Category Archives: Indonesian Art

Revealing Chinese and Balinese Cultural Connections through Art: Meet Tjandra Kirana

"A New Spirit of Balinese Tradition", 2019 - Tjandra Kirana Watercolor on Chinese Paper“A New Spirit of Balinese Tradition”, 2019 – Tjandra Kirana Watercolor on Chinese Paper

 

One of the most charming characters within the Bali art community is Tjandra Kirana. Quick with a smile, and always ready to share a light-hearted joke, or a tale, he is gifted with a generous, and effervescent personality.

Born in Denpasar in 1944, of Chinese Indonesian heritage, over the past six decades the well-known, self-taught photographer and painter has been a witness to change – of the increasing modernization of Bali. Tjandra began painting at the age of seventeen, while his love for photography started when he was fifteen, and then he commenced working as a professional photographer seven years later.

28167736_10211599757534780_7519901610013381311_n                                              Tjandra Kirana

 

A collector of photographs, paintings, documents, artefacts, and memories of the development of Denpasar and Bali, Tjandra is a multi level identity – Chinese, Indonesian and Balinese. His years as ‘an amateur historian and an art and cultural ambassador’ have distinguished him within the Indonesian art community.

Celebrating the human spirit through the lens of his camera, Tjandra’s subjects range from cultural phenomenon, to everyday subjects of city and countryside scenarios, and from social and political identities to those who are marginalized. His studies of the Balinese culture, in particular the religious precessions and ceremonies are highlighted by his eye for balancing the colour and festivities with the beauty of the natural landscape. His Black & White images perfectly capture the rich and dynamic atmosphere of Bali.

20190825_040623                                    Calligraphy by Tjandra Kirana

 

In 1969 Tjandra opened a photography studio in Semarang, Central Java, specializing in advertising, wedding, and portrait photography, along with developing film and printing. The founder of the Semarang Photography Club in 1977, he was also one of the founders of the Perhimpunan Fotographi Bali (the Bali Photographers Association) in 1984. He has evolved with the various periods of photographic technological development – from black & white analogue images to mastering the digital age of technology.

Tjandra has received dozens of national and international awards and titles, including the 2008 & 2009 Shanghai International Lung Jing Shan Photography Art Award: Gold Trophy, while he has received his Certificate of Fellowship from the Royal Photography Society of Thailand from the Princess of Thailand, Maha Chakri in 2012. He is a member of the Royal Photography Society of Great Britain, and the Photography Society of the United States of America, to name just a few of his associations, and has exhibited both his photographs and paintings on more than three hundred occasions throughout Indonesia, Southeast Asia, China and India. Tjandra is constantly invited to represent Bali in exhibitions throughout Asia, and has recently returned from an art and cultural event in New Dehli, India.

20190629_124935Paintings by Tjandra Kirana exhibited at Santrian Gallery, Sanur in “Culture in Colours” 28 June – 9 August 2019

 

Bali is renowned for being been open to, and embracing, influences from foreign cultures. Trade with China began about 300 AD and centuries of migration from main land Asia to the Indonesian archipelago followed, while the Chinese began settling on Bali about one thousand years ago.

“Significant cultural influences are evident in the fields of architecture, art, craving and danceeconomic exchange (kepeng coins), textiles, culinary, and within local customs and rituals,” Tjandra states. One of the most famous icons of the Balinese culture – the Barong – the benevolent lion character that represents universal good and plays a significant role within religious ceremonies is derived from the Chinese lion dance featuring similar character – Barongsai.

Photo by Tjandra Kirana                Photograph of Balinese ceremonial offering by Tjandra Kirana

 

Tjandra’s beautiful decorative paintings create awareness to the distinct facets of the Balinese culture that reveal Chinese influence via the use of unique iconography. “The influence of Chinese culture which is infused in various manners and daily habits is embedded in my memory. This longing for ancestral heritage can not escape the subconscious and within my paintings I wish to reveal that two cultures are present today in contemporary Bali,” he explains.

When sharing some of his ‘secrets’ for a long and fruitful life Tjandra says, “Life is to be enjoyed to the fullest, and having an open, and disciplined mind, is the foundation to success.” Tjandra has been a giver of many gifts, yet also the receiver.

“In 1998 life dealt me the most unusual circumstances. Suffering from heart complaints I was hospitalized. That night I lost consciousness and my heart stopped beating, and then kicked back into life on three separate occasions. I woke the next day surrounded by my family, but I had no comprehension of what had occurred during the night.” Tjandra immediately needed a series of operations to sustain his life, yet did not have the finance to cover the costs. A friend, however, then graciously gave him the required funds. “This gift gave me a fresh perspective on my life, and I clearly understood about my own sense of kindness, and how being generous was essential to a happy and fulfilling life.”

Painting by Tjandra Kirana                                             Tjandra Kirana

Tjandra’s upcoming solo painting exhibition will open to the public 28 June at Griya Santrian Gallery, Sanur, 28 June 2019.

67697120_2617694888241614_4978224811005181952_o                    Tjandra Kirana at work in his Denpasar studio.

 

Words: Richard Horstman

Images: Courtesy of Tjandra Kirana

 

 

 

 

 

 

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Wayan Jana: new directions in Balinese woodcarving

In the background "Memory" 2016 - Wayan Jana. Image courtesy of TiTian Art Space   Memory, 2019 – Wayan Jana in Encounter at TiTian Art Space, Ubud

 

Balinese woodcarving has evolved during the past century with distinct stylistic developments marking its transition from the traditional genre to the modern and contemporary. Iconic figures Tjokot, Nyana, Tilem and Muja defined the landmark styles that have become the source of inspiration that many have followed.

Although minimalist adaptations to woodcarving began in Bali in the early 1930s with the influence of the Art Deco and Art Nouveau movements, the key pioneers being I Rodja and I Geremboeang from the famous woodcarving village of Mas, it was not until the mid 1950s that Ida Bagus Nyana (1912 – 1985) also from Mas, introduced minimalist carvings of the human body.

"Irama Hati (Heart Rhythm)" 2015 - Wayan Jana - Image courtesy of TiTian Art Space                     Irama Hati, 2016 (Heart Rhythm) – Wayan Jana

 

The major progressions that reveal the development of woodcarving are by I Tagelan (1902-1935) who produced an elongated composition of a woman in the mid 1920s from a long piece of wood given to him by Walter Spies who originally requested he produce two statues. I Tjokot (1886-1971) gained his reputation in the late 1920s for utilizing the timber’s natural expressive qualities and creating grotesque figures exploiting the dark side of Balinese mythology with his tough carving style.

Nyana experimented with mass, carving human characters shortening some parts of the body and lengthening others, creating plump forms with serene facial expressions. His son Ida Bagus Tilem (1936 -1993) furthered both Nyana’s and Tjokot’s innovations adopting abstract themes with philosophical or psychological content using distorted pieces of wood endowed with strong expressive powers. I Ketut Muja (1944 – 2014) made his initial statement with his interpretations of the Hindu god Hanuman, meticulously and delicately sculpting the monkey’s fur. He then went further by carving frightening figures that brought out the soul of the wood along with his own emotions and state of mind.

"Encounter" exhibition view at TiTian Art Space - Image Coutesy of TiTian Art Space                     Encounter – exhibition view at TiTian Art Space Ubud

 

The lack of attention from museums and galleries towards contemporary woodcarving recently has resulted in the genre being overshadowed by painters and others artists working in new sculptural media. Encounters, an exhibition of nine works by I Wayan Jana, open 11 May at TiTian Art Space in Ubud, reveals the wonderful potential of the medium when inspiration meets with remarkable creative ability. The emphasis of Jana’s works is upon relationships: relationships between people, relationships with mother earth and relationships with our creator.

In Encounter each of Jana’s compositions are characterized by a meeting of two people and take the form of fascinating and unusual abstractions of the pairing of two figurative forms. “Everything in this world begins with a meeting,” states Jana within the exhibition catalog. Born in Singapadu, Gianyar in 1969, Jana is the eldest son of I Ketut Muja and from a young age he apprenticed with his father and has been consistently carving ever since. In 1998, he started a new style of sculpture, devoid of the elaborate and extravagant details commonly found in the Balinese Baroque woodcarving tradition.

Balinese woodcarver Wayan Jana at work in his Gianyar Studio - Image courtesy Wayan Jana                         Wayan Jana at work at his studio in Gianyar

 

Spheres and series of protruding spikes, circular swollen shapes, jutting forms, and strange appendage-like things, hearts, heads and tails, Jana’s imagination brings to life creations that are always organic, yet at once other worldly. Nurtured and delightful outcomes of his inspirational themes that even include the Hindu gods.

Penyejuk Jiwa (Soul Oasis), 2019, 41 x 36 x 27 cm is arguably Jana’s most abstract work within Encounters, the artist’s fourth solo exhibition to date. A reclining form is propped upright by two limbs, and is highlighted by another that is pointing towards the sky. Collectively they appear as a grouping of wings or fans blades that instantly stimulate our imagination. Penyejuk Jiwa is seemingly propelled upward and may be seen ascending within the minds eye – according to Jana the composition is inspired by the peace and harmony of an adoring couple.

"Harmony" 2019 - Wayan Jana Image courtesy of TiTian Art Space                                       Harmony, 2019 – Wayan Jana

 

While the gently curving shapes of Deringan Rindu (Longing), 2019 and Gairah Dara (Virgin Lust), 2019, take the form of elongated vehicles that we may envision traversing the oceans or zooming across the skies, Sehati (Soul Mate), 2019 and Sayang Menyayangi (Compassion), 2019 take on different proportions. Both appear immediately grounding, and aesthetically calming via the soul of timber’s spiraling and flowing grains, and the sculptures bulbous, full designs.

Irama Hati (Heart Rhythm), 2015, dimensions 36 x 9 x 38cm is the artist’s oldest work. At a glance it evokes an image of the seated form of the master Balinese dancer Ketut Marya, famously known as Mario, executing the Kebyar duduk, first created and performed in 1925. One delicate raised limb suggests Mario holding a fan, an essential visual element of the dance along with his body’s dynamic rotating rhythm. Jana further explains in the catalog that his works contain three elements: (1) two spheres that symbolize male (purusa) and female (predana), (2) hearts that symbolize love and (3) teeth and fangs that symbolize good and evil deeds.

"Penyejuk Jiwa (Soul Oasis)" 2019 - Wayan Jana. Image courtesy of TiTian Art Space             Penyejuk Jiwa, 2019 (Soul Oasis) – Wayan Jana

 

“In developing these forms I have certainly gone through many creative stages,” said Jana, who received his Bachelor of Fine Arts from the Indonesian Institute of Art (ISI), Denpasar.  “After a number of experiments I then found the concept of ‘the meeting’ that is the origin of life and of all living things on earth.”

“What motivates me is my search for my own distinct identity and style. This idea is present in the artists who already have their own work identity. Like Tjokot, Nyana, Tilem and Muja. Each style has its own unique characteristics,” he stated, and continued. “I want to be like my predecessors, with my sculptures having their own individual characteristic, namely the Jana style.”

Deringan Rindu (Longing) 2019                      Deringan Rindu (Longing), 2019 – Wayan Jana

 

“Jana is the first contemporary wood carver that TiTian has honoured with a solo exhibition,” said the Yayasan TiTian chair of the board of advisors Soemantri Widadgo. “He has introduced a new style and a marked departure from anything before him, including his own father. I believe he has the potential to be the next recognized master of Balinese woodcarving.”

Encounter continues through  until August

Open daily 9am – 5 pm (except Mondays)

at TiTian Art Space

Jalan Bisma 86, Ubud, Gianyar, Bali

http://www.titianartspace.com

 

Words: Richard Horstman

Images courtesy: TiTian Art Space & Richard Horstman

 

 

 

“BALINESE MASTERS” exhibition presents significant insights into the development of Balinese painting

"Essence of Void' 2019 - Wayan Sika, image Richard Horstman                           Essence of Void, 2019 – Wayan Sika

 

Balinese Masters: Aesthetic DNA Trajectories of Balinese Visual Art, an ongoing presentation in Bali of installations, paintings, sculptures, drawings and objects by thirty-four Balinese artists and communities has opened to the delight, as well as the scrutiny of many in the Bali and Indonesian art worlds.

The highly anticipated exhibition, open 25 May at the AB•BC (Art Bali•Bali Collection) Building, Nusa Dua, is the first of a landmark three part annual exhibition series that endevours to define the historical developement of the Balinese visual arts. The AB•BC Building, a purpose built, international standard presentation space established by BEKRAF, the Indonesian Agency of Creative Economy, was opened in October 2018 after two years of planning.

"Mother's Earth's Love" 2018 - Ketut Budiana. Image Richard Horstman                             Mother Earth’s Love, 2018 – Ketut Budiana

 

Balinese art was one of the key Indonesian cultural icons promoted to the global market during the Suharto’s government 1970s development of mass tourism. It’s unique historical and artisitic distinctions have been, however, overshadowed by its commodification which began in the 1930s during the first wave of foreign tourists to visit the island. Balinese art has remained largely unappreciated, while being maligned as tourist, ‘folk art’.

The importance of presenting an international standard exhibition to a global and local audience in Bali, explaining the distinct development and essence of Balinese art can not be overstated. The enormous task bestowed upon respected curator Rifky Effendy from Bandung, West Java, is to capture this as a type of chronological reading so it may be easily comprehended.

"Wajah Wajah Mengambang" 2019 - Made Djirna Photo Richard Horstman                    Wajah Wajan Mengambang, 2019 – Made Djirna

 

Effendy’s curatorial text states: “Through this exhibition we can highlight various aesthetic and artistic achievements of Balinese artists, both [those] who are still residing on the island and those who live outside it. It is an attempt to examine and narrate the practice of creating fine arts in Bali without subscribing to those conventional methods based on categorization, paradigm, art history, or any other ‘constraining’ means.”

An essential communative facet of this exhibition is the accompanying wall texts written by local and international academics, collectors, curators and experts presented along side some of the works explaining certain stylistic developments, along with the impact of influenual art collectives, individuals and events. The significance of studying the paintings along with reading these texts must be emphasized as a guide to help in the understanding of such an enormous and distinctive art history.

"Cili Uang Kepeng" 1995 - I Nyoman Tusan, image R. Horstman                         Cili Uang Kepeng, 1995 – Nyoman Tusan

 

One of the great challenges faced by Effendy, who has been assisted by renowned scholars, experts and artists Agung Rai, Jean Couteau, Hardiman Adiwinata, Edmondo Zanolini, I Made Aswino Aji , Satya Cipta, I Wayan Sujana Sukl and Soemantri Widagdo, was to access master artworks from the definitive 1930 – 1945 era of the influential Pitamaha artist’s collective, and earlier Classical works, from institutions and private art collections. The enormous time and energy required to do this therefore deemed it impossible to begin this three part series at the chronological start of its development. Balinese Masters: Aesthetic DNA Trajectories of Balinese Visual Art, begins its visual description from 1950.

Excellent examples of how Balinese art has evolved aesthetically post 1950s may be seen in Mother Earth’s Love, 2018 by Ketut Budiana who took Balinese painting on his own innovative path by transforming the philosphies behind the Balinese religious and folk tale narratives into a unique visual language. All forms depicted within this gold and Chinese ink on canvas composition are in a continual the process of change – transfroming from the ether into the tiniest of vapors which eventually changes into denser physical matter (Budiana’s figures) and then completes the eternal cycle and returns back into the invisible.

"Cosmic Energy" 2019 - Wayan Karja Image Richard Horstman                          Cosmic Energy, 2019 – Wayan Karja

 

The second signature style of the most critically acclaimed genre of Balinese painting – the Batuan School – is featured in the works by Made Budi and Wayan Bendi. The original style which developed in the 1930s relatively free of outside influences. It involved religious and folk tale themes and others close to the heart and mind of the people’s daily life. Often dark and frigntening, including magic, power and ritual, they were expressed in black ink tones on paper. The Miniaturist School of the 1970s was created by the artists Jata, Rajin and Murtika, Budi’s modern themes, under the influence of American photographer Leonard lueras, introduced beach scenes and surfing.

Bendi went further and introduced politics and his enormous Untitled, 2013 stretches nearly ten meters wide, a composition encompassing a universal perspective, reflecting a modern, bustling Bali with the multi ethnic and religious peoples, of tourists, and the transfromational technologies, side-by-side with scenes of traditional Bali.

"Gugusan Energi Alam Batin 6.14.4.019" 2019 - Putu Wirantawan - photo Richard Horstman       Gugusan Energi Alam Batin 6.14.4.019, 2019 – Putu Wirantawan

 

The poineer of Balinese painting within the modern western framework was I Nyoman Tusan (1933-2002) who was the first to study modern art (1945-1962) at Institute of Technology in Bandung (ITB), West Java and later in Belguim. Cili Uang Kepeng,1995 by the intellectual, lecturer and official typifies his modern approach to Balinese ritual objects. I Nyoman Gunarsa (1949 – 2017) also made important contributions to the modern expressions of Balinese icongraphy taking the static and rigid wayang figurations of the Classical paintings and transforming them into dynamic forms with his modern action style of painting. Unfortunately, his displayed works are not his strongest.

Contemporary art sensibilities mixed with Balinese philosophies, symbols and incongraphy when landmark works were made in the 1970s by the pioneers of the Sanggar Dewata Indonesia (SDI) collective – Made Wianta, Nyoman Erawan and Made Djirna, works from this era were not included, but more recent works are. A complete alternative in the exhibitions aesthetics is Djirna’s commanding installaion of more than two thousand pumice stone carved faces Wajah Wajha Mengambang, 2019 which takes observers into different experiential dimensions. Others recent artists that should be mentioned for their achievements within the development of aesthetics are Gede Mahendra Yasa and Putu Wirantawan. Gugusan Energi Alam Batin 6.14.4.019, 2019, is a fascinating and eye-catching installation of pencil and pen sketches by Wirantawan.

"Aktifas Kehidupan" 1984 Made Budi                         Aktifas Kehidupan, 1984 – Made Budi

 

Balinese painting from the Classical and the new more westernized styles that appeared in the 1930s (the Batuan, Ubud and Sanur Schools being the foremost) is characterized by its story-telling function with the aesthetic features of a graphic-drawing based style of art with the space of the canvas fully occupied with the layering of patternations. The big shift away from this that occurred has been to a modern, non-narrative, non-patterned color based abstract style of painting where abstraction represents Hindu symbolism.

The powerful and beautiful mixed media works by Wayan Sika, one an installation of nine paintings The Essence of the Void, 2019 measuring 600 x 360 cms, and the smaller No Ego, 2019, along with two magnificent pulsating compositions by Wayan Karja, both titled Cosmic Energy, 2019, are very important inclusions and highlight the important shift that has not been clearly underlined in the exhibition. The title of the exhibition may be somewhat of a misnomer, and one may wonder what is the criteria that determines how the participants have been selected, especially some of the younger artists and the art communities. Due to the vast scope of content the presentation would benefit from, upon entry, instructions on how to read the exhibition.

"School of (pre) Raphael, 2018 - Gede Mahendra Yasa Image R. Horstman                     School of (Pre) Raphael, 2018 – Gede Mahendra Yasa

 

Balinese Masters: Aesthetic DNA Trajectories of Balinese Visual Art is a beauitful presentation celebrating this fascinating art form that opens the door to the next eaggerley awaited 2020 exhibition. Continuing through until 14 July 2019, it is essential viewing for those who wish to know more.

Balinese Classical paintings by, from left Mungku Muriati, Mangku Mura, Mangku Kondra & Mangku Nyoman Kondra. Image Richard Horstman‘New’ Balinese Classical paintings by, from left Mungku Muriati, Mangku Mura & Mangku Nyoman Kondra.

 

 

Balinese Masters : Aesthetic DNA Trajectories of Balinese Visual Art

Open daily 11 AM  –  9 PM

AB•BC (Art Bali • Bali Collection) Building

Nusa Dua, Bali

 

Words: Richard Horstman

Images: Richard Horstman & courtesy of HPM, Bali

 

 

 

 

 

Previewing Larasati Jakarta Auction: Pictures of Indonesia 12 May 2019

Lot 627 "Boats at Kusamba" - Affandi Image Courtesy of Larasati                                         Boats at Kusamba – Affandi

 

Sixty-two items of fine art go under the hammer from 2:30 pm Sunday 12 May in the upcoming Pictures of Indonesia auction conducted by Larasati auctioneers at the CSIS Center, Tanah Abang, Central Jakarta.

The sale offers good buying opportunities for beginner and mid level collectors, as well as the seasoned connoisseurs, with lots available in a vast array of media including works in ink on paper, an etching, a charcoal sketch on paper, pastels on paper, watercolours on paper, oil pastel on canvas, oil and acrylic paint paintings on canvas, and sculptures. Genres of art to be auctioned comprise of Indonesian and Balinese modern paintings, contemporary paintings and sculptures, and Balinese modern traditional paintings, including works from the renowned Batuan School of painting – some are pre-war works.

Lot 662 "Mengintip" - I GAK Murniashi Image Courtesy of Larasati                                      Mengintip – I Gak Murniashi

 

Some of the well-known artists whose work appear in the sale are the Indonesian modern master Affandi (1907-1990), Ida Bagus Made Togog (1913-1989) from the Balinese village of Batuan, the famed Dutch colourist of Bali Arie Smit (1919-2016), talented Dutchman Willem Gerard Hofker (1902-1981), Balinese modern master Nyoman Gunarsa (1944-2017), Nashar (1928-1994), the overlooked painter of abstract and abstraction compositions, and the Balinese painter of the unconventional Dewa Putu Mokoh (1935-2010).

For those new to collecting fine art committed research, along with getting advice is essential, while internet databases are a good source of information, especially on prices of recently auctioned works. Auctions are transparent, providing benchmark prices that serve as a guide to how much collectors should be paying. Themed sections of work define the sale, beginning with Indo European featuring lots by noted Dutch artists, and an Indonesian artist, who painted pre-1960’s in the archipelago. While four compositions depict Indonesian coastal, village and city living, Lot 61 Geiderse Kade Amsterdam by Willem Gerard Hofker is a small etching of a canal scenario in Amsterdam that has an estimated price of between Rp. 4 – 6 million.

Lot 649 "A God and many animals in a Forest" - I Griem Image Courtesy of Larasati                              A God and many animals in a Forest – I Griem

 

For new buyers wishing to build their collection, the following works, if purchased within their estimated prices, offer very good buying. Lot 607 Balinese Woman, 1995, is an oil canvas painting by the overlooked American artist and long-term Bali expatriate Symon that has an estimated price of between Rp. 5 – 7 million. Lot 650 Village Life in Bali, is a colourful acrylic on paper scenario of village activity by noted Batuan painter Ida Bagus Putu Padma that has wan estimated value of between Rp. 6 – 8 million.

Two works are from the Pre War Balinese Art & Batuan Style section in the original Batuan ‘Black & White’ style achieved with ink on paper and reflecting some of the philosophies of the critically acclaimed genre. It must be noted that the years 1930 – 1945 are considered the golden years of Balinese painting. Lot 647 A Fight in a Village by Dewa Made Koendel, is a sketch in grey and black ink on paper, 34 x 31cm with an estimated price of Rp. 13 – 18 million, and Lot 649 A God and many animals in a Forest, circa 1936, by I Griem comes with good provenance and has an estimated value of between Rp. 13 – 18 million.

Lot 620 "Pemantasan Barong" - Wayan Meja Image Courtesy of Larasati                                Pementasan Barong – Nyoman Meja

 

The following lots offer good buying as potential investments if prepared to buy and hold the works for at least 10 – 15 years. Lot 630 Setan Mbesan, 2000-2001 by an icon of Indonesian art Nasirun, is a dramatic and colourful 92 x 147cm work with an estimated price of between Rp. 30 – 40 million. Lot 637 Dilarang Melintas #1, 2010 is an oil paint and pastel depiction of a child from the economically marginalised Balinese village of Songan by Bali’s most important painter Gusti Agung Mangu Putra. The work, which comes with an estimated price of between Rp 70 – 100 million, was exhibited in his landmark 2010 exhibition “Teater Rakyat” (People Theatre), at Galeri Nasional Indonesia, Jakarta.

Lot 656 Baruna Hotel Garden and New Queen Bali Restaurant, 2009 is by Dutch painter Paul Husner and comes with an estimated value of between Rp 70 – 90 million, Lot 662 Mengintip, 2002 with an estimated price of between Rp. 20 – 30 million is by Indonesia’s most significant female artist I Gusti Kadek Murniashi (1966-2006), from Bali, whose work was highly unconventional, erotic and violent, while emphasizing an array of women’s issues.

Lot 637 "Dilarang Melintas #1" - Agung Mangu Putra Image Courtesy of Larasati                              Dilarang Melintas #1 – Agung Mangu Putra

 

Highlights of the sale, and of special interest to the connoisseurs are these following three paintings. A beautiful and incredibly detailed composition of the drama and activity of a Balinese Barong dance, Lot 620 Pementasan Barong, 1999 by Nyoman Meja has an estimated price of between Rp. 300 – 350 million. Surprise and delight fill the faces of the children in the foreground, while the background reveals a vibrant wind swept scenario. Pulsating with energy in Affandi’s signature expressionistic style, Lot 627 Boats at Kusamba, 1980, is a 98 x 128cm oil on canvas composition of fishing boats on the beach in East Bali that has an estimated price of between Rp. 1,000 – 1,300 million. This is a rare work revealing the rigor of Affandi’s power late in his career.

Having previously studied modern art in New York Ahmad Sadali (1924-1987) became a leading avant-garde artist in the Indonesian post-war art and developed a distinctive style of his art in abstract patterns that are blended with the themes of spirituality and mysticism of Islam. Lot 644 Bidang dengan Bongkah Emas, 1986 has an estimated price of between Rp. 650 – 850 million, and was purchased by the current owner directly from Sadali.

Lot 644 "Bidang dengan Bongkah Emas" - Ahmad Sadali Image Coutesy of Larasati                            Bidang dengan Bongkah Emas – Ahmad Sadali

 

Lots 638 – 642 are oil on canvas works by the Javanese painter, classical dancer and contemporary dance choreographer from Yogyakarta, Bagong Kussudiardjo (1928-2004). Lot 639 Semar, 1995 by Kussudiardjo has an estimated price of between Rp. 35 – 45 million. Other interesting Balinese paintings in the sale are Lot 615 Aktifitas di Sawah, by Ketut Gelgel, Lot 614 Di Ladang , by Ketut Kebut, Lot 619 Pementasan Calonarang, by Wayan Djudjul (1942-2008) estimated price between Rp 35 – 45 million. Other popular Indonesian artists included in the sale are Kijono, Rusli, Widyat, Jehan and Yudi Sulistyo.

Potential buyers bidding over the phone, absentee bidders or real-time Internet bidders 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 647 "A Fight in a Village" Dewa Made Koendel Image Courtesy of Larasati                       A fight in a village – Dewa Made Koendel

 

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 CSIS Jakarta in Tanah Abang, the auction starts at 2:30 pm Sunday 12 May, while viewing begins from 10:30 am Saturday 11 May. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

Lot 619 "Pementasan Calonarang" - Wayan Djudjul Image Courtesy of Larasati                             Pementasan Barong –  Wayan Djudjul

 

Viewing:
Saturday, 11 May 2019, 10.30 am – 7.30 pm
Sunday,  12 May 2019, 10.30 am – 2 pm

Auction:
Sunday, 12 May 2019, starting at 2.30 pm

Venue:
CSIS Jakarta
Gedung Pakarti Center
Jl. Tanah Abang 3 No.23
Tanah Abang, Jakarta Pusat, Indonesia

 

Words: Richard Horstman

Images: Courtesy of Larasati

 

 

the curious worlds of Balinese painter Galung Wiratmaja

  Tari-persembahan-150x120cm-2019-ac-on-canvas                           Tari  Persembahan, 2019 – Galung Wiratmaja

 

Intrigue and mystery are powerful psychological elements when effectively utilized within a painting. The ability to make subtle suggestions in a composition that inspire curiosity and ignite the observer’s imagination reflects a painter who is in full control of his canvas.

Colour and form are the potent visual fundamentals of a painting that we respond to – they are the fundamentals that inform our conscious and subconscious minds. We then recognize colours and shapes and immediately make associations with objects in our surrounding world. On the deeper, subconscious level, colour and form are distinct vibrational codes that resonate with our inner architecture and core.

Walau-abstrak-teruslah-150x120cm-2016-ac-on-canvas                         Walau Abstrak Teruslah, 2019 – Galung Wiratmaja

 

Balinese modern artist Made Galung Wiratmaja understands how to create captivating paintings – compositions that balance colour with form to catch the eye and incite fascination. Over the past two decades he has explored the abstract, abstraction and figurative expressionistic painting styles. Abstraction paintings reveal a very simple and incomplete depiction of form, abstract compositions, on the other hand, are in descript arrangements of colour and unknown shapes that are without any physical references that we recognize.

I love painting – I find it such a fascinating and inspirational force. Yet a painting is simply some paint applied to a two-dimensional surface, be it a compelling composition of technical mastery, or an expression that requires little time and skill to complete. What sparks my curiosity is how easily our minds are led, and how quickly we believe in the painted illusions that appear before our eyes. As Picasso once said, “Art is a lie, that makes us realize the truth.”

Galung Wiratmaja - AmbangGalung Wiratmaja at ARMA with his paintings in the 2018 exhibition “Ambang Embang”

 

In “Ambang Embang”, a 2018 group exhibition at the Agung Rai Museum of Art (ARMA), in Ubud, Galung exhibited three abstractions of the Lingga, an upright object symbolizing fertility and representing the phallus of the Hindu god Shiva. Entitled “Totem #1,2 & 3” his compositions ‘evolve’ within a sequential series that wonderfully suggest the shoulders and head of the human body. His use of colour, shape and line imply enough decipherable information for our mind to make immediate associations.

“Facing Reality” Galung’s recent solo exhibition, open 5 March – 6 May at The Oberoi, Seminyak and presented by Indonesian Fine Art, features nine figurative expressionistic paintings. In these works the artist combines an array of human figures positioned, mostly, with their backs to the observer, seemingly peering into the colourful abstract backgrounds. His unusual compositions immediately incite appeal, and we wonder what his figures are indeed doing, and what is it the artist wishes to say.

ORLA-(orang-lama)-150x110cm-2106-ac-on-canvas                           ORLA (orang lama), 2016 – Galung Wiratmaja

 

In “Founding Father”, Indonesia’s first President, Sukarno is the focal subject, while one work features a large group of people, and in another appears a Balinese family in traditional attire. What is particularly alluring is that his figures are not facing and addressing the audience. They are in interrelationships with unfamiliar backgrounds and this conjures up within us many different responses.

“I enjoy making compositions that feature mysterious elements and that provoke the audience’s imagination. I want that observers to discover their own interpretations – all readings are valid,” the artist says. “In the compositions depicting Balinese people I make identity statements of what it means to be Balinese, and of the two worlds in which we inhabit.”

Angel-40x50cm-2019-ac-on-canvas1                                      Angel, 2019 – Galung Wiratmaja

 

The paintings reveal two contrasting visual realities according to the Balinese understanding of sekala/niskala – the seen, and unseen worlds. In the realm of sekala is all that is of the physical form, while the niskala is the non-physical, spiritual world consisting of the gods, ancestors and nature spirits. Balance is the key to Galung’s choice of colours that are a mixture of subdued ochre’s, greens, browns and greys that create interesting and unusual contrasts. They are never over powering. “My colours reflect my personality, not too bright, yet not too dark,” he says with a smile.

“Tari Persembahan” (Dance Tribute) depicting four Balinese Legong dancers is an exhibition highlight. The figures Galung generally depicts are stationary, appearing rigid, in a type of silent contemplation, in a departure of style his Legong dancers blend and harmonize within a field of vibrant motion, and the composition has a distinct visual tension.

Totem #1, 2018 Galung Wiratmaja                                    Totem #1, 2018 – Galung Wiratmaja

 

“Often while painting my mind becomes detached from the creative process,” the painter says. “My hand guides the brush without me being conscious and compositions mysteriously appear before my eyes. At times I work with a clear concept in mind, and others times not. The outcomes are always surprising, and harmonic.”

About five years ago Galung’s works really caught my attention. Born in 1972 in Sukawati, GIanyar, he studied Fine Art at Udayana University in Denpasar and started painting at the age of thirteen. To his distinction Galung has succeeded in creating his own signature style. He certainly deserves recognition and increased exposure.

Founding-father-65x80cm-2019-ac-on-canvas2                               Founding Father, 2019 – Galung Wiratmaja

 

Words: Richard Horstman

Images courtesy: Richard Horstman & Indonesian Fine Art

 

 

TANDA SERU! exhibition in Bali makes a bold artistic statement

Members of the public engage with paintings by Citra Sasmita during the opening of "Tanda Seru" at Uma Seminyak - Image courtesy of FutuwonderAudience members engage with paintings “Portrait of the Other, #1 & #2” by Citra Sasmita during the opening of Tanda Seru!

 

In 2017 a meeting of young Balinese women from various creative backgrounds, yet with similar visions, set out to create a cross-disciplinary platform to support and encourage women’s art activities and visual discourse. Their driving motivating question: ‘Why aren’t there many established women artists in Bali?’ The gathering set the foundations for a new art collective – Futuwonder.

In July 2018, Futuwonder announced its arrival on the Indonesian art scene by conducting a Wikilatih workshop (Wikipedia article writing) and uploading onto the World Wide Web eighteen new articles on female artists from Bali. Puan Empu Seni: Edit-a-thon was a part of a national drive, held in conjunction with Wikimedia Indonesia, to increase the amount of data on Indonesian female artists available on the Internet’s most go-to source of information – Wikipedia.

Leading Indonesian contemporary artist Arahmaiani and Tanda Seru artists during the exhibition opening at Uma Seminyak 31 March 2019 - Image courtesy FutuwonderLeading Indonesian contemporary artist Arahmaiani with Tanda Seru! artists during the opening of the exhibition at Uma Seminyak

 

Following on from their first exhibition, Masa Subur: Efek Samping, held late last year in Ubud, Futuwonder presents Tanda Seru! (Exclamation Mark) open for two weeks from 31 March at the Uma Seminyak, Bali. Officiated by Indonesia’s most prominent woman contemporary artist, Arahmaiani, and showcasing a diverse array of contemporary works by eight-woman artists, the exhibition commemorates International Woman’s Day 2019, 8 March, and Kartini Day on 21 April. Also referred to as Women’s Emancipation Day, established in 1964 by Indonesia’s founding President, Sukarno, Kartini Day is a national holiday celebrating the life of Raden Ajeng Kartini (1879-1904), Indonesia’s first feminist activist.

“Bali is a very patriarchial society with few women being represented in the art scene, especially in the museums and galleries,” said Ruth Onduko, one of the founding members of Futuwonder, along with emerging artist Citra Sasmita and graphic designer Ni Putu Sridiniari. “We intentionally invited talented young women to exhibit in Tanda Seru! especially those who make art but do not label themselves as artists,” Ruth explains. “Due to the narrow scope of today’s contemporary art world women are marginalized and few get the opportunity to exhibit their work within the fine art gallery system as their work may not follow current market trends, or may lack the necessary commercial elements.”

"Res Publica - Security Mirror for Genitalia, 2019, Ni Putu Sridiniari. Image by Richard Horstman         Res Publica: Security Mirrors for Genitalia, 2019 – Ni Putu Sridiniari

 

“Through Tanda Seru! we examine and question issues related to gender, patriarchy and sexuality – making statements about the female body, woman’s roles, and our capabilities as equals with men,” Ruth said. “We chose the exhibition title to emphasize the importance of these issues, while showing the art world (especially in Bali), that there is a lot of highly skilled female artists that are worthy to be considered as part of the larger art world.”

Dan Bunga Berkata (And the Flower Speaks) is inspired by Aria Gita Indira’s investigations into data released by Badan Pusat Statistik (BPS Statistics Indonesia) in 2017, that reveals 1 in 3 Indonesian women aged between 15 – 64 have experienced violence and, or sexual violence in their lives. Indira presents three small ‘still life’ compositions of flower arrangements on black backgrounds, some of the flowers, however, are embroidered in cotton. The cotton ‘patches’ are metaphors, symbolic icons for all the female victims of domestic violence. Journalists often use the names of flowers when referring to domestic violence survivors in their reports.

"Dan Bunga Berkata" by Aria Gita Indira Image Richard HorstmanDan Bunga Berkata (And the Flower Speaks), 2019 – Aria Gita Indira

 

Crude, yet confrontational The World Between Her Legs, 2019 and Are We There Yet by Santi Permana features women’s underwear attached to brightly colored canvases. Statements to encourage strength and enthusiasm, such as: ‘forced prostitution’, ‘sexual harassment’, ‘girls are strong’ and ‘empowered women’ complete the compositions. Questioning the patriarchal reconstruction of the body of a woman who is menstruating, worshipping, in the work place, and in marriage, Happy to Bleed #1,2&3 by Cristine Mandasari presents circular compositions with restrictive statements written upon sanitary napkins. The artist poses the question, ‘With all the restrictions, can women actualize themselves as human beings who are free and equal to men?’

Communicating about the objectification of women, layers of transparent acrylic sheets frame a collage of digital images featuring mannequins, flowers and hands in the eye-catching Mannekin, 2019, by Intan Kirana Sari (b. 1999, Denpasar, Bali). Delicate brightly colored pieces of paper are arranged into collage on a blue background in Male Reproductive System, 2019 by Irene Febry. Febry imagines what the human reproductive system may look like if it was found within the body of a man.

"Mannequin", 2019 Intan Kirana Sari - Image by Richard Horstman                               Mannekin, 2019  – Intan Kirana Sari  

 

Citra Sasmita is renowned for her descriptive paintings depicting the exploration of the female body through the suffering and pain of the wounds inflicted upon them. Portrait of the Other, #1 & #2 contrasts and balances tragedy with an unusual sense of beauty, creating strong and distinct compositions. Few Balinese artists express themselves through the medium of printmaking, Sealing the Body and Tutur Tinular by Ni Luh Pangestu Widya Sari (b. Denpasar, Bali 1991) are a departure in artistic techniques and aesthetics from the other works in the show, adding to the overall strength of Tanda Seru!

 A pair of long, silver legs protrude from a square mirror, centrally positioned between the legs another mirror, round and convex. Upon inspection of Res Publica: Security Mirrors for Genitalia, by Ni Putu Sridiniari, the observer immediately comes face-to-face with their own image. The highlight of Tanda Seru! the work is both engaging and confronting, provoking thoughts, experiences and reflections upon gender identity.

"Happy to Bleed #1,2&3" by Cristine Mandasari - Image Richard Horstman                    Happy to Bleed #1,2&3, 2019  – Cristine Mandasari

 

“People are obsessed with private matters and sexuality. The law and the public, however, control women’s freedoms and perpetuate gender inequality,” said Sridiniari, a freelance graphic designer, who rarely publically exhibits her work. “I believe contemporary art is important to negotiate politics and socio-cultural issues – discourses that highlight personal narratives and cultural identity in a larger context: the family, community and the state.”

“I’ve always wanted to work with mirrors and body parts to create an installation, so I decided to work with legs for Res Publica, because everybody is curious about sexuality, especially in this case with the direct reference to the female genitals,” she explained. “In Res Publica, the female genitalia is a treasure, yet remains a hidden mystery, that is watched by the public eye.”

"Male Reproductive System" by Irene Febry Image by Richard Horstman                     Male Reproductive System, 2019 – Irene Febry

 

Tutur Tinular, 2015 Ni Luh Pangestu Widya Sari - Image by Richard Horstman    Sealing the Body and Tutur Tinular, 2019 – Ni Luh Pangestu Widya Sari

 

 

Tanda Seru!

Open 31 March – 13 April

Uma Seminyak,

Jalan Kayi Cendana 1.

Oberoi, Seminyak, Bali

 

Words: Richard Horstman

Images: Richard Horstman & Futuwonder

 

 

 

 

 

 

 

Previewing the Larasati Traditional, Modern & Contemporary Art Auction in Ubud, 16 Febuary 2019

Ketut Teja Astawa "Untitled"                                       Untitled – Ketut Teja Astawa

 

Balinese contemporary artist Ketut Teja Astawa (b.1971) has experimented with the iconography from the Classical Balinese Kamasan paintings for more than twenty years. He reinterprets the imagery with his own innovations configuring wonderful compositions, often humorous, and with a strong sense of spontaneity. His signature style has become one of the most recognizable, and important recent developments in Balinese contemporary art.

Untitled, Lot 555, by Astawa, with an estimated price of between Rp 30 – 40 million, is just one of 77 items of fine art for sale in the upcoming Larasati Traditional, Modern & Contemporary Art auction on Saturday 16 February at the Larasati Art Space in Ubud, Bali.

Nyoman Kayun "Keluarga di Desa"                                       Keluarga di Desa – Nyoman Kayun

 

In an array of media including sketches in ink on paper, watercolour, gouache and aquarelle works on paper, acrylic and oil paintings on canvas, colour prints, and a lithograph, the auction features works by distinguished Balinese and international artists including Gusti Nyoman Lempad, Ida Bagus Made Poleng, Gusti Ketut Kobot, Nyoman Gunarsa, Arie Smit, Miguel Covarrubias and Donald Friend. The sale has buying opportunities for beginners, as well as seasoned connoisseurs, and mid level collectors.

Two of the highlights are Lot 513, Outriggers Bali by the renowned Australian artist and diarist who lived in Bali from 1968 until1980, Donald Friend (1914 – 1989). This striking 47 x 63 cm pen, ink, gouache and gold leaf composition on paper featuring 3 traditional sailing boats on the ocean comes with an estimated price of between Rp 85 – 95 million. Village Scene in Batuan, 1968, Lot 541, is a vibrant, playful composition by one of the most popular Batuan traditional painters, Ida Bagus Made Widja (1912-1992). This 42 x 82.5 acrylic on canvas work with dynamic coloration has an estimated price of between Rp 65 – 80 million.

Donald Friend "Outriggers Bali"                                      Outriggers Bali – Donald Friend

 

For new collectors with smaller budgets the following works offer good entry points into the market, especially if purchased within their estimated prices. Dasa Muka, Lot 525 is an excellent composition featuring mythological characters from the Balinese religious narratives by Gusti Nyoman Moleh and comes with an estimated price Rp 12 – 15 million. Lot 526, Bima ke Suarga Loka by the renowned painter of the unconventional Dewa Putu Mokoh (1913 – 2010) comes with an estimated price of between Rp 15 – 20 million, and Lot 559 Balinese Temple, by Kartika Affandi (b. 1934), the daughter of Indonesia’s first modern master Affandi (1907 – 1990) which has an estimated value of between Rp 14 – 18 million.

The following works will capture the attention of connoisseurs of Balinese traditional art. Nyoman Kayun (b. 1954) is considered one of the last living masters of the Ubud School of traditional painting and his compositions often depict old oral traditional folktales that are transmitted verbally through songs. Lot 520, Keluarga di Desa by Kayun has an estimated price of between Rp 35 – 45 million and comes with good provenance. Gembala Sapi. Lot 523 by Wayan Radjin (b.1945) the son of the celebrated Batuan artist Made Djata (1920 – 2001) has an estimated price of between Rp 55 – 75 million.

541                               Village Scene in BatuanIda Bagus Made Widja

 

Ida Bagus Made Poleng (1915-1999) was born in the village of Tebesaya, Ubud and was considered the finest of all of the Balinese traditional painters. His paintings, which he referred to as ‘his children’, are in high demand. Lot 524 Mandi di Pancuran, a 49 x 32 cm acrylic on canvas composition depicting two men bathing has an estimated price of between Rp 130 – 180 million. In charming, glowing reddish tones, Lot 543, Nonton Wayang by Ida Bagus Made Nadera (1915 – 1998) features a crowd of villagers watching a wayang kulit performance and comes with an estimated price of between Rp. 30 – 40 million.

An unusual item on offer, Lot 510, Rice Granary, Bali, a 36 x 28cm lithograph by Mexican artist Miguel Covarrubias (1904 -1957) comes with good provenance. Covarrubias was a gifted caricaturist and illustrator who wrote the landmark 1937 cultural and social study on Bali, Island of Bali. This work has with an estimated price of between Rp 10 – 13 million.

Ida Bagus Made Nadera," Nonton Wayang", 95x125cm, acrylic on canvas. - Copy                          Nonton WayangIda Bagus Made Nadera

 

Buying art as an investment is possible with the right strategy and this includes purchasing and holding a work for at least 10 – 20 years before selling. Three opportunities are available in the genre of Balinese contemporary art, including the aforementioned Lot 555, by Teja Astawa. Made Palguna has also developed his own ‘voice’ that is distinct within the sphere of Balinese contemporary art. Lot 553, Mencari Orang-orang Marjinal, 2003 by Palguna comes with an estimated price of between Rp 18 – 24 million. The final item for auction, Lot 577, comprises of two paintings, a. Energiku Bertambah, 2003, 70 x 70 cm & b. Malam Bergelora, 2001, 26 x 30 cm, by the iconic Balinese female artist IGAK Murniasih (1966-2006) who raised issues of sexuality, identity and gender politics in her works. These provocative paintings have an estimated price of between Rp 35 – 45 million.

There are many other strong works available in this auction, two are by the renowned traditional painter Gusti Ketut Kobot (1917-1999 Pengosekan, Ubud), Lot 531 Jatayu and Lot 527, Scene from Rajapala Story, while Lot 528, The Witch and the Servant, an ink on paper sketch by Gusti Nyoman Lempad has excellent provenance. For collectors interested in Indonesian modern art there are good works available by artists Widayat, Soedarso and Soedibio.

527                             Scene from Rajapala Story – Gusti Ketut Kobot

 

Potential buyers bidding over the phone, absentee bidders or real-time Internet bidders 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.

Dewa Putu Mokoh "Bima ke Suarga Loka"                             Bima ke Suarga Loka Dewa Putu Mokoh

 

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Saturday 16 February, while viewing begins from 11am Thursday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

 

Ida Bagus Made - "Mandi di Pancuran"                          Mandi di Pancuran – Ida Bagus Made Poleng

 

 

Viewing:

Thursday,         14 February   11am – 7.30pm

Friday,              15 January     11am – 7.30pm

Saturday,         16 January     11am – 1pm

Auction: Saturday 16 February, 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 Auctioneers