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Swedish Artist Richard Winkler at Home in Bali

Work in progress                             Richard Winkler at work in his Sanur studio

Swedish artist Richard Winkler’s creative development charts a course that isn’t unlike others who have settled in Bali. He has, however succeeded in doing what few foreign artists in Indonesia can do.  Art lovers and collectors quickly recognized Winkler’s talent and he created a niche within the large, yet difficult to penetrate, Indonesian contemporary art market.

Within his paintings Winkler creates a fantastic Balinese utopian landscape. His compositions feature figures, bulbous and distorted, that contain the extraordinary story of his own body and personal experience of having to cope with a rare bone disorder. From an early age painful boney growths continued to reappear on Winkler’s limbs and he had to undergo regular surgery to have them removed.

Farmers of the Blue Hills, 150x200cm, 2010. oil on canvas Richar Winkler.                                        Farmers of the Blue Hills, 2010

“These experiences taught me to love and honor the physical vehicle in which I was born. They have inspired me,” Winkler said.  “This has helped develop a resilient character, and given me an enormously positive outlook on life.”

Winkler’s figures reflect the creative nature of the human DNA that manifests in countless body forms and sizes, from obese to beautiful, and from the vigorous to the diseased.   “I resonate with the abstract nature of my figures. Subconsciously a part of me springs forth and then in the studio it comes to life through my works. It is my own unique creative process,” he adds.

Mother Earth, 2011, Bronze, 217Hx152Wx212D                                         Mother Earth, 2011

At a glance Winkler’s oil paintings are an amalgamation of subtle curves, delightful arcs suggesting nature’s perfect symbol – the circle. The exaggerated human forms that occupy his compositions feature bulging backsides, toros and limbs. His works are studies of balance and precision, enhanced by his perfect brush work technique.

Winkler’s coloration is never over powering, his rich environmental scenarios send tranquil messages. The soft greens and blues within his tropical locales contain delicate, soothing melodies. Occasionally he adopts contrasting colors, positioned to create aesthetic impact.

20160825_161839                                                  A Beautiful Afternoon, 2016

Rarely does Winkler utilize the potency of the straight line within his settings. When he does it will be the horizon line, that helps denote the composition’s depth of field, while delivering a jolt of tension within his “sea of curves”.

About 12 years ago Winkler was driven to transform his ideas into large three dimensional forms. His process began with experimentation and learning how and what he needed to be. First he constructed and ‘played’ with models, simplistic and crude, and then the momentum of his creativity grew. It was not long before Winkler was forging wonderful sculptures in bronze.

20160805_155907

These are monumental, minimalist reclining figures, some more than 3 meters in height. Winkler takes the voluptuous characters from his paintings and expands on their size. To achieve the perfect symmetries in his sculptures requires time and skill, so during the process he must continuously run his hands over the extremities of the models to identify and correct imperfections.

The models are then dismantled in his Sanur studio and transferred to Central Java,  reassembled and caste in liquid bronze, and then the finishing is done. His characters are finally positioned according to the client’s wishes, and appear rooted and secure as if they have grown up and out of the earth.

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Richard Winkler was born in 1969 in Norrkoping, Sweden and studied graphic design and illustration at the Beckman’s School of Design in Stockholm. For some years he worked as an illustrator for advertising and magazines.  In 1997 he moved from Europe to Ubud to become a full-time painter. His work is a metaphor for the omnipotent fertility of the universe, while celebrating the beauty of the Balinese landscape.

Words & Images: Richard Horstman

 

 

 

 

 

 

 

 

 

 

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Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, August 2018

dewa putu mokoh "iringan pengantin" image courtesy of larasati                     “Iringan Pengantin” – Dewa Putu Mokoh 

 

Each year Larasati Auctioneer’s, Indonesia’s oldest fine art auction house, present two auctions in Ubud highlighting Balinese traditional art. Upcoming Sunday 26 August is seventy-four items for sale in the Traditional, Modern & Contemporary Art Auction. Open to the public, viewing begins 11am Friday 24 August at the Larasati Art Space at Tebesaya Gallery, Ubud, Bali.

The sale is led by a collection of Mr & Mrs Charles Powell, USA, and three beautiful traditional paintings by Wayan Radjin from the 1970’s. The sale presents works by old masters of traditional genres, some unique and rare paintings, works with investment potential, and an array of compositions that allow good entry opportunities into the market for new collectors.

wayan radjin "ramayana membebaskan dewi sita" image courtesy of larasati               “Ramayana Membebaskan Dewi Sita”- Wayan Radjin

 

Catering for a range of tastes works on offer include ink, and watercolour on paper, Indonesian modern art, Balinese modern and contemporary paintings and works in traditional styles, along with a wood carving. Distinguished Balinese artists featured are Ida Bagus Made Poleng, Ida Bagus Made Widja, Gusti Ketut Kobot and Nyoman Gunarsa. For new buyers wishing to enter the market, estimated prices in this sale begin at IDR 500,000 (USD $35). Auctions offer buying opportunities at prices much cheaper than purchasing works directly from the artist studio, or galleries.

These works by respected old masters will be of interest to the connoisseurs of Balinese art. Tjokorda Oka Gambir (1902-1975) is one of the founders of the Ubud School of Painting, lot# 549 Mythological Scene in Kamasan Style is a large 248 x 132cm work in natural colour on cloth with an estimated price of between IDR 65 – 80 million, while lot #550 Garuda & Wisnu is by one of the esteemed masters of the influential Pitamaha Artists Association from Ubud (1936-1945), Gusti Ketut Kobot (1917-1999) with an estimated price of between IDR 95 – 110 million.

dewa ketut rungun "burung burung bangau" image courtesy of larasati                   “Burung – Burung Bangau” – Dewa Ketut Rungun

 

Lot #574 Taris Bali is a superbly balanced composition of traditionally attired Balinese warrior emerging from the forest performing the unique warrior dance by Ida Bagus Made Poleng (1915 – 1999) who is regarded as one of the finest Balinese painters of the past century. This work bears the stamped identification that guarantees authenticity from the Ida Bagus Made Foundation, and has an estimated price of between IDR 165 – 190 million.

The following are rare pieces lot #544, Sarasvati is an early work by the respected Batuan painter Wayan Taweng (1922 – 2004) who trained under Nyoman Ngendon (1906 – 1946) with an estimated price of between IDR 10 – 15,000,000 million. Wayan Radjin (b.1945) is the son of the celebrated Batuan artist I Djata, considered the founding father of the Batuan School. Lot #527 Ramayana Membebaskan Dewi Sita by Radjin is a beautiful acrylic on canvas composition with an estimated price of between IDR 28 – 38 million. Most of Radjin’s works are on paper, and rarely does such a quality work come onto the market.

gusti ketut kobot "garuda wisnu" image courtesy of larasati                          “Garuda Wisnu” – Gusti Ketut Kobot

 

Lot # 572 Iringan Pengatin is a unique work because it is a crowded composition by the renowned painter of the unconventional, Dewa Putu Mokoh (1913 – 2010), and has an estimated price of between IDR 7 – 10 million, while lot #521 Ibu dan Anak, featuring a composition of a mother and child is too an unusual work by Dewa Ketut Rungun (1922-1986), who is noted for his bird compositions. It has an estimated price of between IDR 15 – 20 million.

Opportunities for good investments are lot #513 a. Di Malam Ini and b. Aku dan Dia Bermain, two paintings by Indonesia’s most important woman artist I Gusti Ayu Kadek Murniashi (1966 – 2006), with a combined estimated price of between IDR 18 – 25 million, and lot #520 Bali Life by Ketut Gelgel, which has an estimated price of between IDR 95 – 110 million.

i gusti ayu kadek murniashi "di malam ini" image courtesy of larasati                  “Di Malam Ini” – I Gusti Ayu Kadek Murniashi (Murni)

 

New collectors have opportunities to enter the market with lot #507 Hierarkie by Susilo Budi Purwanto, Berburu Kuda, lot# 512 by Made Wiradana, and two abstract oil paintings, lot #540 Kampung Nelayan Kusamba and lot #541 Gunungan Semar by noted Javanese painter Bagong Kussudiardjo (1928-2004), and the beautiful flowing flora and fauna forms within Burung Burung Bangau, lot #573 by Dewa Ketut Rungun. Emerging Balinese artist Ngakan Putu Agus Arta Wijaya is a young artist worth keeping an eye on, with excellent technical skills, good ideas and a distinctive style, lot# 508 Upgrade comes with an estimated price of between IDR 7.5 – 9 million.

Other popular artists within the sale are renowned Dutch colourist Arie Smit, Otto Djaja, Mochtar Apin, Jehan, Ida Bagus Nyoman Rai, Nyoman Dewa Jati, Dewa Putu Bedil and Agung Mangu Putra.

For buyers seeking to invest it is important to have a strategy, with the view of buying and holding for at least 10-15 years, and to invest early in an artist before everyone is getting on to the market. Look for works that are rare and unique – uniqueness referring to the quality and how often the artist makes such image or composition. A painting’s provenance is important for the established taste and also for authenticity, with the more prominent the previous owners, the better. This also includes the works history of exhibitions and inclusion in books or catalogues.

ida bagus made poleng "taris bali" image courtesy of larasati                           “Taris Bali” – Ida Bagus Made Poleng

 

Potential buyers bidding over the phone, or via real-time Internet bidding who are unable to attend the previews days or auction are advised to contact Larasati and enquire about the colour reproduction accuracy of the images contained within the online catalogue to ensure that what they wish to purchase can be realistically appraised. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections, therefore condition reports of the works, outlining the paintings current state and whether it has repairs or over painting, are available upon request.

Provenance, the historical data of the works previous owner/s is also important and is provided. An information guide including before the auction, during the auction and after the auction details, including conditions of business, the bidding process, payment, storage and insurance, and shipping of the work is also available. A buyer’s premium is payable by the buyer of each lot at rate of 22% of the hammer price of the lot.

The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati

 

 

 

 

 

 

 

 

Smart’s cutting parade of choreography

Chout Ballet Curtain, (The Choreography of Cutting) @ Tony Raka Art Gallery - Image Courtesy of Honold Fine Art & Evelyn PrittChout Ballet Curtain, (The Choreography of Cutting) at Tony Raka Art Gallery, Ubud – Image Courtesy of Honold Fine Art & Evelyn Pritt

 

Australian contemporary artist Sally Smart has a long and enduring bond with Indonesia, having first exhibited in 2005 at the Jogja Biennale. “I have a special fascination in the shadow theatre, and have had a collection of Wayang Kulit puppets for many years. This has inspired my interest in the representation of the shadow world and its story telling dimension, across cultures,” Smart said.

“I visit Yogyakarta regularly where I have formed relationships with artists and artisans who I continue to collaborate with and engage in immersive dialogue and practice, examining cultural history and the commonalities in the post-colonial world discourse.”

 

P.A.R.A.D.E - Sally Smart @ BIASA - Image Richard Horstman                         P.A.R.A.D.E – Sally Smart at BIASA, Kerobokan

 

In 2012, as the Sackler fellow at the University of Connecticut, USA Smart worked with their School of Puppetry and animation, learning shadow puppet techniques and creating a series of works that also included moving image. Her puppet creations are a fusion of Eastern and Western cultures, the artist also being inspired by the seminal European avant-garde artists of the Dada movement, along with the Constructivism philosophies. She positions early 20th century experimental choreography, costume and theatre design alongside traditional Indonesian shadow puppet performance.

The ‘immediacy and simplicity’ of collage as a potent contemporary art practice is often overlooked. Cutting out and re-assembling, taking from one source to compliment another is a disruptive, yet highly creative method with limitless potentialities. For Smart it is the foundation of the communication of her artistic ideas. “The cut out methodology has been a strong part of my practice since the early nineties – the expression of a cut out – aligns silhouette and the shadow play conceptually and technically,” she said.

Puppets (The Choreography of Cutting) - Sally Smart @ Tony Raka Art Gallery - Images coutesy of Honold Fine Art & Evelyn PrittPuppets (The Choreography of Cutting) – Sally Smart at the Tony Raka Art Gallery – Images coutesy of Honold Fine Art & Evelyn Pritt

 

Honold Fine Art (HFA) presents in parallel solo exhibitions Sally Smart’s most recent offerings held in two different venues in Bali, Indonesia. From 19 June The Choreography of Cutting opened at the Tony Raka Art Gallery, Ubud, and P.A.R.A.D.E. at BIASA in Kerobokan. Her work ‘speaks’ about the human body as a vehicle of expression through movement, performance and gesture, revealing collective and individual anxieties, while questioning the status quo.

At a glance both shows appear worlds apart, yet they are innately connected, P.A.R.A.D.E. being the perfect synthesis of Smart’s two works exhibited in Ubud. Displayed at Tony Raka is Chout Ballet Curtain, (The Choreography of Cutting) 2018, an enormous 350 x 900cm wall hanging assemblage in which abstract organic forms and imaginary landscapes come alive upon Smart’s colourful textile curtain that includes dye transfer photographic prints on satin and chiffon, with multiple collage elements. And, Puppets (The Choreography of Cutting) 2016-18 a mixed-media installation of over 30 abstract suspended puppets, with moveable parts and of varying dimensions.

P.A.R.A.D.E - Sally Smart @ BIASA Image Courtesy of Honold Fine Art & Evelyn PrittP.A.R.A.D.E – Sally Smart at BIASA  – Image Courtesy of Honold Fine Art & Evelyn Pritt

 

P.A.R.A.D.E is inspired by Smart’s encounter with the immense stage curtain painted by Pablo Picasso for the Ballet Parade in 1917 on display in Rome in 2017. In Smart’s P.A.R.A.D.E which features Parade (In Being Dancing), 2018, Staging the Studio (Blaubart &Pina), 2017-18, and Drama (Staging the Studio), 2018, all floor to ceiling curtains with photographic dye transfers on textile with collage elements, a troupe of figures are represented on transparent textiles intersecting and overlapping to create multiple images of performance.

While Chout Ballet Curtain is predominated by strong colors and dense ‘heavy’ fabrics, the illusory impact emphasizes the laws of gravity grounding the observer to the floor. P.A.R.A.D.E, on-the-other-hand, has the opposite impact. It’s multiple see-through films are soft and delicate, soothing upon the eye. While its transparent qualities with layered figures appear sensual – a most potent allure. Air conditioning choreographs gentle rhythmic waves of motion across the curtain’s surfaces that are seemingly engaged within a dance of their own, and we become captivated in the dynamic interplay of Smart’s layered translucent ‘performers’. Our vision is then drawn upwards allowing us to feel elevated and expansive. The beauty and simplicity of the material is seductive – our experience is potent and ethereal.

Puppets (The Choreography of Cutting) - Sally Smart @ Tony Raka Art Gallery - Image is coutesy of Honold Fine Art & Evelyn PrittPuppets (The Choreography of Cutting) – Sally Smart at Tony Raka Art Gallery – Image coutesy of Honold Fine Art & Evelyn Pritt

 

One of Australia’s leading contemporary artists, Smart is the recipient of numerous awards and prizes. She is currently the Vice-Chancellor’s Professorial Fellow at University of Melbourne, and a board member of the National Association for the Visual Arts. She is represented in significant international public and private art collections. Recognized internationally for her large scale cut-out assemblage installations and, increasingly, performance, Smart’s artistic practice engages identity politics and the complex relationships between the body, thought and culture.

The most delightful aspects of Smart’s work are the opportunities for audience interaction, and personal art experiences. Her installations invite the observer to venture closer, to wander within and take part in a make believe other world. In response some people become animated in their own intimate performance, which has the potential to touch them deeply, while being coded into their memories.

Detail of Chout Ballet Curtain, (The Choreography of Cutting) - Sally Smart - Image Richard Horstman   Detail of Chout Ballet Curtain, (The Choreography of Cutting) – Sally Smart

 

“I am interested to observe the audience physically engage with my work,” the artist said. “As performance and movement are imbedded conceptually in the works, the feeling of movement and dance within the space becomes manifest, with the puppets and the curtains – making it feel dynamic and engaging. I was excited to see this.”

When asked if she believes that as artists seek out new avenues to create more positive opportunities for fresh and personal audience art experiences that society will gain greater benefits through contemporary art? Smart responded, “Yes, always when something is triggered, even the slightest gesture, to reveal and present possibilities for news ways of thinking an engagement in all aspects of society. Art makes essential pathways.”

20180620_155042_IMG_4240                           Detail of P.A.R.A.D.E – Sally Smart at BIASA 

 

 

The Choreography of Cutting

at Tony Raka Art Gallery,

Jalan Raya Mas 86, Mas, Ubud

& P.A.R.A.D.E. at BIASA,

Jalan Raya Kerobokan 51 X, Kerobokan

Open from 17 June – 17 July 2018

www.sallysmart.com

 

Words: Richard Horstman

Images: Courtesy of Honold Fine Art with Evelyn Pritt & Richard Horstman

Welcome to Denpasar2018 Art+Design: An Exhibition & Movement

Invited artist Yoka Sara                        Denpasar2018 – invited artist Yoka Sara

 

During the month of October a unique program of activities presented by CushCush Gallery (CCG) in Denpasar highlights the ongoing transformation of the city into a modern creative hub that is evolving side-by-side with its cultural and historical icons. Opening 5 October DenPasar2018 Art+Design – An Exhibition & Movement headlines the program along with other community happenings, including Design Talk, Design Walk, Open Studios, that coincide with the launch of the DenPasar Art+Design Map 2018/2019.

 “In recent years many creatives from throughout Indonesia and overseas have been attracted to Bali for its lifestyle and rich culture. Many decide to base themselves here, while others return regularly. As the island’s multi-cultural society evolves so does its creative potential,” said CCG co-founder Suriawati Qiu, who along with her partner Jindee Chua in July 2016 launched CCG upon the local art and design landscape injecting exciting energy into Bali’s creative scene.

Curatorial Talk #1 with Kevin & Marishka 6 10 2018   Curatorial Talk #1 with Kevin & Marishka 6th October at CushCush Gallery

 

“Nowadays many of Bali’s youths have been educated in universities outside Bali and internationally, and then return. They are important agents of change and vital contributors to Bali’s artistic spirit and are stakeholders in the new emerging creative economy.”

The development of Bali’s contemporary art and design infrastructure (including new art spaces, co-working creative hubs, festivals, and organizations) are the important meeting and showcasing points for the thriving new generation of creatives. Following on from the first edition released in 2017 the DenPasar Art+Design Map 2018/2019 will include a listing of community events celebrating Art & Design in October.

OLYMPUS DIGITAL CAMERA               Design Talk – Denpasar Inside : Out at Maya Sanur Ballroom

 

The DenPasar Art+Design Map 2018/2019 highlights museums, government and cultural institutions, art and design educational institutions, art galleries and creative spaces, art and creative communities, festivals, artists’ studios, cultural heritage/public spaces/monuments, and the markets within the city of Denpasar.  The map is endorsed by the Denpasar Central Government (Pemerintah Kota Denpasar), Indonesian Hotel and Restaurant Association and the Denpasar Tourism Promotion Board, along with the Indonesian Government’s Agency for Creative Economy, Badan KREATIF Denpasar. Printed in 10,000 copies the map will be distributed at selected Creative spaces and hotels in Bali over the next twelve months. The unique feature of this year’s map is the QR Code to allow direct access to the listed venues via the smart phone App.

“The recent importance given to the creative economy, and its support through government organizations such as Bekraf encourages initiatives in the Creative sectors of economy,” Suria added. “The government plays an important role too.”

Invited artist Alit Ambara                         Denpasar2018 – invited artist Alit Ambara

 

Three invited artists along with 12 Shortlisted Open Call artists will exhibit in DenPasar2018 – An Exhibition and Movement. Themed “Jingga”, which describes the colour of twilight and is a metaphor of how the people of Denpasar feel about both the joys and hardships living in Denpasar. The theme endeavours to capture varying perspectives within Bali’s multi-layered realities in a three-month long exhibition showcasing works of fine artists, designers, architects and performers. Works featured include paintings, installations, multimedia projections, photography, ceramic art, and posters.

Co-curated by Suriawati and Jindee, and independent curator Stella Katherine, the invited artists include Sydney-based painter and performer Jumaadi (b. 1973, Sidoarjo, East Java), who has collaborated with Balinese traditional Kamasan painters, designer and activist Alit Ambara (b. 1970, Singaraja, Bali), exhibiting his poster designs and artefacts used in social movements, and renowned artist and architect Yoka Sara (b. 1965, Denpasar, Bali), who founded and leads SPRITES ART & CREATIVE BIENNALE (est. 2013).

Layung #2 zatkimia 17 10 2018            Layung #2 zatkimia at CushCush Gallery 17th October

 

DesignTalk invites distinguished practitioners and scholars of architecture and design disciplines, including Budiman Hendropurnomo of DCM Indonesia, Maximilian Jencquel of Studio Jencquel, a lecturer and researcher from Warmadewa University Gede Maha Putra, and Japa Wibisana and Magat Kurniawan as representatives of the Indonesian Young Architects community, to share their specialized perspectives on the evolution and transformation of Bali’s architecture. DesignTalk is hosted by Suzy Annetta, the Editor-in-Chief of Design Anthology Magazine and is themed “Bali Inside:Out”.

DenPasar2018 Art+Design is a collective effort to mark the city with its own distinct character as a hub for contemporary arts, design and culture. With CCG’s DenPasar program we aspire to put Denpasar city in the mapping of contemporary Art + Design in Bali and beyond by showcasing the potential in Denpasar and inviting Art + Design lovers to come explore,” Suria stated.

Denpasar2018 Mural Jamming with Kuncir and students of ISI Denpasar on the walls of the Kerobokan prison 30 10 2018Mural Jamming on the walls of the Kerobokan Prison with Kuncir and art students from ISI Denpasar 30th October

 

This combination of an exciting mix of people who are presently in Bali, and the many active platforms give a rise to exciting collaborations and events, to be shared amongst local communities. This visionary initiative helps to lay the foundation for increasing art/cultural/design tourism into the island’s capital and developing the local creative economy.

Located near the heart of the city, CCG is in Gang Rajawali, off Jalan Teuku Umar. An alternative gallery, with an inspiring and unique program embracing interactions and multidisciplinary creativity via explorations at the intersections of art, design, materiality, techniques and crafts, CCG prioritizes community engagement and learning, along with children’s workshops. Open to the public CCG is a must see in Denpasar.

Invited artist Jumaadi

                          Denpasar2018 – invited artist Jumaadi

 

Gotong Royong Seni with Mella Jaarsma 10 11 2018gotong royong seni with Mella Jaarsma 10th November at CushCush Gallery

 

Denpasar2018 Ceramic Painting Workshop 20 10 2018               Ceramics painting Workshop at CushCush Gallery 20th October

 

 

 

DenPasar2018 Exhibition continues until 5 January 2019

Monday—Friday: 9:00AM–5:00PM
Saturday: 9:00AM–12:00PM

CushCush Gallery (CCG)

Jl. Teuku Umar Gg. Rajawali No.1A Denpasar, Bali

Tel. (62) 361 484558

http://www.cushcushgallery.com

 

Words: Richard Horstman

Images courtesy: Denpasar2018 & CushCush Gallery

 

 

Investing in Balinese traditional art? Now is the right time.

IMG_8546 National Struggle                    National Struggle, 2016 – Pande I Made Dwi Artha

 

Within the sphere of Indonesian art, Balinese traditional art is a small niche market. It has recently, however, witnessed positive developments, and this progression, both in its appreciation and valuation, is leading to increasing national and international popularity.

The rapid evolution of information technology has led to greater access to knowledge about Balinese art, along with the publishing of more quality art books. Recent developments within the Bali art infrastructure, and the fact that experts believe the market is undervalued, with strong future growth potential, point to now being an excellent time to buy Balinese traditional art as an investment.

"Tapak Dara - Unity Tapak Dara - Pilar Kebangsaan" Aris Sarmanta. Image Richard HorstmanTapak Dara – Unity Tapak Dara – Pilar Kebangsaan, 2017 – Wayan Aris Sarmanta

 

The dynamics leading to Balinese art being underappreciated and undervalued has been due to its perception. Within world art Balinese art has been maligned, often referred to as ‘tourist’ and folk art – a craft without a legitimate place in Indonesian art history. Some of its finest practitioners, however, were, and are today, from the Balinese high castes therefore, it is not an art form exclusive to the common people. The leading artists nowadays are in a life long, ‘sacred’ pursuit dedicated to reaching new levels of technical skill and aesthetic mastery.

Initially collected and exhibited in anthropological museums of the Netherlands, and not in the renowned art museums of Europe, it was presented with a demeaning colonial narrative, referred to as art made by primitive people. This is situation, however, has recently undergone change. The institutions with the most important collections of Balinese art have been rebranded – renamed Museums of World Culture. From now on it will be presented free from the old narratives, given special curatorial attention to its importance, while being exhibited with the highest technological standards. This will impact positively upon its perception and appreciation internationally, and within Indonesia.

Wayan Budiarta - Drowning - 2017                                Drowning, 2017 – Wayan Budiarta

 

During the past twelve years Jakarta auctioneers Larasati have been tireless promoters of Balinese traditional art. 2018 marks the tweleth year of its Bali auctions, held twice yearly in Ubud. Larasati’s website provides sale data from past auctions, information, and access to online live bidding. Market data reveals strong growth for Ubud painter A.A Gde Anom Sukawati, if you purchased a work in 2003 for about USD 2,000 – 3,000, it can be sold at auction in 2016 at about USD 23,000. Similarly if you invested USD 2,000 – 3,0000 in 2003 on a masterpiece by Ida Bagus Putu Sena, it sold at auction in 2012 for about USD 14,000.

The major change maker on the Balinese art landscape is the TiTian Bali Art Foundation, located in Ubud. Open in 2016, and specializing in identifying, and nurturing emerging talent and introducing the best artists to the market. During 2017 TiTian presented some of the finest artists from the renowned school of Batuan painting. Wayan Budiarta, Wayan Aris Sarmanta (winner of the 2018 TiTian Prize), Pande I Made Dwi Artha and Gede Widyantara are young talents on the rise. Six paintings by two of these talents were purchased by Museums of World Culture and soon will be exhibited in the Netherlands.

Made Griyawan ' The Unlucky Monkey"                         The Unlucky Monkey, 2016 – Made Griyawan

 

Each year a new sector of world art comes under the auctioneers spotlight at Christie’s and Sotheby’s. In 2017 it was African art – the market response was increased demand, and new record prices. It is inevitable that more international collectors will turn their attention here due to the quality art at cheap prices. Could Balinese traditional art be one of the next booming markets?

Buying the right art requires some know how. Here are some tips for new collectors:

-Do your research and learn as much as possible through books and online information.

-Visit museums, galleries, auctions, artist’s studios, and exhibitions. Immerse yourself in art in order to train your eye.

-Get to know collectors and the experts. Seek out advice while learning about the industry.

-The best investment is with the emerging artists. Their works are cheaper and have a great potential for increasing in value and leading to future gains.

-Identify potential future masters by self-research and scouting, or align yourself with artist incubators.

-Invest early on masterpieces by the potential future masters.

-Think long term and hold for at least 10-15 years to wait for the market to mature for profit making.

-Works at auction often sell for prices much lower than that at galleries, or the artist’s studio.

-When buying at an auction set the price that you are not prepared to go above.

-There are still many Balinese works, often treasures, that remain forgotten, or unrecognized, which are stored away, and are yet to find their way onto the market.

-Young talent is thriving in the villages of Batuan, Keliki and Ubud and these important genres are in exciting new eras of development, driven by well-organized art collectives.

-Look out for the Larasati auction previews published online in the Jakarta Post.

bhineka-tunggal-ika-mungku-muriarti-mura                                     Painting by Mungku Muriarti Mura

 

Words & Images: Richard Horstman

Balinese art patronage – now & then

Balinese Kamasan Painting                                          Balinese Kamasan Painiting

 

Balinese painting has a rich and unique history dating back over 400 years. Originally the work of artisans from the East Javanese Majapahit Empire (13-16th Century), this special narrative style of painting expanded into Bali in 1343 when the Majapahit conquered Bali, introducing the Hindu culture, and institutions.

The collapse of the empire in 1515 led to the mass migration of the Majapahit aristocracy to Bali, and from the 16th – 20th centuries, the village of Kamasan, Klungkung, East Bali was the epicenter of classical Balinese painting. The art form thrived because its patrons were the highest-ranking kings of Bali. Patronage has played a defining role in Balinese art, and there are many fascinating stories about the development of the art, and the characters involved, both from the present, and the past.

Flora and fauna painting by Ketut Rudi of Lodtunduh                       Flora and fauna painting by Ketut Rudi of Lodtunduh

 

The Kamasan paintings feature two-dimensional compositions with imagery derived from the Wayang shadow puppet theater, one of the original story telling methods in the Balinese Hindu culture that may be traced back over 2000 years to India. Often depicting battles between the forces of good and bad, the narratives originate from the Hindu and Buddhist texts, and old Javanese-Balinese folktales.

The paintings decorate Balinese temples and adorn the houses of the aristocracy. They communicate about the philosophies of life, religion, ethics and morals, as well as flora and fauna and astrology, while serving to bring peace and harmony to society. Referred to as an ancient academic art, it differs from modern systems by placing more emphasis on contemplation, the role of the senses, meditation and direct application.

Art patron Colin McDonald with Lodtunduh bird artist Ketut Rudi (left)Australian collector and art patron Colin McDonald with the renown bird painter from Lodtunduh, Ubud, Ketut Rudi

 

The formation of the Dutch colonial state in the early 20th century had a massive, disruptive impact upon the Balinese social structures. Patronage was previously inherent to social belonging: the king, village, or clan commissioned a work from an artist, or a group of artists for some rice, or possibly a piece of land. Under foreign rule artists no longer worked solely for their palaces, yet had to contribute free manual labor, suffering loss of status, privileges, and the spiritual returns of working for royalty.

A revolutionary period of creativity began in Ubud in the 1930’s having a dramatic effect upon the traditional art, along with the lives of many Balinese. A new genre was born, Balinese modern traditional art, featuring the introduction of western techniques with more realistic iconography, and modern narratives to cater to a burgeoning market for souvenirs purchased by the initial wave of foreign tourists to visit Bali. Important patronage came from early western settlers, along with the Ubud royal family, who later in 1954 opened Ubud’s first museum, Puri Lukisan.

Art patron Colin McDonald with Made Budhiana Colin McDonald with Balinese contemporary artist Made Budhiana whom he has supported for over 30 years

 

A new era of private patronage began, post 1970’s, during the second wave of tourism, when successful art dealers became gallerists, and then museum founders in Ubud. Suteja Neka opened the Neka Art Museum, Agung Rai established ARMA, and Nyoman Rudana opened the Rudana Museum.

An important modern day chapter of art patronage is accredited to Australian collector Colin McDonald QC, who first visited Bali in 1983. “I was immediately arrested by the beauty of the landscape, along with the art, and was eager to return,” said McDonald, who at the time was a collector of Australian aboriginal art.

"Menyanyikan Hidup" 2012 - Made Budhiana                          “Menyanyikan Hidup” 2012 – Made Budhiana

 

Upon his first visit to the Rudana Gallery, McDonald was attracted to the natural, aesthetic, and spiritual qualities of the art. In 1984 he purchased his first Balinese paintings, one by the abstract expressionist Made Budhiana, and another by the Lodtunuh bird painter Ketut Rudi. McDonald later met and befriended the artists.

“I was especially attracted to gentle, insightful and spiritual temperaments of the two artists,” McDonald said. “After I visited Budhiana’s home and witnessed the depth and power of his work, I starting buying directly from him.”

"Good Friday" Wayan Wirawan“Good Friday” 2018 painted by Wayan Wirawan on Good Friday at Colin McDonald’s residence at Lodtunduh, Ubud

 

The process of becoming an art connoisseur is driven by a thirst for knowledge, and meeting and learning from other collectors and experts. McDonald frequented the Rudana Gallery, and later the Neka Museum, and there he met important Indonesian collectors who were willing to share about their passion.

McDonald started collecting contemporary art and he loved to immerse himself in the local art community. Today he owns more than 400 pieces, sketches, drawings paintings, installations and sculptures. In 2011 he went on to establish, in conjunction the Northern Center for Contemporary Art in Darwin, the “Artist’s Camp” for Indonesian and Balinese artists to visit the Northern Territory of Australia to interpret the landscape and the indigenous culture.

"Easter Sunday" Wayan Wirawan            “Easter Sunday” 2018 by Wayan Wirawan for Colin McDonald

 

“Art is a celebration of life, and a great companion. It speaks of cultural and religious tolerance, and the importance of ceremony,” McDonald said, who found art a perfect refuge from a stressful law career. “The Balinese artists have an extraordinary sensitivity to seeing the world and the universe with an intelligence and receptivity to both the seen and unseen worlds. The western world, however, often neglects this, and this reflects the spiritual gaps within western contemporary culture, along with their struggles.”

 

 

Words: Richard Horstman

Images: Courtesy of Colin McDonald & Richard Horstman

Buying Balinese art at auction?

Wayan Radjin "Ramayana Membebaskan Dewi Sita" Image courtesy of LarasatiWayan Radjin – “Ramayana Membebaskan Dewi Sita” Image courtesy of Larasati

 

Are you interested in Balinese art? Ever thought of buying at auction?

Whether driven by your love of art, curiosity, or an eye for investment – buying at auction can be an interesting and exciting way to grow your collection. To the novice auctions may appear intimidating, for aspiring art collectors, however, auctions can provide an excellent point of entry into the marketplace.

Larasati Auctioneers, Indonesia’s oldest international auction house is a dedicated supporter of Balinese art. Specialists in auctioning Balinese traditional art, this year (2018) marks the tweleth year of its Bali auctions, held twice a year in Ubud. Offering an array of collectible items including paintings, sketches, prints and sculptures, their auctions presents good opportunities for buyers with small to medium, and larger budgets.

"Baris" AA Anom Sukawati                                   Baris – Anak Agung Gede Anom Sukawati

 

Here are some tips for the inexperienced on how to buy art during the Larasati Bali sale:

Open for public viewing the items for auction, or lots, are on exhibition from 11am each Friday immediately prior to the auction at Larasati Art Space in Ubud. There will be an array of beautiful art from the Classical paintings to the renowned genres of Balinese modern traditional art, and some modern and contemporary works, on display. Two and a half days allows plenty of time for inspection and to learn more about the works for sale. The free auction catalogue will be your necessary companion to help in this process.

Not only does the catalogue include the details of each lot for sale with the artist’s name, title of the work, medium, size and of course the estimated price of the works market value, it also has the details of how to participate in the auction, along with the necessary pre and post sale procedures. Be sure to read all the fine print. The Larasati website provides information and sales data from past auctions, access to online live bidding, along with the digital auction catalogue. You may wish to do more research about what you intend to buy and the Internet now has more and more information available on Balinese art.

'Sita Satya' Ketut Madra, 103x103cm, Image Richard Horstman                                        Sita Satya – Ketut Madra

Art is very personal, and everyone has different tastes. The secret to buying art that you will enjoy from the first moment you see it, and everyday on the wall at home is to listen to your heart or inner voice. Buying for investment takes know-how. Taking note of your budget is essential, and a buyer’s premium is payable on top of the final sales price of each lot.

On auction day first register your intention to participate and you will receive your paddle with an identification number, which you shall raise to indicate to the auctioneer your wish to bid for a work offered for sale. Understand all the necessary responsibilities you have as a buyer – don’t hesitate to ask questions to the Larasati staff so that you are clear. Inquire if there is a condition report available on the works you are interested in, and knowing more about the works history (previous exhibitions, past sales records, provenance & certificates of authenticity).

Dewa Putu Bedil, 'Harvest Scene', 1980, acrylic on canvas 136x200cm                                  Dewa Putu Bedil – Harvest Scene

 

What can you expect during the auction?

 Auctions move at a swift pace so be attentive and its best to sit at the front of the room. The auctioneer monitors bids from telephone and Internet platforms along with live bidding from people within the room. Auctions become exciting especially when there is spirited competitive bidding quickly raising the prices.

 How does the bidding process work?

The bidding process is straight forward, simply raise your paddle to indicate that you are willing to accept the amount offered by the auctioneer, which will also be indicated on the screen next to the auctioneer in Indonesian Rupiah, American, Singaporean and Hong Kong dollars. The items price will increase by increments and auctioneer will clearly address you, acknowledging they have accepted your bid. Works at auction often sell for prices much lower than that at galleries, or the artist’s studio, yet remember to set a price according to your budget that you are not prepared to go above.

Gusti Nyoamn Lempad, 'The Rickety Bridge' 1940, black ink and pigment on paper.                                Gusti Nyoman Lempad – The Rickety Bridge

 

Hopefully you will succeed in placing the bid accepted as the final sales price that will be confirmed by the fall of the auctioneer’s hammer. Congratulations, your diligence has paid off and you have just won the lot. Finally, complete the payment details and organize the delivery of your new art work.

 This exciting experience will fuel your curiosity about buying art. Do your research and learn as much as possible through books and online, visit museums, galleries, artist’s studios, exhibitions, and more auctions. To train your eye immerse yourself in Balinese art – and enjoy.

For the online catalogues and more information about the next Larasati Bali auction early in 2019 please visit: www.larasati.com  

'Mothers Love' Ida Bagus Tilem, wood, 62x13x17cm. Image Richard Horstman                                  Mother’s Love – Ida Bagus Tilem

 

Auctions held at: Larasati Bali Art Space at Tebesaya Gallery,

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Bali.

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneer’s & Richard Horstman

ArtJog 2018 attracts important international collectors

"Night with Frank L. Wright" Patricia Untario                             “Night with Frank L. Wright” – Patricia Untario

 

ArtJog, Yogyakarta’s unique and vibrant art fair is celebrating its eleventh instalment. Themed Enlightenment – Towards Various Future, open 4 May – 4 June at the Jogja National Museum, this year it presented more than 100 artworks by 54 national and foreign artists. Since its inception in 2008 ArtJog has grown to represent the voice of Indonesian contemporary art to the global audience, while becoming the premiere event within the Indonesian art infrastructure.

The event continues to grow in stature, attracting more-and-more national and international attendees, while improving its presentation, and artwork quality. ArtJog’s educational platform, the Curators Tours & Meet The Artist programs are an annual highlight, each year reaching new levels of popularity.

ARTJOG 2018_Facade and Opening CrowdThe crowd and exhibition space for the ArtJog commissioned art work by Mulyana Mogus during the event opening at the Jogja National Museum.

 

Artjog has successfully endured its first decade – an important test of time. Now past its infancy and into its teenage years the event’s brand consciousness becomes increasingly essential.  “It is not only the event publications and marketing that are important in the promotion of ArtJog, yet also the fair’s content. And this is the most challenging aspect,” said ArtJog Director Heri Pemad, when asked how ArtJog can evolve, becoming increasingly vital and important during the oncoming decade.

“The strength of the ArtJog exhibition themes, highlighting topics of discussion that we wish to raise are increasingly essential in order to attract top class Indonesian and international artists, along with the public’s attention. We need to continually focus upon issues that are globally relevant,” Pemad stated.

"Preserverance 3 series" By Hendra "Blankon"Priyadhani                        “Preserverance 3 Series” –  Hendra “Blankon” Priyadhani

 

This year the event attracted important international collectors, including the Filipino husband and wife duo Lito and Kim Camacho, who recently made their first visit to Central Java to attend ArtJog, and other events held within the region as a part of the Jogja Art Weeks (JAW) program.

“We are astonished by both the city of Yogyakarta and ArtJog,” said Kim Camacho, who along with Lito has accumulated one of the most impressive private art collections in the Southeast Asian region. Influential and visionary, they are renowned for being prolific collectors, with a unique eye for quality, identifying artists and works before they gain popularity.

ARTJOG 2018_Commission Work_Sea Remembers by Mulyana The undersea installation “Sea Remembers” by Bandung artist Mulyana Mogus

 

The Camacho’s first collected Gutai artists, a dynamic Japanese post-war contemporary art movement, well before they became recognized, and were quick to pay special attention to Yayoi Kusama. They began buying art in 1980 and their collection, which started with Filipino genre art, then grew to include Filipino masters and other Southeast Asian art, has evolved into a truly international assortment. “Collecting art in the Philippines is a much older tradition than in other Southeast Asian countries,“ said Lito, who was quoted as saying that ‘he and his wife prefer artists who are global in importance, and who have a place in art history’.

“Given that it is an artist based event, ArtJog is incredibly well-organized, featuring excellent presentation, along with artworks of high quality,” Kim said, and continued, “We are amazed by the number of artists and art communities that have thrived in Yogyakarta, and the standard of exhibitions we have visited during the Jogja Art Weeks program.

ARTJOG 2018_Curatorial Tour                             ArtJog Curatorial Tour hosted by Ignatia Nilu

 

“Attracting important international collectors adds increased credibility to the ArtJog brand,” Heri Pemad stated. “Its not only proof of our success, yet we need them to help promote our brand to a larger audience, and to entice more collectors from other countries to attend ArtJog. It is important that new international buyers not only collect the artworks, yet also gain greater appreciation for the wealth of Indonesian art, culture and history.”

“We have purchased many pieces during our visit to Yogyakarta,” said Kim Camacho. “Works that speak to us, not just as unique Indonesian contemporary art works, yet works that are relevant within the global context.”

Art work by Kexin Zhang                          Art work by invited Chinese artist Kexin Zhang

 

“We were captured by the beauty of Night with Frank L. Wright, at ArtJog, by Jakarta based artist Patricia Untario, and purchased her artwork. We were also very impressed by the JAW exhibition Bakaba #7Zaman Now by the Sakato Art Community. Outside of the event we loved the rich textural works by senior artist Aming Prayitno. We have recently collected a work by Yogyakarta artist Eddie Prabandono, and our first Indonesian purchases are works by the Balinese contemporary master Made Wianta,” Kim stated, and continued, “Indonesian art is incredibly under priced for works of such excellent quality.”

Other important collectors who attended ArtJog include the President & CEO of Time International, Irwan Danny Mussry, Dr. Oei Hong Djien of the OHD Museum in Magelang, Haryanto Adikoesoema, the founder of Jakarta’s new international standard museum, MACAN, and Iwan Lukminto who recently opened the new Tumurun Museum in Solo, Central Java.

ARTJOG 2018_Daily Performance_Rianto                           One of the daily performances at ArtJog by Rianto

 

flowerAThe Japanese Garden – Interactive installation by Japanese performance artist Hiromi Tango

 

kidA         A child engages with The Japanese Garden – Image by Ayu Mandala

 

 

ArtJog – Enlightenment

Continuing through to 4 June 2018

Daily from 9am – 5pm

Jogja National Museum

Jalan Prof. Ki Amri Yahya No. 1, Yogyakarta

www.artjog.co.id

 

Words: Richard Horstman

Images: Coutesy of ArtJog & Richard Horstman