white paints as we progress

beauty and how much social

colors, representation of

pieces sets a glimpse of the

from Self Image 01 to Self

conformity to the idea often

objects and so on. Gusmen is

artist’s conflicted soul,

Image 04. This leaves us

defines the existence and

interested in the process of

often divided to deal with

with almost a solely white

value of a person. Tantin’s

individual’s internalization

the constant struggle between

panel with a vague image of

work is made out of cut out

of different values where

individual freedom and

the woman in Self Image 04.

aluminium layers, suggesting

the ability of taking in,

responsibility. Throughout

These haunting female figures

how the concept of beauty is a

processing and selecting

her artistic career, Maria

in Erika’s works examine the

constructed ideal, built from

what is worth keeping and

draws her inspiration from

construction and control of

many layers of (materialistic

believing in, shapes their

her domestic environment as

the female body and identity,

and economical) interests,

attitude and behavior towards

a wife and a mother of two.

drawing from her experience

dictated by beauty industries

life and others.

Her works have constantly

growing up as female Moslem

and disseminated by mass

been examining the tension,

in a Moslem society. The

media. Tantin’s selects

Angki Purbandono’s Corn

relationship and dynamic of

artist states that “when the

iconic women from all over

Republic series examines the

the artist and her artistic

female body does not belong

the world to be the subjects

relationship between people

practice in relation to her

to her individual self, but

in his works, cementing

and its natural environments

role and responsibility in the

instead is controlled and

what is regarded as the

living and sharing the

family. The tension between

defined by the society, the

ideal beauty in our today’s

world’s limited resources in

the ideal and reality of the

body becomes a fighting ground

society. His work challenges

the life’s game of survival.

everyday life have become her

between the two contrasting

the imposed value and the

Angki is the pioneer of a

main source of inspirations.

ends. And the most basic and

superficiality of our today’s

scannography method where

Maria considers the act of

personal rights are entrapped

society. As the title of the

instead of using a camera,

making art as a meditative

with restricting social

work suggests, is female

Angki uses a scanner to

tool to reflect on life and

conceptions. Hence, camouflage

identity and existence defined

scan his objects. Angki is

get away from her daily

is a practice deployed to

largely by their physical

a true collector in many

activities. In the process of

guard oneself from social

appearance? How much has

ways. He collects everything:

her art making, she pours her

critics and punishments,

today’s society conformed to

flowers, used dolls, discarded

happiness, sorrows, fears and

which contributes to the

the idea?

objects, litters and so on.

dreams.

erosion of identity and

Art is her survival

He finds beauty and meaning

bodily experience”. Erika

When the world gets busy

in unused and discarded

smashes the mirror panels

with conformity, Gusmen

objects. His playground is

and leave cracking marks all

Heriadi takes on the road

a garbage picking field where

Erika Ernawan takes on the

over. This is her action of

less travelled with the

he spends hours collecting

issue of female’s identity and

reclaiming the control on

art of non-conformity. The

whatever objects that he finds

individual freedom to a much

the construction of her body

idea of conformity is being

interesting. These objects

broader level and positions

and pursuing the individual

challenged by Gusmen Heriadi’s

find a new life in Angki’s

kit to life.

he attempts to explore the

bed scanner where he later

lives and build temporary

in the painting trying to

different ways of how they

assembles them and creates a

housings in government lands

recreate his life according

deal with life’s constant

new reality.

The result is

and rivers, causing many

to the life of Jesus? Sigit’s

changes and challenges. They

a new visual reality ridden

social and environmental

works are always ridden with

highlight strength, struggle,

with colors and construction

issues. Although it is

symbolism where every element

courage, endurance and human’s

or juxtapositions of objects

perhaps a national issue,

and their placement in the

ability and resilience to

that do not usually go

is also a universal issue

painting are carefully placed

overcome the unexpected.

together, adding layer of

that is happening all over

in such a way to visually and

These works are a way of

humor and playfulness to

the world. Yudi builds his

intellectually challenge the

connecting themselves to the

the work. His working method

work out of hardboard pieces,

audience with his message.

world, reflecting on their

testifies to his interest in

a careful consideration of

own experiences and their

nature and the environment.

materials that testifies

If in the past, religion was

surroundings. The themes that

In the Corn Republic series,

to his creativity and his

probably the standard value

the artists have confronted

Angki tells a story of life’s

environmentalist approach in

of life, in today’s life, the

also reveal that these are

competition and survival

art making.

value of life is often placed

not confined within their own

on material things. Aditya

culture but rather, quite

one of the members of the

Human relationship to

Novali’s New God comments on

universal. Their experiences

animal kingdom, in this

its surroundings will

the glorification of artwork

are unconsciously parallel

case, a gorilla. Playful

never be separated from

as a manifestation of urban

despite living in different

and colorful, therein his

their relationship to God

value. He chooses the world

cultural environments.

works lies hope. Hope of a

or spirituality. Sigit

of art, a world that is

Looking at these works, we

better world, saved by a

Santoso’s Ichthus explores

closest to him and where he

are challenged to reflect

power bigger than any humans

the relationship between

is also a practitioner in it.

on the often impertinence,

or animals but instead,

a believer and God. His

Aditya questions the standard

unpredictability and

Spiderman, the cartoon hero.

painting depicts a man with

value put into a work of art

ephemerality nature of life

a stigmata printed on his

and its relation to power

itself. If change is the only

The contemporary issue of

body painting an image of

struggles in the art system.

constant thing in life, it

limited resources is given

an unfinished fish. The word

How do you define the value

is quite appropriate to sum

a practical answer by Yudi

“Ichthus” in Greek means

of a piece of art if there

up this article with one of

Sulistyo. He shares his

fish and it is an acronym of

are many conflicting variables

the most popular quotes of

alternative solution to one

Lesous Christos Theou Soter,

and interests being play out?

human survival that “it is not

of the biggest challenges in

a spiritual symbol of Christ,

What makes good or bad art?

the strongest of the species

urban life of limited space

Church and Christians. Sigit

Who defines it? Everything

that survives, nor the most

and housing as a result

states that the painter in

is relative just like life

intelligent that survives. It

of the burgeoning numbers

his painting is trying to

itself. As an artist, it is

is the one that is the most

of immigrants. Caravan is

recreate the figure of fish

a challenge to navigate and

adaptable to change”.

what Yudi envisions to be

in his empty studio space

thrive in the complexity of

the ideal solution of such

because he feels he does

such system and value in order

problems: to build a stacked

not find that fish anymore in

to reach for his dream of

house on top of a caravan.

the depth of the river and

becoming a successful artist.

His concern arises from a

sea. Is he trying to find the

local problem in Indonesia

figure of Jesus in the vast

The works by the featured

where many immigrants come

emptiness of today’s world?

eleven artists in this

to Jakarta to find better

Or is the believer painter

exhibition illustrate the

from the point of view of

ITALIAN FOREWORD & INTRODUCTION

PREMESSA

L’Ambasciatore della

ispirati dalle singole

Repubblica d’Indonesia presso

esperienze di vita e dalle

la Santa Sede, S.E. Mr.

riflessioni sul mondo in cui

Budiarman Bahar e la Galleria

gli artisti vivono.

MiFA sono orgogliosi di

La maggioranza degli artisti moderni noti di ogni periodo ha

presentare la mostra SHOUT!

Si spera che la mostra possa

un forte interesse per la dimensione spirituale della vita,

Indonesian Contemporary

offrire un approfondimento

che ha espresso nelle nuove forme d’arte che hanno creato. Le

Art come parte del festival

per la comprensione dell’arte

arti sono state sempre integrali alla religione. Immagini,

Asiatica Film Mediale 2014,

contemporanea indonesiana e

simboli, danze, canti, inni e musica sacre sono stati usati

tenuta al Museo d’Arte

creare future opportunità di

nei riti, in luoghi di culto, come sostegno alla preghiera

Contemporanea (MACRO) di

scambi artistici e culturali

e alla meditazione in tante religioni. In alcuni luoghi

Rome, Italia.

tra Indonesia e Italia.

dell’Indonesia, ad esempio, si possono facilmente trovare opere d’arte tradizionale che hanno un significato religioso

Contente i lavori di

come i templi e le statue a Bali. Questo per dire che l’arte,

undici artisti indonesiani

Bryan Collie and Santy

nella sua natura, possiede una dimensione spirituale.

contemporanei, la mostra punta

Saptari

a richiamare l’attenzione

Curatori

Puntando a presentare il colore delle moderne opere d’arte

alla dinamicittà e vitalità

indonesiane e a promuovere i valori nobili per la vita umana,

dei giovani talenti artistici

l’Ambasciata della Repubblica d’Indonesia presso la Santa

della scena contemporanea

Sede presenta una mostra d’arte indonesiana contemporanea

indonesiana: Andita Purnama,

congiuntamente con il popolare Festival del Cinema Asiatico

Aditya Novali, Angki

a Roma intitolate Asiatica Film Mediale. Sotto il tema

Purbandono, Bestrizal Besta,

‘’SHOUT!’’ [“Grido!”], questa mostra presenta opere d’arte

Erika Ernawan, I Gusti Ngurah

indonesiane contemporanee che illustrano le diverse umane

Udiantara, Gatot Pujiarto,

lotte contro il continuo cambiamento e le sfide della vita.

Gusmen Heriadi, Maria Indriasari, Sigit Santoso

Dedico un ringraziamento speciale al Sig. Konfir Kabo e

e Yudi Sulistyo. Questi

alla Galleria Melbourne Intercultural Fine Art (MiFA),

artisti provengono da diverse

che hanno largamente contribuito nella preparazione dei

città in Indonesia, ma sono

materiali per questa mostra. La mostra non avrebbe potuto

uniti dalla loro versatilità

concretizzarsi senza gli sforzi suoi e del team del MiFA. Il

e creatività artistica

mio apprezzamento va anche adAssociazione Culturale Mnemosyne

nell’affrontare i temi

quale organizzatrice del film festival e al Museo d’Arte

importanti dell’oggi.

Contemporanea (MACRO) che ospita la mostra. Tutto l’evento è stato reso possibile dal loro prezioso sostegno.

Presentando lavori di scultura, pittura, disegno e installazioni multimediali, questa mostra esplora i diversi modi dell’umana lotta contro i costanti cambiamenti della vita e le sue sfide.

Ambasciatore della Repubblica d’Indonesia presso la Santa Sede

I temi esplorati sono sia personali che universali,

Budiarman Bahar

Alberta Campitelli rappresenta

degli undici giovani artisti

cinema ha con altri linguaggi

il palcoscenico privilegiato

contemporanei indonesiani,

è un ambito di ricerca al

per un’energia creativa che

è un “grido” e un gesto per

quale Asiatica si è da

attraversa confini e realtà

fortificare il valore di ogni

sempre dedicata, promuovendo

diverse, aprendosi a nuovi

cultura, per riaffermare

iniziative nell’ambito

scenari globali.

il diritto fondamentale a sognare, continuando

delle arti figurative e della cultura letteraria.

L’incontro con un immaginario

a spingerci oltre ogni

Giunta alla sua quindicesima

artistico vitale e di valore

sbarramento e conformismo,

edizione, Asiatica

internazionale che si realizza

convinti che senza questo

conferma la sua vocazione

con Shout ! - assieme alla

attraversamento dei confini

interdisciplinare, nella

produzione cinematografica

saremmo tutti molto più

convinzione che i legami tra

e documentaristica che

poveri.

cinema, arte, letteratura,

presenteremo nel corso del

consentano di cogliere in

Festival e all’interno del

Ringraziamo di cuore gli

modo dinamico l’emergere di

Museo MACRO - è frutto di

artisti e tutte le persone

un insieme di trasformazioni

un progetto, reso possibile

che hanno reso possibile

radicali dell’immaginario in

dalla collaborazione tra

Shout! lavorando con grande

cui viviamo, in particolare

l’Associazione Culturale

passione e dedizione al

nelle esperienze espressive

Mnemosyne e la Melbourne

successo della mostra.

nate dallo scambio tra Asia

Intercultural Fine Art,

ed Europa.

promosso con entusiasmo e in stretta cooperazione con

Italo Spinelli

Il Focus di quest’anno

l’Ambasciata indonesiana

Il Direttore Artistico di

di Asiatica è dedicato

presso la Santa Sede, guidata

Asiatica

all’Indonesia e gli artisti

dalla generosa sensibilità

contemporanei indonesiani

dell’ambasciatore Budiarman

che esporranno le loro opere

Bahar. Una sinergia tra

nell’ambito di Shout!,

continenti, per offrire

offriranno alla città di

alla città di Roma una

Roma un’occasione unica per

percezione originale del

indagare stili, linguaggi,

complesso panorama dell’arte

codici e orizzonti creativi

contemporanea indonesiana.

provenienti da un grande

Nuove comprensioni e scambi

paese, abitato da 250 milioni

tra l’occidente e l’oriente

persone, in un’area del

per assolvere al compito

nostro pianeta - il sud est

di dare spazio e voce ad

asiatico - dove s’intrecciano

altre narrazioni che aprano

culture, religioni e

la nostra città al mondo,

tradizioni etniche molto

confermandone la vocazione a

diverse.

capitale cosmopolita.

Il Museo d’Arte Contemporanea

La mostra, accompagnata

di Roma, MACRO diretto da

dalla presenza straordinaria

PREMESSA

La contaminazione che il

per sopravvivere e crescere

cassette magnetiche sono uno

come scritto sullo sfondo

sia un modo di sopravvivere.

gli artisti si sono uniti

strumento di registrazione

dei dipinti. La paura sembra

Dice che “fare arte” l’ha

nella SHOUT! Indonesian

di cose che possono darci

essere una delle

aiutata a superare le

Contemporary Art.

un indizio verso il passato

della vita che influenza le

costanti

e la nostalgia, ma Andita

nostre relazioni con gli altri

della vita. Il tentativo

Nel suo tentativo di

astutamente lascia parte

e ci impedisce di vivere un

di interagire con il mondo

conservare i bei ricordi

dei suoi lavori sciolti,

mondo migliore. Attraverso i

e, ancor più importante,

della sua vita, l’opera di

suggerendo che l’intreccio

suoi lavori, Bestrizal cerca

crescere nonostante

Andita Purnama Singing in the

delle sue memorie è un

di esaminare la dinamica di

qualsiasi condizione che

Smokey room, è un atto di

viaggio, un processo vitale

tale conflitto nella speranza

il mondo presenti, sembra

auto-conservazione per dare

continuo di auto-conservazione

di non arrendersi alla paura

un punto adatto da cui

prova della sua esistenza al

e sopravvivenza.

e di continuare a migliorare.

partire per presentare i

mondo. Quando tutto il resto

lavori di undici artisti

scompare da questo mondo,

I dipinti realistici di

Gatot Pujiarto mira a sfidare

indonesiani contemporanei

la memoria resta viva nella

Bestrizal Besta, Stone

e provocare le emozioni del

di questa mostra: Andita

mente. La conservazione dei

Marking, Who am I? e Outside

pubblico attraverso le sue

Purnama, Aditya Novali,

ricordi è la conservazione

Inside esplorano una della

opere. Principalmente usando

Angki Purbandono, Bestrizal

di se stessi, salvare e

più basilari emozioni umane:

fili e stoffe nei suoi lavori,

Besta, Erika Ernawan, I Gusti

conservare quello che le è

la paura e la nostra continua

Gatot, incolla, impila,

Ngurah Udiantara, Gatot

prezioso per andare avanti

lotta per affrontarla. Come

strappa, rompe, lega, così

Pujiarto, Gusmen Heriadi,

nel mondo sempre pieno di

genitore, i bambini sono

come crea marchi e motivi

Maria Indriasari, Sigit

sfide. Intrecciando i ricordi

sempre oggetto di interesse

per spingere l’osservatore

Santoso e Yudi Sulistyo. La

come se preoccupata di

di Bestrizal nei suoi

nel regno delle emozioni. Il

mostra punta a richiamare

perderli, Andita traccia il

dipinti. I bambini sono gli

risultato sono lavori tattili

l’attenzione sulla dinamicità

suo personale cammino nella

essere umani più onesti e

in natura ed espressivi

e la vitalità dei giovani

vita, giorno per giorno.

rappresentano la speranza

nello spirito. Se un pittore

talenti artistici della scena

Singing in the Smokey Room è

per le future generazioni.

evoca emozioni attraverso

indonesiana contemporanea.

un’installazione a grandezza

Attraverso i suoi dipinti,

i suoi colpi di pennello,

Con opere che spaziano dal

naturale di nastri magnetici

Bestrizal esamina il tema

Gatot genera sensazioni

tessuto agli specchi, da

usati intrecciati.

della paura nei genitori e

attraverso la decostruzione

tavole di truciolato a nastri

magnetici sono oggetti

come essa incide sulle vite

e il riassemblaggio dei

magnetici, i lavori di questi

personalmente rilevanti

dei bambini, sia positivamente

materiali.

artisti parlano della vita e

del suo passato che vuole

che negativamente. I bambini

ispirazione dalle anomalie di

altri argomenti esistenziali

lasciare dietro di se.

dei dipinti di Bestrizal

tutti i giorni nell’ambiente

come voci individuali e

Strappare i nastri dalle

sono rappresentati coperti

che lo circonda.

collettive. Alcuni artisti

cassette rappresenta la sua

da panni, ritratti isolati

assurdità degli eventi della

fanno introspezione e

decostruzione della sua vita

e ingabbiati, eppure ci

vita una nuova realtà che

prendono ispirazione dale

passata per poi lentamente

sono segni dello sforzo per

merita di essere raccontata.

loro personali esperienze

intrecciare e costruirne una

uscire dalle restrizioni. La

Attraverso la sua ricreazione

di vita, mentre altri fanno

nuova. Il processo d’intreccio

tensione di tale relazione è

di tali eventi, è interessato

un passo indietro e si

è un procedimeto terapeutico

illustrata oltre attraverso

alla reazione del pubblico di

allontanano per riflettere

che dà all’artista uno spazio

mondi in conflitto che

fronte ad essi. Le emozioni

and commentare sull’ambiente

sicuro dove raccogliere

suggeriscono la paura e il

sono, dopotutto, risposte

circostante. Nella lotta

le passate esperienze. Le

tentativo di combatterla,

a varie cose nella vita

difficoltà e gli ostacoli

I nastri

Gatot trae la sua

Trova nelle

Santy Saptari& Bryan Collie

SHOUT! 24

Yoko Ono crede che l’Arte

ed anche il nostro modo di

vita quotidiana è diventata

“quando il corpo femminile

da tutto il mondo come

sopravvivere al mondo. I suoi

la sua principale fonte di

non appartiene al proprio se,

soggetti delle sue opere,

lavori, quindi, esplorano

inspirazione. Maria considera

ma è controllato e definito

rinsaldando il concetto di

cosa significa essere umano,

l’atto di fare arte come

dalla società, il corpo

bellezza ideale nella nostra

provare sensazioni ed

uno strumento meditativo

diventa terreno di scontro

società contemporanea. Il

esprimere se stessi.

per riflettere sulla vita

tra due opposte fazioni. E i

suo lavoro sfida il valore

e allontanarsi dalle sue

più fondamentali e personali

imposto e la superficialità

Se i lavori di Gatot mettono

attività quotidiane. Nel

diritti sono intrappolati con

della nostra società di

in primo piano le anormalità

processo creativo della sua

preconcetti sociali. Così,

oggi. Come suggerisce il

della vita per esaminare le

arte, egli riversa gioia,

il mimetismo è una pratica

titolo dell’opera, è forse

emozioni umane, quelli di

tristezza, paure e sogni.

messa in atto per difendersi

l’identità e l’esistenza

Maria Indriasari esplorano

L’arte è il suo “kit di

dalle critiche e punizioni

della donna ampiamente

l’opposto. Nelle sue

sopravvivenza”.

sociali, che contribuiscono

definita dalla sua apparenza

all’erosione dell’identità

fisica? Quanto la società

installazioni, Destiny and Regret e Postpartum Syndrome:

Erika Ernawan affronta la

e dell’esperienza corporea”.

odierna si è conformata a

Sinked, Maria esamina la sua

questione dell’identità

Erika picchia i pannelli

questa idea?

lotta personale per tenere

femminile e della libertà

a specchio e lascia crepe

lontani (o rinchiusi) le sue

individuale ad un livello

dappertutto. Questo è il suo

Quando il mondo è occupato

volontà, sogni e desideri

più ampio e le posiziona in

gesto di rivendicazione del

con il conformismo, Gusmen

individuali, in modo da

relazione alle norme e alle

controllo sulla costruzione

Heriadi prende il sentiero

creare una vita “normale”

aspettative sociali. Da Self

del suo corpo e la ricerca

meno battuto con l’arte

e “idealistica” per la sua

Image 01 a to Self Image 04

della libertà individuale

anti-conformista. L’idea del

famiglia. Contenente tre

quattro pannelli a specchio

che desidera, al di sopra del

conformismo sfidata da Gusmen

bambole a grandezza d’uomo,

riprendono a grandezza

conformismo.

Heriadi nei suoi dipinti Self-

giacenti senza speranza

naturale una donna nuda in

su una scala, una delle

piedi. L’immagine della donna

Nel suo lavoro, I am

prova ad esplorare l’unicità

installazioni di Maria

è progressivamente sfocata,

Beautiful, Therefore I

di un carattere individuale

volge uno sguardo all’anima

cancellata dalle tinte bianche

exist #5, I Gusti Ngurah

attraverso la configurazione

travagliata dell’artista,

mentre si procede da Self

Udiantara, nota anche

estetica formale di diversi

spesso divisa tra la

Image 01 a Self Image 04.

come Tantin, commenta la

elementi nei suoi dipinti:

libertà individuale e la

Ciò ci lascia di fronte ad un

costruzione ideale della

composizione, colori,

responsabilità. Attraverso la

pannello quasi esclusivamente

bellezza femminile e quanto

rappresentazione degli

sua carriera artistica, Maria

bianco con una vaga immagine

il conformismo definisca

oggetti e così via. Gusmen

si ispira al suo ambiente

della donna in Self Image 04.

l’esistenza e il valore di

è interessato al processo

domestico come moglie e madre

Queste evocative immagini

una persona. L’opera di

d’introiezione dell’individuo

di due bambini. I suoi lavori

femminili nei lavori di Erika

Tantin è fatta da strati

neo confronti di diversi

esaminano costantemente la

analizzano la costruzione

ritagliati di alluminio,

valori dove la capacità

tensione, la relazione e

e il controllo del corpo

suggerendo come il concetto

di acquisire, elaborare e

le dinamiche dell’artista

e dell’identità femminile,

di bellezza sia un ideale

selezionare cosa conviene

e la sua pratica artistica

prendendo spunto dalla

fabbricato, costruita da

conservare e in cui credere,

in relazione al suo ruolo e

sua esperienza cresciuta

strati di (materialistici e

formare la loro attitudine e

alla sua responsabilità nella

come donna musulmana in

economici) interessi, dettati

i comportamenti verso la vita

famiglia. La tensione tra

una società musulmana.

dall’industria cosmetica e

e gli altri.

l’ideale e il reale della

L’artista dichiara che

disseminati dai mass media.

Hypnosis e Filling Up dove

Angki Purbandono con la 27

Tantin sceglie donne iconiche

serie Corn Republic esamina

opera c’è speranza. Speranza

Le relazioni degli uomini

della vita viene spesso posto

il rapporto tra le persone

di un mondo migliore, salvato

con ciò che li circonda non

su cose materiali. Aditya

e il loro ambiente naturale

da un potere più grande di

saranno mai separate dalla

Novali con New God commenta

vivendo e condividendo le

qualsiasi uomo o animale,

loro relazione con Dio o la

la glorificazione dell’opera

limitate risorse del mondo

ma piuttosto da Spiderman,

spiritualità. Ichtus di Sigit

d’arte come manifestazione

nel gioco di sopravvivenza

l’eroe dei fumetti.

Santoso esplora la relazione

del valore urbano. Egli

tra un credente e Dio.

sceglie il mondo dell’arte,

pioniere di un metodo

Il tema contemporaneo delle

suo dipinto ritrae un uomo

un mondo più vicino a lui e di

‘scannografico’ dove invece

risorse limitate riceve una

con una stimmate stampata

cui è un praticante. Aditya

di usare una fotocamera,

risposta pratica da Yudi

sul suo corpo che dipinge

mette in questione il valore

egli usa uno scanner per

Sulistyo. Egli condivide la

l’immagine incompleta di un

standard messo in un’opera

catturare gli oggetti. Angki

sua soluzione alternativa

pesce. La parola “Ichthus”

d’arte e la sua relazione con

è un vero collezionista in

ad una delle maggiori

in Greco significa appunto

lotte di potere nel sistema

tanti modi. Collezione di

sfide della vita urbana di

pesce ed è un acronimo di

dell’art. Come definire il

tutto: fiori, bambole usate,

scarsità di spazio e alloggio

Iesous Christos Theou Souter,

valore di un opera d’arte se

oggetti abbandonati, scarti

quali risultati del numero

un simbolo spirituale di

ci sono così tante varianti

e così via. Trova bellezza

radicalmente crescente

Cristo, della Chiesa e dei

e interessi in conflitto? Cosa

e significato in oggetti

di immigrati. Caravan è

Cristiani. Sigit afferma che

rende l’arte buona o cattiva?

usati e abbandonati. Il suo

quello che Yudi vede come

il pittore nel suo quadro

Chi lo definisce? Tutto è

‘terreno di gioco’ è una

la soluzione ideale a tali

tenta di ricreare la figura

relativo così come la stessa

discarica dove trascorre ore

problemi: costruire una casa

del pesce nello spazio

vita. Come artista, è una

a raccogliere gli oggetti che

multilivello in cima ad un

vuoto del suo studio perché

sfida navigare and crescere

ritiene interessanti. Questi

caravan. Il suo pensiero

sente di non trovare più

nella complessità di un tale

oggetti trovano nuova vita

emerge dalla problematica

quel pesce nelle profondità

sistema e valore in modo da

nello scanner di Angki, dove

locale in Indonesia, dove

del fiume o del mare. Sta

inseguire il proprio sogno

lui poi li assembla e crea

tanti immigranti si spostano

cercando di trovare la figura

di diventare un artista di

una nuova realtà. Il risultato

a Jakarta per cercare una

di Gesù nel vasto vuoto del

successo.

è una nuova realtà visuale

vita migliore e costruiscono

mondo di oggi? O forse il

ricca di colori e costruzione

abitazioni temporanee su

pittore credente del quadro

Le opere degli undici artisti

o giustapposizione di oggetti

terreni pubblici e sui

sta cercando di ricreare la

presentati in questa mostra

che normalmente non vanno

canali, causando numerosi

sua vita secondo quella di

illustrano i modi diversi di

insieme, aggiungendo uno

problemi sociali e ambientali.

Gesù? Le opere di Sigit sono

come affrontino i costanti

strato di humor e giocosità

Pur essendo un problema

sempre ricche di simbolismo,

cambiamenti e le sfide della

all’opera. Il suo metodo

nazionale, è probabilmente

dove ogni elemento e la

vita. Sottolineano la forza,

di lavoro testimonia il suo

un fenomeno comune che si

loro posizione nel dipinto

la lotta, il coraggio, la

interesse per la natura e

manifesta a livello mondiale.

sono attentamente scelti

resistenza e la capacità e

l’ambiente. Nella serie Corn

Yudi ha costruito la sua

per stimolare visualmente

lo spirito umano di superare

Republic, Angki racconta

opera partendo da pannelli

ed intellettualmente

l’imprevisto. Questi lavori

la storia di una vita di

densi di truciolato, una

l’osservatore con il suo

sono un modo di collegarsi

competizione e sopravvivenza

scelta attenta dei materiali

messaggio.

al mondo, riflettere sulle

dal punto di vista di un

che testimonia la sua

proprie esperienze e

membro del regno animale,

creatività e il suo approccio

Se nel passato, la religione

sull’ambiente circostante. I

in questo caso un gorilla.

ambientalista al processo

era il valore di riferimento

temi che gli artisti hanno

Giocoso e colorato, nella sua

artistico.

della vita, oggi, il valore

affrontato rivelano anche

della vita. Angki è il

che non restano confinati alla loro cultura, ma piuttosto sono universali. Le loro esperienze sono inconsciamente parallele pur vivendo in ambienti culturali differenti. Osservando queste opere, siamo sfidati a riflettere sulla natura impertinente, imprevedibile ed effimera della vita stessa. Se il cambiamento è l’unica cosa costante nella vita, è abbastanza appropriato riassumere quanto qui riportato con una delle citazioni più popolari sulla sopravvivenza umana che dice “Non è la specie più forte, né quella più intelligente a sopravvivere. E’ quella più capace di adattarsi al

cambiamento”.

ARTISTS & WORKS

Edition 1/3

Suite of 12, 25 x 15 x 5 cm each

Wood, gold / silver platted copper, steel, zinc, genuine leather, resin, LED, fabric, clay, mirror, plexiglass

New God , 2001 (detail)

ADITYA NOVALI

New God , 2001 Wood, gold / silver platted copper, steel, zinc, genuine leather, resin, LED, fabric, clay, mirror, plexiglass Suite of 12, 25 x 15 x 5 cm each

Edition 1/3

300 x 300 cm

Woven cassette tape

Singing in the Smokey Room, 2012

ANDITA PURNAMA

Photo courtesy of Indonesian Visual Art Archive

( left to right)

200 x 60.5 cm each panel

Scannography (UV print on acrylic, zinc, LED, AC power

Corn Republic: Save our corn , 2014 Corn Republic: The Hunter , 2014 Corn Republic: The Hungry Gorilla , 2014

ANGKI PURBANDONO

180 x 180 cm

Charcoal on canvas

Outside Inside, 2014

BESTRIZAL BESTA

200 x 150 cm

Charcoal on canvas

Who am I ?, 2014

150 x 200 cm

Charcoal on canvas

Stone Marking, 2014

151 x 80 cm

Digital Print on Mirror

Self image 1 , 2014

ERIKA ERNAWAN

151 x 80 cm each

Digital Print on Mirror

Self image 1 - 4, 2014

200 x 150 cm

Acrylic, thread, fabric on canvas

The Dark Age, 2014

GATOT PUJIARTO

150 x 200 cm

Acrylic, thread, fabric on canvas

The Destroyed Peace, 2014

150 x 200 cm

Acrylic, thread, fabric on canvas

Deconstructing Artefact, 2011

200 x 150cm

Acrylic on Canvas

Self-Hypnosis, 2004 - 2014

GUSMEN HERIADI

200 x 150cm

Acrylic on Canvas

Filling Up, 2004 - 2014

Ladder: 210 x 50 cm each / Doll: life size

Canvas fabric, Dacron, Thread, Safety pin, Wood

Destiny and Regret, 2014 (detail)

MARIA INDRIA SARI

Ladder: 50 x 210 cm each / Doll: life size

Canvas fabric, Dacron, Thread, Safety pin, Wood

Destiny and Regret , 2014

Life size

Canvas fabric, Dacron, Thread, Safety pins

Postpartum Syndrome: Sinked, 2012

180 x 150 cm

Oil on canvas

Icthus, 2014

SIGIT SANTOSO

180 x 150 cm

Oil on canvas

Sisyphus, 2014

120 x 100 cm Edition 1/1

Aluminium Plate

I am Beautiful Therefore I Exist #5 , 2014

I GUSTI NGURAH UDIANTARA

(TANTIN)

120 x 60 x 50 cm

Paper, aluminium pipes, wire, paint, recycled materials

Caravan , 2014

YUDI SULISTYO

BIOGRAPHIES

ADITYA

Education

»»

NOVALI

1997-2002

Bachelor of Engineering in Architecture, Universitas Katolik Parahyangan, Bandung, Indonesia.

BORN 1978, 2006-2008

Jakarta,

IM Master of Conceptual Design, Design Academy Eindhoven, The Netherlands

Indonesia

Selected Solo Exhibition

»»

2014

“Painting Sense”, Roh Projects, Jakarta

2013

“Beyond The Walls”, Primo Marella Gallery,

New God is part of my project

Milan, Italy

called Devotion. Through

2012

“Method of Polarity”, Umahseni, Jakarta

this project, I examine the

“The Wall:Asian (Un)Real Estate Project”,

value system put in today’s

Project Stage-Art Stage, Singapore

contemporary art world. New God features 12 crosses

2011

inspired by celebrated

“Indoscape : A “Geo-History”, Canna Gallery, Jakarta

modern and contemporary

2004

“Art Portable”, CP Artspace, Jakarta

artists, including Cai Guo

1997

“View on Woman”, Linggar Gallery, Jakarta

Qiang, Damien Hirst, Jeff

1996

Taman Budaya, Yogyakarta

Koons, Frida Kahlo, Jenny

1995

Transition”, Bentara Budaya, Jakarta

Holzer, Salvador Dali and

1990

Purna Budaya, Yogyakarta (with Javanese puppet show performance)

others. They represent the 12 1989

apostles of contemporary art

Javanese puppet show performance)

today, who are adored and worshipped.

Galeri Pasar Seni Ancol, Jakarta (with

Selected Group Exhibition

»»

2014

“The Wall/Structure/Construction/Border/ Memory”,Ark Galerie, Yogyakarta “Fiesta Fatahillah”, Jak Contemporary Artspace, Jakarta Art 14 London, London, England Primo Marella Gallery, Scope Basel, Basel, Switzerland

2013

“Little Water”, Dojima River Biennale,

Osaka, Japan

“Pressing”, Centro Video Insight, Torino,

“1001 Doors: Reinterpreting Traditions”,

Italia

Ciputra World, Jakarta

South East Asia (SEA)+ Triennale, National Gallery, Jakarta

2012

Art Stage Singapore, with Gallery Canna 2010

Homo Ludens#4, Bentara Budaya Bali, Bali

Jakarta

Art|Jog|13, Taman Budaya Yogyakarta,

Sovereign Asian Art Prize 2010 Finalist

Yogyakarta

Exhibition, Singapore.

“Collective Perspective on South East

Jakarta Art Award 2010 Finalist

Asian Wing”, Beirut Art Fair, Lebanon

Exhibition, North Art Space, Jakarta.

“Of Human Scale and Beyond: experience

Bazaar Art Fair, with Viviyipartroom,

and transcendence”, Hong Kong Arts Centre, Hong Kong

Jakarta. 2006

“Deep S.E.A:Contemporary Art from South East Asia”, Primo Marella Gallery, Milan,

“Exodus”, Nadi Gallery, Jakarta. CP Biennale, Museum Bank Indonesia,

“Re.claim”, National Gallery, Jakarta

Jakarta

Art|Jog|12, Taman Budaya Yogyakarta,

Yogya Biennale, Yogyakarta

Yogyakarta

Pameran Nusantara, National Gallery,

“Deviation-New Sculpture”, Galeri Salihara, Jakarta

“Beyond”Jakarta Biennale, Galeri Cipta TIM, Jakarta.

2005

Italy

2011

“All About Paper”, Dia Lo Gue Artspace,

Jakarta 2003

Finalis Indonesia ASEAN Art Award

“Maximum City”Jakarta Biennale, National

Exhibition, ASEAN Secretary,Jakarta.

Gallery, Jakarta

CP Open Biennale, Nasional Gallery,

“PMR Cube Contemporary Culture Interplay”,

Jakarta.

Sampoerna Strategic Square, Jakarta

“Implotion”, Expatriat Gallery, Jakarta.

“Religiosity In Indonesian Art”, Mon Decor

“Malaysia Indonesia Artists”, Taksu

Art Centre, Jakarta “Ekspansi”, National Gallery, Jakarta

Gallery, Jakarta. 2002

“Contemporary Landscape”, Lawangwangi Art Space, Bandung

Finalis Indofood Art Award Exhibition, Nasional Gallery, Jakarta

2000

“Fragmen”, Kembang Gallery, Jakarta.

“Homo Ludens#2”, Emmitan CA Gallery,

Group Exhibition, Galeri Kinara, Bali.

Surabaya

“Bandung Young artist Exhibition”, Griya

“Cultural Bridge”, Wendt Gallery, New

Seni Popo Iskandar, Bandung.

York-USA

1999

Sovereign Asian Art Prize 2010 Finalist Exhibition, Hongkong.

Gallery, Jakarta. 1998

BaCAA Finalist Exhibition, Lawangwangi Art Space, Bandung.

Finalis INDONESIA ART AWARD 1999, Nasional “The Other Side of Indonesian People and Their Country”, Santi Gallery, Jakarta.

1997

Finalis Indonesia Art Award Exhibition,

Museum Agung Rai, Bali.

1986

Taman Budaya, Solo

1985

Pasar Seni Ancol, Jakarta

2011

Best Artwork BaCAA (Bandung Contemporary

Awards

ÂťÂť

Art Award 2010) 2010

3rd winner Jakarta Art Award 2010

Finalist Sovereign Asian Art Prize 2003

Finalist Indonesia ASEAN Art Award

2002

Finalist Indofood Art Award

1999

Finalist Indonesia Art Award

1997

Finalist Indonesia Art Award

ANDITA

Education

PURNAMA

»»

1999-2004

Bachelor of Ceramic, Art Institute of Jakarta

2005-2008

BORN 1981,

Master of Creation, Indonesian Art

Yogyakarta ,

Institute Yogyakarta, Yogyakarta,

Indonesia

Selected Solo Exhibition

»»

2005

“Negeri Gemah Ripah loh Jinawi” Galeri Biasa, Yogyakarta

Every individual has personal stories and memories. They are left in the mind and heart, especially happy memories of childhood, adolescence,

Group Exhibtions

»»

2014

House Of Sampoerna, Surabaya 2013

HereNowGoneTomorrow, Collaboration project with Danielle Hakim

love, marriage, children and

Mes56, Yogyakarta

growing old. Singing in the

Turning Targets#1 ‘OneNightStand’25 Years

Smokey Room is an attempt

of Cemeti

to compile my own personal history, using the manually

Membaca Kota #1:SURABAYA

Rumah Seni Cemeti, Yogyakarta 2012

Bandung Contemporary Art award 2012

knitted cassette tape ribbons

Lawang Wangi Art and Science Estate,

to stand for a metaphor of

Bandung

past, present and future of a

Indonesian Contemporary Fiber

person’s life.

Art#1:Mapping Art:one Museum MonDecor Jakarta Jakarta Contemporary Ceramic Biennale#2 North art Space, Ancol Jakarta Indonesian Contemporary Fiber Art#1:Mapping Art:one Museum MonDecor Jakarta 2011

Jakarta Biennale 2011 ‘ Maximum City’ National Gallery Jakarta

2006

PMR Cube ‘Contemporary Culture Interplay’

Sampoerna Strategic Jakarta

Indonesia Contemporary Sculpture ‘EKSPANSI’ National Gallery Jakarta Fiber Face3, ‘TRANSFORMATION’ Taman Budaya Yogyakarta ArtProject, RumahRempah Karya, Solo Smallsmalls, ‘Passion Fruits’ Via Via Cafe yogyakarta

Awards

»»

2012

Finalist of 25 outstanding artwork, Bandung Contemporary art Award (BACAA AWARD) LawangWangi art and science Estate, Bandung

2004

Jakarta art Institute (IKJ) Award The Best Student Artwork2004, Fine Art and

Design Faculty

ANGKI

BORN 1971 Kendal, Indonesia

I’m a gorilla who was born and living amongst 210 million other gorillas in the Republic

»»

1994-1999

Indonesia 1993-1994

the corn to maintain the stability of life. But now there

Solo Exhibitions

»»

2014 2013

the gorilla leaders because

2013

becoming less and less!

2011

TOP POP at S. Bin. Art Plus Gallery, Singapore.

primates like humans have

2010

been controlling some of

Noodle Theory at Garis Art, Jakarta, Indonesia.

the territories of our land!

2010

The innocence of our lives is

2 Folders From Fukuoka at Vivi Yip Art Room 2, Jakarta, Indonesia.

pressed by human’s ambition

2009

to consume everything,

Kissing The Methods at Richard Koh Fine Art, Kuala Lumpur, Malaysia.

including the food that we

2008

have planted and saved for

Happy Scan at Biasa Art Space, Seminyak, Bali, Indonesia.

the future.

2007

Industrial Fiesta at Cemeti Art House, Jogjakarta, Indonesia.

After I share a ration of my

2006

food with other gorillas, I

Industrial Fiesta at Changdong Art Studio, Seoul. South Korea.

often love to stand on the

2000

edge of the corn. I wait for

My Brain Packages at Centre Culturel Francais, Jakarta, Indonesia.

the light from the sky, hoping

1999

that something would change

KOLASMANIAC at Centre Culturel Francais, Jogjakarta, Indonesia

me to become someone who

OVALOVA at Vivi Yip Art Room, Jakarta, Indonesia

Faster and faster! Other

republic.

Invisible Cities Hong Kong, at Art Project Gallery, Hong Kong.

our food is decreasing and

to save the future of the

The Swimmers – Prison Art Programs, at Mizuma Gallery, Singapore.

is a silent anxiety among

is extraordinary and powerful

Modern School of Design Yogyakarta, Indonesia

of Corn. In several years, we should be able to divide

Indonesia Institute of Art, Yogyakarta,

Selected Group Exhibitions

»»

2014

ARTJOG 14 – Legacies Of Power, Taman Budaya Yogyakarta, Indonesia

PURBANDONO

Education

2012

Indonesian Contemporary Photography at

Singapore

Centre for Contemporary Photography,

Archipelagoes at Mizuma Gallery, Singapore

Melbourne, Australia.

Helu-Trans Collectors Series: Southeast

Indonesian Eye : Fantasies & Realities at

Asia/Contemporary at Artspace@Helutrans,

Saatchi Gallery, London, UK.

Singapore

Beastly of Indonesian Contemporary Art at

Versus - Indonesian Contemporary Art, at

Cemeti Art House, Jogjakarta, Indonesia.

Mizuma Gallery, Singapore

ART JOG 11 at Taman Budaya Jogjakarta,

Crossing Contemporary Culture, MiFa

Indonesia

(Melbourne International Fine Art)

We Are Open Now at Garis Art, Jakarta,

Melbourne, Australia

Indonesia.

ART JOG 13 Maritime Culture, Taman Budaya

Indonesian Eye : Fantasies & Realities at

Yogyakarta, Indonesia

Ciputra Marketing Gallery, Indonesia.

Colonial Photo Studio Exhibition, Action

TV Lovers – ART HK 2011 represented by

Field Kodra 2012, at Kodra, Kalamaria,

Vivi Yip Art Room, Hongkong.

Thessaloniki, Greece.

The Month of Photography Tokyo 2011 by

Ghost Park-ART JOG 12, Taman Budaya

Tokyo Metropolitan Museum of Photography,

Jogjakarta, Indonesia.

Tokyo, Japan.

Insight, at Kunstraum Englanderbau Vaduz,

Angsana // Southeast Asian Photographer

Liechtenstein.

Taking Flight Now at 2902 Gallery,

Saturations: Selection of Indonesian

Singapore.

Contemporary Photography Post 2000s at

2011

2010

Ethnicity Now by Garis Art at National

Element Art Space, Singapore.

Gallery, Jakarta, Indonesia.

Archive-Reclaim.doc, at National Gallery,

End_Writers, 1st Nanjing Biennale, Jiangsu

Jakarta, Indonesia.

Provincial Art Museum, China.

A Story of a Mentor | OHD’s Birthday

Rainbow Asia at Hangaram Art Museum of

Anniversary at Tribakti’s Building,

Seoul Arts Center, Seoul, South Korea.

Magelang, Indonesia.

Asia Spectrum : Daegu Photography Biennale

LEGACY - Seribu Rupiah (book edition),

at Daegu Culture and Arts Center, Daegu,

launching Esa Sampoerna Art Museum,

South Korea.

Surabaya, Indonesia

Contempraneity - Contemporary Art

Money Culture,

Indonesia at Museum Contemporary Art of

Garis Art Space, Jakarta,

Indonesia

Shanghai, China.

Jakarta Biennale “Maximum City: Survive

ARTJOG 10 at Taman Budaya Jogjakarta,

or Escape?” , Galeri Cipta II Jakarta,

Indonesia.

Indonesia

Emerging Wave, ASEAN – Korea Contemporary

Beastly of Indonesian Contemporary Art at

Photo Exhibition at GoEun Museum of

Salihara Gallery, Jakarta, Indonesia.

Photography, Busan, South Korea.

2013

Fermented In Indonesia at Mizuma Gallery,

2009

Emerging Wave, ASEAN – Korea Contemporary

PhotoARTAsia Expo, Zen Exhibition Lounge,

Photo Exhibition at

Central Zen, World Trade Center, Bangkok,

Hangaram Art Museum,

Seoul, South Korea.

Thailand.

Saemangeum Flag Festival 2010, Saemangeum

Hello Print at Edwin's Gallery Jakarta,

Seawall, Saemangeum. South Korea.

Indonesia.

Space and Images at Ciputra World

Anonymous-Landing Soon Project by Artoteek

Marketing Gallery, Jakarta, Indonesia.

Den haag and Cemeti Art House at Erasmus

LOOK! SEE? at Nadi Gallery, Jakarta,

Huiz Jakarta, Indonesia.

Indonesia.

Manifesto at National Gallery Jakarta,

Live and Let Live: Creators of Tomorrow:

Indonesia

The 4th Fukuoka Asian Triennal 2009, at

[Cut 2 New Photography from South Asia] at

Fukuoka Asian Art Museum, Fukuoka, Japan.

Valentine Willie Fine Art Singapore.

Ilustrasi Cerpen Kompas at Bentara Budaya

Boys|Girls-Contemporary Art, Youth Life

Jakarta, Jogjakarta, and Bali, Indonesia.

and Culture in Two Parts at Edwin’s

Kocon 2009 Spring International Digital

Gallery Jakarta, Indonesia.

Design Invitation Exhibition at Silla

SLICE Contemporary of Asia at Soka Gallery

University in Busan, South Korea.

Beijing

City Oneminutes Project [Video] Rietveld

[Cut New Photography from South Asia] at

Arsenale – Venice Biennale at Arsenale

Valentine Willie Fine Art, Kuala Lumpur,

Novissimo, Venice.

Malaysia.

Guru Oemar Bakrie [Anonymous Project] at

Indonesian Dream at Erasmus Huis, Jakarta,

Jogja Gallery, Jogjakarta, Indonesia.

Indonesia

BLUEPRINT for Jogja [Ruang MES 56] at

2nd Pose Project : [Ruang MES 56] at Jogja

Tembi Contemporary Art Space, Jogjakarta, Indonesia.

2008

Gallery Jogjakarta, Indonesia. 2007

Kuota : Inbox 2007 at National Gallery

KOMPILASI : A Survey of Contemporary

Jakarta, Indonesia.

Indonesia Art [Ruang MES 56] at BUS

Fetish at Biasa Art Space, Jakarta,

Gallery Melbourne, Australia.

Indonesia.

Jakarta Biennale XIII 2009 ARENA: Zona

International Digital Design Invitation

Pertarungan, Jakarta City, Indonesia.

Exhibition at Pai Chai University, South

International Digital Design Invitation

Korea.

Exhibition at Zhejiang University of

Overload : [Ruang MES 56] at Centre

Techmology, China.

Culturel Francais, Jogjakarta, Indonesia.

Jawa Baru #2, Garis Art Space, Jakarta,

Fetish at Biasa Art Space, Denpasar,

Indonesia

Indonesia.

REFRESH : New Strategies in Indonesian

3 Young Contemporary Artists at Valentine

Contemporary Art, Valentine Willie Fine

Willie Fine Art, Kuala Lumpur, Malaysia.

Art Singapore.

2006

T-shirt from March at Bentara Budaya

Where troubles melt like lemon drops, at

gallery, Jogjakarta, Indonesia.

Koninklijke Academie voor schone Kunsten

Anonymous-Landing Soon #1 at Cemeti Art

Hogeschool Antwerpen, Belgium.

House and Cemeti Studio, Jogjakarta,

Omong Kosong#1,at Cemeti Art House,

Indonesia

Jogjakarta, Indonesia.

Open Studio - Document Changdong, at

Trans Indonesia, at Govett-Browster Art

Changdong Art Studio, Seoul, South Korea.

Gallery, New Playmouth, New Zealand.

Goyang International Art, at Goyang,

Absolut Fotogram : [Ruang MES 56] at Ruang

Seoul, South Korea.

Mes 56, Jogjakarta, Indonesia.

Bikini in Winter, at LOOP Alternative

Top Collection and Beauty Point [Video

Space, Seoul, South Korea.

Art], Internet Project â&#x20AC;&#x2DC;Ueber Beautyâ&#x20AC;&#x2122;

Bitmap International Digital Photo

(http://www.ueber-beauty.com) by Haus

Project, at LOOP Alternative Space, Seoul,

der Kulturen der Welt/ House of World

South Korea.

Cultures, Berlin, Germany.

International Digital Design Invitation

Milik Kita Bersama, Jogja Bergerak Radius

Exhibition, at Joongbu University, Seoul,

1 Km, at Kedai Kebun Forum, Jogjakarta,

South Korea. Alterorgasm, at Kedai Kebun Forum, 2005

Indonesia. 2004

Beauty Point [Video Art], International

Jogjakarta, Indonesia

Media Art Award, Baden, Germany.

Road/Route 1st Pocheon Asian Art Festival,

Beauty Point [Video Art], Jakarta

Pocheon City, South Korea.

International Film Festival, Jakarta,

Space and Shadows - Contemporary Art from

Indonesia.

Southeast Asia, at Haus der Kultur der

Holiday in Jakarta : [Ruang MES 56] at

Welt, Berlin, Germany.

Passage de Retz, Paris, France.

Unfolded City : [Ruang MES 56] Biennale

Urban Moslem in Jogjakarta, at Museum

Jogja VIII, at Taman Budaya Jogjakarta,

Nusantara, Delft, Netherlands.

Indonesia.

Moslem Fashion of Indonesian Women,

Best Quality : [Ruang MES 56] CP Biennale

Common Ground: Aspects of Contemporary

Indonesia at Bank Museum, Jakarta,

Moslem Life in Britain and Indonesia; An

Indonesia.

International Exhibition Britain-Indonesia

Revolution Ugly-No Beauty at Cemeti Art

Photography Artist, at Art National

House, Jogjakarta, Indonesia.

Gallery, Kuala Lumpur, Malaysia.

Ruang MES 56, at Room No 1-EAT/347,

Photography Project Top Collection, at

Bandung, Indonesia.

ruang rupa, Jakarta, Indonesia. Holiday in Jakarta : [Ruang MES 56] Media Baru@egroups, at Lontar Gallery, Jakarta,

Indonesia.

Vector Junkie: Undiscovered Teritory : [Ruang MES 56] International Designers Event 2004, at Oktagon Gallery, Jakarta. 2003-2004

Moslem Fashion of Indonesian Women, Common Ground: Aspects of Contemporary

Residencies

»»

Dec. 2012 - Oct. 2013 Oct. 2012

Moslem Life in Britain and Indonesia; An International Exhibition Britain-Indonesia Photography Artists; sponsored by British Council. The photography works exhibited in Jogjakarta, Makassar, Jakarta, Cirebon, Malang, Surabaya, Jombang. Keran dan Beken | Cool and Famous : [Ruang

– Feb. 2011 Sept. - Oct. 2009 Dec.2006 - Feb.2007

Indonesia. Don’t Try This at Home !, at Rumah Soboman alternative space, Jogjakarta, Indonesia.

Artist in Residency Program by Art Project Artist in Residency Program by S. Bin Art Plus Gallery, Singapore. Artist

in Residency Program by Fukuoka

Asian Art

Museum, Fukuoka, Japan.

3 month: ‘Landing Soon #1’ Artist Residency Program by Artoteek Denhaag The Netherlands and Cemeti Art House

Taman Budaya Jogjakarta, Indonesia. Dedi Dores, at Ruang Mes56, Jogjakarta,

Narcotic Prison in Yogyakarta, Indonesia Gallery, Hong Kong

Jan.

MES 56], Jogjakarta Art Biennale VII, at 2002

Resident of Rehabilitation Program at

Yogyakarta Indonesia Sept.2005 - Sept.2006 2004

1 year: Asian Artist Fellowship at Changdong Art Studio, Seoul, South Korea 1 month: ruang rupa Residency Program, Jakarta, Indonesia

Kata Rupa, at Gelaran Gallery, Jogjakarta, Indonesia. 2001

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

2000

The Silent Capter, at Sika Contemporary Art Gallery, Ubud, Bali, Indonesia. Art Photography Exhibition at Museum Negeri Denpasar, Bali, Indonesia.

1999

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

1998

SLIDE CORNER Slide Performance , Jogjakarta, Indonesia. Message From Distortion 50th Human Right Anniversary, , at Benteng Vredeburg Jogjakarta, Indonesia. Festival Kesenian Jogjakarta X, at Benteng Vredeburg, Jogjakarta, Indonesia.

1997

Langkah, at Ruang Mes56, Jogjakarta. Festival Kesenian Jogjakarta IX, at

Benteng Vredeburg, Jogjakarta, Indonesia.

BESTRIZAL

Education

BESTA

»»

1993

Padang School of Arts

Solo Exhibitions

BORN 1973,

»»

in Padang, Indonesia

2013

“Hopes and Fears” Semarang Gallery. Semarang.

2011

“Changes” Semarang Gallery. Jakarta Art District. Grand Indonesia. Jakarta

2009

“Cybernetic Blues”

CGartspace Gallery.

Jakarta.

Each of my paintings portrays a figure of a child that is

Group Exhibitions

»»

2012

Drawing Exhibition “It’s Complicated”.

covered and isolated but gives

Green Artspace. Jakarta.

a sign of not giving up to life’s

Art Stage Singapore 2012, Singapore

circumstances. Through these

Bakaba # 2, Sangkring Art Space,

works, I try to make people realise that every human being has their weaknesses, but it should not be allowed to prevent and stop us from becoming a better person. Never give up, don’t fear, and keep trying!

Yogyakarta.

2011 Indonesia Art Motoring Exhibition. Indonesia National Gallery, Jakarta. Biennale Jakarta # 14, Indonesia National Gallery, Jakarta.

2010 Almost White Cube” The 12th Anniversary of CGartspace. Jakarta “Percakapan Masa”

Indonesia National

Gallery. Jakarta “Indonesian Art Award” Indonesia National Gallery, Jakarta

2009 Art Fair “Semarak Biennalle” CGartspace Gallery,

Jakarta

C’art Show “Exhibition of Contemporary Art” CGartspace Gallery, Jakarta Solo Exhibition Cybernetic Blues” CGartspace Gallery. Jakarta “Menilik Akar” Indonesia National Gallery.

Jakarta.

ERNAWAN BORN 1986, Bandung, Indonesia

The basic idea of my work

unity of body and identity is

born in the modern era, an

is based on what Nietzche

no longer sacred or natural

era identical to revolution

states in his book, Thus

and is considered wrong and

that offers freedom and

Spake Zarathustra, that

losing its beauty. Hence, do

openness, but at the same

“[T]he body is…a war and

you create yourself? Or do

time is shrouded with anxiety.

a peace”. Identity, which

you let others create you?

The most basic and personal

is a natural process, is

Education & Training

»»

2012

of Art 2008-2010

Art, in my opinion, has the

restricting social conception

developing during one’s

ability to transcend social

and norms. Camouflage is

lifetime. Through various

limitations in order to convey

used to protect and defend

processes of identification

reality, facts and stories of

oneself from social critics,

since birth, one’s self has

life, as signs of times. Born

which contributes to the

become a subject (according

and raised as an Indonesian

erosion of identity and bodily

to Althusser) and one’s

Muslimah (female Moslem),

experience. When the body

existence has become part of

we are taught to protect our

is continuously defined and

history, their surroundings

body and identity in order to

redefined by others outside

and social interaction.

gain respect. Exposing one’s

the self, it no longer belongs

The self and the body –

body is seen as an offense

to one’s self but it is owned

inseparable like uterus and

that draws criticism, scorn

by society.

placenta - are an important

and even the death penalty as

part of the forming of identity.

it is considered as an act of adultery. On the other hand, in

Fine Art 2009

Extension Course Culture and Philosophy, Parahyangan University of Catholic, Bandung, West Java

2003-2007

Faculty of Fine Art and Design, ITB, Bandung, West Java, Indonesia,B.F.A , Fine Art, Majoring in Painting

Selected Solo Exhibitions

»»

2011

“Der Spiegel: Her Space (subvert) His Gaze”, Viviyip Art Room, Jakarta, Indonesia

2012 “Ruhe in Frieden”, Lawangwangi Art & Science Estate, Bandung, Indonesia

Group Exhibitions

»»

The bodies in my works

the Western world, exposing

appear as a way of

one’s body seems to be a

representing a concept of

more natural thing. Although

Sea+ Trienalle, Galeri Nasional, Jakarta,

how the body is merely seen

under the patriarchal system,

Indonesia

as a social body, along with

which the feminists intensely

Indonesia Art Award, Galeri Nasional,

all of its stereotypes. The

fought against, the body was

Jakarta, Indonesia

identity and experience of

one of the central issues of

the owner of the body has

the battle. In the end, the

to adhere to the society’s

unity of body and identity

cultural dogma, in this case

loses its nature as the

Jakarta, Indonesia

a Muslim society that views

home for contemplation of

“Fantasy Island - Louis Vuitton

the body to be wrong if it is

understanding the self.

Exhibition”, Singapore

2014

“Manifesto 4”, Galeri Nasional, Jakarta, Indonesia

2013

Bazaar Art Jakarta, Pacific Place, Jakarta, Indonesia

2012

exposed. As such, identity and

Faculty of Fine Art and Design, ITB, Bandung, West Java, Indonesia, M.F.A. ,

rights are mixed up in the

continuously forming and

Auditory Architecture, Berlin University

“Inaugural Exhibition”, Gallery Rachel,

“Karya Sang Juara” Galeri Nasional,

experience no longer play a

This tension on the issue

part since the cultural dogma

of the body poses a great

takes hold of the body. The

question for me, who was

Jakarta, Indonesia 2011

“Fantasy Island - Louis Vuitton Exhibition”, Hong Kong

ERIKA

“Pameran Besar Patung Kontemporer

2007

Indonesia: Ekspansi”, Galeri Nasional

Kita, Bandung , Indonesia 2005

Indonesia - Jakarta, Indonesia

2010

“Aksara Muda Aksara Sunda”, at Galeri “Faces Feces”, IF Venue, Bandung,

“Bandung Contemporary Art Award (BaCAA)”,

Indonesia

Bandung, Indonesia

“Adore Me”, GDB Bandung, Indonesia

“Unity – the return to art”, Wendt Galery,

“Dance on Fire” Performance art with A

New York, USA

stone A, UPI Bandung, Indonesia

“Tribute to S. Soedjojono”, SOS, Bandung, Indonesia “CIMB Niaga event”, The Dharmawangsa, Jakarta, Indonesia

Awards & Scholarships

»»

2014

Indonesian Art Award (IAA) - Finalist

2011 Bandung Contemporary Art Award (BaCAA) -

BMW art car, Pacific Place, Jakarta,

Finalist

Indonesia

2010 The Best Artwork, Juror’s Choice,

Bazaar Art Jakarta, Pacific Place, Jakarta,

Indonesia Art Award 2010

Indonesia “Contemporaneity”, Galeri Nasional, Jakarta, Indonesia “Percakapan Masa”, Galeri Nasional, Jakart, Indonesia a “Contemporary Art Turn”, SBin Art Plus, Singapore

Art Projects

»»

2014

Abarth Art Car, Bazaar Art, Pacific Place, Jakarta, Indonesia

2010 BMW Art Car, Bazaar Art,Pacific Place, Jakarta, Indonesia

“Bandung New Emergence”, Selasar Sunaryo, Bandung, Indonesia 20th Anniversary of Plaza Indonesia, Plaza Indonesia, Jakarta, Indonesia “Halimun”, Lawang Wangi Artsociates, Bandung, Indonesia 2009

“Art Singapore 2009”, Singapore “Bazaar Art Jakarta”, Pacific Place, Jakarta, Indonesia “Contemporary Archeology”, SIGIarts Gallery, Jakarta, Indonesia “Mini Art Exhibition on Paper” at Galery Hijrah “Deer Andry” at S14, Bandung, Indonesia

2008

“Metaphoria” at Galeri Soemardja, Bandung

, Indonesia

GATOT

Education

»»

PUJIARTO

1991-1995

Faculty of Fine Art and Design, IKIP, Malang, Indonesia

BORN 1970,

Solo Exhibition

Malang, Indonesia

I am always intrigued

»»

2009

Visage: Kisah Wajah, Bale Tonggoh, Selasar Sunaryo Art Space, Bandung.

to create works about

2008

Mutation, Tembi Contemporary, Yogyakarta.

abnormalities, weirdness

2000

Aku, Indoart, Malang

and the tragic. I make stories inspired by the everyday. Stories I have heard from friends, TV shows, news

Group Exhibitions

»»

2014

Sangkring Art Project, Sangkring Art

and my surroundings. I believe uncommon events or

Space, Yogyakarta. 2013

occurrences are important to be told so that they can be

Melankolia – proyek seni rupa rsks #1,

Collision of Nature and Culture , Java Banana Art Gallery, Probolinggo

2012

Indonesian Contemporary Fiber Art , ArtOne

appreciated as reality. The

New Museum, Jakarta.

audience should be able to

Jatim Art Now, National Gallery of

interpret this new reality,

Indonesia, Jakarta.

enjoy it and feel the emotions

Transit - Unload/Reload, Nadi Gallery,

caused by it. My aim in creating works is to create

Jakarta 2011

Transit - Unload/Reload, Selasar Sunaryo

visual sensation to amuse

Art Space, Bandung.

and provoke the audience. I

Jatim Biennale IV - Transposition, AJBS

do so by creating textures in

Gallery, Surabaya.

my works through pasting,

Homo Ludens #2, Emmitan CA Gallery,

patching, layering, tearing, binding and making patterns

Surabaya. 2010

of the fabric.

Desire in Contemporary, Emmitan CA Gallery, Surabaya

2009

Lintas Generasi, Public Library and Archives Building, Malang

2007

Twenty Fo(u)r Maestro, Orasis Art Gallery, Surabaya; V-Art Gallery, Yogyakarta

2006

Jatim Biennale I - City Scape, Balai

101

100

Pemuda Hall, Surabaya.

2005

Informo, Gracia Art Gallery, Surabaya; One

Perupa Muda Malang, Taman Budaya

Gallery, Jakarta.

Surakarta, Surakarta.

Metamorphosis, Puri Art Gallery, Malang.

Pameran Seniman Kota Malang, Malang Art

Pre Bali Biennale - Discourse, Bentara

Council Gallery, Malang

Budaya Yogyakarta, Yogyakarta; Orasis Art

1996

Gallery,

Gallery, Taman Ismail Marzuki, Jakarta

Surabaya; Darga Gallery, Bali; Hamur Sava

2004 2003

1995

Anak Negeri, Mulia Purosani Hotel,

Art House, Malang.

Yogyakarta; Surabaya Art Council Gallery,

Holopis Kuntul Baris , Balai Pemuda Hall,

Surabaya;

Surabaya.

PJKA Building, Malang; Permata Hotel,

After the Affair Art Project, Puri Art

Bogor.

Gallery, Malang.

Gelar Seni Rupa Malang, Auto 2000 Hall,

Holopis Kuntul Baris , Barli Museum,

Malang.

Bandung.

Kelompok Lima Perupa, Surabaya Art Council

Festival Seni Surabaya, Taman Budaya

Gallery, Surabaya

Surabaya, Surabaya. Seni Lukis Jawa Timur, Surabaya Art Council Gallery, Surabaya 2002

Peksiminas National Exhibition, Cipta

Oversized, Kelompok Holopis Kuntul Baris, AJBS Hall, Surabaya.

Awards

ÂťÂť

2011

Transit, Artist in Residence, Selasar Sunaryo Art Space, Bandung

1996

3rd Winner Peksiminas National Exhibition

Pameran Nusantara II, Cipta Gallery, Taman Ismail Marzuki, Jakarta. 2001

Seni Rupa Kota Malang, Lesbumi Office, Malang.

2000

Gelar Akbar Seni Rupa Jawa Timur, Taman Budaya Surabaya, Surabaya

1999

Alumni IKIP Malang, Public Library and Archives Building, Malang. Sanggar Minat Universitas Negeri Malang, Samantha Krida Hall, Brawijaya University, Malang

1998

Kelompok 17 Pelukis Kota Malang, Cipta Gallery, Taman Ismail Marzuki, Jakarta; Barli Museum, Bandung.

1997

Dua Kota Yogya Malang, Fort Vredeburg,

103

102

Yogyakarta.

GUSMEN

Education

HERIADI

»»

2005

Indonesian Art Institute Yogyakarta, Yogyakarta, Indonesia

BORN 1974, Pariaman,

I am interested in the

internalisation process. First,

Indonesia

process of the individual’s

the transformation value

internalisation of values

phase, which is the stage

that happens consciously or

where the individual begins

unconsciously. Internalisation

to seek, receive, acquire

of values is an appreciation

and absorb information that

by anindividual or group of

contains a certain value.

things that fosters the spirit,

Second, the transaction value

belief and consciousness

phase, which is a phase

that are manifested in their

of reciprocal interaction

attitude and behavior.

between the received information and the person’s

Selected Solo Exhibitions

»»

2010

Tamu, Edwin’s Gallery, Jakarta, Indonesia

2005

Problema Masyarakat Kota, ISI Jogjakarta, Indonesia

Selected Group Exhibitions

»»

2014

50:50 MJK art community,Nalaroepa yogyakarta indonesia BAKABA#3 “KINI” jogja gallery,yogyakarta indonesia

2013

homoludens#4,Emmitan CA Gallery.Bentara Budaya Bali

The internalisation process

wishes or needs. Third is the

starts with ways of thinking,

trans-internalisation phase.

Sangkring art space.Yogyakarta.Indonesia

attitude and behavior.

This phase is deeper than

Crossing Contemporary Cultures,MiFA

The combination of these

the second phase because it

Asian Pacific Contemporary Art Melbourne.

three points reflects the

involves filtering the mental

character or personality of

attitude and the individual

the individual. Meanwhile,

personality.

the value can be regarded

BAKABA#2 “Antara pintu & Halaman”

Australia 2012

Compatibility - Seniman Muda di Tengah Pusaran Sosial Kontemporer, Bazaar Art Jakarfta 2012 , Ritz Carlton Hotel, Pacific

as a normative pattern that

Based on such interest, in

Place, Jakarta, Indonesia

determines the desired

creating my paintings, I try

Kembar Mayang, Museum H.Widayat, Magelang

behaviour of individuals,

to explore and express the

Indonesia

related to a group of living

uniqueness of the individual

Nagari NgaJogjakarta Hadininggrat, Jogja

systems and the environment

character or personality

Nasional Museum. Indonesia

without distinguishing the

using the composition of

The Moment We Live In, 5 Pan Asian

various functions. There

the figure and/or choices of

Artists, PIN Gallery, Beijing, China

are three phases of this

objects.

Group Exhibition, Royal Residence Art, Surabaya, Indonesia Exhibition with Kelompok Greget, Bentara

105

104

Budaya Jogjakarta, Jogjakarta, Indonesia

2011

Unforgettable, Exhibition Hall, Jakarta

Reach Art Project! – Act One, Edwin’s

Art District, Grand Indonesia, Jakarta,

Gallery-Plaza Indonesia, Jakarta,

Indonesia

The Everyday Fantastic, S. Bin Art Plus,

In Rainbow, Esa Sampoerna Art House,

Singapore

Surabaya, Indonesia

Art Stage Singapore, Singapore

C-Art Show, Grand Indonesia, Jakarta,

Homo Ludens # 2, Emmitan ca gallery.

Indonesia

Surabaya,indonesia

Trap[esium], Edwin’s Gallery, Jakarta,

Art I Jog 11, Taman Budaya Jogjakarta, Indonesia

2010

Indonesia 2008

Ilustrasi Cerpen Kompas, Jakarta, Bali,

Magelang, Indonesia

Solo, Jogjakarta Indonesia

Manifesto, Galeri National Indonesia,

Korea International Art Fair, Coex, Seoul,

Jakarta, Indonesia, Indonesia

South Korea

4 Leaps, Biasa Art Space, Bali, Indonesia

No Direction Home, organized by Edwin’s

A New Force of South East Asia:Group

Gallery, Galeri Nasional Indonesia,

Exhibitions of Indonesian Contemporary

Jakarta, Indonesia

Artists,

Group Exhibition, Organized by Semarang

IVAA Book Aid Vol.2, Edwin’s Gallery,

Gallery, Jakarta Art District, Grand

Jakarta, Indonesia

Indonesia

Survey, Edwin’s Gallery, Jakarta,

Shopping Town, Jakarta,

Asia Art Centre, Beijing, China

Indonesia

Space and Image, Ciputra World Marketing

Tommy Wondra & Gusmen Heriadi, Soheon

Gallery, Jakarta, Indonesia

Gallery, Korea

Survey #1.10, Edwin’s Gallery, Jakarta,

Tommy Wondra & Gusmen Heriadi, Nine

Indonesia

Gallery, Gwangju, Korea

Bakaba, with Sakato Group, Jogja National

Tommy Wondra & Gusmen Heriadi, Godo Gallery, Soul, Korea

Museum, Jogjakarta, Indonesia Biennale Jogja X, Jogja Jamming Gerakan 2009

Wedding: Loro Blonyo, Gedung Tri Juang,

2007

Neo-Nation, Jogja Biennale IX, Taman

Arsip Seni Rupa Jogja, Taman Budaya

Budaya, Jogjakarta, Indonesia

Reality Bites, 25th Anniversary of Edwin’s

Fund Raiser 2007: An Endowment for the

Gallery, Edwin’s Gallery, Jakarta,

Future, Hong Kong

Indonesia

Inspiring Indonesian Contemporary Art,

Bazaar Art Fair, Ritz Carlton – Pacific

Organized by Media Visual Art, Shanghai

Place, Jakarta, Indonesia

Art Fair, China

Highlight of Edwin Raharjo's Collection,

Indonesian Contemporary, 1918 ArtSpace,

the Galeri Nasional Indonesia, Jakarta,

Shanghai, China

107

106

Indonesia

2004

Indonesia

Fine Art Exhibition, organized by Edwin’s

Menimbang Tradisi, Sanggar Sakato,

Gallery, Gandaria City, Jakarta, Indonesia Tanda Mata IV, Bentara Budaya, Jogjakarta, Indonesia

National Gallery, Jakarta, Indonesia 2003

Affandi Prize, Galeri ISI, Jogjakarta,

Indonesia

Episode, Gusmen Heriadi & Tommy Wondra,

Interpelation, CP Open Bienalle, Galeri

Edwin’s Gallery, Jakarta, Indonesia

Nasional Indonesia, Jakarta, Indonesia

Common Grounds – A Glimpse of Indonesian

Drawing, Sanggar Dewata

Contemporary Art, Galeri Nasional

Indonesia,Jogjakarta, Indonesia

Indonesia, Jakarta, Indonesia

Exhibition with Sanggar Sakato, Galeri

Transposisi, Jogja Gallery, Jogjakarta, 2006

Indonesia Traffic, Mon Décor Gallery,

Langgeng, Magelang, Indonesia 2002

Manusia Ambang Batas, Kelompok Seni

Kisi-Kisi Jakarta, Jakarta Art Award,

Rupa Genta, Galeri Semarang, Semarang,

Jakarta, Indonesia

Indonesia

Genta +, Exhibition with Kelompok Seni

Seratus Tahun Bung Hatta, Taman Budaya,

Rupa Genta, Biasa Art Space, Bali,

Padang, Indonesia

Indonesia

Alam Raya, Galeri ISI, Jogjakarta,

Nuansa Eksotika, Balikpapan, Indonesia

Indonesia

Get the Book, Kedai Kebun, Jogjakarta,

Sepiring Indonesia, Gelaran Budaya,

Indonesia Bazart, Benteng Vredeburg Museum, Jogjakarta, Indonesia Melihat Jagat dari Kaliurang, Museum Ulen Sentalu Jogjakarta, Indonesia Art for Aceh, Taman Budaya Jogjakarta, Indonesia Pencerahan, KSR Genta, Bentara Budaya, Jogjakarta, Indonesia Re-reading Landscape, Sanggar Sakato, Nadi Galeri, Jakarta, Indonesia Indonesian Contemporary, iPreciation, Singapore

108

Para Mitra, Moon Décor, Jakarta, Indonesia

Indofood Art Award, Jakarta, Bali, Indonesia

Jakarta, Indonesia

2005

PEKSIMINAS, Sanata Dharma University, Jogjakarta, Indonesia

Bung Ayo Bung, Museum Affandi, Jogjakarta,

Indonesia

Lustrum ISI, Galeri ISI Jogjakarta,

Jogjakarta, Bandung, Bali, Indonesia 2001

Exhibition with Kelompok Campur Sari, Galeri ISI, Jogjakarta, Indonesia SASENITALA “Hari Bumi” Galeri ISI, Jogjakarta, Indonesia Exhibition with Kelompok SEBELAS, Gelaran Budaya, Jogjakarta, Indonesia Exhibition with Kelompok GREGET ‘95 “REALITAS 2, Purna Budaya, Jogjakarta, Indonesia Dimana Bumi Dipijak, di Sana Langit Dijunjung, Sanggar Sakato, Purna Budaya, Jogjakarta, Indonesia

109

Conscience Celebrate-September Art Events,

2000

Kelompok Seni Rupa Genta, Purna Budaya,

1996

Jogjakarta, Indonesia

GESPER (Gelar Seni Pertunjukkan Rakyat)

Alumni SSRI-SMSR Padang, Taman Budaya,

Galeri ISI, Jogjakarta, Indonesia

Padang, Indonesia

Festival Seni Budaya Minang, TIM, Jakarta,

1999

1995

Painting exhibition, Museum Aditiyawarman,

Indonesia

Padang, Indonesia

20 Perupa Minang, Hotel Ciputra, Jakarta,

Sketches exhibition, Sasana Aji Yasa ISI,

Indonesia

Jogjakarta, Indonesia

FKY XII, Benteng Vredeburg, Jogjakarta,

GREGET ’95, Sasana Aji Yasa ISI,

Indonesia

Jogjakarta, Indonesia

Perupa Muda, Purna Budaya, Jogjakarta,

SAKATO I, Purna Budaya, Jogjakarta,

Indonesia

Kelompok Seni Rupa Genta, Purna Budaya, Jogjakarta, Indonesia Pratisara Affandi, Galeri ISI, Jogjakarta, Indonesia

Awards

»»

2006

Special Appreciation of Jakarta Art Award, Indonesia

Kelompok SOLUSI 4, Dirix Art Galery,

2002

Finalist of Indofood Art Award, Indonesia

Jogjakarta, Indonesia

2000

Finalist of Philip Morris Art Award,

Kelompok SAKATO III, Benteng Vredeburg, Jogjakarta, Indonesia

Indonesia 1998

FKY XI, Benteng Vredeburg, Jogjakarta, Indonesia 1998

Dialog 2 Kota ISI-IKJ, Purna Budaya,

Indonesia 1997

Philip Morris Art Award, Galeri Nasional, Jakarta, Indonesia Solusi 4, Hotel Melia Purosani,

Finalist of Philip Morris Art Award, The Best Acrylic Painting, ISI Jogjakarta, Indonesia

1996

The Best Watercolor Painting, ISI Jogjakarta

Jogjakarta, Indonesia Dies Natalis ISI, Galeri ISI, Jogjakarta, Indonesia FKY X, Benteng Vrederburg, Jogjakarta, Indonesia Refleksi Zaman, Galeri ISI, Jogjakarta, Indonesia 1997

Bercermin, Sanggar Suwung, Jogjakarta, Indonesia REALITAS Purna Budaya, Jogjakarta, Indonesia Kelompok SAKATO II, Purna Budaya.

111

110

Jogjakarta, Indonesia

INDRIASARI BORN 1976, Yogyakarta, Indonesia

I grew up in an artistic

Education

family. Both of my parents

Indonesian Art Institute Yogyakarta,

were painters and both of my

Yogyakarta, Indonesia Faculty of Media

sisters were educated in fine

Recording, Film Major, specializing in

art. I have been introduced

Artistic Direction

to painting and making crafts at such a young age. Making art to me is a meditation where I can find balance,

Solo Exhibition

»»

2012

positive values and answers

Lawangwangi Art & Science Estate, Bandung,

to my questions about life’s

Indonesia

existential issues. By working with the everyday objects that I am familiar with and

Group Exhibitions

»»

2013

“Squaring The Circle”, One East Asia –

also through a conventional

International Art Management & Asian Art

fine art method that I am

in London, Gallery 8, London, UK.

used to since I was young,

“Crossing Contemporary Culture”, MiFA |

the process of making art is a

Contemporary Asian Pacific Art, Melbourne.

way to express my personal

“Kuota#4: Kepingan”, Langgeng Art Foundation (LAF), Jogjakarta.

worries and concerns. 2012

“Mommy Dearest”, ViaVia Café & Alternative

My works are always closely

Art Space, Jogjakarta, Indonesia

related to my existence as

“Indonesia Contemporary Fiber Art

a woman, wife and mother.

Chapter One | MAPPING”, ART One New

The mental conflict between

Museum,

love and anger seem to be a

“Romancing Indonesia”, One East Asia Art

subject that provides me with

Management, Royal Opera Arcade Gallery,

endless inspiration. There

London, UK

has always been a side of me

“Membatalkan Keperempuanan”, Sangkring Art

that subconsciously needed

Project, Jogjakarta, Indonesia

to be repressed to create a

“Domestic Stuff”, Galeri Salihara,

”normal” environment for

Jakarta, Indonesia

the family. The suffering

“Domestic Stuff”, Cemeti Art House,

thousands of safety pins are a

–

Jakarta, Indonesia

Jogjakarta, Indonesia

figures pinned down by

112

“Un/happy Motherhood: Narasi Aku dan Ibu”,

2011

“Indonesia's Crouching Tigers and Hidden

representation of the hidden

Dragons”,

One East Asia at ArtSpace

mental voice.

Galleries, May Fair, London, UK

113

MARIA

“Talking Textiles”, a duo show with

2008

December Pang, One East Asia, Singapore

Jogjakarta”, Taman Budaya, Jogjakarta,

“Expansion: Indonesian Contemporary

Indonesia

Sculpture Exhibition”, National Gallery,

2007

Gallery, Jogjakarta, Indonesia

“Homo Ludens #2”, Emmitan Contemporary Art

“Gema Wanita Exhibition - BEBER SENI

Gallery, Surabaya, Indonesia.

IX Jogjakarta”, Benteng Vredeburg,

“CONTEMPORARY ARCHEOLOGY CHAPTER TWO”,

Jogjakarta, Indonesia 2006

Sigi Arts, Jakarta, Indonesia Exhibition of selected contemporary art works from Bandung Contemporary Art Award competition (BaCAA), Lawangwangi Art &

“Ekspresi-Ekspresi Perempuan”, Tembi Gallery, Jogjakarta, Indonesia

Art Awards & Commissions

»»

2012

“Say No To The Oppression Woman (SNOW)”,

Science Estate, Bandung, Indonesia

SNOW 2012: A Constellation of Glamour,

“1001 Doors: Reinterpreting Tradition”,

Gastronomy, & Goodwill. Fundraising by The

Ciputra World Marketing Gallery, Jakarta,

United Nation Woman – Singapore Committee,

Indonesia

Capella Hotel, The Knolls, Sentosa Island,

“Closing The Gap: Indonesian Contemporary

Singapore

Art”, MIFA (Melbourne International Fine

2011

Top 25 artists selected for Bandung

Art), Melbourne, Australia

Contemporary Art Award Competition

“Arts Liberation Front #2: Tanah Jawa”,

(BaCAA), Lawangwangi Art & Science Estate,

Taman Budaya, Jogjakarta, Indonesia

Bandung, Indonesia

“Melepas Seragam”, Ars Longa Gallery,

1982-1995

competitions, among others:

“Indonesian Art Now: The Strategies of Being,” ART|JOG|10, Taman Budaya,

1982

World School Children’s Art Exhibition, Korean Children’s Center The Yook Young

Jogjakarta, Indonesia

Foundation

“10th Anniversary Exhibition of One Galeri”, One Gallery, Jakarta, Indonesia

1987 1989

Jogjakarta, Indonesia

Shankar’s International Children’s Competition, New Delhi, India

Bayem river,

Jogjakarta, Indonesia

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

“Arts Liberation Front #1”, Biasa Gallery, “Rang Rawa Project”,

Maria won 86 times drawing competitions in regional, national and international

Jogjakarta, Indonesia

2009

Fine Arts Exhibition, Sanggarbambu, Tembi

Jakarta, Indonesia

group exhibitions with young sculptors,

2010

“Dinamika Estetika: 45 years of SMSR

1990

Ministry of Education and Culture DIY,

BIENNALE JOGJA X, Sanggarbambu, Jogjakarta

Kyoto, Japan Painting Competition ASEAN,

National Museum, Jogjakarta, Indonesia

Jakarta, Indonesia

“Gebrak Guru Gambar, Beber Seni XII” Taman

115

114

Budaya, Jogjakarta, Indonesia

Selected Bibliography

»»

2013

Alia Swastika, Tempo Magazine, “Mempersoalkan Strategi Repetisi Seniman”, 5th Edition, 5-11 August, page 82-83.

2011

C-Arts, Volume 19, April-May, work featured on the Cover Page (“I Will Fly”, 2011) Dr. Ken Wach, “Closing the Gap: The first Commercial Exhibition of Indonesian Art in Melbourne”, .C-Art Magazine, 19th Edition, April-May, page. 76-69 OZIP Magazine, “Closing the Gap: The first Commercial Exhibition of Indonesian Art in Melbourne”, 18th Edition, February, page 42.

2010

Visual Arts Magazine, August issue, work featured on the Cover Page (“Washer”, one of the 8 works from the “Playing in the Kitchen” series, 2009) Vidhyasuri Utami, Saat Pasar Melirik “Yang

116

Lain”, Visual Arts, August, page. 34-35

SIGIT

Education

SANTOSO

»»

1993

Indonesian Art Institute Yogyakarta, Yogyakarta, Indonesia Faculty of Fine Art

BORN 1964,

Solo Exhibition

Yogyakarta,

»»

Indonesia I believe that painting,as simple as it is, is to create a sign through colors, strokes, composition,

2005

“Paradoks Batas”, Edwin’s Gallery, Jakarta

2003

“Painthinkting”, Edwin’s Gallery, Jakarta

Selected Group Exhibitions

»»

2014

“ISI-isi”, Galeri Kemang 58, Jakarta

choices of objects and so on. Interpretation can be

“Disclosure”, Langgeng Gallery, Yogyakarta

2013

“Art Gwangju:13”, Gwangju, Korea

implicitly presented or even

Pameran Drawing “Sepanjang”, Balai

totally hidden like a puzzle.

Sudjatmoko, Solo “Jiwa Ketok dan Kebangsaan”, Galeri

ICHTHUS is an acronym

Nasional, Jakarta

for Iesous Christos Theou

“Affirmation”, DiaLoGue Art Space, Jakarta

Soter, which in Greek means

“Art Jog 13”, Taman Budaya Yogyakarta “Ilustrasi Cerpen Kompas 2012”, Bentara

Fish – a spiritual symbol of

Budaya Jakarta

Christ, Church or Christians.

“Grey”, Grand Indonesia, Jakarta

My painting entitled Ichtus

“Suka Pari Suka”, Bentara Budaya

portrays a painter with a stigmata symbol printed on his body painting an

Yogyakarta 2012

Yogyakarta

unfinished fish. He is trying

“Revisited”, One East Asia, Singapore

to recreate the figure of fish

“Art Jog 12; Looking East”, Taman Budaya,

in his empty studio space

Yogyakarta

because he feels he does not

“Indonesian Art Awards 1994-2010”, Galeri

find that fish anymore in the depth of the river and sea.

“Slenco”, Bentara Budaya, Jakarta dan

Nasional, Jakarta 2011

Lintas”, Edwin’s Gallery, Jakarta “Art Jog 10; Indonesian Art Now”, Taman Budaya, Yogyakarta “Ekspansi”, Sigiarts Gallery, Galeri Nasional, Jakarta “The Silent Diplomacy”, Srisasanti

119

118

Arthouse, Jakarta

“Homo Ludens#2”, Emmitan Gallery, Surabaya

Art Hongkong 2009, Hongkong

“Membikinnya Abadi”, Semarang Gallery,

“Reborn”, H2 Art Gallery, Semarang 2008

Semarang

2010

Space, Tai Pei, Taiwan

Singapore

“ Dari Penjara Ke Pigura”, Salihara,

“Star Wars”, AJBS Gallery, Surabaya

Jakarta

“Closing The Gap”, MIFA, Melbourne,

“Self-Portrait”. Joja gallery, Yogyakarta

Australia

“Highlight”, Jogja National Museum,

“Keberagaman Dan Toleransi”, Syang Art

Yogyakarta

Space, Magelang

“Refleksi Ruang Dan Waktu”, V- Art Gallery,

“Homo Ludens”, Emmitan CA Gallery,

Yogyakarta

Surabaya

“Contemporary Heroes, Tujuh Bintang Art

“Soccer Fever”, Galeri Canna, Jakarta

Space, Yogyakarta

“Transfiguration”, Semarang Gallery, Grand

“New Age – New Blending”, New Age Gallery,

Indonesia, Jakarta

Beijing, China

“Space & Image”, Ciputra World Marketing

“Strategies Towards the Real: S. Sudjojono

Gallery, Jakarta

and Contemporary

“Recent Art

Indonesia Art”, NUS Museum, Singapore

From Indonesia”, Soobin Art

Plus, Singapore

“Merti Bumi”, Kampung Seni LEREP, Ungaran

“Masih Ada Gus Dur”, Langgeng Gallery,

“A New Force In Southeast Asia”, Asia Art

Magelang

Center, Beijing, China “Manifesto”, Galeri Nasional Indonesia,

“Ecce Homo”, Semarang Gallery, Semarang 2009

“Allegorical Bodies”, A Art Contemporary

“Art Stage Singapore”, Langgeng Gallery,

“Kado #2”, Nadi Gallery, Jakarta

Jakarta

“Biennale Jogja X, Sangkring Art Space,

“Perang Kembang”, Bentara Budaya,

Yogyakarta

“Common Sense”, Galeri Nasional Indonesia, Jakarta Art Taipei 2009, Taiwan “Reality Bites”, Edwin’s Gallery, Jakarta “Rai Gedheg”, Bentara Budaya, Yogyakarta

Awards

»»

2007

Prize”, Hong Kong 2006

– Jakarta “jejak-jejak Drawing”, Galeri Nasional

Finalist “The 2007 Sovereign Asian Art Finalist “The 2006 Sovereign Asian Art Prize”, Hong Kong

1994

Indonesia, Jakarta

10 Best Paintings “The Phillip Morris Group Indonesian Art Awards” Best Work of

“Objective Border”, Srisasanti Art House,

Biennale IV Yogyakarta

Jakarta

1992

Best Work, Indonesia Students Festiva

“Distance”, Tony Raka Gallery, Bali

1990

Best Work Dies Natalis ISI V, Yogyakarta

“In Rainbow”, Esa Sampoerna Art House,

121

120

Surabaya

I GUSTI NGURAH

Education

INDIANTARA aka

»»

1996 – 2006

Indonesian Art Institute Yogyakarta, Yogyakarta, Indonesia

TANTIN Solo Exhibition

»»

BORN1976, Bali, Indonesia

Every country has its own

2010

Indonesia

idea of beauty becomes the

philosophy of beauty. For

same everywhere. Beauty

example, in Indonesia, a

industries do not highlight the

beautiful woman is a woman

uniqueness of Latin beauty,

who has olived-colored skin

European, Asian or other

and long curly hair. In The

countries’ beauty values.

“Pop Imagery”, Semarang Gallery, Semarang,

2002

“From Contemplation to Comedy”, Nadi Gallery, Jakarta, Indonesia

Group Exhibitions

»»

2014

ARTJOG'14: “Legacies of Power”, TBY,Yogyakarta, Indonesia

Age of Enlightment in Europe, big women were considered

The exotic look of racially

“Fiesta Kota Tua Jakarta”, Fatahilah

beautiful as we see illustrated

mixed faces becomes the

Museum, Jakarta, Indonesia

in the famous painting of

beauty standard, which is

“Neo Iconoclasts”, Magelang Art Fair,

Mona Lisa.

glorified and followed by

Langgeng Gallery, Magelang, Indonesia

many young generations

“In Justify Our Love”, Sangkring Art

Today, beauty industries have

space, Jogjakarta, Indonesia

through the latest techniques

changed the local beauty

in plastic surgery today. The

2013

philosophy through many

local beauty philosophy is

2012

media outlets including,

overlooked. The noble values

World Dr. Melani W. Setiawan (1977-2011),

television, magazines,

are left behind for the sake

Galeri Nasional Jakarta, Indonesia

billboards and so on. The

of a beauty theory, which

“Grand Opening OHD Museum III”, Magelang,

media teaches us that

is instilled by the beauty

Indonesia

beautiful women must have

industries.

“Re.claim”, The Archive Indonesian Art

“Legacy of Civilization”, Esa Sampoerna Art Museum, Surabaya, Indonesia

smooth skin, sharp nose,

ARTJOG 12, Taman Budaya Jogjakarta,

tall, slim body and black

Jogjakarta, Indonesia

straight hair. Hence, the

“A Tribute To a Mentor”, Gd. Tribakti, Magelang, Indonesia 2011

“Indonesia’s

Chrouching Tigers and Hidden

Dragons”, ArtSpaces Galleries, Mayfair, London ARTJOG11, Taman Budaya Jogjakarta,

123

122

Indonesia

“Membikinnya Abadi : Goenawan Muhammad”,

2010

2009

2007

Semarang Gallery, Semarang, Indonesia

Jogjakarta, Indonesia

“Homo Ludens #2”, Emmitan Gallery,

Shang Hai Art Fair, Shang Hai, China

Surabaya, Indonesia

“ARTvertising”, National Gallery, Jakarta,

“Closing The Gap”, MiFA (Melbourne

Indonesia

International Fine Art) Gallery,

“Portofolio”, Jogja Gallery, Jogjakarta,

Melbourne, Australia

Indonesia

ART SINGAPORE, Singapore

“Boeng Ajo Boeng !:100 Tahun Affandi”,

ARTJOG 10, Taman Budaya Jogjakarta,

Bentara Budaya, Jogjakarta, Indonesia

Indonesia

“Shout Out !”, FKY 2007, Taman Budaya

Semarang Contemporary Art Gallery, Jakarta

Jogjakarta, Indonesia

Art District, Grand Indonesia, Jakarta,

“Sayap”, I Nyoman Gunarsa Museum,

Indonesia

Jogjakarta, Indonesia

“Space & Image”, Ciputra World, Jakarta,

“Tribute to Young Artists”, Sangkring Art

Indonesia

Space, Jogjakarta, Indonesia

“Jogja Jamming”, Biennale X, Taman Budaya,

IVAA Book AID, Nadi Gallery, Jakarta,

Jogjakarta, Indonesia

Indonesia

“Kado #2”, Nadi Gallery, Jakarta,

“Eksistensi”, Jogja Gallery, Jogjakarta,

Indonesia

IVAA Archive AID, National Museum, Jakarta, Indonesia “In Rainbow”, Esa Sampoerna Art House, Surabaya, Indonesia

Selected Awards

»»

2000

Best Artist ISI annual Dies Natalis

1999

Semi finalist of the Phillip Moris

“Spacing Contemporary”, Jogja Art Fair #2,

Indonesia Art Award

Taman Budaya, Jogjakarta, Indonesia 2008

“Neo-Nation”, Biennale IX, Taman Budaya

“Loro Blonyo Kontemporer”, Tri Bhakti

Best Artist ISI annual Dies Natalis 1997

Best Water Color Artist

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,

125

124

Indonesia

YUDI

Education

SULISTYO

»»

1994

Diskomvis, Institut Seni Indonesia, Yogyakarta Indonesia

Born 1972

Group Exhibitions

Yogyakarta,

»»

Indonesia

2014

ART JOG 14.Tamam Budaya Yogyakarta.

2013

ONE EAST ASIA. London BAZAAR ART JAKARTA. ARTJOG 13 Taman Budaya Yogyakarta.

I am trying to imagine a house or a place to stay

INDONESIAN PAVILION :Art Stage Singapore. 2012

Contemporary Painting and sculpture Royal

which can be easily moved.

Opera Arcade Gallery,Pall Mall,London

Such housings are intended

ART JOG #12.Taman Budaya Yogyakarta.

for immigrants to avoid

A TRIBUTE TO A MENTOR:Indonesian Modern

the density caused by their

and Contemporary Art Gedung Tribakti

arrivals in the big cities. They often build houses on government lands and around

ROMANCING INDONESIA:Modern and

.Magelang.Indonesia. 2011

FLIGHT FOR LIGHT:Indonesia Art and Religiosity.art:1 Jakarta. Indonesia

the rivers which cause many

MAXIMUM CITY: survive or escape.jakarta

social and environmental

Biennale#14, Jakarta,Indonesia

problems.

Flight For Light-Religiocity in Indonesia

I hope that my ideas will help

Art. Galleri Mon Décor.

to solve these problems by

PMR.cube.contemporary culture interplay.

letting them stay in such

jakarta

housings until they settle

Korea International Art Fair.

down and find success in life.

BAZAAR ART JAKARTA. ART JOG 11.TamanBudaya Yogyakarta. ART STAGE Singapore. Closing THE Gap. Indonesia Art Today.di MIFA.Melbourne,Victoria,Australia Kanwa and Rita Van Hoecke, Brussels, BELGIUM 2010

Urban/Cultur.”ETHNICITY NOW’’Galeri Nasional Jakarta. KIAF. Korea

127

126

Mall art/Bazaar art .Pacific Place.Jakarta

Angki Purbandono

New God è parte del mio

Sono un gorilla nato e

progetto chiamato Devotion.

crescituo in mezzo a 210

Attraverso questo progetto,

milioni di altri gorilla nella

esamino il sustema di valori

Repubblica del Granoturco.

inserito nel mondo dell’arte

In alcuni anni, dovremmo

contemporanea oggi. New

riuscire a dividere il

God presenta 12 croci

granoturco per mantenere la

ispirate da artisti moderni e

stabilità della vita. Ma adesso

Biennale Sastra Galery Salihara Jakarta.

contemporanei, tra cui Cai

c’è un’ansia silenziosa tra i

Bazaar jakarta art fair, ballroom Ritz

Guo Qiang, Damien Hirst,

capi gorilla, perché il nostro

Carlton Hotel-Pacific Place jakarta

Jeff Koons, Frida Kahlo,

cibo sta diminuendo e diventa

Pameran contemporary art exhibition “

Jenny Holzer, Salvador Dali

sempre meno!

Senang-Senang”tujuh bintang art space.

e altri. Essi rappresentano

Yogyakarta.

i 12 apostoli dell’arte

Sempre più in fretta! Gli altri

HEROISME Galery MonDecor jakrta

contemporanea, adorati e

primati come gli uomini hanno

ART FAIR Jakarta

venerati.

preso sotto controllo alcuni

ART JOG.jogja art fair.Taman Budaya Yogyakarta ART JOG.jogja art fair.Taman Budaya Yogyakarta Pameran senirupa galeri ciputra.jakarta 2009

Biennale jogja x JOGJA JAMMING 2009 Taman Budaya Yogyakarta.

2009

EXPOSIGN 25 Tahun ISI Yogyakarta. Di JEC Yogyakarta.

”UP&HOPE”

DICHIARAZIONE ARTISTA

Aditya Novali

Bazaar art.Pacific Place.jakarta

D peak Art Space.Jakarta

territori delle nostre terre!

selatan. Jogja Art Fair #2.Taman Budaya Yogyakarta

L’innocenza delle nostre vite Andita Purnama

è schiacciata dall’ambizione umana di consumare tutto,

Ogni individuo ha storie

compreso il cibo che abbiamo

personali e memorie.

piantato e preservato per il

Sono lasciate nella

futuro.

mente e nel cuore, in particolare le memorie

Dopo aver condiviso la mia

felici della fanciullezza,

razione con gli altri gorilla,

dell’adolescenza, di

mi piace stare in cima alla

amore, matrimonio, figli e

pianta di granturco. Aspetto

dell’anzianità. Singing in the

la luce dal cielo, sperando

Smokey Room è un tentativo

che qualcosa mi trasformi

di compilare la mia storia

facendomi diventare

personale, usando l’intreccio

straordinario e potente

a mano di nastri magnetici

per salvare il future della

come metafora di passato,

repubblica.

presente e futuro della vita di

129

128

un individuo.

Bestrizal Besta

importante nella formazione

identità per guadagnare

corporea. Quando il corpo

dell’identità.

rispetto. Esporre il proprio

è continuamente definito e

corpo è visto come un’offesa

ridefinito da altri al di fuori

Ogni mio dipinto ritrae un’immagine di un bambino

Il corpo nei miei lavori

che attrae critiche, scherno

del proprio se, non appartiene

coperto ed isolato, ma dà

appare come un modo di

e persino la pena di morte

più all’individuo stesso ma è

un segno di non arrendersi

rappresentare il concetto

in quanto considerato un

posseduto dalla società.

alle circostanze della vita.

di come il corpo sia

atto di adulterio. Dall’altra

Attraverso questi lavori,

meramente visto come un

parte, nel mondo occidentale,

cerco di far realizzare alla

corpo sociale, assieme

mostrare il proprio corpo

gente che ogni essere umano

a tutti i suoi stereotipi.

sembra essere una cosa

Sono sempre intrigato nel

ha le sue debolezze, ma non

L’identità e l’esperienza

più naturale. Pur sotto il

creare opere su anomalie,

dobbiamo permettere che

del padrone del corpo deve

sistema patriarcale, contro

stranezze e il tragico.

esse ci fermino dal diventare

aderire al dogma culturale

cui le femministe si sono

Creo storie ispirate dalla

persone migliore. Mai

della società, in questo caso

battute intensamente, il

quotidianità. Storie che ho

arrendersi, non avere paura,

una società Musulmana che

corpo è stato uno dei temi

sentito da amici, spettacoli

e continuare a provare!

vede il corpo come sbagliato

principali. Alla fine, l’unità

televisivi, notizie e nei

quando esposto. Come tale,

del corpo e dell’identità

dintorni. Credo che eventi

identità ed esperienza non

perde la sua natura di luogo

non comuni o imprevisti siano

giocano più un ruolo in

per la contemplazione della

importanti da raccontare in

L’idea fondamentale della

quanto il dogma culturale si

comprensione del se.

modo che possano essere

mia opera è basata su quello

impossessa del corpo. L’unità

che Nietzche dichiara nel suo

del corpo e dell’identità non

Questa tensione sul tema

pubblico dovrebbe essere in

libro, Thus Spoke Zarathustra,

sono più sacri o naturali,

del corpo mi pone un grande

grado di interpretare questa

ovvero che “il corpo è…

sono considerati sbagliati

interrogativo, essendo nata

nuova realtà, goderne e

guerra e pace”. L’identità, un

e perdono la loro bellezza.

nell’era moderna, un’era

provocare le emozioni da esse

processo naturale, si forma e

Quindi, sei tu che crei te

identica alla rivoluzione che

suscitate. Il mio obiettivo

sviluppa di continuo durante

stesso? O lasci che gli altri

offre libertà e apertura, ma

nella realizzazione di opere è

tutta la vita. Attraverso vari

creino te?

al tempo stesso avvolta da

creare una sensazione visiva

ansia. I più fondamentali

per divertire e provocare

Erika Ernawan

apprezzati come realtà. Il

dalla nascita, il proprio se

L’Arte, a mio parere, ha la

e personali diritti sono

il pubblico. Lo faccio con la

diventa soggetto (secondo

capacità di trascendere le

mescolati nei preconcetti

creazione di texture nelle mie

Althusser) e l’esistenza di

limitazioni sociali, fatti e

e nelle ristrette norme

opere attraverso incollaggio,

un individuo diventa parte

storie della vita, come segni

sociali. Il mimetismo è

patchwork, stratificazione,

della storia, del mondo che

del tempo. Nate e cresciute

usato per proteggere e

strappi, legatura e creando

lo circonda e dell’interazione

come indonesiane muslimah

difendere se stessi dalle

motivi da tessuto.

sociale. Il ‘se’ e il corpo –

(donna musulmana), ci viene

critiche sociali, che

inseparabili come l’utero e

insegnato di proteggere il

contribuiscono all’erosione

la placenta – sono una parte

nostro corpo e la nostra

dell’identità e dell’esperienza 131

130

processi di identificazione

Gatot Pujiarto

Gusmen Heriadi

cercare, ricevere, acquisire

Oggi, le industrie di cosmesi/

hanno fato conoscere pittura

e assorbire le informazioni

bellezza hanno cambiato la

e arti in giovane età. Fare

Sono interessato al processo

che contengono un certo

filosofia di bellezza locale

arte per me è una meditazione

di interiorizzazione dei

valore. In secondo luogo, la

attraverso molti media come

dove posso trovare

valori dell’individuo che

fase valore di transazione,

televisione, riviste, cartelloni

equilibrio, valori e risposte

accade consciamente

di reciproca interazione

pubblicitari e così via. I media

positive alle mie domande

o inconsciamente.

tra le informazioni ricevute

ci insegnano che le belle

su problemi esistenziali

L’introiezione dei valori

e i desideri o bisogni della

donne devono avere la pelle

della vita. Lavorando con

è un apprezzamento di

persona. Terza è la fase di

liscia, un naso dritto, corpo

gli oggetti di uso quotidiano

singole o molteplici cose

trans-introiezione. Questa

alto snello e capelli neri e

che mi sono familiari e

che favoriscono lo spirito,

fase è più profonda della

lisci. Da qui, l’idea di bellezza

anche attraverso un metodo

la fede e la coscienza

seconda fase perché richiede

diventa la stessa ovunque.

convenzionale a cui sono

e che si manifesta nel

il filtraggio dell’atteggiamento

Le industrie di bellezza non

abituata da giovanissima, il

loro atteggiamento e

mentale e la personalità

evidenziano l’unicità delle

processo di fare arte è un

comportamento.

individuale.

bellezze latina, europee,

modo per esprimere le mie

asiatiche o i valori estetici di

preoccupazioni e i miei dubbi.

Il processo di

Basandomi su tali interessi,

interiorizzazione inizia

creando i miei dipinti, cerco

con modi di pensare,

di esplorare ed esprimere

Il look esotico di volti di etnie

strettamente legati alla

atteggiamento e

l’unicità del carattere

miste diventa lo standard di

mia esistenza come donna,

comportamento. La

individuale o della personalità

bellezza, glorificato e seguito

moglie e madre. Il conflitto

combinazione di questi tre

usando la composizione della

da tante giovani generazioni

mentale tra l’amore e la

punti riflettere il carattere o

figura e/o la scelta degli

attraverso le più recenti

rabbia sembra essere un

la personalità dell’individuo.

oggetti.

tecniche di chirurgia plastica.

argomento che mi fornisce

La filosofia di bellezza locale

ispirazioni infinite. C’è

è trascurata. I valori nobili

sempre stata una parte di me

sono abbandonati per il bene

che inconsciamente necessita

Nel frattempo, il valore può essere considerato come

I Gusti Ngurah Udiantara

Le mie opere sono sempre

determina il comportamento

Ogni paese ha la propria

di una teoria di bellezza,

di essere repressa per creare

desiderato di individui, in

filosofia di bellezza. Ad

instillata dalle industrie di

un ambiente “normale” per la

relazione a un gruppo di

esempio, in Indonesia, una

bellezza.

famiglia. Le figure sofferenti

sistemi viventi e all’ambiente

bella donna è una donna

senza distinguere le varie

che ha pelle bruna e lunghi

funzioni. Ci sono tre fasi

capelli ricci. Nell’epoca

di questo processo di

dell’Illuminismo in Europa,

Sono cresciuta in una famiglia

introiezione. In primo

donne prosperose erano

di artisti. Entrambi i miei

luogo, la fase del valore

considerate belle come quella

genitori erano entrambi

di trasformazione, in cui

che vediamo ritratta nel

pittori e delle mie sorelle sono

l’individuo comincia a

famoso dipinto di Monna Lisa.

stati educati alle belle arti. Mi

appuntate giù da migliaia di Maria Indriasari

spille di sicurezza sono la rappresentazione di quella voce mentale nascosta.

133

132

un modello normativo che

altri paesi.

Sigit Santoso

Yudi Sulistyo

Credo che dipingere, per

Sto cercando di immaginare

quanto semplicemente,

una casa o un posto dove

sia creare un segno

stare, che possa essere

attraverso colori,

facilmente spostato. Tali

pennellate, composizione,

alloggi sono pensati per

scelta di oggetti e così via.

gli immigrati per evitare

L’interpretazione può essere

l’assembramento causato dal

presentata implicitamente

loro arrivo nelle grandi città.

o addirittura totalmente

Spesso costruiscono case su

nascosta come in un puzzle.

terreni del governo e intorno ai fiumi causando molti

ICHTHUS, anche un acronimo

problemi sociali e ambientali.

per Iesous Christos Theou

Spero che le mie idee aiutino

Soter, in greco significa

a risolvere questi problemi,

pesce - un simbolo spirituale

consentendo loro di rimanere

di Cristo, Chiesa e Cristiani.

in tali alloggi fino a che non

Il mio dipinto intitolato

possano stabilirsi e trovare

Ichtus ritrae un pittore

successo nella vita.

con un simbolo di stimmate stampato sul suo corpo che sta dipingendo un pesce incompleto. Sta cercando di ricreare la figura del pesce nello spazio vuoto del suo studio perché sente di non trovare più quel pesce nelle profondità del fiume e del

134

mare.

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