Category Archives: Indonesia Contemporary Sculpture

the Unsung Museum – highlighting issues challenging Indonesia’s on-going struggle for democracy

A miniture work "They Gave Evidence" by Dadang Christianto, collected by the Unsung Museum. Photo by Wirya Satya AdenatyaA miniature work “They Gave Evidence” by Dadang Christianto, collected by the Unsung Museum. Photo by Wirya Satya Adenatya

 

The Unsung Museum (Museum Tanpa Tanda Jasa) is a landmark, travelling exhibition that is currently crisscrossing the country and features miniature artworks that are big on cultural significance. The exhibition highlights the most important issues challenging Indonesia’s on going struggle for democracy since the nation’s colourful, fledgling journey began. These issues include tolerance of minority groups, along with ethnic, ideologically and religious diversity, and collective harmony.

Taking a series of chronologically banned, destroyed, removed or censored artworks the Unsung Museum displays them in scaled-down miniature versions of the real things. Accompanying these mini-masterpieces are news articles from the time, together with amusing parodied public reactions and news media video installations.

“Art is no stranger to controversy; throughout its history it has presented works that have irked the moral guardians of the day,” said Yogyakarta based curator Grace Samboh, one of many members of the Indonesian contemporary art community who have initiated the Unsung Museum in an event that characterizes the social conscience and synergy of some of the country’s most relevant and motivated artists and activists. “Sometimes to see why an artwork that is deemed controversial, we need to see it from a different perspective, and what better way is there than to see it in miniature.”

An audience member at ROH Projects, Jakarta during the Undsung Museum - Photo Credit: Wirya Satya Adenatya.An audience member at ROH Projects, Jakarta during the Undsung Museum – Photo Credit/ Wirya Satya Adenatya

Beginning September 2016 at Jakarta’s ROH Projects, for 3 weeks the exhibition set out to inform, not only citizens, yet members of the Indonesian art industry, of the relevance of these pressing issues. The exhibition was next showcased in Central Java, at Yogyakarta’s Kedai Kebun Forum from late October running into November, then opening in West Java, at Bandung’s Ruang Gerilya, 15 December until 7 January 2017.

“We are retelling stories of several artworks that were once considered a ‘public nuisance’ during the Reformation Era because of three recurring reasons related to pornography, communism and SARA (ethnic, religion, race and inter-group relations) by three elements of the society (citizens/individuals, mass organizations and government),” Samboh said. “Based on these assumptions, several artworks attracted a variety of problems ranging from threats, restrictions, and even destruction.”

The country with the largest Islamic population on the planet, with Christian, Buddhist and Hindu religious minorities, however, is currently undergoing its most turbulent and disruptive period. The recent 8 May controversy at the Indonesian Islamic University’s Center for Human Rights Studies in Yogyakarta with the banning of paintings and poetry by members of the youth organization Pemuda Pancasila who enforced the closure of artist Andreas Iswinarno’s exhibition, Tribute to Wiji Thukul: Saya Masih Utuh dan Kata-kata Belum Binasa (I’m still complete and words have not yet been destroyed) on suspicion the works contained communism ideas, highlights the urgency of the Unsung Museum.

IMG_5400 Kredit foto Wirya Satya AdenatyaAt ROH Projects, Jakarta during the Undsung Museum – Photo Credit/ Wirya Satya Adenatya

“Bearing in mind a number of concerns about the stability of (ideas within) democracy, as well as democratic behavior in today’s society, our main question is: What does democracy mean to each and every one of us today, as part of the society, as citizens, and as someone who works in the arts?” Samboh said reflecting on the inspiration behind the exhibition. “We have adopted the concept of a mobile museum for the exhibition due to its informative nature and educational aspects, as well as its openness to the public.”

The mini works collected by the Unsung Museum include versions of: ‘Pinkswing Park’, a walled photomontage by Agus Suwage and Davy Linggar, exhibited at the 2005 Jakarta CP Biennale, it was deemed to be blasphemous by Islamic fundamentalists FPI who forced the closure of public access to the work, while demanding prosecution of the artists, and They Gave Evidence exhibited in 2002 in Jakarta by Dadang Christanto, a major ceramic series of standing, naked figures, in their outstretched arms holding the remnants of burnings, drownings, beatings and other human mutilations, victims of oppression, social injustice and political violence.

Also collected are miniatures of a public artwork by Nyoman Nuarta that Islamic organizations protested against stating they were representational of Christian iconography and was consequently dismantled from its site in West Java in 2010. As well, an artwork by Galam Zulkifli that was removed in 2016 from the new Terminal 3 complex at the Soekarno-Hatta airport in Jakarta. Zulkifli’s enormous 200 x 600 cm painting includes iconic figures in the development of the Indonesian nation. Seri Ilusi # The INDONESIA IDEA was taken down in order to avoid a polemic on social media as one of the portraits in the painting featured DN Aidit, the former chairman of the Indonesian Communist Party.

An audience member during the opening of the Unsung Museum at ROH Projects, Jakarta - Photo Credit: Wirya Satya AdenatyaAn audience member during the opening of the Unsung Museum at ROH Projects, Jakarta – Photo Credit/ Wirya Satya Adenatya

“Within conversations surrounding these artworks, the conclusion is often misunderstanding,” Samboh explains. “The arts community considers the dismissal of these artworks were due to some people having misunderstood or failed to understand altogether. In fact, quite often the misunderstandings come not only from those who dismiss these artworks but also from the arts community itself.”

“The Unsung Museum is not an attempt to point out rights and wrongs. In light of democracy, we want to poke people’s awareness on equality of knowledge upon rights and obligations of the various elements in the arts community—within art disciplinary context.”

Along with Samboh the Unsung Museum is initiated by Aliansyah Chaniago, Fajar Abadi RDP, Jim Allen Abel, Julian Abraham ‘Togar’, Maryanto and Tamara Pertamina, while inviting other people, and aspires to continue inviting more people over time. “The Unsung Museum has already received strong public response,” Samboh said. “We are now compiling the feedback, and the topics are being discussed in the hope that we can publish a book on views of our recent democracy through the art publics’ perspective.”

“Our mission is to rekindle discussions about democracy in the Reformation Era with the arts community whilst not closing itself from the involvement of other members of the community.”

An audience member photographs part of the Unsung Museum- Photo by Wirya Satya Adenatya

The Unsung Museum is scheduled to continue in Medan, North Sumatra, and Makassar and Manado in Sulawesi early in 2018.

 

Words: Richard Horstman

Images: Wirya Satya Adenatya

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Infusing iconography from two worlds “Italian-Indonesian Artist” Filippo Sciascia

"Expat Boat" Filippo Scia scia, Size 280 x 190 cm Oil And Gesso On Canvas 2013. image courtsey of the Artist.                             Expat Boat, 2013 – Filippo Sciascia

Italian contemporary artist Filippo Sciascia’s relationship with Asia and Indonesia began back in 1998, however, says the artist, he has only truly “come of age as an Italian-Indonesian artist” in 2013 when he successfully fused iconography from the two worlds into a single creation of art.

“I realize now my works have become more sincere,” says Filippo. “They reveal where I have come from, and where I am now. I can never feel completely comfortable, however, and my works are never perfect. An overwhelming force continually urges me on to strive for more. Intuitively I leave my works open, open to my creative development, and open to the future.”

Filippo Sciascia 'Crown Size" 145 x 130 cm Oil And Gesso On Canvas 2014. Image courtsey of the artist.                           Crown Size, 2014 – Filippo Sciascia

Filippo’s association with Bali began via a collaborative design project of the Gaya Fusion Gallery in Sayan, Ubud in 1998. He exhibited regularly and curated events at Gaya while becoming a key part of its artistic direction helping distinguish Gaya as one of the leading avant-garde galleries in Indonesia. From then on he worked on art projects both locally and internationally, across S. E Asia, China, in New York City and in Italy.

“I am a lover of philosophy and psychology and these sciences are the driving energy behind my art,” says the artist. “My paintings involve research into both archaeological and anthropological subjects and experimentation with media in my eternal journey to reveal authentic creations themed upon human evolution.”

"Lumina Mense" Filippo Sciascia, Size 205 x 165 cm Mixed Media 2012. Image courtsey of the Artist                                 Lumina Mense, 2012 – Filippo Sciascia

Filippo admits to having a growing relationship with Asia since he was a child, now aged 48, his artistic voyage has taken shape while oscillating between three extremely diverse worlds; Sicily, Bali and N.Y.C.

Working within the mediums of painting, sculpture and installations, and video art, Filippo’s passion for photography has greatly impacted upon his work. During the past decade he has explored the use of various mediums along with oil paint to create highly textured surfaces which have become a unique and characteristic feature of his paintings.

Often combining monochromatic photographic images layered upon the canvas’ surface, to which he applies layers of medium, fractured lines and textures appear akin to arid landscapes in states of decay, emphasizing a essential fundamental of his works. ”My works always appear unfinished accentuating that all matter is in a continual, never- ending process of change.”

Mendut Size 205 x 165 cm Oil And Bamboo Mounted On Wood 2014                              Mendut, 2014 – Filippo Sciascia

Mysterious elements within Filippo’s paintings often mesmerize the observer, while at the same time having the uncanny ability to subdue the mind into sense of longing. The tension of heavy tonal aesthetics juxtaposed against white or soft colors, for example, emphasize duality along with the aura and majestic essence of light. “We perceive all life through light,” he says. “Therefore it is a vital conceptual and visual feature of my work as light is the quintessential source of universal inter dimensional intelligence from which springs forth all life.”

Born in 1972 in Palma Di Montechiaro, Italy, in 1983 Filippo moved to New York and in 1985 to Trieste, Italy where he attended the Institute Art of Nordio, followed by studying at the Accademia di Belle Arti Firenze, Florence. Acutely aware of modern cultures’ obsession with the image, Filippo’s works are a pictorial meeting ground, highlighting the relationship, while blurring the line between the disciplines of photography and digital imaging technology. Consequently, the results challenge the conventional practice of painting.

Trinacria Size 250 x 200 cm Oil And Gesso And Shells On Canvas 2014                             Trinacria, 2014 – Filippo Sciascia

Religious symbols, historical cultural icons, figurative forms, vehicles of mass trans migration and other worldly imagery fuse with abstract elements in compositions void of literal meaning that are rich in allegory and metaphors, and designed to question our notions of reality.

“Its not my vision anymore, I don’t have a desire to make paintings. Rather, I see my work as a collection of notes akin to diaries about my quest for the greater meaning of life.”

Filippo Sciascia, image by Richard Horstman                             Filippo Sciascia, 2014, Ubud

 

 

Filippo Sciascia, Lumina Chlorophylliana, 2016                     Lumina Chorophylliana, 2016 – Filippo Sciascia

BEN_0165-1Rosetta, 2016 – Filippo Sciascia. Exhibited at OFCA International, Yogyakarta

Rosetta, 2016, Exhibited at OFCA International, Yogyakarta                             Rosetta, 2016 at OFCA International

Lumina Araidica No 2, 2016

                        Lumina Araidica, 2016 – Filippo Sciascia

http://www.filipposciascia.com

 

Words by: Richard Horstman

 

 

 

 

 

 

 

 

JAW (Jogja Art Weeks) – Indonesia’s evolving art infrastructure

"Bebas Dalam Keterbatasan" (free within limitations) 2017, Photography on Acrylic. Nofria Doni Fitri. Bakaba, Sakato Art Community, Jogja Gallery Image R Horstman“Bebas Dalam Keterbatasan” (free within limitations) 2017, Photography on Acrylic – Nofria Doni Fitri. Bakaba by Sakato Art Community, Jogja Gallery, during JAW

Indonesia is the biggest and most dynamic art market in the Asian region next to China, and the largest art producer of Southeast Asia. Increasingly gaining international attention via the mechanisms of global art, each year more-and-more foreigners venture to Central Java seeking out engagement with the many talented and diverse artists, and art communities in the area.

Jogja Art Weeks (JAW) is a month-long plethora of activities held May/June throughout Yogyakarta’s Special Regency, and north into Magelang. Organized by Heri Pemad Art Management (HPAM), founders of ART|JOG, since its conceptualization four years ago JAW has quickly evolved, this year’s program showcased 140 plus events.

“In the beginning many artists working in Yogyakarta needed presentation space. Both the infrastructure along with events were lacking. While ART|JOG quickly became popular, its capacity was inadequate to cater for the demand,” said Yogyakarta art visionary Heri Pemad. “So we invited galleries, art spaces, cultural and educational institutions, collectives and alternative spaces to create events at the same time as ART|JOG, aiming to accommodate as many artists as possible. The goal in mind, to create a unique cultural festival.”

"Wear You All Night" 2016, Sarah Choo Ching. "Supernatural" at Gajah Gallery. Image Richard Horstman“Wear You All Night” 2016 – Sarah Choo Ching. “Supernatural” at Gajah Gallery.

In 2015 the first JAW event featured a smattering of events in a number of galleries and areas around Yogyakarta. 2016 and this year though, included the new and comprehensive JAW Guide Book. “Last year’s publication registered about 60 events, in 2017 however, listings tallied 147, and continued to grow on JAW’s website & social media,” Pemad said.

The 2017 JAW Guide Book, a free 207-page index brought added stimulus to traverse the far corners of the regency, while opening the big city up to visitors. Most of the activity was found in the South West in Bantul. Listings included exhibitions, performances, music events, film screenings, cultural festivals, tours, and a diverse array of workshops including photography, ceramic painting, collage, batik with electric canting tools, Japanese Shibori tie dye techniques and installation making. This year’s publication also catalogued 40 different museums in the region.

"Shadow Dance" #18, 2017, 200 x 400 cm. Nyoman Erawan. "Linkage" OHD Museum. Image R. Horstman“Shadow Dance” #18, 2017, 200 x 400 cm – Nyoman Erawan. “Linkage” OHD Museum, Magelleng

As the main draw card of JAW, this year celebrating its tenth edition with ART|JOG|10 Changing Perspective, every year additional foreigners and art industry insiders experience Indonesia’s oldest art fair, with it’s unique model that supports artists over galleries. This extraordinary grassroots event evolves each year, its new venue, the Jogja National Museum (JNM) practically, and historically a precise match with the event. The JAW Guide Book functioned perfectly as a hands-on information source, and while professionally organized art tourism is in its infancy in the country, the Guide Book is a bonus to the sustainability of the local art eco-system. Such supporting infrastructure aids the development of art tourism in Yogyakarta, which inevitably becomes a model for other parts of the Indonesia.

“Initially we believed that the popular idea of city branding during ART|JOG and JAW was the responsibility of the government as the increased tourism helps drive the local and wider economies,” Pemad said. “HPAM requested financial support for the making of the guide-book, and finally this year the Yogyakarta Cultural Office agreed to help sponsor its implementation.”

20170518_111858            Made Mahendra Mangku “The Gift” at Sangkring Art Space

One of the JAW highlights involved the hour and a half journey to Magelleng for the annual opening at the OHD Museum. Commemorating the 20th anniversary of the museum founded by the leading patron of Indonesian art, Dr Ooi Hong Djien, Linkage celebrated 51 Indonesia artists who had been a part of the museum’s collection for over two decades. Twenty-four artists were invited to create new works that were presented alongside their older works. This exhibition of outstanding quality attracted many international visitors, works by Ivan Sagita, Nyoman Erawan, Handiwirman Saputra, along with others underlining the uniqueness of the OHD collection.

Amok Tanah Jawa was an exhibition of paintings and installations by East Javanese artist Moelyono, known for his interactions with traditional artists highlighting subversive narratives, in collaboration with Yusuf Muntaha. Featured were paintings of excellent technical precision, along with in-depth investigation of East Javanese performance art at Lenggeng Art Foundation. Wood, leaves, rattan and mending (Chinese water chestnut) were the medium of historical, educational and environmental exploration by Nindityo Adipurnomo, Adek Dimas Ajisak, Maharani Mancanagara and Zulfian Amrullah in Meraka-reka at Galerie Lorong.

"Pengantin Revolusi" 2017 Moelyono. "Amok Tanah Jawa" Langgeng Art Foundation Image R Horstman“Pengantin Revolusi”, 2017 – Moelyono “Amok Tanah Jawa” Langgeng Art Foundation

Nancy Nan’s Red Base Art Foundation has quickly established its presence in Indonesia, it highlighted photography with two separate exhibitions, Processione Dei Misteri by Anastasia Darsono and RAW by foreigner Vanessa Van Houten.   West Sumatran Sakato Art Community presented their 6th annual exhibition Bakaba. Themed IndONEsia, and at the Jogja Gallery, well-known members exhibited with their counterparts. Open for one month, exploring ideas of what it means to be an Indonesian artist, this was one of the strongest collective showings during JAW. Works by Gusman Heraldi, Jumaldi Alfi and Erizal were noteworthy, while artists such as Dwita Anja Asmara, Fika Ria Santika, Zulfirman Syah, Tariq Muntaha reveal enormous talent within Sakato.

Balinese artist and long-term Yogyakarta resident Putu Sutawijaya and his Malaysian wife Jenny have created an important community complex Sangkring which presented 3 separate exhibitions. Following on from last year’s Jogja International Miniptint Biennale #2, Jogja Editions Print Fair displayed selected graphic works, both conventional and contemporary from Indonesian and international artists at the Sangkring Art Project. The Gift celebrated the tenth anniversary of Sangkring Art Space and featured a selection of some of the Indonesia’s finest, including eleven Balinese artists. Included were Nasirun, Ugo Untoro, Sutjipto Adi, Made Djirna, Mangu Putra and Yunizar. Bale Banjar, the latest addition to Sangkring, featured BergerakYogya Art Annual #2 a strong and diverse showcasing of over 40 local artists.

Agung Prabowo - Seven colors linocut print on washi paper, 2017. Jogja Editions Print Fair, Sangkring Art Project. Image R. HorstmanAgung Prabowo – Seven colors linocut print on washi paper, 2017. Jogja Editions Print Fair, Sangkring Art Project

Gajah Gallery is renowned for presenting not only Indonesian, yet regional contemporary art into Asia, and beyond. Taking advantage of the captive international and local audience Gajah surveyed some of Singapore’s best in the group exhibition Supernatural, at their Yogyakarta complex. Presenting a level of quality that set it apart, it featured 18 Singaporean artists exploring ways in which their practices meditate with the perceptions of nature, reality and belief systems. Incredible depth, including Sarah Choo Jing, Zen Teh, Ruben Pang, to name a few, while Ng Joon Kiat’s Untitled Cities 3, 2016 his 3-dimensional abstract composition inspired by his fascination with maps and Asia’s vastly changing terrains and territories, is a masterwork.

As a university city, Yogyakarta attracts the youthful, energetic talent of ethnic groups from all over the country. The depth of this is cultural diversity translated into enormous array of creative expressions and the long list of musical events and performances during JAW was world-class, along with being a HPAM organizational feat. JNM hosted daily ART|JOG music and performance events, while many others within the JAW program were hosted around the city. Special mention goes to Satan Jawa, the silent black and white movie directed by Garin Nugroho, with live gamelan orchestra and music composed by Rahayu Supanggah. On a closing note was the charity tribute group exhibition at the Tanah Liat Museum for the iconic Yogyakarta artist S Teddy Darmawan (1976-2016), who passed away last year after a long battle with cancer.

20170519_184023               Ruben Pang from the exhibition “Supernatural” at Gajah Gallery

The development of Indonesian art has suffered greatly due to the lack of institutional and government support, along with local galleries without strong international business models.

Infrastructure like JAW, and especially ART|JOG which has now become the ‘voice’ of Indonesian contemporary art, defining its unique character, helps consolidate Yogyakarta onto the global art map. First time visitors are guaranteed many wonderful surprises! JAW is a boon for the region, and a repeat destination for collectors and art lovers.

20170520_094728 PemangkasanHandiwirman Saputra – Bakaba #6 Sakato Art Community, Jogja National Gallery

Ali Umar by Ali Umar, 400 pen sketches on paper & sculptures 1997-2017 during JAWAli Umar by Ali Umar, 400 pen sketches on paper & sculptures, 1997-2017, during JAW

"Above, 2016 - Willy Halaman, Banjar Bale during JAW  Above, 2016 – Willy Halaman,  Bergerak – Yogya Art Annual #2, Bale Banjar, during JAW

20170519_184112Untitled Cities 3, 2016 – Ng Joon Kiat, in the exhibhtion Supernatural at Gajah Gallery

 

www.jogjaartweeks.com

Words & Images: Richard Horstman

 

 

Reviewing ART|JOG|10

"Fashion As A Weapon" Hendra 'Blankon' Priyadhani. Image Richard Horstman             Fashion As A Weapon, 2017 – Hendra “Blangkon” Priyadhani

How may we define Indonesian art?

Unlike other nations, Indonesia is without an international standard museum as a foundation through which its distinct art narratives and identity may be imparted internationally, and locally. We can, however, reference a different platform ART|JOG, the art fair that supports artists over galleries. Celebrating this year its tenth edition, it has grown into an icon, presenting the ‘voice’ of Indonesian contemporary art diversity to the global audience.

ART|JOG|10 Changing Perspective opened with a limited preview 19 May, at the Jogja National Museum (JNM), Yogyakarta, officiated by GKR Mangkubumi, the eldest child of Yogyakarta Governor Sultan Hamengkubuwono. Annually the event attracts additional foreign visitors, this year there were more international art industry insiders, many expressing ideas about future collaborations.

Mulyana Mogus "Silent Prayers"                         Silent Prayers, 2017 – Mulyana Mogus

Running parallel with Jogja Art Weeks, a month-long abundance of events set throughout the Special Regency, and now in its second year, (another organizational feat by Heri Pemad Art Management), ART|JOG is a fixture on the international art map, a boon for cultural tourism in Central Java.

“The combination of an art fair founded for artists by an artist, hosted at the Jogja National Museum, over a relaxed time frame with daily performances and artist interactivity against a backdrop of the uniquely engaging energy of the Yogyakarta arts community is highly inspiring in a world where art fair fatigue is prevalent,” said artists, art historian, curator, gallerist and collector Jane Walker, who is London and Singapore based, also on her first visit to the fair.

ART|JOG|10’s Open Call Application granted fifteen artists eligibility, while invited artists numbered 58 of a total of 73. One of the most enjoyable features of its format is the freedom to observe works without any presence/pressure of sales, gallery staff, and infrastructure.

J Aryadhitya Pramuhendra - Holy Lamb               Holy Lamb, 2017 – J Aryahitya Pramuhendra

Both local and foreign, emerging and established artists exhibit side-by-side over 3 floors. The JNM’s design of alternative shaped showrooms offers possibilities for varying art encounters. Artists granted individual space, who understood how to capitalize upon this creating intimate art experiences, were generally the most memorable.

A giant batik parasol depicting the sky spans the ceiling and a mural rendered in clay revealing order and disorder are the two prominent features of Seti Legu’s installation, Universal Syndrome. Observers are immersed within an intriguing reconstruction of opposing positive and negative forces – the world according to Javanese cosmology – where human and environmental exploitation contrasts with ideology, religion and materialism; the modern world in conflict with the past. Legu sits and reads poetry aloud, while a traditionally attired elderly musician completes the distinctive ambience.

Invited Chinese artist Geng Xue presents a 13-minute animation, Mr Sea. Her two characters, set within a surreal forest landscape are all made from porcelain. In this extraordinarily sensitive tale, that takes the art form to wonderful innovative heights, breath-taking beauty and tragedy go hand-in-hand. This is a mesmerizing, emotional journey.

"Mr. Sea" Geng Xue, 13 minute porcelain animation. Image Richard Horstman                                Mr. Sea, 2014 – Geng Xue

Syagini Ratna Wulan’s Chromatic Chimera, and Chromatic Myth 1,2&3 together create a tangible atmosphere. Her ‘gloomy’ skyscapes feature tiny colored ‘figures’ floating seemingly without purpose. A hanging geometric form projected with colored light creates beautiful patterns up into a corner, its energetic distinctions, married with her painted compositions create a potent, mysterious abstract experience. While other artists exhibit abstract works, many fail to excite, Wulan’s imagination, however fully engages our senses via the subtle powers of suggestion.

Season In The Abyss, Jim Allen Abel’s commemorative installation honoring 102 people lost in 2007 on an Adam Air flight from Surabaya, East Java to Manado is thought provoking, and ultimately touching. At front a display case presents facts and details including archive photos. Within the darkened space the installation merges elements, projected images, and flashing lights reflect upon mirrors from the ceiling to the floor, and wall. The experience is intriguing and upsetting, yet beautiful as well. Such a thematic is bold, revealing artistic maturity.

ArtJog 10 Merchandise Project - Wearable Art. Scarf by Radi Arwinda, Image by Richard Horstman       ArtJog 10 Merchandise Project – Wearable Art, Scarf by Radi Arwinda

Angki Purbandono collaborated with adventure traveller/actor and advocate for the preservation of Indonesia’s endangered Sumatran elephant, Nicholas Saputra, to make a documentary describing the alarming decline of this specie. Post Jungle – Tangkahan Project introduces an alternative story, in a visual art language aimed to incite the public’s curiosity and concern towards grave Indonesian environmental issues.

Floating Eyes, the commissioned work by Wedhar Riyadi of giant eyeballs floating in water is spectacular. Positioned at the front façade of JNM, evening time it contrasts wonderfully against the white building and the night sky, in the presence of the new, honorary R.J Katamsi statue, flanked by majestic banyan trees. The work, however, lacks local iconography.

Some other works of note include J Aryadhitya Pramuhendra’s Holy Lamb, Mulyana Mogus’ beguiling visual world, Silent Prayers, Agung Prabowo’s linocut reduction print on handmade paper, Study of Convex and Concave by M.C Escher 1955, and Hendra “Blangkon” Priyadhani’s, Fashion As A Weapon. Recipients of this year’s Young Artists Award, a program open to artists under 33 years in appreciation of artistic endeavour are Bagus Pandega and Syaiful Garibaldi.

Indonesian artists, including Wedhar Riyadi, along with art lovers, with "Floating Eyes" JNM. Image Richard HorstmanIndonesian artists, including Wedhar Riyadi, center, along with art lovers, with “Floating Eyes”, Riyadi’s commissioned work.

The popular Fringe Program, headlined by the Curator’s Tour, Meet The Artists, and the ASRI Historical Tour, enhanced the public’s engagement. This year’s new Merchandise Project presents selected local creative communities and artists to showcase their signature works. The strong line-up of Daily Performances including performance art, music, dance, fashion shows and theatre, featured well-known artists Melati Suryodharmo, Garin Nugroho and Rahayu Supanggah, Bimo Wiwohatmo and Astri Kusuma Wardani.

Post preview consensus was, however, the quality of art was down from 2016. “The works were less innovative and less challenging this year compared to last,” said art critic Jean Couteau. “While the local component was minor, the visual and symbolic language is global.”

A deacade of ART|JOG is a huge distinction. Such an event faces great challenges, both internal and external. The vision of Heri Pemad, along with the vigor of Heri Pemad Art Management deserves enormous credit. Indonesia, and the global art world please take note!

20170519_130530                        Universal Syndrome, 2017 – Seti Legu

20170519_125340                             Angki Purbandono, 2017

20170519_131058                Situ Ciburuy; Museum Plan, 2017  – Aliansyah Chaniago

20170519_132125                  Season In The Abyss, 2017 – Jim Allen Abel

20170519_134058                  On the Way, 2017 – “SurantoKenyang

 

ART|JOG|10

19 May – 19 June 2017

Jogja National Museum

Jalan Prof. Ki Amri Yahya No. 1, Yogyakarta

www.artjog.co.id

Words & Images: Richard Horstman

 

 

Made Djirna – soul mining

Installation at Djirna's studio.                     Installation by Made Djirna at his Ubud studio, 2017

Exploring Balinese artist Made Djirna’s cavernous studio conjures up notions of a journey into a mysterious inner sanctum that is vibrant and fascinating, yet is equally as powerful and confronting.

A collector of all manner of cultural artifacts, naturally formed shapes and unusual objects, which he then converts into intriguing installations, typically, Djirna’s lively yet simplified and raw figures reflect the primitive tribal arts. He constructs enormous “shrines and altars” from old timber, crude sculptures and rocks, complete with fire, coloured light,  and abstract painted deities that are infused with a sense of ritual and resonate with spiritual energy.

Installation by Made Djirna, mixed media, various dimensions. 2012.Image Richard Horstman.JPGInstallation by Made Djirna exhibited in “Ubud 1963, (Re) Reading The Growth of Made Djirna”, at the National Gallery in Jakarta. 24th November – 5th December 2012.

Within the National Gallery of Indonesia, Djirna recreates the unique essence of his studio by placing his installations within small rooms and in confined corners. He allows the audience an insight into the creative world of one Indonesia’s finest contemporary artists.

“My concern is to express reflections that go far deeper than what we can know with our panca indra (eyes, ears, nose, tongue and skin). All of my work is a process that goes hand in hand with the demands of my soul. It is essentially a spiritual process taking visible pictorial shape,” Djirna.

'Benang Merah Bali - Basel" (The Red Thread From Bali to Basel) Made Djirna. 1993, mixed media on canvas, 145 x 245cm..JPG     Benang Merah Bali (the red thread from Bali to Basel) – Made Djirna, 1993

A versatile artist who loves to experiment with new materials, techniques and styles, from 2010 onwards Djirna reinterpreted his method of producing his paintings and the new works were highlighted in his exhibition Ubud 1963, (Re) Reading The Growth of Made Djirna, at the National Gallery of Indonesia, in Jakarta. The exhibition ran from 24 November through to 5 December 2012.

In this, Djirna’s eighth solo, retrospective exhibition, observers may take a brief sojourn through his creative development and witness the metamorphosis he has undergone. Mengenang Piramid (To Reminisce About the Pyramid),1994 and Kabut Hitam (Black Fog) 1994, are memoirs of his childhood experience of 1963. Both paintings are rendered in darkened acrylic hues with traces of red and white. These bleak abstract works convey anxiety and distress, evident in the facial expression in Piramid and the tension created by vigorously scored details into the body of the work. Kabut suggests architectural objects overcome by thick black clouds and bright red denotes volcanic flows and the horror of such a scenario.

"Wajah Wajah Mengambang" (Floating Faces) Made Djirna, 2008, oil on canvas, 295 x 380cm.      Wajah Wajah Mengambang (Floating Faces) – Made Djirna, 2008

Within his curatorial essay, senior Indonesian curator Jim Supangkat began by describing the extraordinary events of 1963 that had a catastrophic impact on Bali, as well as shaping the formative years of a young Djirna who was living just north of Ubud. Mount Agung in East Bali, the islands spiritual pinnacle, began its process of tremors in January, volcanic eruptions started in March and again in May and tremors then continued until its final blast in January 1964. This was an unprecedented year with extensive infrastructure damage, crop failures, wide-spread famines and many deaths, while also putting an immediate halt to tourism in Bali.

Born in Kedewatan, Ubud in 1957 Djirna was just 6 years old at the time of this event. He later went on to graduate from the Faculty of Fine Art and Design at the ISI (Indonesian Institute of Art) Yogyakarta in 1985 and spent 10 years living in the cultural capital of Java. He actively exhibits his works locally and internationally and is a member of the respected SDI, Sanggar Dewata Indonesia association of modern artists.

"Gajah Genit" (flirty Elephant) Made Djirna. 2012, mixed media on canvas, 260x400cm..JPG          “Gajah Genit” (Flirty Elephant), 260 x 400 cm, 2012 – Made Djirna

Among Djirna’s captivating new works exhibited in the National Gallery, Gajah Genit (Flirty Elephant), 260 x 400 cm, serves as a metaphor of a power crisis in the face of change. Djirna communicates the damages inflicted by power and domination via deforestation. Posing in jest, the “flirty elephant” stands confidently in defiance. Yet also he depicts a ruler’s demise by placing the image of a vulture on the elephant’s head.  He also symbolizes the dawn of a new era by depicting a dove on a stump of a tree. This intelligent work in rich blues, reds and greens is infused with humor that helps to resolve the seriousness of the alarming reality we face.

Upon his mixed media canvases of huge proportions (up to 350 x 400 cm) Djirna first applies a thick base of texture into which he scores his vast narratives, then adds color in rich metallic paint and finally contains all the characters within black lines. In a style reminiscent of the traditional Balinese paintings with the narrative covering the complete expanse of canvas, Djirna’s works take on modern narratives and issues that for the artist are very close to home.

Metamorfosis-2012      Metamorfosis (Metamorphosis), 260 x 400 cm, 2012 – Made Djirna

His recent use of metallic paints adds a wonderful luminous dimension, particularly when highlighted by artificial lighting. They are aesthetically spectacular not only because of the dynamic coloration, yet the scale of the works simply overwhelms. Some have taken Djirna more than 4 months to complete.

In Metamorfosis (Metamorphosis), 2012, 260 x 400 cm, two lovers embrace in the forest surrounded by hundreds of brightly colored butterflies, on the trunks of the trees are numerous large caterpillars. What may appear to be a simplistic narrative denoting change reveals the reality that life is full of paradoxes. Butterflies are natures symbol of grace, yet they become caterpillars which are destructive and are seen as pests. This is a creation of wonder and beauty, and it is here that Djirna’s brilliance shines through.

DSCF4366Installation by Made Djirna in the exhibition, “The Logic of Ritual” at Sangkring Art Gallery, Yogyakarta, 2013.

During his July, 2013 exhibition at Sangkring Art Space in Yogyakarta Djirna was prepared to bring his religion under close scrutiny. His paintings and installations in The Logic of Ritual were protests against numerous ritual practices, whose meaning, according to the artist, is now driven by modern and commercial practices.

Djirna criticises the consumption of money (his works utilise a countless number of Chinese coins used in Balinese rituals) in direct relation to the demands of Balinese Hindu religious rituals that are becoming increasingly glamorous, luxurious and festive. Such demands, while indeed granting communion between the devotee, the spirit world and Gods, may be perceived as rigid mechanisms, ultimately keeping the ‘little people’ poor.

He dedicated his exhibition to the plight of the impoverished of Bali, who suffer in silence while paying excessively for offerings and rituals that demand perfection both in the materials and presentation.

Djirna -the magic of ritual .jpg               The Logic of Ritual – Made Djirna, 2013

Djirna was invited to participate in the landmark 2016 Singapore Biennale – An Everywhere of Mirrorings at the Singapore Art Museum (SAM). His installation – Melampaui Batas (Beyond Boundaries) 2016, seeked to transcend the boundaries between the interior and the exterior, the microcosm and the macrocosm, along with the spiritual and the physical planes.

A fusion of different elements, it featured found objects, 1000 terracotta figurines representing humanity (the fragility of clay signifying the precarious nature of life), an antique traditional ironwood boat from Sulawesi –symbolic of journeying between Nusantara and the larger world and the worlds of the living and dead (in Balinese belief the boat carries the soul to its ancestral abode after death). Positioned in the corners of the room, large trees constructed from driftwood – its trunks and branches, some with crude primitive figure scribed into the wood, suggest fragments of other lives, cultures and civilizations.

Made Djirna "Melampaui Batas" 2016 Singpore Biennale .jpgMelampaui Batas (Beyond Boundaries) 2016 – Made Djirna, Singapore Biennale – An Everywhere of Mirrorings at the Singapore Art Museum.

The artist’s earlier works are categorized by naïve figurative and abstract expressions often rendering thick chunks of paint to create ambiguous forms with faces that reveal the darker emotions of the human experience. His strong earthy figures are a reminder of the past when life was simpler and with a greater connection to the environment.

What has remained consistent throughout Djirna’s career is his sense of unity within the collective experience and importance of the personal process while learning to endure the dualities of life.

“Through the personal development that is achieved by the inward journey of self-discovery, compassion, understanding and healing, we gain wisdom and strength. These are the tools which will support us during the journey of life.” Made Djirna’s expressions are intimate, honest and expose the heartfelt emotions of the human experience. They convey a profound sense of authenticity.

Djirna is currently working on a large installation for the Jakarta Biennale in November 2017.

Rimba-2011                        Rimba, 2011 – Made Djirna

Mixed Media on board, 210x70cm, 2007.                Installation by Made Djirna at his Ubud studio, 2007

DSCF4389.JPG                  Painting from The Logic of Ritual – Made Djirna, 2013

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

 

 

 

ART|JOG|10 – Changing Perspective

RJ Katamsi WIP 5Yogyakarta artists work on the R.J Katamsi statue, a project designed and overseen by Wahyu Santoso, honouring the artist, and one of the founders, and the president director of Akademi Seni Rupa Indonesia (ASRI), the first fine arts campus in Indonesia, opened in 1950 (now known as ISI). The work will be erected at the historical JNM, the original ASRI site.

 

A milestone in Indonesian art will be celebrated in May during the Grand Opening of ART|JOG|10, marking a decade in the ART|JOG journey, beginning 19 May at the Jogja National Museum (JNM). Themed: Changing Perspective, the fair will exhibit immerging and established artists side-by-side, while featuring some of Indonesia’s hottest contemporary talent.

An initiative born from the collective will of the Yogyakarta art community, ART|JOG’s significance is its model: a supporting and promotional platform for artists, not galleries, introducing fresh names to the market. The vision of Heri Pemad, who through his support of the local art scene starting some 20 years ago developed strong relationships of trust within the community, the springboard for bigger and brighter things.

"Floating Eyes" Wedhar Riyadi, Jogja National Museum front entry. Image by Richard HorstmanART|JOG|10 2017 commissioned art work “Floating Eyes” by Yogyakarta artist Wedhar Riyadi, at the front facade of the Jogja National Museum.

“ART | JOG has grown quickly since 2008, when it was Jogja Art Fair (JAF). From 2009 we included curators, selected special themes, and artists, and commissioned artists to remodel the façade of the building, originally Taman Budaya Yogyakarta. Wanting to create an international event, in 2010 we renamed it ART | JOG,” said CEO and founder of ART|JOG Heri Pemad.

“We attracted more and more international visitors in 2011 due to increasingly widespread publication, and began inviting international artists for special presentations. From 2012 our curatorial themes evolved. In short, ART | JOG has grown along with the development of the art world itself, because it has presented the development of artwork from Indonesia and the world.”

A Decade of ArtJog's Journey. Image Richard Horstman                                    A decade of ART|JOG’s journey

With a keen eye for the artist’s needs, Pemad launched Heri Pemad Art Management (HPAM) in 2004, an organization that evolved out of his personalized art services. HPAM has since played a defining role in the development of Indonesian contemporary art. This year ART|JOG|10 will exhibit over 120 artworks; 2 & 3 dimensional works, installations, videos, site-specific objects, and performances.

ART|JOG is the anchor event for the Jogja Art Weeks, a month long abundance of openings and events around the Yogyakarta Special Regency, which has developed into an art and cultural tourism boon, attracting national and international art lovers, industry insiders, and collectors.

20170519_125233                                   Poor Yorick – Ichwan Noor

“We have selected 73, national and international artists, this year, via our Open Call Application, whether by invitation, or those who self-applied,” said ART|JOG|10 co-curator Ignatia Nilu. “Our selection process is not only based on the compatibility between the artwork and curatorial concept, but also the presentation method, and the freshness of the artistic concept.” Nilu adds, “The Open Call program is an unsurpassed way to scout the best young talent.”

ART|JOG|10’s main program includes the exhibition by Indonesian, and also artists from Singapore, Japan, England, USA and Australia. Some of the local names showing are Angki Purbandono in collaboration with Nicholas Saputra, Agus Suwage, I Nyoman Masriadi, Tromarama and Agan Harahap. This year’s Commissioned Works are by Wedhar Riyadi, a young Yogyakarta artist, presenting his balloons installation, decorated with eye icons, transforming the main facade of JNM.

20170519_125333.jpg                   Souvenir from Tangahan – Angki Purbandono

“Through the theme, Changing Perspectives: The Challenge For The Artist, we dare the artists to take a fresh look at how they work from various point of views,” said Bambang “Toko” Witjaksono, of the curatorial team. “Not only from technical aspect, but also the interpretation, to hopefully enhance, and achieve beyond what we have had, and have experienced to now.”

A new and special highlight of ART|JOG|10 is The Making Of The Statue Of R.J Katamsi, a 2.5 bronze made in conjunction with Wahyu Santoso. The statue honours the artist, and one of the founders, and the president director of Akademi Seni Rupa Indonesia (ASRI), the first fine arts campus in Indonesia, opened in 1950 (now known as ISI). The work will be erected at the historical JNM, the original ASRI site.

20170519_125429                                   Dasar – Rudi Mantofani

The event’s Supporting Program includes an Open Air Cinema, a collaboration with Jogja-Netpac Asian Film Festival (JAFF). The Young Artist Award, an award for the best young participating artists under 33 years old or below. Jogja Art Weeks, a publication providing comprehensive information about art and cultural happenings in Yogyakarta from May-June, (the free guide book will enhance the visitor experience, while being an essential supportive platform for the art tourism program), and the Merchandise Project has invited 20 artists, including Eko Nugroho, Papermoon Theatre, Oky Rey Montha, Farid Stevy, and Bob Sick Yudhita to create special buyables.

For ART|JOG|10 VIP guests the special preview on 19 May begins 5 hours prior to the exhibition officially opens.

Supporting Program Time & Dates:

Curatorial Tours: Saturday, 27 May & 10 June, 3 PM, Sunday, 4 & 18 June, 3 PM.

Meet The Artists: Sunday 28 May & 11 June, 3 PM, Santurday, 3 & 17 June, 3 PM.

Open Air Cinema: Tuesday 23 & 30 May, 6 & 13 June, 7:30 PM.

ASRI Tours: Tueday 6 & 13 June, 3 PM.

20170519_130238                              Be Ready – Nyoman Masriadi

ART|JOG|10

Open from 7pm 19 May

Continuing through to 19 June 2017

Daily from 9am – 5pm

Jogja National Museum

Jalan Prof. Ki Amri Yahya No. 1, Yogyakarta

www.artjog.co.id

Words: Richard Horstman

Images: Courtesy ArtJog10 & Richard Horstman

20170519_132451Study of convex and concave by M.C Escher, 1955 – Agung Prabowo