Quiescent - solo exhibition by Syaiful Garibaldi at ROH by Roy Voragen

Q U I E Solo Exhibition

S YA I F U L G A R I B A L D I

C E N T

Q U I E S C E N T ROH Q

Q U I E Solo Exhibition

S YA I F U L G A R I B A L D I

C E N T

Quiescent Published on the occasion of SyaifulGaribaldiâ&#x20AC;&#x2122;s solo exhibition from February X to March X, 2016

Te x t Roy Voragen

Photography Ario Wibhisono

Design Gifran Muhammad Asri heydayforgood.com

Print Production Starlite / Zentech / Angkasa Putra

Edition 300

Publisher ROH

rohprojects.net Equity Tower, 40th floor Jl Jend Sudirman Kav 52-53 South Jakarta, Indonesia 12190 info@rohprojects.net T. +621 51402116

PREFACE

PREFA CE

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Quiescent

Quiescent U

What is this thing we call life? In

initial impression, this question may

initial impression, this question

appear to be completely rudimentary.

may appear to be completely rudimentary.

And yet, life is so fundamental to our

observable existence. Life appears

observable existence. Life appears in a

in a wide variety of permutations all

wide variety of permutations all around

around us everyday: through people we

us everyday: through people we interact

interact with on, our pet companions,

with on, our pet companions, birds flying

birds flying in the sky, trees and plants

in the sky, trees and plants we see. We

we see. We are also accustomed to life

are also accustomed to life on a smaller

on a smaller scale, such as viruses and

scale, such as viruses and bacteria we

bacteria we protect ourselves from or

protect ourselves from or dust mites

dust mites that often cause us allergies.

that often cause us allergies. But

But despite how familiar we are with

despite how familiar we are with our

our intuitions in terms of being able

intuitions in terms of being able to

to identify something alive, life itself

identify something alive, life itself

is a much more complicated concept

is a much more complicated concept that

that may not so easily be defined. As

may not so easily be defined. As our

our understanding of biochemistry,

understanding of biochemistry, molecular

molecular biology, and technology has

biology, and technology has shifted

shifted (artificial intelligence, artificial

(artificial intelligence, artificial life,

life, etc.) have progressed, how we view

etc.) have progressed, how we view life

life requires adaptation as well.

requires adaptation as well.

One way of looking at life is to ask

oneself whether or not a comprehensive

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analysis of what constitutes life

Syaiful Aulia Garibaldi is an artist from

Syaiful Aulia Garibaldi is an artist

through biology is sufficient in terms

Bandung, with an interdisciplinary

from Bandung, with an interdisciplinary

of defining it. This would thus lead to

of defining it. This would thus lead

background in agriculture and

a mechanistic view of life, that if we

to a mechanistic view of life, that if

agronomics (Universitas Padjadjaran,

may understand the way that proteins,

we may understand the way that proteins,

Bandung), as well as fine arts and

enzymes, and cells interact with each

printmaking (Fakultas Seni Rupa dan

other, that we would then be able to

Desain, Institut Teknologi Bandung).

understand it completely. It was then

Natural Sciences and Visual Arts are

argued famously by Descartes, however,

interweaved, interact with each other,

that there exists a dualism, a sort of

and developed cogently in his works.

and developed cogently in his works. In

separation, between the mind and

separation, between the mind and matter.

In essence, Syaiful Garibaldiâ&#x20AC;&#x2122;s artistic

essence, Syaiful Garibaldiâ&#x20AC;&#x2122;s artistic

matter. That which our mind comprises

That which our mind comprises of

practices focuses on life: celebrating

of is different to what our bodies are

is different to what our bodies are

it, investigating it in places we are not

comprised of. There are those who

familiar with, imagining new horizons

argue that understanding the laws of

for it, as well as taking it further into

biology, chemistry, and physics, does

biology, chemistry, and physics, does not

the realm of fantasy and imagination.

not sufficiently allow one to come to an

sufficiently allow one to come to an

His works contain features of bio art,

His works contain features of bio

answer the question of life. Some have

exploring his ideas through actual

art, exploring his ideas through actual

argued, for instance, that consciousness

bacteria, living organisms, and life

is an irreplaceable component of

is an irreplaceable component of life.

processes in his work. Other times he

life. But what is consciousness? This

But what is consciousness? This

illustrates and conglomerates empirical

question has, in and of itself, another

references within abstract realms

complex array of issues that thinkers

through drawings and paintings.

continue to struggle and develop

theories towards.

Garibaldi tends to blur the lines

between science and art, spending time

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in nature as well as the laboratory,

in nature as well as the laboratory, and

preserve these developments, capturing

developments, capturing moments of

and developing both mediums and

developing both mediums and references,

moments of particular significance in

particular significance in complex

references, which he then develops

which he then develops in his work.

complex progressions and expressing

progressions and expressing them in an

in his work. He is also interested in

He is also interested in language, and

them in an aesthetic manner. Quiescent

aesthetic manner. Quiescent is the

language, and how communication

how communication is vital to living

is the nature of being inactive or

nature of being inactive or dormant,

is vital to living organisms (Terhah,

organisms (Terhah, Garibaldi’s fictional

dormant, but with the potential of

but with the potential of becoming

Garibaldi’s fictional language, is dealt

language, is dealt with in greater detail

becoming something afterwards. If

something afterwards. If Garibaldi was

with in greater detail in Roy Voragen’s

in Roy Voragen’s accompanying concrete

Garibaldi was previously interested in

previously interested in motion and

accompanying concrete poem and

poem and essay). The correlation that

motion and progress, he now focuses

progress, he now focuses on the idea of

essay). The correlation that exists

exists between the utilization of

on the idea of investigating those things

investigating those things that are

between the utilization of language and

language and living forms as mediums

that are “asleep”.

“asleep”.

living forms as mediums for his works

for his works is a compromise between

is a compromise between letting go of

letting go of interpretation and

In previous explorations, Garibaldi has

In previous explorations, Garibaldi

interpretation and the development of a

the development of a methodology of

become known for his explorations

has become known for his explorations

methodology of communication to his

communication to his audience, as well

into fungi, on an empirical level, how

audience, as well as the way his medium

as the way his medium may develop into

fungi are essential to food chains

fungi are essential to food chains as

may develop into unpredictable

unpredictable territories. There

as decomposers, how fungi develop

decomposers, how fungi develop elaborate

territories. There seems to be an interest

seems to be an interest in Garibaldi’s

elaborate networks underground and

networks underground and reach into

in Garibaldi’s work, or an awareness,

work, or an awareness, of the notion

reach into places we do not see, as well

places we do not see, as well as how

of the notion of the organic (or alive)

of the organic (or alive) and that it

as how physical fungi may act as an

physical fungi may act as an interesting

and that it requires an openness for

requires an openness for his works

interesting medium for visual arts. On

medium for visual arts. On a more

his works to go beyond his own

to go beyond his own expectations, that

a more metaphorical standpoint, how

metaphorical standpoint, how and why

expectations, that he must necessarily

he must necessarily be open for his

and why fungi in its various forms

fungi in its various forms whether

be open for his works to mutate, and

works to mutate, and grow beyond his

whether roots, spores, or growths may

roots, spores, or growths may be invisible

grow beyond his intended parameters.

intended parameters. In Quiescent,

be invisible to the human eye, and yet

to the human eye, and yet contain complex

In Quiescent, Garibaldi’s aim is to

Garibaldi’s aim is to preserve these

contain complex array of nuances in

array of nuances in terms of purpose

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terms of purpose and structure. There

and structure. There is something to

Lichens come in a wide variety of

is something to the breaking down of

the breaking down of organic elements

sizes, colors, and forms; there are more

organic elements into its most essential

into its most essential components

than 20,000 known species of this

components that interests Garibaldi.

that interests Garibaldi. He sees his

organism. They occur in many different

He sees his role as an artist as being

role as an artist as being analogous to

environments, from humid sea level

analogous to this function, breaking

this function, breaking down ambitious,

conditions, to high elevations up in the

down ambitious, abstract ideas into its

abstract ideas into its essential

alps, and everything in between. This

essential components and then utilized

components and then utilized as

organism can grow on many different

as important tools for our daily lives.

important tools for our daily lives.

surfaces, but are particularly abundant

on bark, leaves, mosses in rain forests

Lichens come in a wide variety of

Garibaldi’s investigation into fungi

and woodland, but lichens can also

and woodland, but lichens can also be seen

then led him to the lichen, a composite

be seen living on rock surfaces, walls,

living on rock surfaces, walls, and roofs.

organism that is never “born” in

and roofs. The lichen comes to being

The lichen comes to being through the

the traditional sense of coming

the traditional sense of coming into

through the contingent requisite of

contingent requisite of both fungi,

into being, but rather arises from

being, but rather arises from algae

both fungi, in its inability to harness

in its inability to harness nutrients

algae and a symbiotic relationship

and a symbiotic relationship among

nutrients through photosynthesis, and

through photosynthesis, and algae, which

among filaments of fungus. This

filaments of fungus. This combined

algae, which requires certain conditions

requires certain conditions of humidity

combined life form has properties

life form has properties that are

of humidity and conditions for it to

and conditions for it to thrive; fungi

that are fundamentally different

fundamentally different in comparison

thrive; fungi filaments provide a shelter

filaments provide a shelter that happens

in comparison to its component

to its component organisms. Garibaldi’s

that happens to also be ideal for algae

to also be ideal for algae to grow.

organisms. Garibaldi’s analysis into

analysis into lichen provides the primary

to grow.

lichen provides the primary framework

framework into his presentation of

into his presentation of new works

new works in Quiescent. In Garibaldi’s

The Lichen is fascinating to Garibaldi.

Garibaldi. The notion that the lichen

in Quiescent. In Garibaldi’s view, this

view, this creature is fascinating with

The notion that the lichen has no

has no conventional birth (reproduction

creature is fascinating with regards

regards to the several qualities that

conventional birth (reproduction

through same species, or usual

to the several qualities that make it

make it unique.

through same species, or usual

incubation methodology) is analogous to

unique.

The Lichen is fascinating to

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incubation methodology) is analogous

how he sees ideas in the context of the

Biology Laboratory (Insitut Teknologi

Bandung), a foundry that produces metal

to how he sees ideas in the context

21st century. To Garibaldi, pioneering

Bandung), a foundry that produces

sculptures, as well as his own studio.

of the 21st century. To Garibaldi,

breakthroughs in any field are based

metal sculptures, as well as his own

It is with the facility of his the

pioneering breakthroughs in any field

not out of pure original inspiration

studio. It is with the facility of his

university laboratory that he has

are based not out of pure original

but rather developments of a complex

the university laboratory that he has

conducted research on how lichens

inspiration but rather developments

confluence of thoughts, experiences,

conducted research on how lichens

grow on both micro and macro levels, and

of a complex confluence of thoughts,

and environments. The notion that

grow on both micro and macro levels,

how he may utilize lichen as a medium

experiences, and environments. The

symbiosis between two diverse organisms

and how he may utilize lichen as a

or reference for his work. Garibaldi

notion that symbiosis between two

is necessary for the growth of lichen

medium or reference for his work.

celebrates the notion that his works

diverse organisms is necessary for the

is also significant. Similarly, it is the

Garibaldi celebrates the notion that

are, in a way, not his own, but are

growth of lichen is also significant.

notion of the need for collaborative

his works are, in a way, not his own,

resulted from working together and

Similarly, it is the notion of the need

practices, cooperative engagement that

but are resulted from working together

learning from others. He looks and

for collaborative practices, cooperative

Garibaldi emphasizes in Quiescent.

and learning from others. He looks

examines how to take those things that

engagement that Garibaldi emphasizes

Just as it becomes more difficult to

and examines how to take those

are often overlooked or underappreciates

in Quiescent. Just as it becomes more

identify the distinction between algae

things that are often overlooked or

and recontextualizes those things and

difficult to identify the distinction

and fungi through lichen, Garibaldi

underappreciates and recontextualizes

in doing so deepens our understanding

between algae and fungi through

attempts to show that the boundaries

those things and in doing so deepens

of what he communicates.

lichen, Garibaldi attempts to show that

between his creative processes and his

our understanding of what he

the boundaries between his creative

more research-based, scientific approach

communicates.

processes and his more research-based,

are blurred.

scientific approach are blurred.

In Larcitura

12, Garibaldi constructs

a large-scale sculpture made out of

In Larcitura # 12, Garibaldi constructs

brass with an imagined lichen as its

Garibaldi worked in and through three

a large-scale sculpture made out of

reference. An aspect of the sculpture of

Garibaldi worked in and through

different facilities in creating and

brass with an imagined lichen as its

note is that its visual form appears like

three different facilities in creating and

producing his works for this show:

reference. An aspect of the sculpture of

a three-dimensional rendition of one of

producing his works for this show:

the Bandung Institute of Technology

note is that its visual form appears like

his drawings. The form of the sculpture

the Bandung Institute of Technology

Biology Laboratory (Insitut Teknologi

a three-dimensional rendition of one of

takes some semblance to its natural

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his drawings. The form of the sculpture

lichen counterpart, but is then taken

to engage and collaborate with others,

be initiated through the sharing of

takes some semblance to its natural

further, skewed, abstracted, further into

and to find new ways that “life” may

ideas together to reach towards new

lichen counterpart, but is then taken

something that would be familiar in the

be initiated through the sharing of

discoveries.

further, skewed, abstracted, further

universe of Terhah instead. The patina

ideas together to reach towards new

into something that would be familiar

of the sculpture takes hues and colors

discoveries.

in the universe of Terhah instead. The

that are much more akin to and organic,

patina of the sculpture takes hues and

earthy origins. Taking this work a

colors that are much more akin to and

step further, Garibaldi treats Larcitura

organic, earthy origins. Taking this

# 12 further through heat and humid

work a step further, Garibaldi treats

conditions to allow lichen to grow on

Larcitura # 12 further through heat

the surface of the work, something that

and humid conditions to allow lichen

traditional sculptors almost always tend

to grow on the surface of the work,

to prevent.

Jun Tirtadji

Jun Tirtadji S

something that traditional sculptors almost always tend to prevent. E

In Quiescent, Garibaldi interlaces drawings, language, sculpture, and

In Quiescent, Garibaldi interlaces

installation to draw us deeper into the

drawings, language, sculpture, and

universe of Terhah. But even more

installation to draw us deeper into

importantly, he attempts to share with

the universe of Terhah. But even more

us his philosophies and worldviews. He

importantly, he attempts to share with

invites viewers to challenge and wrestle

us his philosophies and worldviews.

with their own misconceptions, or

He invites viewers to challenge and

to appreciate the seemingly invisible

wrestle with their own misconceptions,

things around them. To encourage them

or to appreciate the seemingly invisible

to engage and collaborate with others,

things around them. To encourage them

and to find new ways that “life” may

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Lartucira #1 brass 200 Ă&#x2014; 250 cm E

2016

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Lartucira #2 lichen on fibre glass mounted on alumunium T

94 Ă&#x2014; 188 cm 2016

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Lartucira #3 acrylic on paper 120 Ă&#x2014; 175 cm E

2016

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21/2 1

Lartucira #4 acrylic on paper 120 Ă&#x2014; 175 cm E

2016

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Lartucira #5 acrylic on paper 120 Ă&#x2014; 175 cm E

2016

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Lartucira #6 acrylic on paper 120 Ă&#x2014; 175 cm E

2016

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Lartucira #8 acrylic on paper 170 Ă&#x2014; 120 cm E

2016

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Lartucira #9 acrylic on paper 120 Ă&#x2014; 180 cm E

2016

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Lartucira #10 acrylic on paper 120 Ă&#x2014; 200 cm E

2016

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Lartucira #11 T

acrylic on paper Lartucira #11 520 × 300 cm (four pieces) 130 × 300 cm (per piece) 2016

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Lartucira #12 Brass 80 × 130 × 250 cm E

2016

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Lartucira #14 T

live video sound installation mushroom, eyecam, speaker variable dimension 2016

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Lartucira #15 (left) mushroom substrate, plaster, iron I

110 × 100 × 210 cm

2016

Lartucira #16 (right)

mushroom substrate, plaster, iron 100 × 80 × 120 cm 2016 S

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Alephâ&#x20AC;&#x2122;s permutations unspoken words made concrete

Roy Voragen

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PS. mutating vowels and consonants

Syaiful Aulia Garibaldi (a.k.a. Tepu)

A language ceases to exist when there

I have been writing for 25 odd years.

dictionary entries, miscalculations (I’m

created the (fictional) language Terhah

are no longer any active users. It’s safe

And yes, I’m voraciously obsessed with

not exactly a wizard with numbers),

(http://syaifulgaribaldi.com/en/terhah-

to assume that a language doesn’t come

words, and commas too. For the past

typos, words blown off my desk, and

lang) and I turned its dictionary into

into existence in a laboratory setting.

decade or so, I have been writing in an

etcetera. Writing by means of a set

a concrete poem. I assigned a score

An artist, however, is of course free

alien language, bending it back- and

of self-imposed constraints and rules

to each entry of the dictionary and

to leapfrog to a jenseits, challenging

forward to give it my own rhythm.

is insightful, because it offered me a

subsequently re-arranged the content

gravity, all the while ignoring the

No longer versatile in my native

new form of writing, and an altered

to focus on the tangible materiality

conventions of logics. Adempauze. And

tongue, out of touch and practice,

experience of the writing. By ignoring

of vowels and consonants. The new

then challenge us.

I have started to see my in-between

the romantic notions of originality and

position as a blessing-in-disguise: when

creativity (mistakes that come with

text, therefore, doesn’t represent an C

experience, a slice of reality, an image

Perhaps Terhah could be the language

meaning is no longer experienced as

repetition still assure unoriginal yet

but is experience, a slice of reality,

of a – imaginary – small Polynesian

natural – when the holy trinity of the

idiosyncratic results) and embracing

image.

tribe living on an isolated island in the

real, signifier and the signified become

contingency, I wrote a poem I couldn’t

Pacific Ocean. And yet, perhaps not.

a distant dream – in what directions,

have imagined 15 or even 5 years ago.

Terhah, I thought ‘what? really? no,

Or is Terhah only metaphorically a

liberating to take meaning out of

And dear readers, feel free to create

can’t be, right?’

language? Like Morse Code or HTML.

the equation – or, at the very least,

further permutations out of these

I’m not sure if this is an avenue worth

bracket connotations of words for

mutated vowels and consonants so that

exploring.

the time being (we are instinctively

the text can flourish – morphing the

drawn to sense meaning here, there and

thesaurus in yet another configuration,

everywhere).

breeding its own bastards.

Terhah has no native speakers, and N

then, can words be pushed to? It’s

When I first heard a rumor about E

its dictionary only contains, give or take, 971 entries (at least the version

What, though, if we read the Terhah

I received from ROH). The Terhah

dictionary as a poem? Then the only

thesaurus is silent on syntax, leaving

possible interpretation is another poem,

For writing the poem based on

Roy Voragen is a Bandung-based writer

words in a state of dormant limbo.

as Harold Bloom once wrote. And

Terhah repetition was a fundamental

and curator (issuu.com/royvoragen)

to get out of the orbit of the first, the

component. And tedious repetition

second poem needs to be a deliberate

begets mistakes: wrongly copied

misinterpretation.

6 0 / 6 0

61/61

Syaiful Aulia Garibaldi

Selected Group Exhibitions

Born in Jakarta, July 16th 1985

•

2015 Education

•

BFA Majoring Printmaking, Faculty of Fine Art and Design,

•

(ITB), Bandung, Indonesia •

Agronomy, Faculty of Agriculture, University of Padjajaran (UNPAD),

• Solo Exhibitions

• E

Quiescent, ROH Projects, Jakarta

•

Interstitial Terhah, ROH Projects, Art Basel, Hongkong

•

Pearllam Gallery, Singapore

•

2012 •

•

Bandung T

Indonesia

Trick or Truth, Fang Gallery,

Indonesian Contemporay Fiber Art, Art:1 Museum, Jakarta, Indonesia

•

Un-segmented, Galeri Kita,

•

Manifesto, Percakapan Massa, Galeri Nasional, Jakarta, Indonesia

•

3, Selasar Sunaryo Artspace, •

Bandung, Indonesia Post Historia, Building Enterprise

Bundaries Lawang wangi,

1, Singapore

Bandung, Indonesia

Artground, Bandung, Indonesia What do Pictures Want, Art:1,

Nasional, Jakarta

Jakarta, Indonesia

Bandung New Emergence

Design Art Renegotiating

Trienalle Patung 2, Galeri

Typotopia, The 2nd Korea

Galeri Kita, Bandung, Indonesia

•

Wahana Extranoema, Padi •

Soedjojono dan Kawan-Kawan,

Bandung, Indonesia

Museum, Singapore

South East Platform, Art Stage,

•

Jakarta, Indonesia

•

2010

2012

•

Pameran Ilustrasi Cerpen KOMPAS, Bentara Budaya,

Lawangwangi, Bandung,

•

Jakarta, Indonesia

Prudential Eye Zone, Art Science

Japan New Media Art Festival,

•

Windows Project, Niort, France

Pameran Finalis BaCAA #3,

2014

•

Contemporain, La Rochelle,

•

Now: Here-There-Everywhere,

Hybrid Project: The Butterfly Effect, Barli Museum, Bandung,

Archive Residencies Exhibition,

Myco Expo, Aula Barat ITB,

•

Lumieres, ’L espace

Pressing, VideoInsight, Turin, Italy

ABC Learning Town, Siheung,

Survey #2.10, Edwin Gallery, Jakarta, Indonesia

2013

Singapore

•

Recognition System, Kuandu

France •

Selasar Sunaryo, Bandung Regnum Fungi, Padi Artground,

Exhibition, Lotte Venue, Jakarta

•

Semarang Gallery, Semarang

Abiogenesis: Terhah Landscape,

2011

Getok Tular, Omni Space, Bandung

Bandung •

2014

Family and friends, ROH Projectss,

South Korea •

2016

Effervescence, ROH Projectss,

Jakarta •

Bandung, Indonesia C

•

Gillman Barrack, Singapore •

Indonesia Media Installation Art

Bienalle, Taipei, Taiwan

Alam/Benda, Ark Gallery, Yogyakarta

Bandung Institute of Technology S

•

Monoprint, Grand Indonesia, Jakarta, Indonesia

•

Lets Bounce, Grand Indonesia, Jakarta, Indonesia

•

Almost White Cube, CG Fine Art, Jakarta, Indonesia

6 2/ 6 2

63/63

2006

2009 •

Post Mortem, Vanesa Artlink,

•

Jakarta, Indonesia E

•

Inhabitant, Galeri Padi, Bandung,

•

Parbinula Jarkuli, Aarmuh Space,

Ka Art Ini, UNJ, Jakarta, Indonesia Black Hole, Drawing Exhibition,

Zoo, Soemardja Gallery, Bandung,

•

KGB, Bandung, Indonesia

2015 •

Tanda Kota, Group Exhibition

2014

Pocong Dago & ButonKultur,

•

US/Industry, Galeri Rumah Teh, Bandung, Indonesia

2010, Selasar Sunaryo Art Space,

Gallery Nasional, Jakarta

Bandung, Indonesia

•

Contemporary Art Awards #3,

Yogyakarta, Indonesia

Bandung, Indonesia

Workshop on Spore Print, Komunitas Growbox, Reading

2012 •

•

Finalist of Triennale Seni Grafis 2, Bentara Budaya Jakarta, Jakarta, Indonesia

and Dry Point Experience, THR Ir. H. Juanda Bandung, Indonesia

2005 •

The 2nd Winner of Mural Competition, Cihampelas Walk, Bandung, Indonesia

Self Portrait Mushroom Hunting

2006

Indonesia

Lights, Bandung, Indonesia

Talk #3, Lawangwangi, Bandung

Best Artworks, Bandung

Terhah Wall Text, Gudang Tom

Extranoema, Wahana Extranoema:

2013

Performans, Galeri Padi, Bandung,

2015 Artist In Residencies Program, Art

Aarmuh, Collaborative Space

Awards

•

Pameran Sebagai Sebuah Centre Intermondes, La Rochelle,

Ta l k A n d L e c t u r e r

•

Performance, 9m15s, Yogyakarta,

2013

France

Scale, 15×15×15 Project,

Indonesia

•

Soemardja Gallery, Bandung,

Seminar Seni Patung Sekarang,

2015

•

South Korea

Workshop with Takao Minami (JP )

2008

ABC Learning Town, Siheung,

2007 •

•

Indonesia Art Recidencies

•

New Media, Nu Subtance Festival

Projects and Workshops Self Portrait, Ruang Alternatif

2010

2014

UPI, Bandung, Indonesia

Jakarta, Indonesia

Presentation on Asia Pacific Platform ArtStage, Singapore

2005

Indonesia •

•

Seni Grafis Indonesia Sekarang,

Indonesia •

Exhibition and Workshop, Graphic

•

Tembi Contemporary, Yogyakarta,

Kota, Bandung, Indonesia

•

Ciburial, Bandung, Indonesia

Drypoint”, Komunitas Sahabat

ITB, Bandung

Indonesia

Lingkar Belajar “Urban sketch and

Art at Magister Program FSRD

Survey #2, Edwin’s Gallery,

Going Beyond, CMNK, Bandung,

•

Budaya, Jakarta, Indonesia

Art, Semar Gallery, Malang,

2008

Guest Lecture on Methodology

Triennale Seni Grafis, Bentara

Indonesia

Jakarta, Indonesia S

•

ROH