Category Archives: Bali Art Spaces

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

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Under the hammer: Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 21 January 2018

lot #579 Ida Bagus Made Poleng "Stone Mason" Image courtesy of Larasati                             Lot # 579 Stone Mason – Ida Bagus Made Poleng

 

Larasati Auctioneer’s continue to provide excellent support in the development of Indonesian art, especially Balinese traditional painting, to growing local and international markets with its upcoming 21 January 2018 Traditional, Modern and Contemporary Art auction to be held in Ubud, Bali.

Eighty lots of fine art will go under the hammer, including paintings, sketches, a woodcarving and one delightful poster, in an array of categories, and with price accessibility for new buyers, intermediate collectors, and the connoisseurs alike. For the third year running real time, Internet bidding is available through the Larasati website opening the auction to a global audience.

lot #533 Bagong Kussudiardjo "Wanita Wanita Bali" Image courtesy Larasati                      Lot # 533 Wanita Wanita Bali – Bagong Kussudiardjo

This is an exciting sale with some absolute gems featured, along with works by renowned Indonesian and foreign artists, including Balinese master Gusti Nyoman Lempad (1862-1978), Ida Bagus Made Nadera (1910-1998), Ida Bagus Made Togog (1913-1969), Wayan Taweng (1922-2004), Antonio Blanco (1911-1999), Dutchmen Rudolf Bonnet (1895-1978) and Arie Smit (1916-2016) and Australian artist Donald Friend (1914-1980). The auction is highlighted by a special selection of works from the collection of one of the most forward thinking private collectors of Balinese art in the United States, Peggy Williams.

For the new buyer, or novice wishing to add to their collections there are many paintings and drawings priced at lower than US $500 that are very good buys if purchased within their estimates. Two, especially glowing works by recognized female painter Ni Gusti Agung Galuh, lot # 545, Pulang Dari Sawah and lot #546 Sunset with Ducks, both have an estimated price of between Rp. 4 million – 5 million. Lot # 548, Sore Hari di Desa by Gusti Agung Wiranata also has the same estimated price, while lot #524, Ocean Village Scene, an early work by the renown Batuan painter Wayan Bendi has an estimated price of between Rp. 5 million – 7 million and is another excellent opportunity to purchase a strong work. All of these works represent buying value not possible when purchasing paintings direct from the artist’s studio or from a gallery.

lot #524 Wayan Bendi "Ocean Village Scene " Image courtesy of Larasati                       Lot #524 Ocean Village Scene – Wayan Bendi

There are two lots of special interest for collectors and those seeking to purchase something unusual. Charming & Beautiful lot # 539 is a 75cm x 48cm advertising poster by the reputed Dutchman Willem Gerard Hofker (1920-1981), which has an estimated price of between Rp. 10 million – 12 million. Lot # 519, Barong by influential Balinese wood carver Nyoman Tjokot (1888-1971) has an estimated price of between Rp. 30million – 40 million and is a rare find from an artist who was at the forefront after the turn of the 19th century of new sculptural interpretations of icons of the Balinese culture.

Works in the mid price range are many and some strong paintings include groups by twoartists Bagong Kussudiardjo (1928-2004) and Dewa Putu Mokoh (1934-2000). Well known as a choreographer Bagong learned to paint from Indonesian masters Hendra Gunawan and Affandi, among others, before studying painting formerly at ASRI Yogyakarta. Of his four works offered, lot #530 Ibu dan Anak has an estimated price of between Rp. 12 million – 15 million, and Wanita Wanita Bali, lot #533, has an estimated price of between Rp. 45 million – 55 million.

lot#564 Anak Agung Gde Anom Sukawati "Suasana Pasar" Image coutesy Larasati             Lot #564 Suasana Pasar – Anak Agung Gde Anom Sukawati

Four works are on offer by Mokoh, noted for breaking with convention and producing compositions that were quirky, lurid, even intimate and highly unusual. The present owner purchased the paintings directly from the artist, and lot #553, Tajen, a delightful scene of an audience watching a cock fight, has an estimated price of between Rp. 22 million – 32 million.

Lots #517, 521, 577 & 580 are by Made Sukada (1945-1982). An artist held in very high esteem, his attention to compositional details and skin tones, set him apart from most and have led to him being a highly sought after painter, especially due to his short career. The idol of Indonesian international contemporary art superstar Nyoman Masriadi, lot #521 by Sukada, Dialog Arjuna dan Kresna has an estimated price of between Rp. 90 million – 110 million. Another beautiful work by Nyoman Kayun, lot #548 Pusupati has an estimated price of between Rp. 40 million – 80 million.

Lot#553 Dewa Putu Mokoh "Tajen" Image courtesy Larasati                             Lot# 553 Tajen – Dewa Putu Mokoh

An early work dated 1989, by Ubud’s most celebrated living painter, Anak Agung Anom Gde Sukawati, lot # 564 Suasana Pasar was painted when he was only 23 years old. While the influence of his father, A.A Gde Meregeg (1912-2000) is obvious, some five years later his work evolved and made a clear departure from his father’s style. With an estimated price of between Rp. 90 million – 110 million, this is an extraordinary piece to collect.

An extremely rare and early masterpiece by, arguably the most talented Balinese painter of the 20th century, Ida Bagus Made Poleng (1915-1999), will receive the attention from connoisseurs. Lot # 579, Stone Mason is offered as the top lot in this auction, with an estimated price between Rp.350 million – 450 million. Probably produced in the early 1940’s as it is painted on Masonite board, the work, which has excellent provenance, reveals his mastery of composition and the strong influence of Rudolf Bonnet is clearly shown in the way he has depicted figures working in the field.

lot #521 Made Sukada "Dialog Arjuna dan Kresna" Image courtesy Larasati                     Lot #521 Dialog Arjuna dan Kresna- Made Sukada

The final lot during the afternoon, lot # 580 by Made Sukada, Bali Life, has an estimated price between Rp. 40 million – 80 million and also comes with excellence provenance. An early work of remarkable beauty, its layered composition reveals fascinating central background features and is another step in Sukada’s journey in the master of anatomy, influenced by Rudolf Bonnet’s signature style of elongated human proportion.

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.

lot # 580 Made Sukada "Bali Life" Image courtesy Larasati                            Lot #580 Bali Life – Made Sukada

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.

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Sunday 21 January, while viewing begins from 11am Friday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

577                               Lot# 577 Tri Murti – Made Sukada

Viewing:

Friday,         19 January   11am – 7.30pm

Saturday,   20 January     11am – 7.30pm

Sunday,     21 January     11am – 1pm

Auction: Sunday 21 October, from 2:30 pm

 

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneer’s

 

 

 

 

 

Art eccentric – Ida Bagus Alit

Ida Bagus Alit                             The effervescent Ida Bagus Alit

 

The art world adores eccentric characters.

Lurking beneath the exterior of Balinese artist Ida Bagus Alits’ wacky persona is, however, a highly practical, compassionate and intelligent man. These traits meld into an effervescent personality that enchants everyone he meets.

Within the Balinese art world Gus Alit, as he is affectionately known, is a popular and unique figure; painter, sculptor, photographer, event organizer and art collective leader. A member of a well-known Brahmin high caste family in Denpasar, there is an aristocratic air about him, especially when attired in traditional costume and sporting his suave reading glasses. Yet one is not to be intimidated or coy within his presence, Gus Alit is as playful, and as friendly as a kitten.

Gus Alit’s passion for photography has drawn him along two distinctive paths. He is dedicated to documenting Balinese religious ceremonies around the island, capturing rare events, and the unique traditional costumes that characterize separate villages.  He does, however love to experiment with painting techniques upon printed images on canvas, striving to achieve new aesthetic results with his art photography.

Ida Bagus Alit, "No Doubt" 2014.                                No Doubt – Ida Bagus Alit

Grinning happily as he reveals images captured on his iPhone, his ever-ready pocket camera, Gus Alit explains one of the “secrets” of his photographic technique. The photos are of young Balinese women clad in traditional dress, glamorous and alluring – the iconic image of Balinese feminine beauty.

“At first they are shy, some even refuse to be photographed,” he says referring to his initial meetings with the models. “Yet I always win them over with a joke and my humor quickly sets them at ease.”   His photos recount the process of their transition from being restrained and rigid, to being relaxed and glowing in front of the camera. “Its important to make your models feel comfortable in order to capture and allow their inner beauty to shine.”

27797357_1905610429450254_2276016392130748197_o                              The Beautiful Balinese – Ida Bagus Alit

There are often visitors to Griya Satria Art House, Gus Alit’s family’s home on Jalan Veteran, opposite the bird market in Denpasar. They may be friends, family, or new acquaintances, locals and foreigners, all curious to see the collection of art on display set in lush tropical gardens while being enhanced by traditional Balinese architecture.   Recently more and more young couples, brides and grooms in traditional costume, stop by to be photographed by professional photographers, surrounded by Gus Alit’s unusual paintings and sculptures. The consequences are unique momentos that they surely will look back on with pride.

“This is a new era in photography,” Gus Alit says with a cheeky smile stretching from ear to ear.“ They now go from the Bali museum to Griya Satria Art House for their wedding photos.”

Of course Gus Alit jumps into the action and captures the couples in all their glory, as well. Often he will print the photo onto canvas then paint the background in his flamboyant style. If the subject is a friend he may gift them with the work, however many of his subjects upon seeing his creations, request to buy these unique images directly from him.

Ida Bagus Alit, "Friendship" 2011, acrylic on canvas                                   Friendship – Ida Bagus Alit

“What is important is not to copy,” exclaims Gus Alit. “True art must come from the heart.”

As the long serving president of B.I.A.S.A (Bali Indonesia Sculptors Association), he is a driving force in the promotion and preservation of traditional woodcarving, and contemporary sculpture in Bali. I question Gus Alit on the value of art collectives in Bali, which he believes are essential to the development of local art.

“As individuals or groups its important to know our strengths and weaknesses. Through this we will learn the ways and methods to move ahead. Learning is life long education,” he states with a wisdom that almost belies his jovial character. “As the head of B.I.A.S.A I take the time to visit each of the members and discuss with them their challenges and I help to provide solutions. B.I.A.S.A is like a big family to me.” Gus Alit is well versed in the concept of leadership with the heart.

 

IMGP4843                                Sculpture by Ida Bagus Alit

Abstract and figurative wood cravings are a fusion of the rich natural rhythms of the timber intertwined with faces and figures. Although they are not always be beautiful, Gus Alit introduces imaginative possibilities, while adhering to a yin/yang theme. Some of his sculptures he paints in an outrageous manner that none dare to copy.

While contemplating his paintings the observer may wonder what on earth are these creations! Are they the musings of a complete oddball? His large compositions, some canvases measuring over 4 meters in width, each, however, have themes taken from his culture, for example Tri Hita Kirana, the Balinese philosophy of three fold harmony between man, nature and the gods.

Gus Alit’s paintings are as eccentric as is his personality. A fusion of bright colors, figures and forms, they are both surrealistic and dynamic at once. Adaptations from the Wayang Kulit shadow puppet-theater and traditional masks, his figures and faces have evolved into quirky, other worldly creatures. Akin to galactic landscapes that flow across the canvas his compositions express humor while accentuating that art should be fun to create.

IMGP4842                             Painting by Ida Bagus Alit

“To be a real artist you have to be free and strive to create your own works under your own responsibility.”

His C.V lists the exhibitions he has participated in over the past 40 years, numbering well over one hundred. Born in Denpasar 1947, Gus Alit’s works have been displayed in many countries, while his buyers come from every corner of the planet. In 2006 he participated in an artist in residency program, as well as having a solo exhibition at the Vermont Studio Center, USA. A self-taught artist, who regularly travels abroad, his initial childhood inspiration has come from studying his artist father, Ida Bagus Agung.

Watching him chiseling away at a carving, with an eye for detail, while being the picture of focus and determination, his wiry hands and arms are powerful, yet sensitive as well. Gus Alit values the virtues and importance of art and culture above himself, is an asset to the island, and a proud ambassador of the Balinese arts.

IMGP4855                                 Sketches by Ida Bagus Alit

Gus Alit welcomes visitors at Griya Satria Art House,Jalan Veteran, opposite the bird market in Denpasar.

 

Words: Richard Horstman

Images: Ida Bagus Alit, Monika Kiraly & Richard Horstman

 

 

 

 

Imam Sucahyo’s Electrifying Outsider Art

Mimpi ke Night Klub - Imam Suchayo                              Mimpi ke Night Klub – Imam Sucahyo

 

In 1919 German psychiatrist and art historian Hans Prinzhorn (1886 – 1933) was assigned by the psychiatric hospital of the University of Heidelberg an unconventional task – to expand the hospital’s collection of art created by the mentally ill. When he left after a period of two years the collection had grown to more than 5000 artworks. The following year in 1923 Prinzhorn published his first, and destined to become highly influential book, Bildnerei der Geisteskranken (Artistry of the Mentally Ill).

Richly illustrated with wonderful, yet unorthodox artworks the book ignited the fascination of a few French avant-garde artists, while the art became the catalyst for the Art Brut Movement, founded in 1948. Nearly a century after Prinzhorn’s book was published, Art Brut, or what became known in the 1970’s as Outsider Art, has taken the art world by storm.

Tired and Need REst                                 Tired and Need Rest – Imam Sucahyo

Enthusiastically embraced by the contemporary art world a succession of art fairs, biographies, retrospectives and collections have sprung up in Europe and North America during the past decade. Now this exciting genre is beginning to receive attention here in Indonesia.

The origins of Art Brut (works that were in their raw state, uncooked by cultural and artistic influences) may be traced to Jean Dubuffet (1901-1985) who understood how works by psychiatric patients fulfilled certain Surrealist ideals, in that they seemed to flow directly from the subconscious mind. Aware of the stigma attached to ‘insane’ or ‘psychotic art’ Dubuffet required a more dignified term in order for the refined cultural circles of the time to accept a collection of works by lunatics. Along with Surrealist artist André Breton, and critic Michel Tapié, together they wrote the Art Brut Manifesto in 1947. Outsider Art, coined in 1972 as a recasting of Dubuffet’s term into the English language, is the label that has stuck ever since.

My Angry Mom - Imam Suchayo                                      My Angry Mom – Imam Sucahyo

While the definition of this style has been a constant source of debate it was generally accepted that it’s creators are not only untrained but often had little concept of a gallery or even any other forms of art other than their own. The art had no relation to developments in contemporary art at the time, yet it was the innovative and powerful expressions from a variety of individuals who existed outside recognized culture and society.

The profile of an Outsider Artist often includes a traumatic childhood, a history of institutionalization (orphanage, asylum, prison), a stunted education, subsistence jobs, yet a person with a ceaseless drive to create art. The summary is completed by a discovery story; a tale of someone with cultural connections then bringing the outsider into the art world.

Installation by Imam Suchayo               Installation at Cata Odata Art House by Imam Sucahyo

Imam Sucahyo’s life has been a series of ongoing struggles that inspire his prolific creativity. A self-taught artist born in Tuban, East Java in 1978, Imam’s first encounter with the art world was through a neighbour who was a painter. His imagination was sparked at a young age, however, when at elementary school he observed images of paintings by the Indonesian expressionist master Affandi in a library book.

Affandi’s unrestrained freedom would become a potent stimulant for Imam to explore his eccentric painting style. Intuitively he followed his own path into art making while being rejected by the local art community that favoured only conventional styles. During adolescence, with no interest in attending school and influenced by his peers Imam started to experiment with drugs and alcohol. His years of abuse led to psychosis, hallucinations and paranoia. Art became Imam’s sanctuary to calm his troubled mind.

Painting by Imam Sucahyo. Image R. Horstman                                        Artwork by Imam Sucahyo

In his early 20’s confronted with poverty and other issues, Imam had to endure sudden family tragedies. In order to cope with suffering and loss he often avoided social interaction, eventually impairing his ability to verbally communicate. Picking up odd jobs here-and-there in various cities helped sustain his life, all the while art was his foundation, a tool of reconciliation, his visual diary recording every event of his journey, both good and bad. Without it, Imam may have become lost in his self-imposed exile. One of his favourite past times was listening to the local folklore, these stories would then merge with his own experience into his art.

“Art is the most loving place, accepting of all my flaws. It accommodates my feelings wholeheartedly, and never demands or requests me to repay that which has been given to me,” Imam said. “Devotion grows so we may complete each other and I can merge as one with my art. My work is a learning place and a mirror so that my life is more meaningful. My art is my pal who securely guides me through every day.”

Art by Imam Sucahyo. Image Richard Horstman                               Artwork by Imam Sucahyo

Contemporary artists Djunaidi Kenyut grew up on the streets of Surabaya, is a long time friend of Imam’s, and he is the co-founder of Cata Odata Art House in Ubud, Bali. Kenyut has been a pillar of support during Imam’s artistic journey, and three years ago, Kenyut along with his partner have taken on the responsibility of managing Imam and introducing his work to the international art world.

The phenomenal rise of social media portals Facebook and Instagram have within in a few years enabled a new virtual art world to thrive outside of the highly competitive traditional world of galleries, museums, dealers and hardcopy print media. This has opened the door for many artists, especially here in Indonesia where the art infrastructure is lacking and many have difficulties entering the gallery system, along with finding opportunities to exhibit their work.

Art by Imam Sucahyo Image by Richard Horstman                                  Jagat Mawut at Cata Odata Art House

Through Facebook Imam’s work has gained attention from international Outsider Art audiences, attracting buyers from Indonesia, France and Australia. In 2016, his artworks were exhibited in Espace Eqart in Marciac, Outsider Art Fair in Paris, and the Outsider Art Biennale Fair in Museum Ephémères in Rives, France. Recently the Borderless Art Museum NO-MA, Japan visited Cata Odata to observe Imam’s work.

Imam’s memories and ideas come alive in Jagat Mawut (Ravaged World), a collection of over seventy paintings, installations and sculptures feature in his first solo exhibition in Indonesia. Imam’s thrilling and potent art is testament to the wonders and magnificence of creativity, highlighting the resilience of the human spirit. Open 3 October at Cata Odata, this excellent show continues until 4 November.

Art work by Imam Sucahyo - image R. Horstman                          Artwork by Imam Sucahyo

 

Jagat Mawut (Ravaged World) – Imam Sucahyo

3 October – 4 November 2017

Open Monday to Saturday 10am – 7pm

Cata Odata Art House

Opposite the Pura Dalem Temple,

Jalan Raya, Penestanan Klod, Ubud, Bali, Indonesia

Tel: +6281212126096

https://www.facebook.com/cata.odata

 

Words & Images: Richard Horstman

 

DENPASAR2017 – highlighting the diverse creativity of Denpasar

DENPASAR2017 Group - for caption see emailThe starting journey of DENPASAR2017. 17 participating creatives, together with invited speakers Marlowe Bandem and Ayip Budiman after DENPASAR TALK posed for a group photo to mark the beginning of their DENPASAR2017 exploration.

 

Since its arrival upon the Bali art and design landscape in July 2016, CushCush Gallery (CCG) in Denpasar has injected fresh and exciting energy into the local creative scene. 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.

In a city that is becoming a melting pot of Indonesian ethnicity with internationals, highlighted by a thriving youth culture, CCG is making a positive, and much needed contribution to the island’s contemporary art infrastructure. And while Denpasar is rapidly expanding and a new contemporary urban culture is in the making, creative hubs such as CCG feed the growing demand for meeting points that are potent venues for the sharing of ideas and discussion.

Urban Sketchers Bali presentation for DENPASAR2017 Exhibition, Image by R. Horstman Part of the panoramic of watercolours by Urban Sketchers Bali presentation for DenPasar2017 Exhibition

In 2017 CCG facilitates a year round program of exhibitions, residencies, workshops and collaborations that focuses on the development of contemporary art and design experiences in Denpasar and Bali, hosting exchanges between the local and international communities of artists and creatives and Bali.

“This year’s DenPasar2017 is a new and exciting, yearly CCG program that we believe is destined to put Denpasar on the map of the art and design route in Bali,” said CCG’s co-founder Suriawati Qiu. “The exhibition will introduce locally based young artists and creatives with works that speak of Denpasar.”

Marlem Bandem giving a presentation for Denpasar Walk             Marlem Bandem giving a presentation during DenPasar Walk

The DenPasar2017 program of weekly events began 10 June with the Launch of the DenPasar2017 Art & Design Map, and Meet the Artists of DenPasar2017, part 1 (of 2). This was followed by activities such as KitaPoleng & Denpasar Deaf Community dance workshop, led by the brilliant Japanese, Bali-based dancer and choreographer Jasmine Okubo, workshops by the Urban Sketchers Bali Academy, DenPasar Street Talk, with street artists Slinat, Bombdalove and Swoofone, and DesignTalk with Nyoman Miyoga, Fransiska Prihadi, Charlie Hearn and Eva Natasa. The program culminates on 26 August with the presentation of Three Eras of Denpasar by Masuria Sudjana and the silent movie screening of Arsip Bali 1928, narrated by Marlowe Bandem.

The launching of the DENPASAR2017 Art & Design Map spotlighted the first map to highlight city features such as museums and galleries, government and cultural institutions, art and design educational institutions, art and creative communities, artists’ studios, cultural heritage/public spaces/monuments, and the markets within the Denpasar area. The map is endorsed by the Bali Tourism Board, Badan KREATIF Denpasar, and the Denpasar Tourism Promotion Board.

Image by Susanto Sidhi VhisatyaKangen Denpasar – Susanto Sidhi Vhisatya in the DenPasar2017 Exhibition

The Road to DenPasar2017 began in January through an open call, CCG invited artists and creative communities to respond to “Bahasa Pasar” in small 2 dimensional works. Seventeen participants were selected from creative backgrounds including architects, dancers, fashion, jewelry, and graphic designers, photographers, street artists, and fine artists. As an introduction for the selected artists CCG facilitated a “Melali Ke Pasar” (journey to the market), a one-day event consisting of 2 parts: DenPasar Talk and DenPasar Walk, with invited speakers, cultural experts, Marlowe Bandem and Ayip Budiman. Bandem highlighted the importance of the role of documentation through art and other creative means, which is deeply embedded in Bali’s culture.

Invited artists and art communities in the DenPasar2017 Exhibition were prompted to re-think and give meaning to the city that is relevant in today’s society via the theme of the traditional markets, paying homage to the role of the market in the development of Denpasar city. Some of the highlights of the exhibition are the collaborative installation of photographs and short film highlighting the dynamic street art designs by Swoofone, and the Urban Sketchers Bali panoramic group presentation of watercolors depicting Denpasar market scenes.

20170719_151818                            Cover of the DenPasar2017 Art + Design Map

“The overall response to the DenPasar2017 program has been excellent,” said Suriawati, who co-founded CCG with her partner Jindee Chua. “Yesterday’s (5 August) DesignTalk attracted a diverse audience from many creative backgrounds listening to presentations from creatives each with a unique journeys within the fields of interior, landscape, architecture and furniture design.”

DesignTalk, along with landscape designer Nyoman Miyoga featured Fransiska Prihadi, an architect who spends 20% of her time designing architecture and interiors, and the other 80% organizing the Minikino Film Week, a Bali based international annual short film festival, Charlie Hearn, who came to Bali from London on an intuitive urge after the 2008 economic crisis and founded Inspiral Architects. His team now designs resorts, private residences, yoga spaces, and other exciting projects. And furniture designer Eva Natasa started out making a personal array of furniture for her home two years ago, in 2016 her collection ‘Lula’ was exhibited in Italy at Milan Salone Del Mobile.

20170723_091217                       Dadian Ratu – Dian Suri in the DenPasar2017 Exhibition

“Personally I feel these creatives are able to lead their DesignLife journey’s successfully in Bali. Bali is unique, open, embracing and nurturing,” Suriawati said. “Bali has international exposure, while at the same time gives space, comfort and has just the right environment to support creativity.”

DenPasar2017 Exhibition continues until 26 August.

CushCush Gallery (CCG)

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

Tel. (62) 361 484558

http://www.cushcushgallery.com

 

Words & Images: Richard Horstman

 

Menjumput Masa Lalu – picking up the past

20170522_131213                         Generasi J.K #1,2,3 2016 – Nyoman Suarnata

Ubud’s Sika Gallery presents Menjumput Masa Lalu (picking up the past), a group exhibition of contemporary artworks by the # PK collective. On show from 21 May are installations, drawings, paintings, videoart, object art, scpultures, and graphics by five young Balinese artists I Gede Jaya Putra, Ngakan Putu Agus Arta Wijaya (NPAAW), I Nyoman Suarnata, I Made Putra Indrawan, and I Putu Nova Ruspika Yanto, along with written text by female arts and language freelancer Savitri Sastrawan.

All the participants were students at the Indonesian Art Institute (ISI) in Denpasar, studying between 2006 – 2009. Their works explore themes from the serious, to light- hearted and include environmental issues, the conflict between tradition and modernity, identity, the erosion of Indonesian democracy, and even thought-provoking themes that incite humour.

20170522_131349                              Home, 2017 – Putu Nova Ruspika Yanto

Full Space 2016, by Nyoman Suarnata (b.1987, Mengwi, Badung) is a progressive representation of iconic local subject matter that is too often translated into conventional painted forms. His installation of two-dimensional canvases taking on 3 dimensional hexagonal forms adds fresh life to the subject matter. Suarnata’s images related to the cultural pasttime of tajen (cock-fighting) are rendered in 3 colours systems evoking different eras; black & white (conjuring up pre modern Bali), monochrome, and dynamic realism (suggesting modernity).

"Black and White" Ngakan Putu Agus Arta Wijaya                   Black & White, 2017 – Ngakan Putu Agus Arta Wijaya

Text by Sastrawan (b.1990 Denpasar) is a response to the collective’s artworks revealing her thoughts related to struggle; not only of Indonesia’s on-going journey of democracy, yet also the everyday challenges that confront young artists. Her writings are set within the form of an installation, centrally positioned is a humourous, yet disturbing illustration. The Garuda Pancasila, the mythical eagle featured on Indonesia’s national emblem, with the motto Bhinneka Tunggal Ika (unity in diverstiy), is hospitalized and receiving care. Corruption, violence, injustice and inquality, seemingly sanctioned by the country’s ruling elite, are current and real threats to democracy.

Tentang aku jendela rumah dan angin, (about my window house and the wind) by Made Putra Indrawan (b. 1987, Denpasar) is a light-hearted and quirky installation. He presents a small box through which an nondescript, whimsical creature peers out through a window, the medium is timber. From a tiny electronic device inside the sound of strong winds emanate, while the words – tentang aku jendela rumah dan angin are emblazoned across the wall. The audience is prompted to imagine the artist as this curious creature.

Savitri Sastrawan               Let’s Pick Up the Past With PK! 2017 – Savitri Sastrawan

Diary Book # 1 & 2, by Putu Nova Ruspika Yanto introduces alternative asethetics and techniques to the exhibition, aiding in its overall strength. His woodcut images are presented within the format of two diaries. While one book depicts images of his young son and wife, the other narrative is his observations of dramatic and disheartening change. The artist’s home environment was once cool, green and clean has, within the space of a few decades, become barren, void of trees. It’s now hot and dry, and polluted.

The work of two promising Balinese talents, Gede Jaya Putra and NPAAW are showcased in Menjumput Masa Lalu, both are worthy of close observation as they mature. Jaya Putra (b.1988, Kerobokan) attracted much attention with Transformation, his first solo exhibition in 2013, revealing remarkable depth in the exploration of his social themes, equally supported by his imaginative works.

"Generasi Sintetis" Gede Jaya Putra                Generasi Sintetis 2017, (Synthetic Generation) – Gede Jaya Putra

Generasi Sintetis 2017, (Synthetic Generation) emphasizes his ongoing theme of the process of change that is confronting today’s yonger generation, specifically the change from the natural, to the synthetic world. The large installation comprises of three elements, and includes more than 20 pencil sketches of the foliage of different trees positioned upon sections of tree trunks functioning as pedestals. Two screens reveal videos, one of colourful flowers and foliage, the other, shot in black & white, focusses upon the physical structure of branches, and its myriad of abstract forms. The contrast between what is real and that which is illusory is powerful, highlighting the demise of the natural environment, which is increasingly threatened by modern development.

The focal piece of Generasi Sintetis is a hybrid character, part human, part machine, the icon central to Jaya Putra’s transformation theme, his representation of the younger generation of Balinese. A black, life sized, two dimensional figure holding a glass jar containing a synthetic eco system.

20170522_131104Tentang aku jendela rumah dan angin, (about my window house and the wind) 2017 – Made Putra Indrawan

The medium of video art IS the most challenging format for an artist to master, and to successfully communicate his ideas. The most effective works are generally short, no longer than two minutes, with simple messages that are easy to read. The audiences’ attention must be captured from the beginning of the video and maintained until the very end. The moment boredom sets in our attention wanders, yearning for fresh stimulus, and the artist loses his audience.

Jaya Putra has been experimenting with this format for the past five years. Merasakan Ibu Pertiwi (feel mother earth), 2017, his 2-minute performance video, features the artist walking bare-footed through the crowded city streets of Japan, “feeling” the earth. We become observers of contrasting imagery, Jaya Putra’s feet making direct connection, as opposed to the multitude wearing shoes. Jaya Putra attaches the video screen to the gallery ceiling so we must look up to observe what in reality is always witnessed when looking down. Jaya Putra’s work is uncomplicated and thought-provoking, while communicating a facet of Balinese cultural worldview.

"Full Space #1 #2 & #3" Nyoman Suarnata                            Full Space #1,2,&3, 2016 – Nyoman Suarnata

NPAAW (b. 1990 Pejeng, Gianyar) is currently based in Yogyakarta, Central Java, Indonesia’s largest, most diverse and dynamic art community. In Menjumput Masa Lalu he presents three round paintings and one installtion, rendered in black and white tones and representing duality. Two meters in diameter, Black & White is an interguing composition, a part of his ongoing theme featuring animals in metaphorical scenarios representing the never-ending cycle of life, and the constant process of change. His composition features two horses with elongated bodies, one black, the other white, travelling in clockwise motion. The foreground features the Beatles walking in counter-clockwise direction, reminiscent of their famous album cover Abbey Road.

Zebranizasi is a fascinating installation, again emphasizing duality, and that according to Balinese Hindu philosophies, all life and universal order is subject to equal and opposing forces. The installation features 6 individual works, three iconic Balinese cultural creatures, another two the lucky charm of the Japanese, maneki-neko, the waving cat. The final piece reveals a dramatic, yet impossible scenario upon a chess board. The horse or Knight is painted as a zebra, balancing both the positive and negative forces, and has the black and white kings in a check mate position.

"Zebraniasi" Ngakan Putu Agus Arta Wijaya                    Zebranizasi, 2017 – Ngakan Putu Agus Arta Wijaya

The contributions by the Sika Gallery in the support and development of Balinese contemporary art is unsurpassed. The vision of painter, sculptor, writer, critic and provocatur Wayan Sika (b.1949, Silakarang, Gianyar), in 1996 he opened Bali’s first non-commercial artist’s driven space to provide a platform for the avant-garde that was quickly evolving on the island. Continuing in the tradition of exhibiting young and immerging local artist’s the Sika Gallery presents Menjumput Masa Lalu, continuing through until 3 June 2017.

Detail of Installation "Generasi Sintetis" Gede Jaya Putra      Detail of Generasi Sintetis 2017, (Synthetic Generation) – Gede Jaya Putra

20170522_131328                       Diary Book # 1, 2017Putu Nova Ruspika Yanto

Menjumput Masa Lalu (picking up the past)

21 May – 3 June

Sika Gallery

Jalan Raya Campuhan

Ubud, Bali

Open daily 9am – 5pm

Words & Images: Richard Horstman

 

 

 

TiTian Bali Foundation Gives Recognition & Heritage Awards to Balinese Artists

chairman-of-the-indonesian-agency-for-creative-economy-triawan-munaf-with-the-nine-finalists-of-the-2017-titian-art-prize-copyThe Nine Finalists of the TiTian Prize, (from left) Gede Suryawan, Wayan Aris Sarmanta, Wayan Malik, Mangku Muriati Mura, Ida Bagus Suryantara, Gede Sugiada, Made Sutama, Nyoman Arisana and Made Supena pictured with Triawan Munaf, Chairman of the Agency for Creative Economy Indonesia (center).

 

During the first anniversary celebrations of Yayasan TiTian Bali, in Ubud, Sunday 29 January, the Chairman of Agency for Creative Economy Indonesia, Triawan Munaf presented an array of art awards, culminating with the nine finalists, and the winner of the TiTian Prize 2017.

winner-of-the-2017-titian-prize-fight-lust-nyoman-arisana-copy                 Fight LustNyoman Arisana, Winner of the TiTian Prize 2017

Yayasan TiTian Bali (YTB) was established in the belief that Balinese art would flourish as it is integrated into a truly creative economy. “The founders of TiTian believe in continuing the importance of Bali’s history and culture, but we share a concern that the long association of the island’s creative life with tourism, cottage industry, and souvenirs, combine to create static and clichéd perceptions of cultural heritage,” said YTB Director Soemantri Widagdo.

alam-agung-great-whale-ida-bagus-suryantara                              Alam Agung Ida Bagus Suryantara

“We aim to work with Balinese artists, designers, and performers to ensure the long-term cultural, economic, and creative success of Balinese arts, with the highest levels of entrepreneurship in its creation and marketing,” he said. “Our mission is to discover, nurture and develop new talents, helping them achieve their full potential.”

“We are excited to be associated with Yayasan TiTian Bali, it as if TiTian is our arm in Bali,” said Triawan Munaf, Chairman of the Agency for Creative Economy Indonesia. “The mission of the Foundation is inline with our concerns.”

hidup-di-alam-gede-suryawan                             Hidup di Alam Gede Suryawan

“What we are doing now with the agency is developing the eco-systems within each of the 16 sub sectors of the creative economy, including the visual arts,” Munaf said. “We aim to create policies, involving multi ministries, that can make some breakthroughs for our creatives, giving them freedoms and mechanisms of how to enter markets, access finance, and how to register the intellectual property of their creations.”

emotion-ii-installation-made-supena                               Emotion II, Installation – Made Supena

The TiTian Prize 2017, open to all Balinese visual artists in the genres of painting, sculpture, installation and photography, received 82 entries from all regencies in Bali, plus entries from Lombok and Yogyakarta, 9 works were submitted by women. The finalists ranged in age from 21 – 53, reflecting the talent of both emerging and established artists. Genres varied from the traditional Kamasan, Batuan and Keliki styles, works influenced by modern and contemporary painting, and one wood carving installation.

lot-364-sutama-i-made                                    World of DreamsMade Sutama

Fight Lust, the winning painting by twenty-seven year old Gianyar painter Nyoman Arisana, an eye-catching composition of contrasts and tension featured a complex laying of visual elements, in both mono chrome and color, from the Balinese tradition, along with modern and contemporary art.

bhineka-tunggal-ika-mungku-muriarti-mura                         Bhineka Tunggal Ika – Mangku Muriati Mura

The work sets demonic creatures at war with one another, symbolizing, according the artist our human behavior. “Lust greatly influences human life and survival, greed, jealousy and envy are common, yet our desire to do good may also be perceived as lust,” Arisana said.

kasih-ibu-mothers-love-wayan-malik                                 Kasih IbuWayan Malik

The presentations at Titian Art Space Bali included the second annual Anugrah Pusaka Seni (Art Heritage) Award to ten artists and a patron who have made extraordinary contributions to the Balinese Arts. Some of the honored were Nyoman Ngendon (1906-1946), Ida Bagus Togog (1913-1989) and Ida Bagus Njana (1912-1985).

female-male-gede-sugiada                             Female & MaleGede Sugiada

The Patron Award (Life Achievement) went to Ni Made Kadjeng, founder of the Secondary School for the Arts of Batubulan. The event included the launch of the Indonesian language edition of Ida Bagus Made: The Art of Devotion, a book that focuses on paintings from the estate of the esteemed Balinese artist Ida Bagus Made Poleng (1915-1999).

nature-tease-wayan-aris-sarmanta                                Nature TeaseWayan Aris Sarmanta

“We are already working with Bali’s village artists’ associations, schools, individual artists, and other arts organizations for all our activities. Our approach is inclusive rather than exclusive,” Widagdo said.  “The long-term goal is to build the Bali Museum of Contemporary Art (Bali MOCA), exhibiting old and new work of the finest quality, supported by programs to inspire new directions and achievements in Balinese visual arts.”

Nine Finalists of the First TiTian Prize

Exhibition open 29 January – 26 February 2017

TiTian Bali Art Space, Jalan Bisma 88, Ubud, Bali.

http://www.titianartspace.com

Words & Images: Richard Horstman