Bne vol 5 e catalogue by arif nugroho

BNE (Bandung New Emergence) Vol.5

BNE/5 BANDUNG NEW EMERGENCE VOL.5

BNE (Bandung New Emergence) Vol.5

This e-catalogue was published to accompany BNE Vol.5 (Bandung New Emergence volume 5) Group exhibition by Agus Novianto, Aulia Ibrahim Yeru, Bonggal Hutagalung, Eldwin Pradipta, Maharani Mancanagara, Mirfak Prabowo, MARAYANA (Mulyana - Tamara), Nurrachmat Widyasena, Resatio Adi Putra dan Zaldy Armansyah. 17 Oktober â&#x20AC;&#x201C; 9 November 2014, di Ruang B and Ruang Sayap, Selasar Sunaryo Art Space Curated by Mitha Budhyarto Sally Texania Published by Selasar Sunaryo Art Space Jl. Bukit Pakar Timur No. 100 Bandung 40198 West java - Indonesia T. (6222) 250 79 39 F. (6222) 251 65 08 E. selasar@b dg.centrin.net.id www.selasarsunaryo.com All right reserved. No part of this e-book may be reproduced or transmitted in any forms or means, electronic, or mechanical, including any information storage and retrieval system, without the prior permission in writing from publisher. Designed by Dimas Arif Nugroho Copyright @ 2014 Selasar Sunaryo Art Space

BNE (Bandung New Emergence) Vol.5

BNE (Bandung New Emergence) Vol.5

catatan kuratorial | Curatorial notes

BNE (Bandung New Emergence) Vol.5

Perihal Kebutuhan, dan Apa yang Dapat Dilakukan oleh sebuah Pameran Catatan Kuratorial BNE Vol.5

Meski nama “Bandung New Emergence”

pemetaan, survei, mentoring, hingga pendeka-

dengan jelas memperlihatkan lokasi geografis

tan sosio-

serta kelompok umur yang menjadi sa-

logis menjadi cara agar relasi antara seniman,

saran program ini, apa yang tidak serta merta

karya, publik, dan ruang pamer dapat diba-

tersirat adalah penekanan pada adanya suatu

ngun. Pada volume ini, Sally Texania dan saya

metode kuratorial yang spesifik untuk tiap

memposisikan diri kami sebagai ‘fasilitator’, un-

edisi. Dengan menuntut bahwa tiap edisi –

tuk memenuhi apa yang kami angggap sebagai

atau ‘volume’ – memiliki suatu strategi kurato-

kebutuhan para seniman serta publik.

rial yang khusus, semangat BNE memang ditandai oleh keinginan untuk tidak hanya

Sejak tahap awal, mengasimilasi minat para

mempertontonkan karya-karya terbaik dari

seniman yang diundang di BNE Vol. 5 ke

seniman muda Bandung, tapi juga membuka

dalam suatu tema besar atau narasi tunggal

ruang agar berbagai format berpameran yang

terkesan sebagai metode yang tidak relevan

berbeda dapat diuji coba dan didiskusikan.

maupun dibutuhkan. Terlebih lagi, jika kita

Beragam jenis kerangka kuratorial yang telah

menimbang dampak ideologi pasca-kapitalis,

digunakan hingga saat ini – mulai dari metode

neo-liberal global pada seni kontemporer,

BNE (Bandung New Emergence) Vol.5

dan jenis kebutuhan seniman muda yang

perspektif yang berbeda atas praktik mereka,

disebabkan olehnya. Berhadapan dengan

menyarankan tempat untuk melakukan resi-

sebuah dunia seni yang didominasi oleh

densi, dan seterusnya. Semua ini dilakukan

tekanan pasar, seniman muda kerap hanyut

seiring terus memperhatikan dengan cermat

dalam upaya memproduksi komoditas belaka,

apa yang sesungguhnya ingin dilakukan oleh

melupakan kebutuhan â&#x20AC;&#x201C; yang bisa jadi lebih

tiap seniman, termasuk aspek apa dari praktik

besar dari hal lainnya â&#x20AC;&#x201C; untuk untuk terus

mereka yang tidak tergantikan, serta aspek

mengeksplorasi dan bereksperimentasi secara

apa yang lebih fleksibel dan dapat dinegosiasi.

luas. Dengan adanya kebutuhan ini, suatu

Pada dasarnya, metode kuratorial ini bertujuan

strategi kuratorial dibentuk untuk BNE Vol. 5

mengekspos para seniman terhadap cara-cara

agar dapat menciptakan kesempatan bagi para

bekerja yang berada diluar kebiasaan mereka,

seniman yang diundang untuk meregang dan

yang kami anggap dapat menjadi penting atau

memperluas moda produksi artistik mereka.

berguna bagi mereka.

Dengan memposisikan diri kami sebagai

Dimana terdapat praktik yang membutuhkan

fasilitator, kami berusaha mendampingi tiap

pendekatan tertentu terhadap riset â&#x20AC;&#x201C; se-

seniman dalam merumuskan dan mengimple-

perti pada Nurrachmat Widyasena, Maharani

mentasi metode-metode artistik tertentu, yang

Mancanagara, Resatio Adi Putra dan Zaldy

mereka butuhkan demi memperdalam minat

Armansyah â&#x20AC;&#x201C; kami mengambil kesempatan

mereka lebih jauh. Ini mencakup banyak hal,

untuk membantu mereka dalam merumuskan

mulai dari me nginisiasi kemitraan dengan

pertanyaan penelitian, mendefinisikan per-

seniman lain yang tidak mereka kenal sebel-

soalan utama, atau memperkenalkan mereka

umnya, mengusulkan institusi atau pekerja bu-

pada sumber-sumber yang relevan untuk topik

daya untuk diajak bekerja sama, menawarkan

yang mereka bahas. Dalam prosesnya, mereka

BNE (Bandung New Emergence) Vol.5

mengumpulkan beragam informasi dari bebe-

wo diminta untuk memikirkan dampak ekologis

rapa pusat dan institusi penelitan, serta pakar

dari praktiknya â&#x20AC;&#x201C; yang banyak menggunakan

di bidang-bidang tertentu, dan menjadikannya

zat-zat kimia keras â&#x20AC;&#x201C; dengan menggunakan

sumber daya penting dalam penciptaan. Maka,

material bekas yang ia miliki. Mirfak memilih

terdapat pergeseran penting pada praktik

untuk menggunakan sisa cairan poliuretan

mereka, melampaui kecenderungan sebelum-

dan resin yang sebelumnya digunakan untuk

nya untuk berkutat di riset fase awal.

modelling, dan menciptakan bentuk-bentuk skulptural tiga dimensi. Meski menggunakan

Mengingat latar belakang Bonggal Hutagalung

medium dan teknik yang berbeda, karakteristik

di seni keramik, residensi selama satu bulan di

visual yang mengingatkan kita pada kontur

Jatiwangi art Factory, di sebuah area di Jawa

lanskap alam tetap memperlihatkan kemiripan

Barat yang terkenal karena industri gen-

dengan ciri-ciri formal karya-karya lukisnya.

teng keramiknya, memberikan suatu suasana dimana Bonggal dapat bekerja dari sudut pandang yang berbeda. Sebagai hasil, terlihat

Semasa perbicangan awal kami, Eldwin Pra-

perluasan dari praktik Bonggal sebelumnya

dipta mengatakan bahwa sebagai seniman,

yang banyak bergantung pada intuisi keseni-

relasi antara karyanya dan pengunjung adalah

manan dalam merespon permasalahan pribadi,

faktor yang penting baginya. Disini, kami

karena karyanya di pameran ini juga dapat

berusaha memperluas jenis relasi yang dapat

dilihat sebagai suatu tanggapan terhadap kon-

terjadi dengan menimbang ulang situs dimana

disi sosial tertentu yang dihidupi oleh suatu

karyanya diletakkan. Karena Eldwin tertarik

kelompok masyarakat.

dengan persoalan pembajakan film â&#x20AC;&#x201C; mengambil fenomena DVD bajakan sebagai kasus

Sebagai seorang seniman lukis, Mirfak Prabo-

â&#x20AC;&#x201C; ia menyusun sebuah situasi di daerah Kota

BNE (Bandung New Emergence) Vol.5

Kembang dimana ia bekerja sama dengan

konteks sejarah seni rupa yang lebih luas,

pedagang DVD palsu untuk menjual â&#x20AC;&#x153;bajakanâ&#x20AC;?

kolaborasi menjadi model yang dapat mengun-

karya video dalam format DVD. Maka, parti-

tungkan keduanya.

sipasi dari pedagang DVD serta pelanggan mereka menjadi bagian integral dari karyanya.

Karena sebuah pameran selalu melibatkan publik, yang tanpanya pameran tersebut

Kedua karya terakhir yang dipamerkan disini

hanya akan menjadi sistem komunikasi satu-

adalah hasil dari metode kolaborasi.

arah saja, BNE Vol. 5 ingin memfasilitasi

Mulyana dan Tamara menciptakan karya

cara-cara dimana suatu proses belajar dapat

mereka dibawah moniker Marayana, untuk

terjadi. Pameran ini tidak ingin untuk hanya

memberi tanggapan terhadap persoalan politik

memiliki pandangan kritis atas karya-karya

gender di Yogyakarta. Karya mereka banyak

yang ada saja, tapi juga atas pameran itu

terinspirasi oleh pengetahuan dan pengalaman

sendiri: apa yang dapat dilakukan oleh sebuah

Tamara mengenai dinamika komunitas homo-

pameran, sebagai ruang dimana pengetahuan

seksual dan transgender di Yogyakarta, serta

dapat didiseminasi atau ditransmisi? Peran

medium rajut dan anyam yang menjadi pilihan

kurator tidak lagi bisa terbatas pada keahlian-

Mulyana. Agus Novianto dan Aulia Ibrahim

nya mengenai karya-karya yang dipamerkan,

Yeru, yang tidak tahu-menahu tentang satu

dengan suara otoritatif mengenai kebenaran

sama lain sebelum BNE Vol. 5, diperkenalkan

atau pengetahuan. Melainkan, peran tersebut

atas dasar praktik mereka yang sama-sama

harus dibentang hingga mencakup pemben-

menggunakan cahaya dan ruang sebagai

tukan suatu proses edukasi melampaui model

medium. Dengan pengalaman teknis Agus di

guru-siswa, dan membuka ruang untuk per-

bidang ini, serta kemampuan Aulia untuk

tanyaan dan penyelidikan lebih jauh tentang

mengartikulasikan praktik tersebut dalam

karya-karya yang ada.

BNE (Bandung New Emergence) Vol.5

Dengan alasan demikian, maka memamerkan

atas perkembangan seni kontemporer di

bagian-bagian tertentu dari proses produksi

Bandung, melalui sekelompok seniman

para seniman menjadi suatu langkah penting.

mudanya. Dengan mencoba memenuhi kebutu-

Jika kesenian membuka ruang dimana penge-

han yang disebut diatas, kami berharap untuk

tahuan dapat terjadi, maka kita tidak hanya

dapat memfasilitasi pertemuan dan pertukaran

belajar dari bentuk akhir sebuah karya, tetapi

antara karya, seniman, dan pengunjung,

juga dari proses dan langkah yang memba-

dengan cara-cara yang tidak sepenuhnya

ngun karya tersebut. Seniman pada umumnya

terduga.

memang sadar akan hal ini, tapi belum tentu demikian halnya dengan publik. Maka, penting

Mitha Budhyarto

bagi BNE Vol. 5 untuk berbagi aspek tersebut

Kurator Pameran

dari kesenian. Disini, praktik kuratorial menjadi sarana untuk mensirkulasi gagasan mengenai kesenian, dan bukan hanya sekadar praktik memilih dan memajang karya sesuai dengan suatu tema. Menampilkan beberapa pilihan artefak, sisa-sisa dari fase produksi, bukubuku, dan bermacam bentuk dokumentasi, adalah sebuah cara untuk mempertegas praktik kuratorial sebagai â&#x20AC;&#x153;ekspansi praksis pendidikan.â&#x20AC;? Mengikuti jejak edisi-edisi yang terdahulu, BNE Vol. 5 menawarkan sebuah observasi

BNE (Bandung New Emergence) Vol.5

On “Needs”, and What an Exhibition Can Do BNE Vol.5 Curatorials Notes

Although the name “Bandung New

space is built. In the current volume, Sally

Emergence” clearly tells us the geographical

Texania and I positioned ourselves as ‘facilita-

region as well as age group that the program

tors’, seeking to address what we consider to

gears itself towards, it does not readily show

be the needs of both the artists as well as

that the program insists on having a spe-

the public.

cific curatorial method for each ‘volume’. In demanding this, the spirit of BNE is marked

Since the initial stages of BNE Vol. 5, to

by a desire not simply to showcase the best

assimilate the invited artists’ diverse inter-

works by Bandung’s young artists, but to also

ests into an over-arching theme or singular

open up a space in which different exhibition

curatorial narrative seemed an irrelevant

formats may be tested out and discussed.

and unnecessary method. This is especially

The diverse range of curatorial frameworks

so, when one considers the impacts of the

that have hitherto been employed – be it the

global neo-liberal, post-capitalist ideology on

methods of mapping, surveying, mentoring, to

contemporary art, and the kinds of needs this

adopting a sociological approach – became a

creates for young artists. Facing an art world

way that a relationship between the artist,

dominated by market pressures, young artists

the artwork, the public, and the exhibition

become preoccupied with producing commo

BNE (Bandung New Emergence) Vol.5

dities, forsaking the need – which is perhaps

open to negotiation. This strategy serves a

greater than anything else – to continue

purpose of exposing them to ways of work-

exploring and experimenting as widely as pos-

ing that they may not be accustomed to, but

sible. It is towards this need that a curatorial

which we feel they would find important or

strategy was devised for BNE Vol. 5, one that

profitable.

would create an opportunity for the invited artists to expand and broaden their modes of

Where there are practices that require

artistic production.

specific approaches to research – as in the case with Nurrachmat Widyasena, Maharani

Positioning ourselves as facilitators, in this

Mancanagara, Resatio Adi Putra and Zaldy

sense, meant that we would assist each artist

Armansyah – we took it as an opportunity

in formulating and implementing certain

to assist the artists in formulating research

methods that they require to pursue their

questions, defining key issues, or putting

varying interests further. This ranged from

them in touch with sources that are relevant

initiating partnerships with other artists that

for the topic of their concern. In their pro-

they may not know before, suggesting institu-

cess, they collected various information from

tions or cultural workers that they may work

different research centres and institutions,

with, offering a different way of looking at

as well as experts in particular fields, and

their practice, proposing places to do short

treat this as an essential resource for artistic

residencies, and so on. All of these were

creation. As such, there is a significant shift

done while paying careful attention to what

in the artists’ mode of production, which

each of the artist is trying to do, including

stretches beyond an earlier preoccupation for

which aspects of their practice is indispens-

doing base research.

able, and which others are more flexible and

BNE (Bandung New Emergence) Vol.5

Given Bonggal Hutagalung’s background in

resembles the formal qualities of his painting

fine art ceramics, a month-long residency at

works.

Jatiwangi art Factory, an area in West Java famous for its ceramic roof tile industry,

During our earliest conversations, Eldwin

provides an environment where the artist may

Pradipta mentioned that as an artist, the rela-

explore his medium from an unanticipated per-

tionship between his work and the audience

spective. As a result, there is an expansion

is an important factor for him. Here, we tried

from his previous mode of production that

to expand the kind of relationship that could

heavily relied on artistic intuition to address

happen by re-considering the site where the

personal matters, as the work exhibited here

work may take place. As Eldwin is interested

may be seen as a response to specific social

in the issue of film piracy – taking the case

conditions as lived by a particular community.

of pirated DVDs –, he created a situation at Bandung’s Kota Kembang area where he

Mirfak Prabowo, an artist trained in the

worked with fake DVD sellers in their booths

tradition of painting, was asked to consider

to peddle “pirated” video art works. Here, the

the ecological impacts of his practice – which

participation of the DVD sellers as well their

depends on the use of harsh chemicals – by

clientele is an integral part of the work.

using the waste materials he has available. He took to using leftover polyurethane and

The last two works exhibited here are the

resin liquid that was used previously for mod-

result of a collaborative method. Artists

elling purposes, and created three-dimensional

Mulyana and Tamara created their work under

sculptural forms. Despite the different medium

the moniker Marayana, to address issues

and technique used, the visual allusion to

surrounding gender politics in Yogyakarta.

the contours of the natural landscape still

Their work drew enormously from Tamara’s

BNE (Bandung New Emergence) Vol.5

insightful knowledge as well as experience of

being an expert about the works that are ex-

the dynamics of Yogyakarta’s homosexual and

hibited, with an authoritative voice of truth or

transgender community, as well as Mulyana’s

knowledge. Rather, it must extend to produc-

chosen medium of weaving. Agus Novianto

ing educative processes beyond the teacher-

and Aulia Ibrahim Yeru, who had not known

student model, opening up, instead, spaces

each other prior to BNE Vol. 5, were intro-

of further questioning and inquiry about the

duced on the basis of their similar practice

exhibited works.

in working with light and space as medium. With Agus’ technical experience in the field

It is according to this line of thinking that

and Aulia’s ability to articulate such a practice

parts of the artists’ production processes are

within the larger art historical discourse,

displayed within the exhibition space. If art

collaboration thus presents itself as a model

opens up a space for knowledge to form, then

that would benefit both artists.

it is not only through the finished work that we may learn, but also through the process

As an exhibition is always concerned with

and steps that constitute the work. Artists

the public, without whom it remains a mere

are aware of this, but that is not necessarily

one-way communication system, BNE Vol.

the case with the general public. As such, it

5 aims to facilitate ways that learning could

becomes important to share this aspect of

take place through an exhibition. It seeks to

art. Here, curating becomes a way to circulate

expand the critical focus beyond the works

ideas about art, and not simply a practice of

exhibited, to the exhibition itself: what can an

choosing and displaying artworks according to

exhibition do, as a space where knowledge

a given theme. The inclusion of different ar-

may be disseminated or transmitted? The

tefacts, remnants from the production phase,

role of the curator can no longer be limited to

books, and various forms of documentation,

BNE (Bandung New Emergence) Vol.5

becomes a way to reinforce curating â&#x20AC;&#x153;as an expanded educational praxisâ&#x20AC;?. Following the steps of its previous editions, BNE Vol. 5 offers an observation about the development of contemporary art in Bandung, through a group of its young artists. In addressing the needs mentioned above, we hope to facilitate encounters and exchanges between the artworks, the artists, and the audience, in ways that may not be previously expected. Mitha Budhyarto.

Curator

BNE (Bandung New Emergence) Vol.5

BNE #5 : Sebuah kemungkinan pertemuan dan penemuan Catatan Kuratorial BNE Vol.5

M emasu ki kali k e-5 , Ba ndung New Emergence (BN E ) s e b a g a i pamer an d u a t ahunan mungk in menja di sebu ah per i sti wa y a ng dit unggu sek aligu s mu lai d iper t any a k a n ur gensiny a . Pa d a masa ter da hul u, BNE menja di penting d engan minimny a fa sil it a s mediasi seni m e l a l u i p a m e r a n y a n g d ikhu su skan ba gi senima n muda Band u ng. M as ih segar da l am inga t a n saya, bagaiman a B N E m e n j a d i a j a n g yang d itu nggu seniman-seniman muda d omi sili Band ung guna mel ihat k ecender u ngan pengk a r y aan y ang â&#x20AC;&#x2DC; l ul us sar ingâ&#x20AC;&#x2122; dan siap mema s u k i m e d a n s o s i a l s e n i . Tid ak d apat d i p ungk ir i a l umni-a l umni p amer an ini seba gian masih b er ger ak a k t if

di meda n so sial seni b a ik dal a m s k a la l o k a l dan Int er na sio nal . S el ain B N E , b er k emb a ngny a p er hat ia n k ep a d a s e n i r up a Ba ndung b a ik dal a m k o r ido r inst it usi no n-p r o fit ma u pu n k o mer sial da n k hususny a b o o m s e n i r up a t a hun 2 0 0 0 - a n jug a me n dor o ng p er t umb uha n senima n-se n i m a n muda Bandung. Ber t amb ahny a vo l ume p a mer a n s e n i r up a unt uk â&#x20AC;&#x2DC; t al ent a b ar uâ&#x20AC;&#x2122; deng a n i n isiat o r da n sk al a y ang b er va r ia s i m eny eb ab k an p r o ses-p r o ses l egi t i m a s i seo r a ng senima n har i-har i ini t i d a k la g i b er gant ung p a da p er i st iwa t un g g a l. P a sca 20 0 8 , mesk i t er ja di k e le s u a n

BNE (Bandung New Emergence) Vol.5

p a da me dan p asar seni I n d o n esia, seniman muda sebenar-nya t i d a k l agi tergantung pa da satu ‘formula’ da n s a t u ‘s al uran ’. Dengan a d anya perl ua s a n se kat - se kat dan kelu wesan yang di t a w a r kan e ra i n formasi d an d engan n a i k n y a p am o r I n don esia d ir anah kons t e l a s i gl ob al dal am ber bagai b i d a n g , dal am s at u si si, seniman tid ak l a g i b ergantung pa da satu si stem. S e b a g ai individu dan sebagai seorang ‘p r o d u s e n ’ yan g m e mbu tu hkan ‘alu r di s t r i b usi ’, se n i m an memiliki kelelu asaan un t uk be rg e rak dal am salu r an-salu r an ya n g se m aki n t e rdi ve r sif ikasi ter sebu t. T um b uhn ya s e kat - se kat bar u d alam di s t r i b usi j ug a m e n dor ong a d anya kebu t u h a n in di v i du dal am membangu n jemb a t a n an t ar ag e n s e h ingga kemampu an da n k em auan m e l akukan per lintasan d an p e r g e r akan m e rup akan satu syar at yang t a k t e r e l akan . Maka, d engan a d anya p e r s e baran p ro s e s l egitimasi ter sebu t, b a g a i - man a ke m udi an sebu ah pamer an s e n i m an m uda m e n ge mbangkan f un g s i n ya di l uar ke bu tu han-kebu tu han

‘d i str ibusi’ , ‘ p enguk uhan’ , da n ‘ va l idasi’ ? . D engan a da ny a p er an dua ku r ator, BNE 5 memil ik i k esemp a t a n u ntu k sep enuhny a menja di ajang p er t ukar an, di sk usi, p er deb a t a n dan p emb angunan k e s a d a r a n m e n g e n a i p e n t i n g n y a melihat ( seni) k o nt emp o r er seb a ga i sebu ah p r o ses b er t umb uh dan b er k embang ya ng t er us memil ik i k esemp a t a n untuk d i r e d e f i n i s i k e t i m b a n g s e m a t a d ipr od uk si. S eh ingga , dal a m BNE k a l i ini perlinta s a n d a n p e r g e r a k a n k h u s u s n y a d itand a i da r i ek sp l o r a si k o mp o nen p enciptaan k ar y a seni dengan a da ny a u saha-usa ha p emb uk a a n b a t a s seper ti p engemb anga n media, mo del ko labor asi, r esidensi, da n r i set l int a s di sip lin d a l a m p r o s e s s e n i m a n . Mirfak P r a b o w o m e m i l i k i p e m i n a t a n y a n g ku at pa da ek sp l o r a si medium. Dal a m kar ya-k ar y a seb el umny a p eminat an ini khu su sn y a dit unjuk k a n mel a l ui b er b agai eksper iment asi p er camp ur an k o nsent r a si cat d an media p enduk ungny a . Mesk i

BNE (Bandung New Emergence) Vol.5

tar ikan d an ket idak t er duga a n muncul d ar i pr oses memb o ngk a r k o mp o nen pengkar yaanny a , ek sp l o r asi ini t er t ib ber langsu ng d i a t a s k a nva s. Menur unk a n kekhasan eksp l o r a siny a dia t a s k a nva s, M ir f ak menemuk a n p o t ensi int er vensi pa d a med ia lain y a k ni l imb ah p o l y ur et a n d an r esin yang memil ik i p o t ensi k et idakter d u gaan d ala m b ent uk t iga dimensional.

M ar ayana mer u p a k a n k o l a b o r asi y a ng tumbuh dari pro s e s M u l y a n a seniman asal Ba ndung y a ng k o nsi st en ber kar ya d enga n t ek nik r ajut denga n seniman asal Jo gja T a ma r a dal a m p enggu naan teknik any a ma n dengan media c a m p u r a n . M u l y a n a y a n g d ikenal d engan p engguna a n a ny aman benang ini sebel umny a mul ai dik enal melalu i ejawant ah dunia fant a siny a mengenai gu r ita ya ng dib er i nama â&#x20AC;&#x153; Mo gusâ&#x20AC;? beser ta r u ntu ta n fik si y ang meny ertainya. Ber alih da r i fik si, Mul y ana da n Tamar a melalu i duet Mar a y a na menggu-

l ir k a n p engguna a n t ek nik a ny a m k e pa d a r ep r esent asi dinamik a p er sep s i a k a n gender. Agus Noviant o da n Aul ia Y er u m e n ggunakan pendekatan ko laboratif dalam mewujudkan irisan ketertarikan dalam memb ua t r uang dengan k emam pu a n m e nimb ul k an r esp o n-r esp o n senso ri . M e la lu i k er jasa ma mer ek a Agus denga n pe rh at ia n dan k ema mp uanny a mengo la h v i s u a l mel al ui media b a r u dan Aul de n g a n k esa da r an k esenir up a a n p a da pe n g e lol a a n media b a r u mengga b ungka n po t e n s i individua l ny a da l am k er ja k el o m po k y a n g mengar a h p a da p er ma ina n st im u la s i inder a p engl ihat an. Asp ek k eb er a da a n k o nvensi s e n i k er amik mer up a k a n b a gian p en t i n g d a ri p engk a r y aan Bo ngga l H ut agal ung. Mesk i memil ik i min a t u n t u k selalu menyisipkan unsur bermain dalam p engk a r y aanny a, Bo ngga l juga m e n y i mp a n p er t any a a n k r it i s mengena i pe n d al a ma n media k er a mik . Memb aw a pe rh a-

BNE (Bandung New Emergence) Vol.5

t i a n i n i , B on g g al m e n e mpuh r esidensi di Jatiwangi guna m e m p e ro l e h s p e kt um lu as mengenai p e n g g u n aan m e di an ya ini. Ber ger ak d ar i p e n g a lam an t e rs e b ut , kar ya Bonggal m e n a mp i l kan s i m ul asi d an aspir asi meng e n a i r e l asi se b ab- akibat yang tu mbu h di t e n gah ke l o m p ok masyar akat d ar i a d a n y a ke khus us an pengo lahan med ia da l a m p rose s p roduksi, eksp loitasi, d an k o m i d i fikasi. Ma h a r an i Man can ag ar a, Resatio Ad i P u t r a dan Nurrachmat Widyasena m a s i n g-masing bekerja dalam e k s p l o ras i ragam p e rspektif d an f akta h a r i i n i dal am usaha mer ekonstr u ksi n a r a s i l o kal - g l ob al di masa lampau . Rani ya n g se be l um n ya b e k er ja de n g a n r e fe r e n si b uku har ian kakeknya da l a m m e r e ko n s t ruksi per tu mbu han s i s t e m p e n di di kan I n d onesia kini meng u m p u l kan p e rsp e kt i f r agam d i sip lin k e i l m u an gun a m e m p er temu kan ber bagai s u d u t pandang dalam narasinya. Resatio ya n g k on si st e n m e m bu at ilu str asi mela-

lu i ko lase mul a i menca r i asp ek -asp ek asimilas i d a l a m d o n g e n g r a k y a t y a n g membawany a p a da p enggandaan t idak id entik p a da k ar y a ny a, dimana unit -unit per u langa nny a b er int ensi unt uk mend or ong r a ga m int er p r et a si. Nur r a chmat â&#x20AC;&#x2DC;Itoâ&#x20AC;&#x2122; W i dy asena y ang gema r mengambil pe ncit r a a n-p encit r aan space age mencar i r el evansi k i sa h dan jar go n y a ng lah ir d a r i masa t er seb ut dal a m k o nt ek s per kemb anga n t ek no l o gi l o k al denga n melaku k an r i set mel a l ui l emb aga k enegar aan. P enemuan fik si da n fa k t a l a p anga n memung k i n k a n I t o m e m b u k a b a b a k b a r u d alam ek sp l o r asi sub st a nsi pengkar y a a n n y a . Eldwin P r a d i p t a m e n j a d i s e n i m a n m u d a yang ko n s i s t e n b e k e r j a d alam p engujia n b a t a s-b a t a s h igh art d an low art mel al ui k a r y any a . Bil a dal a m kar ya ter dahul u E l dwin beker ja mel al ui p engguna a n media b a r u membon gk ar k ema p ana n â&#x20AC;&#x2DC; seni t inggiâ&#x20AC;&#x2122; khu su sn y a l uk i san da l am k o r ido r -k o r ido r senir u pa , k a l i ini E l dwin menguji

BNE (Bandung New Emergence) Vol.5

med ia bar u ya ng t el ah mema p an mel al ui saluran di stri b u s i p e n j u a l d v d b a j a k a n . Sebagai sebu ah p engujian, k a r y a E l dwin kali ini ber ger ak dil uar r ek o nst r uk si ki sah menu ju e k sp l o r a si agen dan channel. Z ald y Ar mans y a h b er ger a k da l am p enggalian per sonal mengenai k et er ik at an aspek spir itu a l dan int el ek t ua l mel alu i eksp lor asin y a p a da b ent uk -b ent uk kalender. Dala m p r o s e s k a l i i n i , Z a l d y mencoba mewawa ncar a b eb er a p a nar asu mber d alam memb a nt uny a p emb uat pengu ku r an-pe nguk ur a n dal a m p engkar yaannya. Pr o ses wawa ncar a sendir i menja d i momen -mo men y ang diha r gai Zaldy sebagai p r o s e s b e r u l a n g a n t a r a kenyataan dan k e t i d a k n y a t a a n y a n g d ibangu n d engan a da ny a p engha y a t a n Zaldy terha da p i s i w a w a n c a r a t e r k a i t pengu ku r an d al a m sa ins dan p emak na a n secar a f ilosof i s maup un p engal a ma n saat menerima i n f o r m a s i n a r a s u m b e r . Dengan penga l a m a n i n i Z a l d y m e m b u a t kar ya d ar i perul anga n mo dul

p enga l amanny a meny er a p , mer e n u n g , da n t er sesat da l am p r o ses s pi ri t u a l dan intelektual tersebut. Menarik pada proses-proses yang t er ja di dan p er a n p er siap a n pa m e ra n seb agai seb uah p r a-k o ndi si, B N E k a li ini diha r ap k a n menja di cel ah ba g i s e n iman muda y ang juga t el a h me m a s u k i mek a ni sme â&#x20AC;&#x2DC; p r o duk si-di st r ib us i â&#x20AC;&#x2122; s e n i k edal a m k esemp at an p er co b a a n d a n kecakapan eksperimentasi. Ditariknya elemen-elemen ruang penelitian yang memungk ink an t er ja diny a k ese m pa t a n o b ser vasi, ana l i si s ma up un p e n g u k ur a n memp er l uas p er a n seb ua h pa m e ra n seniman muda . S eb ua h p er i st i w a i n s t it usi b er p er an da l am p r o ses pe n g u j i a n k o mp o nen a r t i st ik t a l ent a mud a d i s a m ping p eny edia p a nggung unt uk s e b u a h deb ut , sa a t p a mer a n menga da pt a s i pe ran-p er a n l ab o r a t o r ium sel a in m e n g a m b i l p er a n-p er an wa dah di st r ib usi. S a lly Texa nia Kurator Pameran

BNE (Bandung New Emergence) Vol.5

BNE #5 : The possibility of encounter and invention BNE Vol.5 Curatorials Notes

Entering its 5th edition, Bandung New

the growing attention for art from Bandung,

Emergence (BNE) as a bi-annual exhibition

both in the corridors of non-profit as well as

has perhaps now turned into an eagerly

commercial institutions, and especially the art

awaited event whose urgency is starting to be

boom of the 2000s, also helped the develop-

questioned. In the past, BNE was important

ment of Bandung’s young artists.

considering the small number of art mediation

The increasing volume of art exhibitions for

facilities through an exhibition that is specifi-

‘new talent’ with varying initiatives and scales

cally aimed at young artists in Bandung. Still

created legitimation process for artists these

fresh in my memory, how BNE was an event

days that do not solely depend on a single

that was anticipated by young artists resid-

event. Post 2008, despite the lethargy

ing in Bandung in order to see the tendency

that the Indonesian art market experienced,

of practices that could ‘pass the selection

young artists no longer rely on a singular

process’ and were ready to enter art’s social

‘formula’ or ‘channel’. With the expansion of

arena. Undoubtedly, alumni of this exhibition

boundaries and the fluidity offered by the

still actively work in art’s social arena both in

information era, in addition to the growing

local and international scales. Aside from BNE,

prestige of Indonesia in the global constella-

BNE (Bandung New Emergence) Vol.5

tion across the fields, in a way, an artist no

ized by an exploration of the components of

longer depends on a single system. As an

artistic creation, with attempts to open up

individual as well as ‘producer’ who require a

boundaries such as through the expansion

‘flow of distribution’, an artist has the freedom

of medium, collaboration models, residencies,

to move across channels that are increas-

and interdisciplinary research as part of the

ingly diversified. The growth of new divisions

artists’ process.

in distribution also propels individual needs

Mirfak Prabowo has a strong interest in me-

to build bridges between agents, so that

dium exploration. In his previous works, this

the ability and willingness to create cross-

interest was made evident through various

ings and movements become an unavoidable

experiments in mixing the concentration of

requirement. Thus, with such a spread of the

paint with other supporting medium. Despite

legitimation process, how does an exhibition

the curious pulls and unexpected results from

for young artists then develop its function

the process of unpacking his creation compo-

beyond the needs of ‘distribution’, ‘legitima-

nents, this exploration remain to take place on

tion’, and ‘validation’?

the surfaces of canvas. As he leaves behind

With the involvement of two curators, BNE

his characteristic exploration on the surfaces

5 has the opportunity to fully act as an

of canvas, Mirfak finds the possibility to inter-

event for exchange, discussion, debates and

vene with other medium, which is the waste

increasing awareness for the importance to

of polyurethane and resin, and their surpris-

look at contemporary art as a growing and

ing potentials for creating three-dimensional

expanding field, able to be continuously re-

forms.

defined instead of simply being produced. So

Marayana is a collaboration that grew from

that, in the current BNE there is a crossing

the process of Mulyana, an artist from

and movement that is particularly character-

Bandung who consistently works with the

BNE (Bandung New Emergence) Vol.5

technique of knitting, with Jogja-based artist

practice. Although this interest is always

Tamara in using weaving techniques with

suffused with elements of play in his work,

mixed media. Mulyana, who is known for knit-

Bonggal also carries critical questions about

ting with thread, previously drew attention for

the exploration on ceramic as a medium. With

his exploration of a fantasy world about an

this attention, Bonggal carried out a residency

octopus that he calls “Mogus”, as well as the

in Jatiwangi to create a broader spectrum on

string of fictions that followed. Moving away

the use of this medium. Based on his experi-

from fiction, Mulyana and Tamara through the

ence, Bonggal’s work presents a simulation as

duet of Marayana put forth the use of weav-

well as aspirations on the cause-and-effect

ing techniques to create a representation of

relation in a community with a specific ap-

the dynamics of gender perception.

proach to media in the process of production,

Agus Novianto and Aulia Yeru employ a

exploitation, and commodification.

collaborative approach in establishing an

Rani Mancanagara, Resatio and Nurrachmat

intersection of interest to create a room with

Widyasena each work in exploring the variety

the ability of producing sensory responses.

of perspectives and current facts in their

Through their partnership, Agus with his

attempt to reconstruct local-global narratives

attention and ability to process visuality with

of the past. Rani who previously worked ac-

new media and Aul with his awareness of

cording to references from her grandfather’s

artistic discourse on the use of new media,

diary in reconstructing the development of

combine their individual potentials in a team

the Indonesian education art system now

work that address the stimulating plays on

collected a variety of perspectives from dif-

our sense of sight.

ferent disciplines to gather a multitude of

The aspect of conventions in fine art ceramics

point-of-views in her narrative. Resatio, who

is an important part of Bonggal Hutagalung’s

consistently creates illustrations from col-

BNE (Bandung New Emergence) Vol.5

lages, began to look for assimilation aspects

agents and channels.

in folktales that brought him to an unidentical

Zaldy Armansyah moves in a personal

repetition in his work, where the repetitive

excavation about his interest in spiritual

units are intended to open up different inter-

and intellectual aspects through an explora-

pretations. Nurrachmat ‘Ito’ Widyasena, who

tion of calendar forms. In his process for

is keen on using ‘space age’ images, began

this exhibition, Zaldy conducted interviews

to search for a relevance between stories

with a number of sources in order to assist

and jargons from that era to the context of

him in creating parameters for his practice.

local technological development by undergo-

The interview process became valuable

ing research in government institutions. The

moments for Zaldy as a repeated process

discovery of fiction and field facts allows Ito

between the real and the unreal built from

to open a new chapter in exploring the sub-

his own sensitivity towards the content of

stance of his practice.

the interviews related to frameworks in sci-

Eldwin Pradipta is a young artist who consis-

ence and philosophical meaning as well as

tently works on testing out the boundaries

his receptivity upon receiving the information.

between high art and low art. If in his previ-

With this experience, Zaldy creates a work

ous work Eldwin works by using new media to

from compounded experiences of absorbing,

unpack the established position of ‘high art’

reflecting, and getting lost in that spiritual and

in especially painting within the corridors of

intellectual process.

art, this time Eldwin analyzed the established

status of new media through the distribution

It is interesting that the processes that took

of pirated DVDs. As an examination, Eldwin’s

place and the role of preparation for an

current work moves outside the reconstruc-

exhibition as a pre-requisite, the current BNE

tion of narrative towards an exploration of

hopes to create an opening for young artists

BNE (Bandung New Emergence) Vol.5

who have entered the mechanism of art’s ‘production-distribution’ into an opportunity for exploration and the ability to experiment. The creation of elements of research spaces, which allows the occurrence of observation, analysis as well as measurement, expands the role of an exhibition for young artists. An institutional event has a role in this process of examining the components of young artistic talent, aside from creating a platform for a debut, when the exhibition adapts the roles of a laboratory in addition to taking on the role of creating vessels of distribution. Sally Texania.

Curator

BNE (Bandung New Emergence) Vol.5

Art works

BNE (Bandung New Emergence) Vol.5

Aulia Ibrahim Yeru & Agus Novianto

Unison Square Garden site-specific sound and light installation music by Junichi Akagawa variable dimension 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Bonggal Hutagalung

Through Every Dark Night mix media variable dimension 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Eldwin Pradipta

Art Piracy Project installation of dual channel video projection, three single channel video on TV, and DVD players variable dimension / variable duration 2014

BNE (Bandung New Emergence) Vol.5

â&#x20AC;&#x153;Proses Karya/ Works in Progress:â&#x20AC;? (6 sheets of DVD covers, project based artwork, happening at Pasar Kota Kembang, Alun-alun, Bandung)

BNE (Bandung New Emergence) Vol.5

Marayana (Mulyana - Tamara)

Tamara = Adam crochet yarn, dacron, calico cloth wire, raffia rope variable dimension 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Mirfak Prabowo

PU-Rs-RYB polyurethane, resin, resin pigment, acrylic paint variable dimension 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Maharani Mancanagara

PDDK-20/NTH mixed media 160 x 40 x 60 cm 2014

Klasse, Leraar, de Leerlingen digital print on fabric 100 x 300 cm 2014

BNE (Bandung New Emergence) Vol.5

Interlokusi Lagak #1

Interlokusi Lagak #3

Interlokusi Lagak #2

charcoal on pinewood, electronic instrument variable dimension 2014

charcoal on pinewood, electronic instrument, and found object variable dimension 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Nurrachmat Widyasena

LAPAN : Bangsa Bermartabat screws, bolts, silkscreen and oil painting on aluminum, foundation stones 300 x 220 cm 2014

LAPAN : T.O.A horn speaker, welded pipes, electronic instruments, plywood box, and sound installation 280 x 60 x 60 cm 2014

BNE (Bandung New Emergence) Vol.5

LAPAN : Satelit Tubsat digital print on flexi korea 130 x 110 cm 2014

LAPAN : RX “King”-450 digital print on flexi korea 130 x 110 cm 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Resatio Adi Putra

Kisah Yang Tak Diceritakan collage variable dimension, 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Zaldy Armansyah

Kalender Ungu (2014) watercolor on paper â&#x20AC;&#x2DC;@ 29,7 x 21 cm, 365 sheets (22,77 m2) 2014

BNE (Bandung New Emergence) Vol.5

Ngaji Kajian Waktu watercolor on paper, wooden base variable dimension 2014

BNE (Bandung New Emergence) Vol.5

“Proses Karya/ Works in Progress:”

BNE (Bandung New Emergence) Vol.5

Biografi Seniman | Artists Biography

BNE (Bandung New Emergence) Vol.5

Agus Novianto

Group Exhibition

2011

2014

2010

- Beautious Maximus, Bandung, Indonesia. - Wonder of Fantasy: 2014 Interna

tional Techno Art Exhibition,

Taiwan - Start From Scratch, Bandung,

Indonesia.

2013

- COMIKET 80, Tokyo, Japan - Graphic Design Academy Award

ITENAS, Bandung, Indonesia

- Anime Festival Asia, SICEC,

Singapore 2009 - Graphic Design Academy Award

ITENAS, Bandung, Indonesia

- Touhou Project Dōjinshi Event,

- ARTJOG’14, Yogyakarta, Indonesia

Sapporo Teisen Hall, Hokkaido,

- Mapping Festival, Geneva, Swiss

Japan

World of Projection Mapping,

Kagawa, Japan.

- Indonesia Contemporary Art & Design, Jakarta, Indonesia - VERSUS Indonesia Contemporary

Art Exhibition, MIZUMA Art

Gallery, Singapore - Clockwise, ITENAS, Bandung,

2012

Indonesia - Jakarta Bienalle, Jakarta, Indonesia - Indonesia Contemporary Art & Design, Jakarta, Indonesia

- ARTJOG’12, Yogyakarta, Indonesia

- Dance Your Eyes, Bandung,

Work Experience 2011 2009

- Interaction Designer, PT Sembilan Matahari - Creative Coder, New Media Artist, VJ, Freelance

BNE (Bandung New Emergence) Vol.5

Aulia Ibrahim Yeru Lives and works in Bandung

Education

Master of Arts, Graduate Program, Faculty of

Art and Design, Bandung Institute of

konnektor - Forum fur Kunstë,

Technology (2011-2014)

Hannover

Bachelor Degree Textile Craft, Faculty of Art

and Design, Bandung Institute of Technology

(2005-2010)

2011

Galeri Nasional Indonesia, Jakarta - “Konnektor #13: Mitbringsel”,

- “Lindap.”, Rumahproses, Bandung - “Hybrid Project: Little Box”, Bentara Budaya Jakarta, Jakarta - “Fiber Face 3: Transforma-

tion” Taman Budaya, Yogyakarta

Group Exhibition

- “Play Dead volume 2:Leisure All

2013

- “Dispotition”, part of BandungCon

Mine”, Padi Artground, Bandung

temporary programme, Lawang

- “Hyper Mar(t)ket”, Esp’Art Galery,

wangi Creative Space,Bandung

Bandung

- “Plateaux: Collective Art

- “15x15x15 (recreatexrealityxrepre

Project”, partof Poklong Anading’s

solo exhibition,Selasar Sunaryo

2009

Art Space, Bandung

- Bandung Contemporary Art

Awards #4, Lawangwangi

Creative Space, Bandung

- Kitaran, Gedung Indonesia

2012

Menggugat, Bandung - “Indonesian Contemporary Fiber Art”, Art1 Gallery, Jakarta - “Kriya Indonesia: Reposisi”,

sentation)”, Galeri Soemardja ITB, Morning Glory Parade”, Galeri Kita

Bandung.

2006 2005

- We Hail We Sail’ From The

- “Fiber Face 2” Taman Budaya, Yogyakarta - “Asa Dhaya Rupa”, Pameran Karya TPB, Campus Center ITB, Bandung - “Omigari” Pameran Origami Eksperi mental, KMSR-ITB, CC-ITB

BNE (Bandung New Emergence) Vol.5

Bonggal Hutagalung Education Bachelor Degree,Faculty of Fine Art and Born in Sleman, 1988

tumblr.com

Design, Bandung Institute of Technology,

Indonesia: A Progress Report”,

Bandung, Indonesia.

Museum Seni Rupa Dan

2013

- “Pottrippin” Galeri Hidayat, Bandung

- “Design/Art”, Lawangwangi,

Bandung

- “15x15x15 mind eye”, Soemardja

Group Exhibition

2014

- “Manifesto 4” Galeri Nasional, JKT

2011

- “Encounter” Awanama Art Space

Gallery, Bandung

Gedung Cipta Niaga, Jakarta

- “Aroma Kengerian”, Galeri Kita,

- “Pecundang Malam Minggu”

Platform 3, Bandung

2013

Bandung

2010

- “Subject Matter: A Locus Of

- “Middelbare Akte”, Soemardja

Gallery, Bandung

Collectivism” Art:1, Jakarta - “Everyday Is Like Sunday”

- “15x15x15 recreate, reality, repre-

Langgeng Gallery, Magelang. - “Step-art” Galeri Kamones, Bandung

- “Skin Matters”, Galeri Soemardja, - “Hail To Sail”, Galeri Kita, Bandung

- “Cataclysm” Swoon Gallery, Bali

- “Cerita Kami Tentang Hidup”, di CCF, Bandung

- “Kota Tua Creative Festival”

sentation”, Soemardja Gallery,

- “FOURPLAY”, Japan Foundation, Jakarta

2012 - “Jakarta Contemporary Ceramic

2009 - “Going Beyond” guest house

Biennale” North Art Space, Jakarta

- “GIF Festival”, www.giffestival.

Keramik, Jakarta

Solo Exhibition

- “Seni Keramik Kontemporer

C.M.N.K Art Space, Bandung

BNE (Bandung New Emergence) Vol.5

Eldwin Pradipta Born in Jakarta, 1990

Education

Fakulty of Art And Design, Bandung Institute

of Technology (ITB), Bandung, Indonesia, Fine

Art, Intermedia Art Studio.

Award 2014

Biennale”, Indonesian National Gallery, Jakarta, Indonesia - “on painting_neun: NATHALIE- KOGER: Motiv”, Pinacoteca Gallery, Vienna, Austria - “When in Bali Do Like the Balinese

- Winner of “Young Artist Award”,

Do”, Kendra Artspace, Bali,

Art|Jog|14, Yogyakarta, Indonesia

Indonesia

- Finalist of “Bexco Young Artist

2013 2012

Busan, South Korea

- Finalist of “Soemardja Award.

Galeri Soemardja, Bandung,

Indonesia - Finalist of “Indonesia Art Award

Yayasan Seni Rupa Indonesia,

- Finalist of “Young Artist Award”,

Art|Jog|13, Yogyakarta, Indonesia

- Finalist of AMD Rising Stars

2014

- “Art|Jog|14 - Legacies of Power”, Taman Budaya Yogyakarta, Yogyakarta, Indonesia - “LOOP Festival”, La Virreina Centre, Barcelona, Spain - “How to Draw”, Gedung Perusahaan Gas Negara, Bandung Indonesia - “Bexco Young Artist Award 2014”, Artshow Busan - Bexco Exhebition Center,

Competition - Motion Graphic

Busan, South Korea

Category, AMD, Jakarta,.Indonesia

- “B-Seite Festival 2014”,

Zeitraumexit, Mannheim, Germany

Goup Exhibition

- “Mapping the Unmapped”, Artists’

2014

Gallery, Fukuoka Asian Art

Museum, Fukuoka,Japan

- “Coefficient of Expansion, The Third Jakarta Contemporary Ceramics

BNE (Bandung New Emergence) Vol.5

- “Pullman Art Night”, Pullman Hotel,

Jakarta, Indonesia (organized by

Artsphere Jakarta)

2013

- “Soemardja Award”, Soemardja

Soemardja Gallery, Bandung.

- “Art|Jog|12 – Looking East: A Gaze

Gallery, Bandung, Indonesia - “Gambar Idoep”, Semarang Gallery, Semarang, Indonesia

upon Indonesian Contemporary

Art”, Taman Budaya Yogyakarta,

Indonesia

- “Lima Pembuka Tabir”, Sarasvati

- “Video Killed the Radio Star - Video

Art House, Bandung, Indonesia

Screening”, Intermedia Studio FSRD

- “SEA+ Triennale (South East Asia

ITB, Bandung, Indonesia

Plus Triennale) 2013”, Indonesian

National Gallery,Jakarta, Indonesia

- “Crossing Conversation / Percaka- pan Menyilang”, Jakarta Art Market

Senayan,East Park, Jakarta,

Indonesia

- “Indonesia Art Award 2013”, Indonesian National Gallery, Jakarta,

Oregon, United States

2010

- “Bandung Contemporary: Disposi-

tion”, Selasar Sunaryo Art Space,

- “Art|Jog|13 – Maritime Culture”,

- “Billboard Art Project” Salem,

2011

- “GAZE: an Initiative Exhibition of Intermedia”, Padi Art Ground, Bandung, Indonesia - “#02 VIDEO:WRK Surabaya Video Festival”, CCCL, Surabaya, Indonesia - “On Air - Video Screening”, Intermedia Studio FSRD ITB, Bandung, Indonesia - “Sambung Jaya - Pameran

Taman Budaya Yogyakarta,

Eksperimental”, old building at

Indonesia

North Sekeloa, Bandung,

Indonesia

2012 - “Dance Your Eyes”, Gedung

Indonesia Menggugat, Bandung. - “Soemardja Mini Art Space”,

BNE (Bandung New Emergence) Vol.5

2009 - “Buka-Buka Intemedia - Video

Screening”, Intermedia Studio FSRD

ITB, Bandung, Indonesia

- “Nu-Substance 2009: Resonance”,

Maharani Mancanagara Born in Padang, 1990

Education Bachelor Degree,Bandung Institute of Technology. Faculty of Art and Design, majoring Printmaking Studio, Bandung,

Auditorium CCF, Bandung, Indonesia - “Titik - TPB FSRD ITB 2008

Group Exhibition

Exhibition”, GSG ITB, Bandung,

2014

Indonesia

- Arte Indonesia 2014, Regenerasi, Jakarta Convention Centre, Jakarta-Indonesia

- BEXCO Young Artist Award, Art

Show Busan 2014,Busan-South

Korea

2013

- Detournement, Duo- Solo Exhibition, ROH Projects, Jakarta – Indonesia - When in Bali do Like the Balinese do, Kendra Artspace, Bali – Indonesia - Indonesia Art Award 2013, Galeri Nasional, Jakarta-Indonesia - Bandung Contemporary : Disposi-

tion, Selasar Sunaryo Art Space,

Bandung-Indonesia

BNE (Bandung New Emergence) Vol.5

- Stepping Into The Light, TuguKun

stkringPaleis, Jakarta – Indonesia

- SPOT ART, MICA Building,

Singapore

- Soemardja Award, GaleriSoemardja,

Bandung – Indonesia

- Lima PembukaTabir, Roemah

Anggi A Sundahdjada, Galeri Soemardja, Bandung- Indonesia

- Festival GrafisBerseni : Reframing

Printmaking, Lawangwangi Art and

Science Estate, Bandung-

SeniSarasvati, Bandung –

2010

Indonesia

Indonesia - KompasMuda- Green Living,

Campus centre ITB, Bandung-

2012 - Ranah Bertabur Kreasi, MEDCO,

Indonesia

Jakarta-Indonesia - Design Statement : A Design

Weekend, Industrial design

exhibition, dia.lo.gue artspace,

Jakarta-Indonesia

- Museum MasaDepan, Pasar Seni ITB 2010, Bandung- Indonesia - Penang International Print Exhi-

bition 2010 (PIPE 2010),

- The Billboard Art Project, digital

Penang State Museum Art and

LED billboards exhibition, Salem,

Oregon-USA

- 15x15x15 Mini Art Project #4 : Mind

Eye Perception, Galeri Soemardja,

Bandung-Indonesia

2011 - LongliveMilosundae, tribute to

Gallery, Penang-Malaysia - Convenient Store, E’sp Gallery, Center Culture France, Bandung - 15x15x15 Mini Art Project #3 :

Recreate x Reality x Represent,

- Atlanta Billboard Art Project, digital

Galeri Soemardja, Bandung

LED billboards exhibition, Atlanta,

Georgia-USA

- Bandung Affairs : 100/1 Affairs Logoset, Lou Belle, Bandung

BNE (Bandung New Emergence) Vol.5

- Benang Hitam, Galeri Kita,

Bandung-Indonesia

2009 - “We Hail We Sail : Jodi in The

Born in Jakarta, 1989

Education Bachelor Degree, Painting at Bandung Institue of Technology, Faculty of Fine Art and Design

Morning Glory Parade, Galeri Kita,

Bandung-Indonesia

- Cerita Benda, KGB Alternative

- Titik, Gedung Serba Guna ITB,

Solo Exhibition 2013

- Sanctum, Platform 3, Bandung.

Room-FSRD ITB, Bandung

Bandung-Indonesia

Mirfak Prabowo

- Youthwaste, Paris van Java,

Group Exhibition 2013

- Locafore, Bale Pare Exhibition Hall, Kota Baru Parahyangan. - Special section, “Offside” Bazaar

Bandung-Indonesia

Art 2013, Jakarta.

2012

- 15 x 15 x 15 , Soemardja Gallery, - Special section commission artwork,

Bazaar Art 2012, Jakarta.

2011 2010

- Kengerian , Galeri Kita, Bandung - Drawing Exhibition “Meniru”,

Campus Center ITB, Bandung. - Inharmonia Parodisio , Dago Tea

house, Bandung..

2009

- Tribute to Bali, Kopi Gesang, Bandung.

2008

- Untitled, Armuh Art Space, Bandung. - How to Draw, YPK, Bandung.

BNE (Bandung New Emergence) Vol.5

Marayana-Mulyana Born in Bandung, 1984

Education

2005 - Fine Arts Department, UPI,

Bandung.

- Design/Art: Renegotiating Boundaries, Lawangwangi Creative

2004-5 - Islamic Financial Institution

Space, Bandung.

Management Department, ISID

2011

Gontor, Ponorogo.

2012

Bandung; and Kedai Kebun Forum,

Yogyakarta.Â

2007

- Mogus World, Galeri Gerilya,

- Time after Time, Niagara Sarang Setan, Bandung.

- Alter Media, Djamoe #4, UPI Bandung.

- Leasure All Mine, Play Dead #2,

- Play Your Magic Finger, Crafty

Galeri Padi, Bandung.

Days #4, Tobucil & Klabs,

Bandung.

- La Light Music Fest, Sabuga,

Group Exhibition :

2014

2009 - Deer Andry, Mes 56, Yogyakarta.

- 4 Artists of Nafas Residensi,

Yogyakarta; and Kuala Lumpur,

Malaysia.

2013 2012

- Bandung Contemporary: Disposi-

Bandung. - Toys Are Us, Crafty Days #3, Tobucil & Klabs, Bandung.

- 51:50, Galeri BOBI, Rumah Proses,

tion, Lawangwangi Creative Space,

Bandung.

2008 - Crafty Days #2, Tobucil & Klabs,

- Indonesian Contemporary Fiber Art #1: Mapping, Art1 Gallery, Jakarta.

- Contemporary Archeology Chapter Two, SIGIarts, Jakarta.

2010 Solo Exhibition :

- Reposisi, Galeri Nasional, Jakarta.

- Start Light, Galeri Gerilya, Bandung.

Bandung. Bandung.

BNE (Bandung New Emergence) Vol.5

Nurrachmat Widyasena

Lives and works in Bandung

Education

Bachelor Degree, ITB Faculty of Art and

Grand Hotel Kemang, Jakarta, Indonesia

Design.2008 – 2013 : Printmaking Art Studio

- “Ciputra Collection”, Art Exhibition,

Program Faculty of Art & Design,Bandung

Institute Of Technology.

CiputraArtpreneur Center, Jakarta, Indonesia - “When In Bali, Do Like The

Award 2013

- Finalist - “Young Artist

Balinese Do”, Art Exhibition,

Kendra Art Space, Bali, Indonesia

Award”,Art | Jog | 13,

Bentara Budaya Selatan,

Yogyakarta, Indonesia, 2013

Bentara Budaya Selatan, Yogyakarta, Indonesia

- Finalist - “SoemardjaAward”,

Soemardja Award, Galeri

Soemardja, Bandung,

Indonesia

- “Art | Jog | 14”, Art Fair,

- “How To Draw #1”, Drawing Festival, Gedung Gas Negara, Bandung, Indonesia

- “Jogja Miniprint Biennale”,

Printmaking Biennale Exhibition,

Solo Exhibition

Bank Indonesia Museum,

2013

- “Patriotic Myth of Space

Age”, Bandung Contemporary,

Solo Exhibition, Kamones Gallery

& Workshop,Bandung, Indonesia

Yogyakarta, Indonesia

ROH Projects,UOB Plaza,Jakarta,

Group Exhibition

2014

2013

- “ICAD 2014”, Art & Design Festival,

- “Detournement”,Duo Exhibition, - “Arte 2014”, Art Festival, Jakarta Convention Center, Jakarta, Indonesia. - “KampungPande”, Art Exhibition,

BNE (Bandung New Emergence) Vol.5

Museum Sri Baduga, Bandung,

- “Spot Art”, Art Exhibition, ARTrium Singapore, MICA Building,

- “Locafore”, Art Exhibition,

Bale Pare, Kota Baru Parahyangan,

Bandung, Indonesia - “Bazaar Art Jakarta & Casa by

Bravacasa”, Art Fair, Ritz-Carlton

tion, Galeri Kita, Bandung.

- “Billboard Art Project”, Salem, Oregon, United States - “Soemardja Mini Artspace”, Soemardja Gallery, Bandung,

2011

wangi Science & Art Estate,

Bandung, Indonesia

Jakarta, Pacific Place, Jakarta,

- “Horizon Of Strenght : Meta Kriya

Nusantara”, Art Exhibition,

Kunstkring Art Gallery, Jakarta,

- “Art | Jog | 13”, Art Fair,

Yogyakarta, Indonesia

2010

Exhibition, FSRD ITB, Bandung,

- “Urban Frames”, Photo Exhibition, Galeri Parahyangan, Bandung, - “Portraits III”, Online Art Exhibition,

2012 - “Art | Jog | 12”, Art Fair,

Bentara Budaya Selatan,

Yogyakarta, Indonesia

Artist Portofolio Magazine. - “Villamerahtorium”, Art Exhibition, Padi Art Ground, Bandung, - “Museum MasaDepan”, Art Exhib- tion, CC Barat ITB, Bandung, - “Penang International Print Exhibition 2010 (PIPE 2010)”,

- “Drawing A Distance”, Drawing

Art Exhibition,Penang State

Exhibition, House Of Matahati

Museum Art and Gallery,

Gallery, Selangor, Malaysia

Bentara Budaya Selatan,

- “Art | Jog | 11”, ArFair,Bentara Budaya Selatan, Yogyakarta,

- “Open Visual Art”, Academic

- “Festival GrafisBerseni”, Lawang

- “Those Good Old Days”, Art Exhibi-

Penang, Malaysia - “Convenient Store”, Art

BNE (Bandung New Emergence) Vol.5

Exhibition, E’spGallery, CCF,

- “15x15x15 Mini Art Project#3 :

Recreate x Reality x Repre-

sentation”, Art Exhibition,

Soemardja Gallery, Bandung

- “Bandung Affairs :100/1 Affairs

Logoset” Logo Exhibition,

Lou Belle, Bandung, Indonesia

2009

Resatio Adi Putra Born in Bandung, Indonesia.

Exhibition 2014

Art Show by Resatio, Viavia Jogja,

Gedung Jogja Gallery, Indonesia - 15x15x15 Mini Art Exhibition,

Galeri Sumarja Bandung,

- “Benang Hitam” Printmaking &

2013

Drawing Exhibition, Galeri Kita,

- “Indonesian Art Festival: 17 Detik, Esplanade, Singapore

- “We Hail We Sail : Jodi in The

Tjikini, Jakarta, Indonesia

Jakarta

participant, Tamansari, Bandung,

Cigondewah, Bandung, Indonesia

Exhibition, KGB Alternative

Room-FSRD ITB, Bandung,

Forum Jogja, Indonesia

2012 - Caffeinated Inkubator Asia Jakarta,

- “Cerita Benda” Drawing

- Kopi Keliling Vol. 7 Kedai Kebun

- “Mural Cigondewah” participant,

- Art Act II Kopi Keliling Kedai - Aqua: Temukan Indonesiamu,

Exhibition, Galeri Kita, Bandung. - Mural BonBin “RuangJeda”

- Rupanda: Mendengar Dengan Nada, Melihat Dengan Hat,

Morning Glory Parade” Art

- Structured Chaos: A Solo Collage

Indonesia

Jakarta, Indonesia

- “Titik” Academic Exhibition TPB

FSRD ITB, Gedung Serba Guna

ITB, Bandung, Indonesia

- Art Act Kopi Keliling 1/15 Coffe, - Kopi Keliling Vol. 6, 1/15 Coffe, Jakarta, Indonesia

- “Design/Art”, Lawangwangi, Bandung

BNE (Bandung New Emergence) Vol.5

2011

Indonesia

- The Other I Galeri Padi Badung, - Kopi Keliling Vol. 5 Jakarta, Indonesia

Zaldy Arman Syah Born in Jakarta, 1986

Education Graduated from the Faculty of Art and Designs at Bandung Institute of Technology (ITB) in 2010, majoring in Printmaking. Award 2011

- Prize Winner, Kyoto International

Woodprint Association (KIWA),

Japan

Group Exhibition 2014

- How to Draw, Gedung Gas Negara, Bandung, Indonesia

2013

- Bandung Contemporary, Lawang wangi, Bandung, Indonesia

2012

- Sisi Lain Bumi, Padi Art Ground, Bandung, Indonesia - Lindap,

2011

rumah proses, Bandung,

Indonesia - Jakarta Biennale #14, Central Park, Jakarta, Indonesia - Festival Grafis Berseni, Lawang wangi, Bandung, Indonesia - Survey #3, Edwin Gallery, Jakarta,

BNE (Bandung New Emergence) Vol.5

- 6th Kyoto International Woodprint

Association (KIWA) Exhibition,

Kyoto, Japan

- Soemardja Award, Galeri

Soemardja, Bandung, Indonesia

2010

- Penang International Printmaking

Exhibition, USM, Penang, Malaysia

- Konvenient Store, Espâ&#x20AC;&#x2122; Art Gallery, CCF, Bandung, Indonesia

BNE (Bandung New Emergence) Vol.5

Ucapan Terimakasih/ Thanks To : Aulia Ibrahim Yeru & Agus Novianto : Labtek Indie, HIMAFI ITB

Bonggal Hutagalung : Jatiwangi Art Factory, Pemuda Setempat dan salam untuk Persekongkolan.

Eldwin Pradipta : Tuhan YME, kedua orang tua, staff SSAS, Mitha Budhyarto, Sally Texania, Krisna Murti, Ade Darmawan, Yusuf Ismail, Muhammad Akbar, Martin Kristianto, Mahardika Yudha, Ruang Rupa, Herra Pahlasari, S.14 dan Videolab.

Maharani Mancanagara : Keluarga Soegriwo - Aziz Hakim, Mr. Sunaryo, Mr. Djoko Siswadi, Yus Herdiawan, Elaine VBK, Chabib Duta, dan seluruh tim SSAS, Arsip Nasional Republik Indonesia, Bambang Sugiharto, Mirwan Andan, Syafiatudina, Curators BNE vol. 5 Mitha Budhyarto & Sally Texania, Rekan- rekan BNE vol. 5, Nurrachmat Widyasena, Teman- teman FSRD ITB, Arief Ibrahim Adha, Ersi Laras

Mirfak Prabowo : Allah SWT. Ayah, Ibu, Kakak, dan Adik saya atas dukungannya. Bea Ariani Putri yang selalu membantu meluruskan kembali pola

BNE (Bandung New Emergence) Vol.5

berpikir saya. Pak Yus Herdiawan,dan Mbak Elaine V.B Kustedja sebagai coordinator dan program manager SSAS. Curator BNE Vol.5, Mitha Budhyarto dan Sally TexaniaJunizar Fachamy, M. Ady N., Wibi R.T., Michael Binuko, dan segala pihak yang sudah membantu baik itu memutar otak atau pun perlakuan fisik, saya ucapkan terima kasih yang sedalam-dalamnya.

Nurrachmat Widyasena : The Almighty, my dear family, Mr. Sunaryo, Head of LAPAN Mr. Thomas Djamalludin, Selasar Sunaryo staff especially Mba Elaine, Pak Yus and Chabib, Power Girl Curators : Sally & Mitha, fellow BNE Vol.5 artists, Maharani Mancanagara, Orbit House : Eldwin Pradipta, Aviandari Lestari, Ryanto Widiastono, Ilham Syahputra, FSRD 2008, â&#x20AC;&#x153;Bantuan Mejikâ&#x20AC;? : Sandut, Iir, Faidhan, Dwi, Grahito, Titoy, Yudo, Njang, Pak Amas, Anggasta, Tata, Fatchi, Misha and those who gave me support that I can not mention one by one.

Resatio Adi Putra : Selasar Sunaryo Art Space, Mitha Budhyarto, Sally Texania, Elaine V.B.K., Yus Herdiawan, Wa Sas dan Rumah Baca Buku Sunda jeung Sajabana, semua seniman BNE vol 5, Rumi Siddharta, Yudi Triyadi, Debra Raymond, Bang Simon si penjual buku bekas, semua yang telah membantu untuk proses Bandung New Emergence vol. 5 dan proses pembuatan karya saya yang tidak bisa saya sebutkan satu persatu.

Zaldy Armansyah : Tuhan, Ayah saya almarhum Abudin Hamzah, keluarga di rumah, tim kurator dan rekan-rekan perupa BNE vol. 5, seluruh staf Selasar Sunaryo, narasumber riset, teman-teman perupa seperjuangan, kost jl. piit, rekan kantor jl.radjiman, angkot kota bandung, toko kertas, dan semua yang nama-namanya tidak bisa disebut.

BNE (Bandung New Emergence) Vol.5

SELASAR SUNARYO ART SPACE MANAGING ORGANIZATION: Program Advisor/ Director Bale Tonggoh Coordinator Program Manager Program Division General Affairs Finance Documentation Information & Technology Frontdesk Librarian Exhibition Display Security Photographer Videographer

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Exhibition Guide

Sunaryo & Siswadi Djoko Yus Herdiawan Elaine V.B. Kustedja Chabib Duta Hapsoro Yanni Aman Conny Rosmawati & Rita F. Diah Handayani Maksi Nirwanto Irma Melati Ola Triana Martasutisna Cecep Hadiat, Yadi Aries, Ismail, Ade Sutisna Suherman, Cucu Suanda, Yusuf Ashari, Fuad Adnan Hutomo Putra, Meilanti Asriana Mentari Muhammad Akbar, Adnan Hutomo Putra, Meilanti Asriana Mentari : Nadia, Dea, Gilang, Mike, Dini, Bianca

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BNE (Bandung New Emergence) Vol.5