∞無窮—薩伊夫．加里波第∞ Lemniscate：Syaiful Garibaldi by Mind Set Art Center

序│李政勇 Preface │ Andre Lee 場景圖 Installation Shots 薩伊夫．加里波第的無窮世界│龔若靈

Syaiful Garibaldi’s ∞ Lemniscate │ Keong Ruoh Ling 作品圖版 Plates 關於策展人 About the Curator 藝術家簡歷 Artist’s Biography

序

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最早知道薩伊夫．加里波第 (Syaiful Garibaldi, 朋友稱他為 Tepu) 是 2014 年透過好友龔若靈的介紹，當時從圖像中看到藝術家的創作環繞著蕈類發展，形成一個源源不絕的有機世界，給我留下了最初的鮮明印象。然而，真正近距離地觀察加里波第的作品，則是近年在香港巴塞爾、 Silverlens 畫廊和西岸藝術博覽會中又多次見到後，才慢慢更多地認識到這位藝術家的創作內涵。今年五月下旬我首次造訪了藝術家位於萬隆 (Bandung) 的工作室，真正地接觸藝術家本人後，更深刻的感受了 Tepu 的人與藝術。 Tepu 的作品反映出他橫跨農業學系與藝術學習的過程，並以兩個領域的經驗發展出藝術與科學的交會。如本次策展人龔若靈提及，藝術家創作的最初準備工作和實驗室裡的準備是很相似的，他挑選要觀察的「對象」：可能是某種真菌或具有分解特性的微生物，將標本放培養皿內，適當地提供觀察養分。在顯微鏡之下，細胞的構造被放大而展現炫目的繁複細節。而 Tepu 奠基於寫實畫面所創造出的這些奇幻又超現實的作品，既根植於客觀的觀察，也展現出藝術家非凡的想像力，它們濃縮了生物體的生長、凋謝、死亡與循環再生的一個過程。現年 33 歲的 Tepu，也是安卓藝術創立八年多來首位正式推薦的印尼藝術家。我們很開心可以透過策展人龔若靈的觀點，和印尼畫廊 ROH Projects 的協助下，讓 Tepu 在台灣的首次個展順利且成功。

Preface

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Andre Lee

In 2014, I was first introduced to the works of Syaiful Garibaldi, or Tepu as his friends would call him, through my dear friend Keong Ruoh Ling. His creations revolving around mushrooms forming an infinite organic world instantly captured my eyes and left a great impression in my mind. However, it wasn't until later when I began to take a closer look at Tepu's art—whether it's in Art Basel HK, Silverlens Galleries or West Bund Art & Design—that I gradually came to recognize the artist's creative verve. Then, having visited Tepu's studio in Bandung, Indonesia this past May and getting to know him on a more personal level, I was genuinely blown away by his art and him as a person. Tepu's works reflect his personal journey, a fascinating cross-over from his college major in agriculture to his study of art. He has essentially created a cross-disciplinary intersection where art and science meets. As Keong Ruoh Ling, curator of this exhibition, put it: the initial preparation of his artwork is comparable to an experiment in a laboratory. He would pick a "subject" to be observed—fungi or decomposing microbes—place it on a petri dish and prepare the dish with substrate that would nourish the subject. Under the microscope, the structure of the cells is magnified, showing all their intricacy and dazzling details. The fantastical and surreal compositions Tepu creates in his work have their roots in real, objective observations, and of course, the artist's extraordinary imagination. They epitomize the cycle of birth, decay, death and regeneration, a process that perpetually repeats itself. Tepu, at age 33, is the first Indonesian artist to be presented and recommended by Mind Set Art Center (MSAC) since its inception eight years ago. We are delighted to see his wonderful works through the eyes of curator Keong Ruoh Ling. With the collaborative assistance from Indonesian art gallery ROH Projects, we are hopeful that Tepu's first solo exhibition in Taiwan will be a smooth success.

薩伊夫．加里波第的無窮世界

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薩伊夫．加里波第 1985 年生於印尼雅加達，朋友習慣稱他為 Tepu。大學期間，他原本就讀於農業學系，卻逐漸轉往藝術，最終在萬隆理工大學取得版畫主修的藝術學位。橫跨兩個領域的經驗自此共同形塑 Tepu 的藝術實踐，發展出藝術與科學交會、跨學科的表現體系。在實踐方法中藝術與科學碰撞，使自承是真菌學愛好者的 Tepu 透過顯微鏡觀察這些生物，並將其視覺經驗移轉到他選擇的媒材上，可能是紙、畫布、或錄像。最初的準備工作和實驗室裡的準備是很相似的，他挑選要觀察的「對象」：可能是某種真菌或具有分解特性的微生物，將標本放培養皿內，適當地提供觀察養份。在顯微鏡之下，細胞的構造被放大而展現眩目的繁複細節。「我通常藉重速寫構思我的作品。我透過顯微鏡觀察細胞的速寫。」（取自與加里波第的對話，2018 年 5 月 4 日於印尼萬隆）簡而言之，Tepu 在作品裡所創造的既奇幻又超現實的畫面，根植於客觀的觀察經驗，而這樣的觀察因為一項科學儀器―顯微鏡―而變得可能。在深入討論這個交織了藝術與科學的創作面向之前，首先必須精確地指出藝術家想像力的最初源頭。蕈菇一直是 Tepu 很喜歡觀察的生物，他也因此被稱為「蕈菇藝術家 mushroom artist」（蕈類是少數可以不靠陽光生存的生物之一，切合 Tepu 創作核心的完整概念基礎）。作為菌類植物裡承載孢子的子實體，蕈菇的獨立地提供養份並在幾近斯巴達式的棲息環境裡生長。不需要陽光，只需要一點點濕氣，菌類即能生長並繁殖出一個內在互相聯結，而且沒有階層之分的生物聚落。藝術家的作品裡經常暗示關於這種如同地下莖般盤根錯節的結構以及網狀脈絡的想像。在新加坡藝術門 2014 年的個展裡，Tepu 呈現一系列描繪放大菌類的紙上作品，畫裡面，形似向外擴張的枝幹、根及孢子互相交織並朝向彼此生長，共構出一個成長中的群體，互相聯結同時又彼此獨立。同一個展

覽裡名為 Abiogenesis: Terhah Landscape #14 的裝置作品，藝術家以鐵絲建構了 4 個穹頂形狀的結構，並覆蓋上蕨類植物及苔蘚。展覽開始時， Tepu 精心將不同生長階段的蕈菇孢子放置在其上，於是，生長、凋謝、最後死亡的過程在展覽期間（2014 年 3 月 22 日至 5 月 31 日）兀自循環發生，展演一齣關於盛放與凋零的舞蹈。當代畫廊的標準白盒子展場更突顯了作品的戲劇張力，隨著苔蘚、蕨類植物與蕈菇呈現不同層次的灰、黃、灰白等大地色彩，寬敞的空間與之形成強最對比，彰顯了藝術家的聲明：生命泉源隱藏在肉眼不可見之處，它獨立地發生，形成繁盛且不斷向外擴展的網絡。關於 Tepu 在新加坡藝術門的個展，新加坡美術館印尼當代藝術策展人陳秀麗寫道：「在分解的過程中，菌類亦繁衍出全新的生態系，為新的生物提供養份。舉例而言，菌類植物與和白蟻之間有著深具象徵性的關係。這場在藝術門的個展裡，Tepu 凝聚了觀察及藝術創作實踐的多重面向，呈現一個寬廣的異世界。」（陳秀麗 Tan Siu Li, “Abiogenesis: Terhah Landscape by Syaiful Garibaldi, E-Catalogue of Abiogenesis:Terhah Landscape by Syaiful Garibaldi, Pearl Lam Galleries Singapore, 22nd March 2014） Tepu 對於微生物的高度興趣擴及真菌類與生物圈中的各種分解者，並引領他深入觀察真菌的生命週期，近期並拓展到人類肉體分解過程的研究，這個過程關乎死亡與疾病的根本，同時卻也是生命脈動得以無止盡循環的根源。就新陳代謝及生物學的角度視之，分解過程再現了死亡、腐敗、再生以及新生命的週期。透過顯微鏡觀察微生物世界為藝術家提供了源源不絕的啟發，從而創作出在視覺上激發人們好奇心、在哲學上深具啟發性的作品：一場本質上關於生命基本泉源、融匯了色彩與形式的視覺饗宴，這當中，分解使得再生成為可能。這是一則關於所有無論是生或死的物質，其生命存有狀態的評注，既辛辣且切題。對於藝術家而言，微生物的構造如此細微，加上生活在隱蔽處或逝者體中的隱秘特質，它們的生 19

命週期持續以一種隱晦的方式在我們周遭進行。然而，微生物龐大的多樣性以及彼此之間保持互動、交流的不同生態環境，構成一種持續不斷的天啟與景象。Tepu 以不同媒材所創作的圖像作為回應，以他所觀察的微生物生態為基礎，建構出獨特的宇宙論。於是，一個既奇幻同時以經驗為依據的獨特視野逐漸成形。 2012 年的個展「真菌界」（Regnum Fungi）裡，Tepu 已經顯露出透過素描、壁上作品及裝置營造創造一種沉浸式環境的傾向。在印尼萬隆帕迪藝術基地展出的「真菌界」亦包含數個專為這個場域創作的裝置作品，藝術家在展覽期間從孢子培育出蕈菇，但不同於之後 Abiogenesis: Terhah Landscape 一展中的裝置，這些裝置作品顯得泥濘、渾濁，或許缺乏呈現技巧的細緻度。這些作品，即便處於切期的發展階段，已然充滿了一位年輕藝術家動人的自發及實驗精神，並且很重要地概括了藝術家的創作意向，並顯示 Tepu 採取的獨特方法學，而這些都一直延續發展到此刻的展覽「∞ 無窮」。「真菌界」策展人 Rifandy Priatna 曾表示：「因此，關於微生物世界的研究成為薩伊夫．加里波第重要的參照來源，為他所創造的世界提供豐沛的經驗基礎。加里波第著迷於必須透過顯徵鏡才能窺見的生命形式，他從觀察細菌開啟這場微觀世界的旅程。這成為他創作裡很重要的一點，因為在整個過程中，薩伊夫．加里波第必須與微生物學的專家合作。如此的合作關係訓練他在彼此領域的限制中進行創作，並熟悉由農業學橫跨至微生物學這兩個迴異領域的多元觀點。他開始以視覺日記的形式紀錄他觀察的結果，包括速寫及以水粉快速塗寫繪成的構思。透過這些過程及訓練，藝術家得以為他所見甚至所幻想的世界賦予形體與結構。」（Regnum Fungi: Art as a form of a Knowledge), E-Catalogue of Regnum Fungi:Seni Sebagai Bentuk Pengetahuan, 28 September – October 2012, PADI Artground, Bandung） Tepu 在早期的展出中傾向有意識地描述他的研究成果，或者更直接地說，以寫實手法描繪他透過顯微鏡看到的世界；「∞ 無窮」則展現了

更為大膽自信的 Tepu，在描繪他的觀察對象時，展現了更多的繪畫性，並帶入詩意的詮釋。此次展出作品中尺幅最大的《可信的微生物 #2》（頁 28）即充份展現了此一特質，藝術家在 200×478 cm 的充裕空間裡揮灑出無數且豐富的結構，盡情展現他駕馭及調度形式、形狀與色彩的傑出能力。而在《可信的微生物 #8》裡（頁 44），即便色彩層層堆疊，藝術家依舊以高超的技巧展現透明度，流露藝術家的日漸成熟。總而言之，過去致力於跨學科研究進而建構方法學的 Tepu，如今已然樹立其獨特的視覺語彙並藉以傳達他的哲思，悠遊於藝術世界。顯微鏡下的突變及變形構造被轉化為視覺圖像，並逐漸重組、重疊，形成錯綜複雜且融為一體的馬賽克式構造，暗示著某一特定菌落或生態系的存在，這其中混合了真實與想像，展現一個進行中的生命網絡，安靜且充滿力量。當細細觀看，能夠感受到一種召喚更大關照、應允美與生命的存在。這是一個支撐 Tepu 宇宙觀的視覺理論，意即：生命是無止盡的存在狀態，不斷進化，並且總是壯麗動人。

Syaiful Garibaldi’s ∞ Lemniscate

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Keong Ruoh Ling

Syaiful Garibaldi (b.1985 Indonesia, Jakarta), or Tepu, as he is fondly known amongst friends, started as a student of the agricultural department in the university, only to graduate with a Bachelor of Arts, majoring in printmaking from ITB. This exposure to two varied disciplines would henceforth inform his art practice - an artistic expression that is cross-disciplinary, where art and science meets. Art and Science collide methodologically in which, as a self professed mycology enthusiast, Tepu observes the chosen organism through the lens of a microscope and then transposes the vision onto the media he chooses, be it paper, canvas or on video. The initial preparation for a composition is akin to the process in a laboratory when he would pick the ‘subject’ - a fungus or a decomposer, place it on a petri dish and prepare the dish with corresponding substrate that would nourish the subject observed. Under the lens, the composition of the cell is magnified and presents its intricacy with dazzling details. “I usually prepare my composition with sketches. Sketches I made by observing the cells under the microscope.” (Conversation with Syaiful Garibaldi, 4th of May 2018, Bandung, Indonesia). In sum, the fantastical and surreal compositions Tepu creates in his work have their roots in objective and empirical observation, enabled by a scientific tool of observation – the microscope. To accentuate this aspect of art and science interwoven, is to first and foremost pinpoint an original source of imagery for the artist. Tepu is very often referred to as the “mushroom artist’, for the mushroom has long been a favourite subject of observation (that it is one of the few organisms that could survive without sunlight underpins an integral conceptual foundation which lays right at the core of Tepu’s creation). The independence of the mushroom, which is the spore-bearing fruiting body of a fungus, affords the nourishing and growing in an almost Spartan habitat. With no need for sunlight and very little moisture, the fungus would grow and multiply, forming a colony of organisms which are interconnected and non-hierarchical. This rhizomatic structure and imagery of mesh network are often alluded to in the works of the artist. For his 2014 solo show at Pearl Lam Galleries, Singapore, he presented a body of works on paper in which he depicted compositions of magnified fungus which appeared in

a structure of expanding branches, roots and spores, interwoven and reaching out to one another, a colony of growths, interconnected but nevertheless independent. Also within the same exhibition, there was an installation work titled Abiogenesis: Terhah Landscape #14, for which the artist built 4 dome shaped wire structures and covered them with fern, moss and placed spores of mushroom on them at the beginning of the exhibition. Throughout the duration of the show, (22nd March to 31st of May 2014) the growing, withering and finally dying process repeated itself as Tepu placed spores of different growth stage on the structures and choreographed a performance of blossoming and decaying surreptitiously. The archetypal white space of a contemporary art gallery heightened the theatricality of the work as the earthy colours of moss, fern and mushrooms in varying shades of grey, yellow and off-white stood starkly in contrast to the capaciousness of an empty space and emblematised the artist’s statement: a presentation of this life spring that is hidden from naked eyes otherwise, occurring independently and yet forming a proliferate network that is ever outreaching. Writing on the show at Pearl Lam Galleries Singapore, curator of Contemporary Indonesian art at the Singapore Art Museum, Tan Siu Li noted, “In the process of decomposing matter, fungi also spawn whole new ecologies which support the sustenance of new organisms. There is, for instance, a symbiotic relationship between fungi and termites. For his exhibition at Pearl Lam Galleries, Garibaldi proposes to present an expansive otherworld which will bring together the various strands of investigation and art-making in his practice.” (Tan Siu Li, “Abiogenesis: Terhah Landscape by Syaiful Garibaldi, E-Catalogue of Abiogenesis: Terhah Landscape by Syaiful Garibaldi, Pearl Lam Galleries Singapore, 22nd March 2014) Tepu’s interest in the microorganism that ranges from fungus to various decomposers in biosphere probes him into observing the life cycle of fungus and more recently the decomposing phase of human flesh, which underlying the macabre and morbid subject, nevertheless comes through a source of endless life and pulsating energy. Metaphorically and biologically, the decomposition process represents a cycle of death, decay, regeneration and birth that repeats itself incessantly. Observing this infinitesimal world under the microscope allows the artist an endless source of inspiration to create compositions, which are visually intriguing and philosophically illuminating: a visual feast of colours and forms that is essentially the fundamental spring of life where decomposing, is to allow regeneration. This is a poignant commentary on the existential state of being for all things living and dead. For the artist, this life cycle is 23

occurring constantly around us almost inconspicuously because of the minuscule size of their structures, and their cryptic lifestyles either subterranean or on dead matter, and yet with such an enormous diversity of taxa, with varied ecologies that interact and communicate amongst one another, is a constant revelation and wonderment. To that, Tepu responds by creating imageries on various media, to construct a cosmology that is based on the ecologies of the microorganisms he has observed. What eventually comes about is the creation of a unique vision that is both fantastical and empirical. In a previous exhibition titled Regnum Fungi in 2012, Tepu was already demonstrating a penchant for creating an immersive environment with his combinations of drawings, mural works and installations. Regnum Fungi, installed at PADI Art ground, Bandung, also had a few site specific installations where the artist nurtured and grew mushrooms from spores form throughout the course of the exhibition, but unlike the installation at the later Abiogenesis: Terhah landscape, these installations appeared muddy and turbid, lacking in, perhaps the finesses of a crafted presentation. The works, while raw and rudimentary, were inundated with the spontaneous and exploratory spirit of a young artist. What was significant of the show was that it encapsulated the direction of the artist and illustrated the unique methodology adopted by Tepu that has persisted with the present show ∞Lemniscate. Curator for Regnum Fungi, Rifandy Priatna, noted that “Research on the micro world (microorganism) then became a source of reference to enrich and build empirical foundation for the imaginary world of Syaiful A. Garibaldi. Fascinated by the forms of life that can only be seen through microscopes, Syaiful began his journey across the world by examining bacterial microbes. It became one of the important points in the development of his work. Because in the process, Syaiful A. Garibaldi must work together with experts in the field of microbiology. Such collaborations trained him to work within constrains of each discipline and familiarised himself with the diverse perspective of disparate fields from agriculture to mycology. He began to record the results of his research in the form of a visual journal that contains sketches, scribbling ideas with gouache. This process trained him to shape and give a structure to his visual and even fantasy.” (Rifandy Priatna, “Regnum Fungi: Seni Sebagai Bentuk Pengetahuan” (Regnum Fungi: Art as a form of a Knowledge), E-Catalogue of Regnum Fungi:Seni Sebagai Bentuk Pengetahuan, 28 September – October 2012, PADI Artground, Bandung). If Tepu’s early shows were a conscious effort to describe the results of a research process or to put it more plainly, a realistic depiction of what was observed under the

microscope, the present exhibition bespeaks of a bolder Tepu who is ready to be more painterly and to render his subjects with a certain degree of poetic interpretation. This characteristic is apparent in Porculen Microorganisms #2 (pp. 28). Measuring 200 x 478 cm, this is the largest canvas work in the show and the size allows ample room for the inclusions of a myriad of compositions which the artist spread out generously, showing off his mastery and manoeuver of forms, shapes and colours. Also in Porculen Microorganisms #8 (pp. 44), the translucency effect, so skillfully attained despite the layering of colours, testifies to the hands of an artist coming to age. In brief, the young artist who was once experimenting with a methodology he devised using cross-disciplinary research is now navigating the art world, fully equipped with a unique visual language with which he conveys his philosophy. The mutating and morphing forms under the lens are transposed to compositions and eventually, rearranged to overlay one another, creating an intricate but integrated mosaic configuration that alludes to an existence of a certain colony or ecosystems, at times real and at other times imaginary, a network that is at work, quietly but powerfully, an existence that beckons greater attention that promises beauty and life when one looks closer; a visual theoretical underpinning for the cosmic belief of Tepuâ&#x20AC;&#x2122;s which is that of : Life is an Infinite state of Being, ever Evolving but always Magnificent.

可信的微生物 #1 Porculen Microorganisms #1

可信的微生物 #2 Porculen Microorganisms #2

可信的微生物 #3 Porculen Microorganisms #3

可信的微生物 #4 Porculen Microorganisms #4

可信的微生物 #5 Porculen Microorganisms #5

可信的微生物 #6 Porculen Microorganisms #6

可信的微生物 #7 Porculen Microorganisms #7

可信的微生物 #8 Porculen Microorganisms #8

可信的微生物 #10 Porculen Microorganisms #10

可信的微生物 #12 Porculen Microorganisms #12

可信的微生物 #14 Porculen Microorganisms #14

可信的微生物 #11 Porculen Microorganisms #11

可信的微生物 #13 Porculen Microorganisms #13

可信的微生物 #15 Porculen Microorganisms #15

可信的微生物 #9 Porculen Microorganisms #9

可信的微生物 #16（螢幕截圖） Porculen Microorganisms #16 (screenshot)

關於策展人

龔若靈 1996 年加入佳士得新成立的現代與當代東南亞藝術部門，並於 2000 年成為該部門主管，與東南亞私人收藏家們共同推動許多來源優秀的拍賣會，不僅為許多東南亞藝術家奠下超越前例的輝煌紀錄，亦逐步以專業及學術樹立了此範疇的典範。此部門由新加坡遷往香港之後，龔若靈在 2011 年離開佳士得。 2016 年，龔若靈創立 at Present，致力於策劃思想深刻、同時帶著有趣視角或實驗精神的東南亞當代藝術展覽。at Present 是一個流動性的策展主體，策略性地於不同城市呈現策劃內容，其唯一宗旨是帶領藝術家超越本土的疆界並維繫與在地觀者及藏家聯繫。成立以來，at Present 推出的第一個展覽是 2016 年 10 月於新加坡吉門營房展出的菲律賓藝術家聯展「Paper Matters」。at Present 策劃的第二個展覽「無窮」，則是來自印尼萬隆的年輕藝術家薩伊夫．加里波第的個展，本展與台北的安卓藝術及雅加達的 ROH Projects 共同合作。龔若靈亦致力於東南亞現當代藝術的評論書寫與教學。

About the Curator

Keong Ruoh Ling joined Christie’s in 1996 as a junior specialist of the very young department of Modern and Contemporary Southeast Asian Art and became the head of department in 2000. When she left Christie’s in 2011, the Modern and Contemporary Southeast Asian Art department has gone through a relocation from Singapore to Hong Kong and numerous auctions with private collections of pristine provenance which would not only established unprecedented auction records for the many artists from the region but would also eventually define the category with a distinctive mark of professionalism and scholarship. She set up at Present in 2016 that aspires to present thoughtfully curated exhibitions with a playful twist or an experimental edge by Contemporary Southeast Asian artists. At Present is a nomadic curatorial entity that will strategically presents its program in various cities with a singular purpose of exposing the artists beyond home ground whilst staying in sight of their audience and collectors back home. At Present has since its inception in 2016 organises its first exhibition by a group of contemporary Filipino artist with the titled show Paper Matters in October 2016 at Singapore’s Gillman Barrack. Lemniscate which is a solo show by the young Indonesian artist Syaiful Garibaldi from Bandung is the 2nd exhibition organized under the entity of at Present and in partnership with Mindset Art Center in Taipei and ROH Projects in Jakarta. Keong writes and lectures on Southeast Asian Modern and Contemporary Art in English and Chinese regularly.

薩伊夫．加里波第 Syaiful Garibaldi 1985 Born in Jakarta, Indonesia Lives and works in Bandung Education 2010 BA Fine Art, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung,Bandung, Indonesia 2005 Agronomy, Fakultas Agrikultur, Universitas Padjajaran, Bandung, Indonesia Solo Exhibition

2018 Lemniscate, curated by Keong Ruoh Ling, Mind Set Art Center, Taipei, Taiwan 2017 Limaciform, Silverlens Galleries, Manila, Philippines 2016 Quiescent, ROH Projects, Jakarta, Indonesia 2014 Interstitial Terhah. ROH Projects, Jakarta, Indonesia Abiogenesis: Terhah Landscape, Pearl Lam, Singapore, Singapore 2012 Regnum Fungi, Padi Artground, Bandung, Indonesia Selected Group Exhibition 2018 Art Fair Philippines 2018 , Ayala Center, Makati, Philippines 2017 Westbund TALENT, Westbund Art Centre, Shanghai, China Jogja Biennale 2017, Jogja National Museum, Yogyakarta, Indonesia re:emergence, Selasar Sunaryo Art Space, Bandung, Indonesia 4th Media Art Festival Arad, Cinema ARTA Arad, Arad, Romania ω, Edouard Malingue Gallery, Hong Kong, China Art Stage Jakarta 2017, ROH Projects, Jakarta, Indonesia OK. PANGAN, OK. VIDEO: Indonesia Media Arts Festival 2017, Gudang Sarinah Ekosistem, Jakarta, Indonesia IDENTITY XII, Nichido Contemporary Art, Tokyo, Japan ARTJOG 10: Changing Perspective, Jogja National Museum, Jogjakarta, Indonesia OPQRSTUDIO: Two Years In (2015-2017), ROH Projects, Jakarta, Indonesia Art Fair Philippines 2017, Silverlens Galleries, Makati City, Philippines Art Stage Singapore 2017, ROH Projects, Singapore, Singapore 2016 ALL IN, Art Stage Jakarta and Bazaar Art Jakarta 2016, ROH Projects,Jakarta, Indonesia Sea plus Triennale, Galeri Nasional, Jakarta, Indonesia

Constitute Concreteness, Mizuma Gallery, Singapore 2015 Alam/Benda, Ark Gallery, Yogyakarta, Indonesia Effervescence, Gillman Barracks. Singapore, Singapore #familyandfriends, ROH Projects. Jakarta, Indonesia Getok Tular, Omni Space, Bandung, Indonesia ABC Learning Town, Siheung, South Korea Myco Expo, Aula Barat ITB, Bandung, Indonesia Prudential Eye Zone, Art Science Museum, Singapore Japan New Media Art Festival, Selasar Sunaryo Art Space, Bandung, Indonesia 2014 Trienale Patung 2, Galeri Nasional, Jakarta, Indonesia Typotopia: The 2nd Korea Indonesia Media Installation Art Exhibition, Lotte Venue, Jakarta, Indonesia Recognition System, Kuandu Biennale, Taipei, Taiwan Lumieres, L’espace Contemporain. La Rochelle, France Windows Project, Niort, France 2013 Pressing, VideoInsight, Turin, Italy Pameran Finalis BaCAA #3 , Lawangwangi Art Space, Bandung, Indonesia 2012 Trick or Truth, Fang Gallery, Jakarta, Indonesia Indonesian Contemporary Fiber Art, Art:1 Museum, Jakarta, Indonesia Design Art Renegotiating Boundaries, Lawangwangi Art Space, Bandung, Indonesia Wahana Extranoema, Padi Artground, Bandung, Indonesia What do Pictures Want. Art:1, Jakarta, Indonesia 2011 Survey #2.10. Edwin’s Gallery, Jakarta, Indonesia Hybrid Project: The Butterfly Effect, Barli Museum, Bandung, Indonesia Pameran Ilustrasi Cerpen KOMPAS, Bentara Budaya, Jakarta, Indonesia 2010 S. Soedjojono dan Kawan-kawan. Galeri Kita, Bandung, Indonesia Un-segmented Galeri Kita, Bandung, Indonesia Manifesto: Percakapan Massa, Galeri Nasional, Jakarta, Indonesia Bandung new Emergence #3 , Selasar Sunaryo Artspace, Bandung, Indonesia Post Historia, Building Enterprise 1, Singapore, Singapore Monoprint, Grand Indonesia, Jakarta, Indonesia Let’s Bounce, Grand Indonesia, Jakarta, Indonesia Almost White Cube, CG Artspace. Jakarta, Indonesia 2009 Post Mortem, Vanessa Art Link, Jakarta, Indonesia Inhabitant. Galeri Padi, Bandung, Indonesia Survey #2, Edwin’s Gallery, Jakarta, Indonesia 2008 Going Beyond, CMNK, Bandung, Indonesia Parbinula Jarkuli, Aarmuh Space, Bandung, Indonesia

Seni Grafis Indonesia Sekarang, Tembi Contemporary, Yogyakarta, Indonesia 2007 15 x 15 x 15: Scale. Galeri Soemardja, Bandung, Indonesia US/Industry. Galeri Rumah Teh, Bandung, Indonesia 2006 Triennale Seni Grafis, Bentara Budaya, Jakarta, Indonesia Exhibition and Workshop: Graphic Art, Semar Gallery, Malang, Indonesia Ka Art Ini, UNJ, Jakarta, Indonesia Drawing Exhibition: Black Hole, Universitas Pendidikan Indonesia, Bandung, Indonesia 2005 Self Portrait. Ruang Alternatif KGB, Bandung, Indonesia Residency 2015 ABC Learning Town, Siheung, South Korea 2014 Centre Intermondes, La Rochelle, France Award 2016 Tempo Magazine Award. Best Artist. Jakarta, Indonesia 2013 Bandung Contemporary Art Awards #3. Best Artwork. Bandung, Indonesia 2006 Triennale Seni Grafis 2. Finalist. Bentara Budaya, Jakarta, Indonesia 2005 Mural Competition. Runner up. Cihampelas Walk, Bandung, Indonesia

∞無窮―薩伊夫．加里波第 ∞ Lemniscate：Syaiful Garibaldi 2018.7.28 – 9.1

Authors

Syaiful Garibaldi, Keong Ruoh Ling

Publisher

Andre Lee Mind Set Art Center 7F., No.180, Sec. 1, Heping E. Rd., Da’an Dist., Taipei City 106, Taiwan tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com

Editor

Isabelle Kuo

Translator

Isabelle Kuo

Proofreader

Queena Chu, Dean Kuo

Designer

Marco Liu

Printed by

Kiwi Printing Co., Ltd.

Price

NTD 400