Category Archives: Balinese Modern Traditional Art

Recognizing extraordinary Balinese artistic talent: the 2018 TiTian Prize

2018-003-D-SUWIDIARTA I KETUT-END AND THE BEGINNING-120 X 100 CM                                       Beginning and End – Ketut Suwidiarta

 

The Bali art infrastructure is undergoing important transformation. This renewal is a timely, yet long and unique process. The intended outcome, however, will be a sustainable art eco system on the island with the benefactors being new buyers, seasoned collectors, art lovers, the curious, and of course the artists and the industry as well.

The infrastructure currently comprises of galleries, museums, art spaces, artist studios, cultural centers, the traditional, and digital media, along with the art schools, institutions and foundations. Art awards and competitions are an essential, supportive part of any art infrastructure. They are renowned for discovering and showcasing noteworthy emerging artists and launching their careers. The exposure to gallerists, curators, collectors, the media and local and international audiences provides excellent networking opportunities, and makes the task of being “discovered” much easier.

2018-034-D-ADI WIRAWAN-MERINDUKAN BALIKU YANG DULU-120 X 120 CM                           Merindukan Baliku Yang Dulu – Adi Wirawan

 

The nine finalists and winner of the second annual TiTian Prize were announced in Ubud, 29 January 2018, during the second anniversary celebrations of Yayasan TiTian Bali (YTB). A new and visionary art foundation, inaugurated on the 80th anniversary of the founding of the famous Ubud based artist collective the Pitamaha, YTB is setting out to change the art landscape in Bali. TiTian, meaning bridge or “Stepping Stone” in the Balinese language, with its annual program of exhibitions, awards, workshops and book releases, is an experimental playground and launch pad. In essence it serves as artist incubation.

“Bali has a vast cultural heritage that is at risk due to the disruptions caused by modern technological, social and cultural changes sweeping the world,” says the YTB Chairman of the Board of Advisors Soemantri Widagdo. “YTB will assist Balinese visual artists not only to navigate and survive this massive change, but to become successful art-entrepreneurs to benefit from and to be the drivers of the new opportunities of the 21st century creative economies in Bali and Indonesia.”

2018-033-D-ARI WINATA I NYOMAN-MENAGKAP RAJA BABI-150 X 200 CM                                Menagkap Raja Babi – Nyoman Ari Winata

 

The TiTian Prize is awarded to the most promising artist who demonstrates talent and courage in breaking new ground in Balinese art. This year’s finalists are Gede Suryawan, Ari Winata, Ketut Suwidiarta, Kadek Yuliantono, Made Suartama, Ida Bagus Suryantara, Made Wahyu Senayadi and Wayan Eka Mahardika Suamba. The TiTian Prize winner is the exciting young painter from Batuan, Wayan Aris Sarmanta.

“Keluarga Bumi”, 2017 (Earth Family), by Sarmanta, is a wonderfully imaginative, glowing ‘family portrait’ featuring the father, mother and child set within and a fertile, idyllic earth playground. Elements of Balinese traditional painting merge with modern and contemporary art genes. Striking color contrasts are balanced with a superbly poised composition, highlighting the strong narrative taken from the Balinese Hindu philosophies. Light hearted elements add to the painting’s story making it a delight to observe.

2018-016-D-ARIS SARMANTA I WAYAN-KELUARGA BUMI-100 X 80 CM   The Winner of the 2018TiTian Prize “Keluarga Bumi” by Wayan Aris Sarmanta 

 

“My painting visualizes the earth family along with the abundance of nature in a harmonic, caring, and self-sustaining relationship,” says Sarmanta, who was born in Batuan in 1995. And continues, “I experienced great pleasure, along with disbelief, upon being announced this year’s winner.”

Photographs do not do “Keluarga Bumi” justice, and the painting needs to be seen to fully appreciate the fresh new approach that is currently revolutionizaring the most loved and critically acclaimed genre of Balinese art – Batuan painting. Inspirational and humourous, Sarmanta’s work is pulsating, and full of life.

The YTB presentation also includes the third annual “Anugrah Pusaka Seni” (Art Heritage) Award to artists and a patron who have made extraordinary contributions to the Balinese Arts. The winners are A.A. Gde Meregeg (1907-2001), A.A. Gde Sobrat (1912-1992), Gusti Made Deblog (1906-1986), Dewa Nyoman Mura (1877-1950), Dewa Putu Kebes (1874-1962), and Gusti Putu Sodang (unknown – 1937). The Patron Award (Life Achievement) went to Prof. Drs. A.A Rai Kalam (1940-2017) who played a definitive role in the formation of the School of Art at ISI Denpasar.

2018-012-D-SURYANTARA IDA BAGUS-PALEMAHAN-125 X 120 CM                                   Palemahan – Ida Bagus Suryantara

 

For the first time this year YTB presented children’s prizes for age groups up to 12 years, and between 13 to 17 years of age. “The Titian Prize for children is to encourage the young generation of Balinese children to learn and continue the Balinese painting tradition,” says Widagdo. “The prizes are given in recognition, appreciation and encouragement, and consist of a certificate and art materials. In the future we plan to include a program of mentoring along with museum and studio visits.”

The 2018 TiTian Prize winner will travel to Europe to attend a Bali art exhibition in late fall this year in Leiden, the Netherlands. The exhibition will feature paintings by Sarmanta and Wayan Budiarta, also from Batuan, that have recently been acquired by the National Museum of World Cultures. The winner as well will tour major museums, art galleries and exhibitions in the Netherlands.

Sarmanta’s painting“Keluarga Bumi” is on display until the end of 2018 at TiTian Art Space, located at the end of Jalan Bisma, Ubud. Open to the public daily from 9am – 5pm, except Mondays.

2018-018-D-EKA MAHARDIKA SUAMBA-JIN KURAKURA-35 X 46 CM                            Jin Kurakura – Wayan Eka Mahadika Suamba

 

2018-006-D-YULIANTO I KADEK-RENAISSANCE IN BALI-90 X 70 CM                                   Renaissance in Bali – Kadek Yulianto

 

2018-001-D-SURYAWAN EKA PUTRA-DIALOGUE IN BLUE SEASON- 51 X 71 CM                           Dialogue in Blue Season – Gede Suryawan

 

2018-009-D- SUARTAMA I MADE- BATU TENGAH-80 X 80 CM.JPG                                      Batu Tengah – Made Suartama

 

TiTian Prize Childrens Art A- KETUT SANDRA GAUTAMA-NELAYAN-24 X 36 CM                TiTian Prize Children’s Art – Ketut Sandra Gautama

 

TiTian Childrens Prize - KADEK DWIKA DHARMA PUTRA-KEBERSAMAAN-22 X 32 CM .JPG                   TiTian Prize Children’s Art – Kadek Dwika Dharma Putra

 

2018-034-A- KADEK RIPA RYAN SUPUTRA-ANAK PANTAI-25,5 X 30 CM.JPG                       TiTian Prize Children’s Art – Kadek Ripa Ryan Suputra

www.titianartspace.com

 

Words: Richard Horstman

Images Coutesy: TiTian Art Space

Advertisements

Paradise lost & new frontiers: Gede Mahendra Yasa’s landmark investigation into Balinese painting

"Tamiang" GMY 2011Tamiang, 2011, 150 x 200cm – Gede Mahendra Yasa. Exhibited in “Post Bali”

 

After the fall of President Suharto and the New Order Regime in 1998 Indonesian artists enjoyed new liberties, and their art became increasingly social and political in content. Representing a new generation of the Balinese avant-garde, Gede Mahendra Yasa was inspired by the freedoms of the post refromasi era, and dared to investigate his Balinese roots like no other artist had previously attempted – he questioned the popular ‘narratives’, along with the status quo. What transpired at the beginning of the new millenium has evolved into an ongoing project – a unique, yet essential, exploration into Balinese painting.

Born in 1967 in the island’s former capital of Singaraja, Mahendra Yasa grew up within a ‘multi-cultural’ environment where the Balinese Hindu’s had the freedom to choose a more open interpretation of cultural life. They were not subjected to the religious and cultural structures that were ‘imposed’ within the Gianyar regency during the 20th century, while it was being honed into a pro-Dutch colonial model of a ‘living cultural museum’ to stimulate tourism.

"Priest" GMY 2011Priest, 2011, 150 x 200cm – Gede Mahendra Yasa. Exhibited in “Post Bali”

 

Mahendra Yasa studied architecture and mechanical engineering in Surabaya, East Java from 1986 to 1988, yet he discovered this to be too limiting, being more attracted to the expressive freedoms of painting. He then began his autodidact journey, and an intensive learning into the history and discourses of Western painting.  Between 1998-2002 he formally studied at the Indonesian Art Institute (ISI) Denpasar where he analyzed his practical and theoretical Balinese art knowledge.

Bali is generally considered to be exotic, and is stuck in a past cultural era. Balinese art is perceived as secondary, as a craft, and not as a legitimate part of Indonesian modern art history. These issues have arisen due to the dense bias of ethnography and anthropology (orientalist in nature) in determining the understanding of Bali, especially during 1920’s – 1930’s within the ‘golden age’ of Balinese development when Balinese traditional art was shaped as a colonial political tool – and this frustrates Mahendra Yasa.  An atheist, Mahendra Yasa was an avid detractor of the local culture, and took a critical stance to the art practices in Bali. This compelled him to continuously investigate and then seek out new frontiers in Balinese painting, in a career long pursuit into its thematic and aesthetic distinctions.

7 Magnficent Masterpieces #1, 2011, 200x150cm Newspaper Collage chinese ink on canvas7 Magnificent Masterpieces #1, 2011, 200 x 150cm, Newspaper Collage & Chinese Ink on Canvas – Gede Mahendra Yasa. Exhibited in “Post Bali”

 

“My entry point is from the contemporary, but using the traditional identity of painting,” he once said. In Post Bali, his landmark 2014 exhibition at ROH Projects, Jakarta, Mahendra Yasa adopted a unique methodology to other Indonesian contemporary artists, driven by his powerful intellect, and an obsession with painting, he delved into local Balinese issues from a western conceptual art perspective. Painting for the artist is not only about the object – it can function as a philosophical and analytical tool.

Post Bali combined an array of western and Balinese painting styles through which Mahendra Yasa revealed his investigation of the complexities of Balinese painting. He utilized various appropriations in his works that have been internationally recognized as modern or contemporary art masterpieces. The exhibition unfolded with photo-realism paintings from 2010 depicting scenarios of Balinese life. It continued via the acclaimed traditional Batuan narrative style of painting, with miniature photo realistic characters as the code through which he explained key parts of Balinese, Indonesian and Western art techniques and history. Within these works he also explored traditional techniques of making canvases, and Chinese ink painting.

7 Magnificent Masterpieces #2, 2012 Acrylic on canvas 200x150cm7 Magnificent Masterpieces #2, 2012, 200x150cm, Acrylic on Canvas – Gede Mahendra Yasa. Exhibited in “Post Bali”

 

Contemporary Art in Paradise Lost, Mahendra Yasa’s enormous 75 x 300 cm epic which included multiple scenes in the one work, taking the artist over a year to complete, was juxtaposed against his dual panel Pollock-esque abstract expressionist works. Post Bali explored three distinct realizations of Bali through different painting styles and ‘tests’ to what extent it is able to interact with materials and ideas familiar to contemporary art. The exhibition can be read as a chronological progression of his work and represents the start of a project that has now become much larger and more complex in nature. Post Bali has defined Mahendra Yasa as one of the few, truly important Balinese contemporary artists, while confirming his position within Indonesian art history.

"Silver Acrylic Paint on Face #2" GMY 2012 Silver Acrylic Paint on Face, #2, 2012 –  Gede Mahendra Yasa (self-portrait)

 

In early June 2018 the following interview was conducted by Richard Horstman and Gede Mahendra Yasa.

 

RH: Since early 2000 you have been driven by the need to question the popular ‘narratives’ and the status quo within Balinese art.

Why did you begin doing this?

GMY: In 2001, only 3 years after reformation and the fall of the new order regime, Indonesian artist enjoyed new freedoms, and political art came to the fore. For a few decades Sanggar Dewata Indonesia (SDI), Bali’s oldest and most influential collective which began in 1970, held power over the art scene. For me, however, they represented the new order regime, with much of their approach to art continuing on from the Dutch colonial methods. I was determined to change the game here in Bali.

The-Death-of-Gatotkaca. 1500x200. 2013The Death of Gatotkaca, 2014, 150 x 200cm – Gede Mahendra Yasa. Exhibited in “Post Bali”

 

RH: As an art provocateur it was essential to ask important questions in order to be able to move forward, as well as to inspire others to be more analytical and critical. Within the sphere of Indonesian and Balinese art, however, there is no culture of criticism, and such an approach is seen as confrontational. You had to move ‘out of the comfort of your studio’ and into the public forum to be heard.  Was this difficult to do?

GMY: Yes, at the beginning it was very difficult. But slowly the art public accepted my criticism.

RH: The formation of collectives has played an important role, while helping you in the exploration of your ideas. (This first began with the Klinik Seni Taxu. The young artists of Taxu reacted to the institutionalized “authority” over Indonesian art which prevailed during in the 1990’s – 2000. They were driven to promote the development of a Balinese art outside the traditional parameters of Balinese religion and culture and were active between 2001-06 releasing publications and exhibiting. In 2001, as students at the Indonesian Art Institute (ISI) Denpasar, the Taxu group received funding from ISI to hold an art event they titled, Mendobrak Hegemoni (Shattering the Hegemony).

"Paradise Lost" GMY Chinese Ink on Kamasan Canvas 2014

Paradise Lost #2, 2014, Chinese Ink on Kamasan Canvas – Gede Mahendra Yasa

 

What occurred was a protest featuring abusive comments in various languages about the commercialization of art. They attacked copies of major artists works and produced effigies of the artists as mummies, posters proclaimed ‘art is dead’. The event shocked both the singled out artists, and the ISI authorities during an era when the pressures of the New Order Regime were still heavy. The protest was of national significance because Bali had become a key site for the formation of ideas about Indonesian art).

Can you explain why the Taxu group came about and what were their aims?

GMY: Bali has traditions like the banjar system of communal organization. I learned from the influence of the foreign artist during the 1930’s – 1940’s (Spies and Bonnet) and Nyoman Ngendon from Batuan, and in wider context from the first Indonesian community based artist groups (PERSAGI & LEKRA). I understood that organizing groups, following in the tradition of making “schools” of artists was a more strategic and quicker way to achieve goals. This belief pushed me to find artistic idioms for the groups to function as a“glue” (Social realism for Klinik Seni Taxu, and abstraction for Nu-Abstract, his latest collective which began in 2017).

"Between Me,You and the Bedpost #2 Mahendra YasaBetween Me, You and the Bedpost #1. 2014, 100 x 163cm – Gede Mahendra Yasa, Exhibited in “Post Bali”

 

RH: More recently the Neo-Pitamaha has been formed. Can you share more about this collective?

GMY: The origins of the Neo-Pitamaha began after my 2011 solo exhibition in Milan, Italy because of problems with my “identity” as a Balinese painter. I began to think a lot about my artistic roots, and then started to explore Balinese painting (focussing on painting from the last century – the Classical style referred to as Kamasan, and the Batuan traditional style). I believed that the Classical and traditional styles had come to a dead-end. And then I challenged myself to contemporize what the academic artists (especially the Yogyakarta Indonesian Art Institute (ISI) alumni) thought was impossible. And I proved them wrong! In 2013 I “assembled” a new group to push this idea further.

RH: Can you share please the ideas behind your series of paintings made between 2012 – 2018 which began with 7 Magnificent Masterpieces #1 & #2, and continues on with Origen’s Gambit?

"Contemporary Art in Paradise Lost" 2012-2014, 300x75 cmContemporary Art in Paradise Lost, 2014, 75 x 300cm – Gede Mahendra Yasa. Exhibited in “Post Bali”

 

GMY: I wanted to contemporize the Batuan painting style emphasizing the full compositions, with no empty spaces. Complete with the dualities and horror, the dense and decorative style – very Balinese. Unlike the Dutch miniatures such as Brueghel, Bosch, for example, who use the linear perspective. I use the bird eye’s view perspective, like the Batuan artists. I then realised that the series could be used for telling stories about art history (Balinese, Indonesian and global art history). My inspirations came from the American painter Mark Tansey, and also the comic genres, such as Marvel and DC Comics, and how they make alternative universes. I wanted to mimic their method to create my own universe – an art history universe.

Remember this miniature epic series has taken 6 years to develop, so many things have happened. This is on going, and in the near future, in the third phase of this series I plan my approach to be more a linguistic or semiotic exploration. I will “illustrate” a lot of “ideas” about imagery, icons, logos and symbols. Here, I have been influenced by Xu Bing a main land Chinese painter.

"Yasa Perburuan Rusa" GMY 2014                        Yasa Perburuan Rusa, 2014 – Gede Mahendra Yasa

 

RH: You have a long and ongoing relationship with abstract painting. In 2017 you formed the collective NU-abstract to explore further Balinese abstraction and the collective will be exhibiting at NADI Gallery in Jakarta in early July. Do you find exploring your feelings within this genre is the perfect creative pursuit while other concepts need certain periods of time to fully develop and to be successfully executed and expressed? Does this help you to achieve a type of ‘balance’?

GMY: Yes, I need to balance my other painting series as they demand too much logic. There is, however, another reason. I formed the NU-abstract group because there are some Islamic fundamentalist art groups (Rumah Warna, Khat, Khilafah art networks) in Yogyakarta, and Hijrah in Bandung, who want to use non-figurative painting as a tool to forbid the making of imagery of “living creatures”. They twist modern abstraction for their own political benefits while intercepting the potentiality of this new Indonesian art trend. I want to stop their ideas of controlling and polluting the Indonesian art world.

"Yasa Spiral Frame" GMY 2014                              Yasa Spiral Frame, 2014 – Gede Mahendra Yasa

 

Mahendra Yasa along with Neo-Pitamaha co-founder Kemal Ezedine set out to strategically impact upon the Indonesian contemporary art world in 2016 by participating in high level exhibitions and art fairs in Bandung, Jakarta and Yogyakarta. Their presence was especially visible during the two international art fairs, Art Stage Jakarta 2016 and 2016 Bazaar Art Jakarta that attracted large national and foreign audiences.

The Neo-Pitamaha have taken their name from the legendary 1936 artists association established in Ubud during a revolutionary period when traditional art was being modernized for the new and expanding international market – the Pitamaha’s oversaw the successful development of this new genre of art that helped communicate the Balinese culture around the world. The Pitamaha was formed by the prince of Ubud Tjokorda Agung Sukawati, Bali’s modern master Gusti Nyoman Lempad, and the expat foreign artists Walter Spies, and Rudolf Bonnet.

"BipolarDemons" GMY 2017, 200x160Bipolar Demons, 2107, 200 x 150cm – Gede Mahendra Yasa. From the NU-abstract series and exhibited in the group exhibition “Celebrating Indonesian Portraiture” at OHD Museum Magelang, Central Java, continuing through until 8 October 2018.

 

With their ideology deeply rooted in the historical development of Balinese art during the past century, and with a new discourse about Balinese art the Neo-Pitamaha reinterpreted this art form from a contemporary art perspective – retaining the principles involved with the techniques and methods. By opening this to new viewpoints they awakened a new spirit and introduced a fresh model of possibilities into Balinese art.

 

After Paradise Lost 2014-2016In May 2016 at Christie’s Hong Kong Asian Contemporary Art Day Sale “After Paradise Lost” (2014) by Gede Mahendra Yasa sold for HKD 1,240,000 (USD 158,000), well above the estimated price of between HKD 350,000 (USD 44,500) – HKD 500,000 (USD 63,500).

 

Origen's Gambit" GMYAt Christie’s Hong Kong Asian Contemporary Art Day Sale November 2017, Gede Mahendra Yasa’s painting “Origen’s Gambit” (2016-2017) realised HKD 1,750,000 (USD 220,000), selling well above the estimated price of HKD 380,000 (USD48,000) – HKD 550,000 (USD70,000).

 

Gede Mahendra Yasa’s painting After Paradise Lost has been selected as one of the 15 finalists in the Signature Art Prize. The award, which is presented every three years, is organized by the Singapore Art Museum and sponsored by the Asia-Pacific Breweries Foundation. The winner will be announced at an award ceremony on June 29, and the works are currently on exhibit from May 25 to Sept. 2 at the National Museum of Singapore.

 

 

 

Words: Richard Horstman

Images: Coutesy of IndoArtNow, Gede Mahendra Yasa & Richard Horstman

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

 

 

 

 

 

Bruce Carpenter: presenting Indonesian art & culture to the world

BruceC-2a                                                          Bruce Carpenter

 

A lust for life and adventure, along with a generous dose of savvy have propelled New York City born and bred Bruce W. Carpenter around the planet.

The son of a young American soldier who returned from WWII with an upper class English bride, Carpenter found himself torn between the idealism and glory of old Britain and the cosmopolitan metropolis of his birth. In the end, the creative cauldron that was NYC in the 60s & 70s would be the winner.

“I found my sanctuary in the great museums and then seminal art scene of the “City” where I was introduced to the Underground Art Scene and the Beat Poets. This would lead on to the first happenings, the precursor of installations, in Soho lofts, Andy Warhol’s Factory, experimental theatre and film,” says Carpenter, who eventually channelled his creativity into filmmaking. Carpenter was also an eyewitness and full-blown inductee into the Woodstock Generation, having attended the concert, and the Age of Aquarius. He played in a Blues band and was a member of several theatre groups.

Lempad_cvr_300dpiLempad of Bali: the illuminating lineCarpenter, Darling, Hinzler, McGowan, Vickers, Widagdo

The election of Richard Nixon and the resurgence of the conservative right, along with the death of a brother who served during the Vietnam War, precipitated a leap across the Atlantic Ocean to the city of Amsterdam where idyllic hippie dreams were still raging on. After experiencing one long and miserable Northern European winter, Carpenter succumbed to exotic tales of the mystic East recited by a new breed of young travellers.

In 1974 he sold his camera and bought a one-way ticket to Bangkok. During the next 18 months he would explore the east crisscrossing the Malay Peninsula and Indonesia starting in Sumatra. Together with the Swiss artist-photographer, Charles Junod, they would scout out wild destinations and create surreal installations that they photographed. These would tour Europe in an exhibition of surreal photography sponsored by the Canon Gallery.

When Carpenter arrived on the island paradise of Bali, Kuta was no more than a small village set in coconut groves adjacent to the beach. “There was a handful of homestays with a cast of international bohemian suffers and roaming hippies as the guests,” he recounts. The two most dangerous moving objects were falling coconuts and the deer-like Balinese cow.

sovarrubias-sketchesMiguel Covarrubias Sketches: Bali – Shanghai – Adriana Williams & Bruce W Carpenter

For the next decade Carpenter led a nomadic lifestyle with regular visits to Bali. In the early 1980s, after meeting Dr. Stanley Kripper, he began organizing cultural tours under the auspices of the Institute of Noetic Sciences in Sausalito. These specialized in visits to traditional healers and religious figures and would end with a book on traditional Balinese healing co-authored with Krippner and Dr. Denny Thong the head of Bali’s mental hospital in Bangli.

In 1985 Carpenter settled in Ubud and began working on a series of research and art projects usually tied with the art, history and culture of Indonesia. As his reputation grew he was invited to author and co-author a growing number of books. In 1993 he gained wide attention as the author of Willem G. Hofker, Painter of Bali (1993), the first major book on an expatriate artist on Bali. Several other books on expatriate artists soon followed including the acclaimed, W.O.J. Nieuwenkamp, the First European Artist in Bali (1997).

“Often in life, its not what you know, but who you know,” says Carpenter. Through a serious of discussions with key figures in the hotel industry in Bali Carpenter was to be granted a wonderful opportunity after he convinced the management of the Four Seasons Resort in Jimbaran that luxury hotels were the natural heirs of the mantle once held by the royal palaces as patrons of the arts. The result was the opening of the Ganesha Gallery, the first dedicated art gallery on the premises of a hotel in 1992. This was hailed as an excellent cultural bridge between the guests and Indonesian modern and traditional art.

9789814068154-us          Emilio Ambron: An Italian Artist in Bali – Bruce W. Carpenter

Initially the resort attracted wealthy and sophisticated international clientele and with the charismatic Carpenter as the figurehead of Ganesha and his sharp eye for art, the timing was perfect and it became an immediate success.

For a 15-year period the gallery held 12 exhibitions a year, an unheard of phenomenon in Indonesian art, confirming it as the fine art gallery in Bali. In its heyday well-heeled guests and local collectors purchased quantities of art, however over the years as the profile of the guests changed, along with events such as the Gulf War, 9/11 and the Bali bombings, and its market gradually faded. This experience for Carpenter gifted him with enormous experience and knowledge, along with connections and an international reputation.

In the meanwhile Carpenter would also begin publishing a series of books on the traditional arts of Indonesia, including Mentawai Art, Batak Sculpture, Nias Sculpture and two books on traditional jewellery. “I am a firm believer that expatriates should contribute to the country they live in. I was blessed with a deep knowledge and appreciation of Indonesian arts and culture which is fast disappearing and I have taken it upon myself to try to record as much of it as possible.

4mpXadWmpPcjnmClhQXP          W.O.J Nieuwenkamp: First European Artist in Bali – Bruce W. Carpenter

In all, Carpenter has written and co-authored over twenty books and scores of articles on Indonesian art, culture and history. However, with the recent release of the book Lempad of Bali – The illuminating Line, the first fully comprehensive study on the master of Balinese traditional artist, Gusti Nyoman Lempad (1862-1978), on the 20th September 2014 at Museum Puri Lukisan, he admits, “this has by far been the most challenging project I have engaged in in my life.”

“As the book concept and project manager my list of tasks was unprecedented. I had to oversee interactions with over forty institutions and collectors in eight different countries, each with different requirements, along with dealing with six authors, one of whom is dead!” Carpenter says. “Our endeavour was to include the broadest range of Lempad’s works available in the book, therefore the detective work required was unbeknown to us and consequentially enormous.” The beautiful volume of over 424 pages is the culmination of more than six years work for the team of dedicated and respected academics and professionals.

“Bali deserves to have world class art exhibitions, books and events to create more interest in its immense and unique culture,” Carpenter states.

“I am dedicated to the publication of illustrated books on the traditional arts of Indonesia which have disappeared or are disappearing. We honor the past by recording its brilliance. I also feel it is important to urge young Indonesians to do the same. It is ironic that westerners play such a critical role in the studies of Indonesian art. This should change.”

Opinionated and articulate Carpenter counts many, including the rich and famous, as friends. A father of two he cuts both a dashing and unusual figure. His trailblazing journey through life is rich in colourful tales that are steeped in the exotic, mysterious and dynamic.

127446                                 Indonesian Tribal Art – Bruce W. Carpenter

 

Words: Richard Horstman

Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 8 October 2017

Lot 549 Nyoman Meja "Subali & Sugriwa" 1997 Image courtesy of Larasati                               Lot 549: Subali & Sugriwa – Nyoman Meja

 

Art auctions are an exciting and accessible way to grow your collection. For the curious observer and new buyers auctions are fascinating processes that give insight into the art world that is often perceived to be opaque, mysterious, and even intimidating. Auctions allow opportunities for new buyers to enter the market often at amounts well below gallery prices and cheaper than purchasing directly from the artist’s studio.

Larasati Auctioneer’s upcoming 8 October 2017 Traditional, Modern and Contemporary Art auction to be held in Ubud, Bali offers eighty lots of fine art for sale in varying categories including Indonesian and Balinese art, and catering to the budgets of new buyers, intermediate collectors, and the connoisseurs.

Lot 532 Arifein Neif "Balinese Temple" 1992 Image courtesy of Larasati                                Lot 532: Balinese Temple – Arifein Neif

Since February 2016 real-time Internet bidding has been available through the Larasati website opening the auction to a global audience. Real-time Internet accessibility allows prospective buyers to follow along observing hammer prices to assess the situation of the market and level of interest of a certain class or individual lot, while also allowing for bidding strategies to be revised.

A feature of the twice-yearly Larrasati auction is always the fascinating array of Balinese modern traditional paintings available for sale; the genre that evolved through the influence of the Pitamaha Artist’s Association established in 1936 in Ubud to oversee the growth of this art style catering for new burgeoning markets that quickly developed during the first wave of tourism to embrace Bali.

Lot 546 Nyoman Kayun "Suasana di Desa" 2008, Image courtesy of Larasati                              Lot 546: Suasana di Desa – Nyoman Kayun

Two works of interest by masters of the Pitamaha are Lot 565, Perebutan Tirta Kamandalu by Anak Agung Gde Meregeg (1912-2000) with an estimated price between Rp.60,000,000 – 80,000,000, and Lot 575, Sang Hyang Jaran by Tjokorda Oka Gambir (1902-1975) with an estimated price between Rp.20,000,000 – Rp. 25,000,000. These paintings offer excellent buying opportunities if purchased within the undervalued estimated prices. Both artists have had enormous influence on the development of Balinese art, Gambir one of the founders of the Ubud School of painting, while Meregeg, one of the first students of Walter Spies (1895-1942) is the grandfather of the celebrated Ubud painter A.A. Anom Sukawati.

New buyers have excellent opportunities to enter the market with Lot 505, Broken Triangle, 1990 by Made Wianta, which has an estimated price between Rp.5,000,000 – 7,000,000, Lot 510, Dua Wanita Jawa, 1988 by Bagong Kussudiardjo (1928-2004) with an estimated price of between Rp.6,000,000 – 8,000,000, and Lot 511, Figur Wayang, 1990 by Pande Gde Supada which has an estimated price of between Rp. 6,000,000 – 8,000,000. Both Wianta and Supada played formative roles in the shaping Balinese modern and contemporary art in the 1970’s.

Lot 561 Dewa Ketut Rungan "Burung-Burung Surgawi" Image courtesy of Larasati                  Lot 561: Burung-burung di Surgawi – Dewa Ketut Rungan

For buyers prepared to hold works for a 10 – 20 period some good long-term investments are available here; Lot 564, Calonarang is an ink on paper work by the respected Sanur painter Ida Bagus Nyoman Rai (1915-2000) and has an estimated price between Rp.10,000,000 – 12,000,000. Lot 566, Mythological Scene is a stunning work by Dewa Nyoman Leper (1917-1984) with an estimated price between Rp.15,000,000 – 18,000,000. Nineteen-year-old Pande I Made Dwi Artha typifies the talented new generation of Batuan painters that promise an exciting future for the most loved and critically acclaimed genre of Balinese art. His dynamic and fascinating take on the culture of corruption, Lot 534, People Are My Toys has an estimated price of between Rp.7,000,000 – 9,000,000.

The connoisseur’s attention will be upon the later part of the auction, especially the final two lots by Ida Bagus Made Poleng (1915-1999). Lot 579, Kawan Rusa has an estimated price between Rp. 140,000,000 – Rp. 170,000,000, and Lot 580 Tari Baris is estimated between Rp. 150,000,000 – Rp. 200,000,000. Poleng is arguably the most talented Balinese painter of the 20th century. Lot 578, Panen Raya is a rare work by Dewa Putu Bedil (1921-1999) with an estimated price between Rp. 70,000,000 – Rp.90,000,000, and Lot 576, by Ida Bagus Made Nadera (1910-1998) Kehidupan Nelayan has an estimated price of between Rp.65,000,000 – 80,000,000.

Lot 559 Nyoman Gunarsa "Subali & Surgawi" Image courtesy of Larasati                          Lot 559: Subali & Surgawi – Nyoman Gunarsa

The recent passing of pioneering modernist Nyoman Gunarsa in early September was an enormous loss to the Balinese art world. Born in 1944 in East Bali, Gunarsa was instrumental in helping forge new paths in Balinese aesthetics with his own dynamic interpretation of the wayang figures of Classical Balinese painting. His legacy as an artist, art lecturer and art community leader – one of the icons of the island’s cultural landscape – however, will continue on through the generations of artists he has inspired. Lot 559, Subali & Sugriwa is an excellent work by Gunarsa that will attract attention and has an estimated price of between Rp.45,000,000 – 55,000,000.

Other works of note are Lot 532, by Arifein Neif, Lot 546, Suasana di Desa by Nyoman Kayun, Lots 549 & 550, by Nyoman Meja and Lot 561, Burung-Burung Surgawi by Dewa Ketut Rungan. Lot 558, by Arie Smit, Lot 574, Potret Wanita Bali by A.A Gde Sobrat and Lot 572, The Birth of Ganesha, by Gusti Ketut Kobot (1917-1999) with an estimated price between 65,000,000 – 75,000,000. Good works for mid level collectors include Lot 518, by Made Suarsa, Lot 526, by Gusti Agung Wiranata, Lot 540, by Ketut Tagen and Lot 568, by Dewa Ketut Ding.

Lot 579 Ida Bagus Made Poleng "Kawanan Rusa" Image courtesy of Larasati                           Lot 579: Kawan Rusa – Ida Bagus Made Poleng

Prospective 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.

Lot 576 Ida Bagus Made Nadera "Kehidupan Nelayan" 1950 Image courtesy of Larasati                          Lot 576: Kehidupan Nelayan – Ida Bagus Made Nadera

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Sunday 8 October, while viewing begins from 11am 6 Friday.

The online catalogue is available at: www.larasati.com

 

Viewing:

Friday,           6 October   11am – 7.30pm

Saturday,   7 October     11am – 7.30pm

Sunday,     8 October     11am – 1pm

Auction: Sunday 8 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

 

 

Urip – Awakening: Pande I Made Dwi Artha

IMG_8555 Bad Dream                         Bad Dream – Pande I Made Dwi Artha

 

The goal of Yayasan TiTian Bali (YTB), a visionary foundation open January 2016, is to build a new eco system for Balinese art for the 21st Century. Situated at TiTian Art Space, Jalan Bisma, Ubud, it is a venue for developing and nurturing young artists from the genres of traditional, modern and contemporary art, and also scouting for new talent. With its annual program of exhibitions, awards, workshops and book releases, YTB is a launch pad for young talented Balinese artists.

Pande I Made Dwi Artha - "Vacation on the Moon"                         Vacation on the Moon – Pande I Made Dwi Artha

Presenting its third exhibition of 2017, this year’s program highlights the exciting new generation of artists from Batuan, the most internationally recognized, and critically acclaimed genre of Balinese traditional art. YTB showcases artist Pande I Made Dwi Artha on Saturday 2nd September with an open house celebration beginning at 9am and continuing throughout the day until 5pm. Urip – Awakening features 9 acrylic works on paper by the talented young artist who was born in 1998, in his debut solo exhibition.

IMG_8565 Game Over                                 Game Over – Pande I Made Dwi Artha

Growing up within the rich family tradition of Batuan painting, from the age of nine Dwi Artha was apprenticed to his father Ketut Kenur, learning the painting philosophies and techniques that are unique to Batuan. Aged 12 he first exhibited at Ubud’s Puri Lukisan Museum, in 2015, aged 17 he captured local art observers attention when he exhibited the popular Balinese folktale about the family of Pan and Man Brayut with the imaginative verve of a young and potent creative mind.

IMG_8546 National Struggle                       Unity in Diversity, Pertahanan – Pande I Made Dwi Artha

The Brayut’s have eighteen children, each representative of the 18 syllables within the Balinese alphabet. Dwi Artha’s painting Vacation on the Moon – Keluarga Brayut ke Bulan transforms the old and symbolic tale into a wonderful modern interpretation, beautifully depicting each of the family members playfully engaged while sitting on the moon, set within a fantastic galactic backdrop.

IMG_8561 People are my toys                                People Are My Toys – Pande I Made Dwi Artha

Urip – Awakening can be divided into four distinct painting themes: Balinese folklore, Hindu religious epics, Vedic philosophies and sociopolitical satire. Unity in Diversity – Pertahanan, 2016, is the highlight of the exhibition for its perfectly balanced, symmetrical composition and harmonic colour scheme, complemented by an economy of visual elements. In this work the artist highlights the sociopolitical forces that threaten the ideals of the Indonesian national slogan: Unity in Diversity.

IMG_8538 Three Colors                                  Three Colors – Pande I Made Dwi Artha

It depicts the mythical Garuda bird with the Indonesian coat of arms emblazoned upon it chest (representing the Pancasila – the five founding principles that unite the country), being attacked from all four directions by the elements that threaten the country’s stability – radicalism, illegal drugs, corruption and terrorism.

Pande I Made Dwi Artha represents the future of Batuan painting through which the classic story-telling traditions are injected with new life, via fresh sensibilities.

IMG_8518 Journey to Nirvana                            Journey to Nirvana – Pande I Made Dwi Artha

 

Urip – Awakening: Pande I Made Dwi Artha

Open House from 9am – 5pm

Saturday 2nd September

Continuing through until 3 October 2017

TiTian Art Space

Jalan Bisma # 88, Ubud

+628113988444

www.titianartspace.com

 

Words: Richard Horstman

 

The Art of Pengosekan Village

Ketut Rudi. 2010                             Birds of Lod Tunduh, 2010  – Ketut Rudi

Balinese traditional art is the art of story telling. Its ancient narratives bring to life tales from the sacred Hindu and Buddhist texts, old Balinese and Javanese folklore, and accounts of daily life. Its purpose is to promote harmony within the community via examples of proper moral conduct.

During the past century indigenous art has been revolutionized via the meeting with Western art techniques and ideas into a ‘new’ genre that became known as Balinese modern traditional art. This art form thrived due to the development of new tourist markets, driven initially by the first wave of foreign visitors in the 1930’s, who after holidaying on Bali wished to purchase a memento to bring home. A distinctive feature of Balinese modern traditional art is the different village styles, or ‘schools’ that evolved over time, each with its own individual creative verve.

Cosmic Circle - Dewa Nyoman Batuan                                    Cosmic Circle – Dewa Nyoman Batuan

Stories from the other side of the canvas – both triumphant and tragic – of the artists and the events behind the art have enriched the ‘aura’ of Balinese modern traditional art while endearing a global audience. This is a tale about the art and some of the characters that have distinguished the art from the village of Pengosekan.

Overshadowed by the more famous styles of Ubud, Batuan and Sanur, Pengosekan, one kilometre south of Ubud, has its own art history, complete with unique figures, and signature styles. The most celebrated of all Pengosekan painters is Gusti Ketut Kobot (1917-1999), accredited as one of the leaders of the post-war changes in Balinese paintings, he was also an influential art teacher. Some of Kobot’s finest works are mythological featuring characters from the religious narratives, while he also responsible for creating the prototypes for the scenes of village life that would be ceaselessly imitated for mass production as tourist art.

Gusti Ketut Kobot, "Triwikrama" 1986, Image couresty of Larasati                                 Triwikrama, 1986  –  Gusti Ketut Kobot

Kobot’s renditions of characters that still today are brought to life in the Wayang Kulit shadow puppet theatre are executed with extraordinary attention to compositional balance. According to the Balinese paintings that achieve perfect visual equilibrium indicate the artist’s excellent skills, and his strong connection with the divine. Brahma on Wilmana, Kobot’s painting of the Hindu god of creation riding the monster headed mythical bird Wilmana, on permanent display at the Neka Art Museum in Sanggingan, Ubud is fine example of his talent.

Structured with outer layers of decorative patterns the central characters appear framed and effortlessly poised, Wilmana wears a magic protective poleng (black and white checkered cloth) around the waist to avert harmful forces, since it has positive white and negative black in balance. Kobot is renowned for such depictions, honing them to the height of refinement. He is acknowledged as one of the masters of the original Ubud artist’s cooperative, the Pita Maha that thrived between 1936-1945, helping establish Balinese modern traditional art.

Gusti Ketut Kobot."Scene from Ramayana Story" 50x70cm                         Scene from the Ramayana story  –  Gusti Ketut Kobot

The inhabitants of Pengosekan were predominantly farmers, tending the agricultural fields surrounding their village. In the process of breaking away from the orthodox subject matter that featured in their paintings, the artists began to look outside of the conventions for new creative inspiration, and started paying more attention to nature.

A signature style developed in Pengosekan during the 1960’s featuring images of local flora and fauna painted in fresh pastel colours. At first the artists focussed on depicting bird life set within beautiful scenarios of forests and trees, others then explored nature close-up, their compositions highlighting an array of insects, often grasshoppers or butterflies rendered in great detail.

Pengosekan Style                              Pengosekan fauna and flora style

One of the finest practitioners of the flora and fauna style is Ketut Rudi who was born in Lotonduh, just south of Pengosekan in 1943. His works were commissioned and collected by the second President of Indonesia, Suharto (1921-2008) and hang in the Presidential State Palaces around the country. Rudi often painted at the State Palace in Tampaksiring, Central Bali, while Suharto was on retreat from the nation’s capital city, Jakarta. To ease his mind Suharto would often sit for hours watching Rudi at work.

Another painter, Ketut Liyer (1924-2016) was a local village priest (pemangku) who painted agricultural scenes and the sacred cloth amulets known as rerajahan. Liyer, who was also a paranormal and ‘healer’, shot to international fame via the Hollywood movie Eat, Pray, Love released in 2010 and starring Julia Roberts. Liyer’s paintings occasionally come up for auction at the twice-yearly Larasati Bali art sales held in Ubud.

Dewa Put Mokoh, 2006, Acrylic on canvas 60x90cm.                                      Dewa Putu Mokoh, 2006

Dewa Nyoman Batuan (1939-2013) was an icon within the world of Balinese art. Painter, entrepreneur and artist community visionary, he was graced with an effervescent personality. Batuan had a dream for his village that manifested into the Pengosekan Community of Artists in 1970.  Through his entrepreneurial endeavor he helped establish international markets for the local paintings and was able to contribute enormously for the well-being of the community of poor farmers, many who became painters to supplement their family income. Batuan’s contribution to the development of Balinese modern traditional art was to fuse traditional narratives within the Buddhist structural icon of the mandala, designing compelling, unique, and highly original works.

His older brother, Dewa Putu Mokoh (1934-2010) broke free from the restraints of Balinese art to introduce personal and intimate visual stories of another side of life that was often quirky, lurid, and even taboo. Simplified forms dominated his compositions, a self trained artist, Mokoh’s works boarded on both the modern and contemporary, simplifying and extending the range of images in Balinese art, especially with his close-up focus on intimate scenes.

I GAK MURNIASIH - SEMBAHYANG 104 - AOC - 170 x 100 cm - 2004                                   Gusti Ayu Kadek Murniasih

Pengosekan became the adopted home for the most important woman artist in Indonesian art history, Gusti Ayu Kadek Murniasih (1966-2006). Murni came from Tabanan, Central Bali to study with Mokoh. She rose from the life as a child of a farmer, poor and uneducated to the ranks of artistic distinction. Her father sexually abused her at the age of nine. Murni’s minimalist figurative/surrealistic style featured powerful coloration while communicating via the language of the sub conscious. Her outsider art is confrontational, daring and even violent, yet always electrifying. Murni’s work broke significant grounds into the social taboos of gender politics and feminism.

 

Words & Images: Richard Horstman