Category Archives: Indonesian Contemporary Art

Bali Artists’ Camp 2016 Exhibition

Made Budhiana "Badak Taman Ujung Karangasem"                Badak Taman Ujung Karangasem – Made Budhiana

Impressions of some of Bali’s most important archeological sites, the 11th century Gunung Kawi temple in Tampaksiring, and the stone reliefs at Yeh Pulu in Bedulu, along with dramatic landscapes depictions from remote East Bali, went on display at the Bali Artists’ Camp 2016 Exhibition.

Open from 8 April – May 22 at the Made Budhiana Gallery, Ubud, and featuring more than 30 paintings, sketches, and installations by local and foreign artists, the exhibition marks the fifth year of engagement between the Northern Territory of Australia and Bali, and Eastern Indonesia.

Gede Gunada "Yeh Pulu"                                       Yeh Pulu – Gede Gunada

An art and cultural engagement that began in 2012, the Bali Artists’ Camp’s vision evolves around engagement with the landscape, nature, and the rich Balinese culture. The event brings together artists from Bali and Indonesia, with their counter parts from Australia, and other foreign countries, to visit inspiring sites throughout Bali, to work on location in a visual art and cross-cultural exchange exercise.

The fruits of the 2016 Bali Artists’ Camp, themed engagement with monumental Bali, produced on separate occasions in May, June, July and September 2016 (collectively a period of seven weeks), will be displayed until 22 May. The vibrant collection includes works by renown Balinese artists Made Budhiana, along with Made Sudibia and Gede Gunada from Bali, and paintings by Freddy Sitorus, born in South Sulawesi, and East Javanese painter Nanik Suryani.

Nanik Suryani "Gunung Kawi"                                       Gunung Kawi – Nanik Suryani

The foreign artist’s contributions reflect different artistic approaches and backgrounds, Japanese artist Rie Mandala’s offerings are delicate works in ink on paper. Well-known Australian artist Michael Downs’ compositions have both surreal and abstract sensibilities, fellow countryman Ivor Cole prefers to works in oil, in his realism paintings, while Australian Mary Lou Pavlovic’s presentations are forged from an array of media, including timber and plastic, with the addition of paint and other decorative media.

Ivor Cole said of his experience, “the cultural divide between the artists is quickly wiped away. There is no separation, we are here to absorb and translate the best we can through the visual image, the emotional, spiritual state of this place and this time.”

Ivor Cole                                        Puri Prima – Ivor Cole

“The Northern Territory – Indonesia relationship has a long history of trade and cultural exchange,” said Michael Gunner, the Chief Minister of the Northern Territory, who is one of the co sponsors of the event.

“For hundreds of years trade and cultural exchange flourished between the Macassans (people from present day Sulawesi and related islands) and aboriginals of the Northern Territory. Since the birth of the Republic of Indonesia, and the attainment of Self- Government for the Northern Territory in 1978, there has been an increased focus on acknowledging and strengthening our economic, cultural and social ties within the region,” Gunner adds.

Made Sudibia - "Perwujdudan Dewi Kesuburan"                                 Perwududan Dewi – Made Sudibia

“I had the honor of traveling through the lush tropical landscape with the local artists visiting spectacular temples and monuments,” Mary Lou Pavlovic said. “And I was struck by how close to nature the Balinese and Indonesian artists were, everywhere we went they knew all the fruit and medicinal herbs. I realized although I long to feel this affinity with nature, I am not from a culture that exists in the same way with nature.”

The Bali Artists’ Camp compliments the Artists’ Camp art engagement project run in alternative years by the Northern Center For Contemporary Art (NCCA) in Darwin.      “The Artists’ Camp involves Balinese and Indonesian artists traveling to the Top End of the Northern Territory and interpreting its rugged and diverse landscape, together with an artistic and cultural interaction with Aboriginal artists,” said the founder of the Made Budhiana Gallery, Australian Colin MacDonald.

Michael Downs "Gambelan Landscape"                           Gambelan Landscape – Michael Downs

“The camp started as a concept with the original Director of Museums and Art Galleries in the Northern Territory (MAGNT), Dr Colin Jack Hinton back in 1978.” MacDonald, the former Director and Chairman of the Board of MAGNT, developed the concept further when he took Balinese artist Made Budhiana to the NT to participate in the first international Artists’ Camp, along with Australian and Malaysian artists in 1990.

The vision of the ten-year program of the Artists’ Camp is that the Chief Minister of the Northern Territory, the Australian Prime Minister and the Indonesian President will open a touring exhibition at the Australian National Gallery that will include the first retrospective of the Australian-Indonesian artists’ engagement.

Study for a Monument of Flowers             Study for a Monument of Flowers – May Lou Pavlovic

 

The Bali Governor, Made Pastika, who is also a supporter of the event, will visit the exhibition in early May to meet the artists, and to be presented works by the artists.

This project has had the on-going and enthusiastic support from the Indonesian Foreign Affairs Department, the Australia Indonesia Institute and the Australian Department of Foreign Affairs, especially successive Australian Consul Generals.

20170414_085327                                    Batur – Gede Gunada

Made Budhiana Gallery

Villa Pandan Harum

Jl. Anak Agung Gede Rai

Banjar Abian Semal

Gang Pandan Harum

Lotonduh, Ubud

Tel: 0361 981624

Words & Images: Richard Horstman

 

No place like home – Ari Bayuaji

View of 'No place like home' from outside the front of Kunsthal Rotterdam Image Ari Bayuaji     View of ‘no place like home’ from outside of Gallery 6, Kunsthal Rotterdam

The Kunsthal Rotterdam, a leading cultural institution in the Netherlands, through it’s program Kunsthal Light challenges artists to create site-specific works to be exhibited within a most unconventional space.

An elongated and narrow slopping showcase ramp, with generous vertical height, Gallery 6, is positioned adjacent to the window at the forefront of the museum. While also functioning as walkway through which visitors cross from one gallery to the next, it becomes a ‘display cabinet’ for artworks, to be observed outside by passersby.

17264168_10154227288921956_8483278281296326009_n                         Detail of ‘no place like home’

During Kunsthal Light #16 Montreal based, ‘Indonesian born’ artist Ari Bayuaji occupied Gallery 6 from 9 March, until the exhibition’s official opening on the 18th, transforming it with his installation ‘No place like home’. Constructed from eclectic 3D sculptures, drawings, paintings and photographs, the exhibition, which continues until 28 June, features references to locations throughout the world where Bayuaji has been, and the resources that people utilize to create their homes.

Beginning early January Bayuaji visited the Kunsthal to gain vital insights and then returned to Canada to select materials from his studio collection to be shipped to the Netherlands. Two months later he was tasked with creating an installation, or a ‘puzzle’ as the East Javanese, former civil engineer, said.

Aji Bayuaji at KunsthalLight16 Image by Marcel Kollen                             Ari installing ‘No place like home’

“The gallery is not just a blank white wall, there are, however other elements, such as the varying height, CCTV cameras, doors, speakers and a balcony that I must consider, and include in my work. I employ plywood, paper, plastic tarpaulin, and canvas to represent urban life in different parts of the world where some people might adopt these materials to build a place they call ‘home’.”

A collector of distinctive, often unusual bits and pieces, items from as far as Mexico to Bali become meaningful icons in this work. Plastic bags and ropes littering beaches are utilized, as too are small weathered windows frame old letters, and pictures from magazines. Throughout the installation Bayuaji creates beautiful and contrasting visual landscapes.

No lace like home - Ari Bayuaji. Image by the artist                             Detail of, ‘No place like home’

“There is no direct connection. The ‘exotic objects’ that came from far away are there for the audience to see, absorb, and to learn more about,” he said. Traditional dancers upon a Bali picture postcard point to CCTV camera, currency notes, discarded keys and utensils he juxtaposes with colorful geometrical forms painted directly upon the 60 meters long wall.

“I love to work with ready-made objects, like wooden architectural ornaments from old buildings found in Indonesia and Canada. Some of these items may be old, but the ‘content’ is new as I inject them with emotions that are influenced by the contemporary issues I seek to address in my work,” said the 42 year-old artist, who admits this project has been confronting, yet a career-defining experience as well.

Visitors during the 18 March opening Kunsthal Light 16 Image Aji Bayuaji              Visitors during the opening evening of ‘No place like home’

“Ari came to our attention via Natasha Sidharta, a friend of Kunsthal’s director Emily Ansenk. Emily and I where impressed and immediately felt he was a perfect fit for our program,” said curator Natalya Boender. “Ari took his cultural background and heritage and by giving the title ‘No place like home’ and using the general ‘home’ as a subject says a lot about him as a person and an artist. We like artists that are not afraid to tell a story.”

“Working in Gallery 6 is akin to performance art where the visitors can observe my process, and can interact with me as they like. This is new for me because normally I work alone in my studio,” Bayuaji said. “Surprisingly I have enjoyed how they respond, or react. European audiences can be very direct, and this engagement has helped me mature as an artist.”

17264927_10154227289001956_4218543065809826751_n                             Detail of ‘No place like home’

“Many asked about the materials I used, opening up bigger conversations about my culture and background. Some shared their ideas of ‘home’, and even about their political point of view.”

A two-meter square black and white photograph reveals a slum dweller peering out from behind a shanty door, while eighty Mexican canvas moneybags are sewn together to form an ‘Alternative Wall’, Bayuaji’s satire of US President Trump’s border wall and a play on ‘alternative facts’.

“The more freedom I am granted by a big institution the greater the pressure I feel. I have to create something that I really like to work on to show the public, while delivering my ‘voice’. These considerations help me to work in subtle ways.” Having the autonomy of creating such a large installation helped Bayuaji learn how to be the ‘curator’ of his own work.

17361632_10154227288736956_8422524388330762822_n                                Detail of ‘No place like home’

“The current geopolitical landscape is rapidly changing the way people live. Many from all over the world have been moving, immigrating and being displaced from one place to the next,” said the artist who in 2004 moved from Indonesia to Canada to study fine art at the Concordia University of Montreal. “There are many places people call home that have been destroyed because of wars and uprisings, or natural disasters too.”

“As a contemporary artist I want to talk about problems that concern me. I trust that the experience will touch people’s heart so they may share a little space of their own home for people who need a place to feel accepted and safe.”

“We were really touched by Ari’s commitment to make political jokes in his work while being very serious and poetic at the same time. This is a rare quality, and it makes his work relevant,” Boender adds. “The fact that Ari comments on critical global issues in a very approachable manner is a beautiful way to share experiences and ideas.”

17353277_10154227309541956_4859946872236865801_n                                Detail of ‘No place like home’

17353455_10154225958806956_3336473321771839409_n                            

No place like home

IMG_0473                                           Artist Ari Bayuaji, right

 

Words: Richard Horstman

Images courtesy: Marcel Kollen & Ari Bayuaji

No Place Like Home,

Kunsthal Light #16

Continuing through until 28 June, 2017

Kunsthal Rotterdam

Info: +31 (0)10-4400301,

www.kunsthal.nl

 

 

 

Previewing Indonesian Modern & Contemporary Art at Sotheby’s Hong Kong Spring Sale

The 1-5 April Sotheby’s Hong Kong Spring Sales, a highly anticipated auction on the 2017 global calendar, inevitably will draw increased global attention to the Asian region.

Sotheby’s first conducted sales in Hong Kong in 1972. For the first time however, works by iconic Western contemporary artists Andy Warhol, Jean Michel Basquiat and Damien Hirst will be presented during the 2 April Modern and Contemporary Art Evening Sale, to be held at the Hong Kong Convention and Exhibition Center.

Affandi, Colosseum, Roma.Image courtesy sotheby's HK                             Lot 1047 Colosseum, RomaAffandi

For collectors of Indonesian modern art the following works will be of interest, especially Lot 1047 Colosseum, Roma. Painted in 1972, this is one of the three known depictions of the famous Roman amphitheater by Affandi, (1907-1990). Arguably Indonesia’s most important modernists Affandi was the first Indonesian to exhibit in the Venice Biennale in 1954.

Capturing afternoon sunlight emblazoning the arena, this rare work would compliment any Affandi connoisseurs collection, and has an estimated price between HKD 2,200,000 – 2,500,000 (Rp.378,070,000–601,480,000). Lot 1048, Barong, 1966, also by Affandi, has an estimated price between HKD 1,800,000-2,800,000 (Rp.3,091,880,000-4,809,600,000).

Lee Man Fong_Balinese Procession                               Lot 1024, Balinese ProcessionLee Man Fong

Lot 1021, The Lotus Pond, is by Belgian impressionist painter Adrien Jean le Mayeur (1880-1958), who fist settled on Bali in 1932. One of several pieces he left unfinished upon his death, it portrays Balinese beautiful women in, and surrounding a pond. It’s estimated price ranges between HKD 3,800,000 – 5,500,000 (Rp.6,527,310,000 –9,447,420,000).

Lee Man Fong, (b. Guangzhou 1913-1988) spent extended periods painting in Bali. Lot 1024, Balinese Procession is an excellent work, highlighted by his fusion of East and West styles with an estimated price between HKD 10,000,000-15,000,000 (Rp.17,177,100,000–25,765,700,000).

Hendra Gunawan_Cucu-Cucu Witarsa Mengenang Bintang PSSI. ALM. Djamiart Dhalhar (The Grandchildren of Witarsa Commemorating Indonesian Football Star, the late Djamiat Dhalhar)Lot 369,Cucu-cucu Witarsa Mengenang Bintang PSSI. Alm. Djamiart Dhalhar (The Grandchildren of Witarsa Commemorating Indonesian Football Star, the Late Djamiat Dhalhar) – Hendra Gunawan

Three contemporary works are offered in this sale. Lot 1056, Cakrawala Warna #8 (Colour Horizon #8) 2012-2016, by renowned painter Rudi Mantofani (b. 1973, Padang, West Sumatra) has an estimated price between HKD 650,000-950,000 (Rp.1,116,510,000-1,631,830,000),  Lot 1057, I Nyoman Masriadi, The Old Master (Snapping Provocation of Samuro) 2016 is estimated between HKD 1,800,000-2,800,000 (Rp.3,091,880,000-4,809,600,000), An abstract composition by the most prized Indonesian woman contemporary artist, Aye Tjoe Christine, Lot 1059, Black and the Small White, 2014, has an estimated price of between HKD 500,000-700,000 (Rp.858,856,000-1,202,400,000).

Arin Dwihartanto Sunaryo_Harmonic Tremor             Lot 219, Harmonic Tremor, 2016 – Arin Dwihartanto Sunaryo

A diverse array of more than 30 works by Indonesian artists, with price ranges to suit all budgets, are offered the following day during the 3 April Modern and Contemporary Southeast Asian Art Sale. Works from emerging, established, senior, and deceased artists are presented.

For new buyers wishing to enter the Indonesian market there are opportunities with works by prominent contemporary names going under the hammer within the lower range of estimated prices, including Heri Dono, Yunizar and Agus Suwage. Some artists in the middle to upper price range are Rudi Mantofani, Nasirun, I Nyoman Masriadi, and Rudi Mantofani.

Agus Triyanto BR_Savana Dance                             Lot 208, Savana DanceAgus Triyanto BR

One of the emerging artists featured is Angki Purbandono (b.1971 Yogyakarta), a pioneer in the use of digital scanning technology (scanography) in Indonesian contemporary art. Lot 212, The Plastic Guns – Violence for Beginners, a scanography transparency in neon box installation has an estimated price of between HKD 20,000-40,000 (Rp.34,351,500-68,703,000). Another is East Javanese painter Agus Triyanto BR (b.1979), Lot 208, Savana Dance, 2016, is a surrealistic composition with an estimated price between HKD40,000-60,000 (Rp.68,703,000-103,063,000).

Lot 211, Multicolor, 2016 by Arin Dwihartanto Sunaryo (b.1978, Bandung) is a dynamic composition created by a moving blend of poured pigment paint suspenAgus Triyanto BRded in resin and pressed upon glass. The three panel work, 180 x 465 cm has an estimated price of between HKD 40,000-60,000 (Rp.68,703,000-103,063,000).

189HK0717_XXXXX             Lot 350, Three Balinese Maidens With Offerings – Theo Meier

For seasoned collectors the sale features eight paintings by Lee Man Fong, four by Affandi, three by Srihadi Sudarsono, and three compositions by S. Sudjojono, who is considered the one of the fathers of Indonesian modern art. Lot 372 Pemendangan (Landscape), has an estimated price between HKD 650,000-950,000 (Rp.1,114,630,000-1,629,080,000).

Lot 369,Cucu-cucu Witarsa Mengenang Bintang PSSI. Alm. Djamiart Dhalhar (The Grandchildren of Witarsa Commemorating Indonesian Football Star, the Late Djamiat Dhalhar), is by artist, poet, sculptor and guerilla fighter Hendra Gunawan (1918-1983). It depicts a group of children playing football in a surrealistic landscape and is estimated between HKD 1,000,000-2,000,000 (Rp.1,714,820,000-3,429,640,000).

217HK0717_XXXXX          Lot 213, Pemandangan Dari Atas (Landscape From Above) – Nasirun

Works by noted foreign artists include Dutch painters Willen Gerard Hofker (1902-1981) and Arie Smit (b.1916, The Netherlands – 2016, Bali), along with Theo Meier (Switzerland 1908-1982), Adrien Jean le Mayeur.

Buyers bidding over the phone, and on the Internet, who are unable to attend the previews days or auction are advised to contact Sotheby’s 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 gaged. 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.  Estimates do not include buyer’s premium. Prices achieved include the hammer price plus buyer’s premium up to 25% of the hammer price.

HK0717-374_web                      Lot 374, Janger Dancer – Srihadi Sudarsono

 

Previews open to the public 31 March

Modern and Contemporary Art Evening Sale 2 April from 7pm

Modern and Contemporary Southeast Asian Art Sale 3 April from10 am

The Hong Kong Exhibition and Auction Venue,

Hall 5 Hong Kong Convention and Exhibition Center (New Wing),

1 Expo Drive, Wan Chai, Hong Kong.

 

Words: Richard Horstman

Images courtesy: Sotheby’s Hong Kong

 

 

WHAT’S NEXT – A Group Art Exhibition

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In recent years the visibility of street art in Bali has grown phenomenally. The dynamic crossover of genres, fusing graffiti with murals, social realism, and ever-evolving sensibilities has become a popular urban youth expression. Outside of conventional modes found in gallery and museums, street art is alive in public spaces, transforming bland street walls.

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From the beach side areas of Canggu and Kuta, to Kerobokan, Denpasar and across the city to Gianyar, colorful style, with plenty of visual WOW is adorning the urban landscape. Its techniques range from murals, to stencil and sticker art, even installations, it’s often saturated with social political issues, dissent, or emotions and ideas about identity and life. This democratic form is being exposed where the public can enjoy its aesthetic qualities, and/or ponder the messages presented.

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Some considered it a nuisance, urban visual pollution, whether perceived as vandalism or public art, it has caught the interest of the international art world, and is even seen as a manner of beautification and urban regeneration. Recently, however street has been making its transition onto the walls of Bali’s art spaces and contemporary galleries.

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Open Friday 17th March at Sika Contemporary Gallery in Ubud, WHAT’S NEXT – A Group Art Exhibition presents a mix of street culture art that is characteristic of this burgeoning movement that’s becoming a highlight of the Indonesian contemporary urban cultural scene.

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Organized by Yogyakarta born, Ubud based multi talented Kemal Ezedine, WHAT’S NEXT features ten artists, nine CRWPX from Jakarta, aged between 24 to 45, most below 30 years. A fresh and exciting array of works on paper, canvas, wood panels, and applied directly to the gallery walls is displayed. During the exhibition the artists present an art bazaar, live graffiti displays and a workshop open to the public.

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“Ubud is well known as a place for tradition art and culture, “WHAT’S NEXT“, is a new annual program for street artists to gain experience in Ubud,” said Ezedine. “Each year it will feature different artists and workshops, along with discussions in a kind informal short residency program.”

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“Bringing the work from the streets and into the gallery space allows a different perspective, and new, often spontaneous creative opportunities,” he adds.   “We trust the artists will learn something, while gaining new knowledge on how they see Ubud as an art center.”

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WHAT’S NEXT

Continues until 20 April
Sika Contemporary Gallery

Jalan Raya Sanggingan No.88X, Ubud

opposite Bintang Supermarket

Tel: 0361 975084

Open daily 9am – 6pm

Words & Images: Richard Horstman

 

 

 

 

 

 

Ways of Clay – Jakarta Contemporary Ceramic Biennale #4

Audience at JCCB#4 national Gallery Indonesia                        Audience at the  National Gallery of Indonesia – JCCB#4

Unique to other conventional mediums clay offers artists distinctive and potent properties, forged over eons by the natural elements, to co-create with. A piece of Mother Earth, throughout the ages it has inspired civilizations, both practically and esoterically, the ancient Greeks, Egyptians and Sumerians all had creation myths that tell of the hands of Gods shaping the first human beings from clay.

The fourth Jakarta Contemporary Ceramic Biennale (JCCB#4), closing 22 January, opened at the National Gallery of Indonesia in Jakarta 8 December 2016. Themed Ways of Clay: Perspective Toward the Future the exhibition features works by forty-one invited artists from 16 countries (eight from Indonesia), interpreting history as a point of view to aid in the understanding of how the practice of ceramic arts may progress into the future.

Ljubica_JocicKnezevic_FragmentOfLifeJPG                                  Fragment of Life – Ljubica Jocic Knezevic

Initiated in 2009 by Indonesian curators Asmudjo Iranto and Rifky Effendi the JCCB has become a contemporary ceramic art event offering fresh perspectives, especially in the ceramic art world. Each biennale has featured mixed media works adopting video, photography and other mediums side-by-side with clay or ceramics reflecting the process of evolution of the medium into the greater contemporary arts practice.

“The Western art world considers ceramics as being outside of the classification of the fine arts, in Indonesia, however the perception is different,” said Rifky Effendi. “As Indonesian art history is not well recorded the canons of fine art are still loosely defined, thus allowing   opportunities for increasing local appreciation of the art form by both the public, and art collectors.”

Uji Hahan "Liability - Between Lack and Achievement" 2016 Image coutesy JCCB#4                 Liability: Between Lack and achievement – Uji Hahan

The distinctive feature of JCCB#4 was the residency program of which 20 of the invited artists participated in. Setting varied scenarios to inspire a highly diverse range of creative outcomes by the artists, with the focus upon collaboration, learning and shared experiments, artists participated in one month residency programs between August – November 2016, at independent ceramic studios, traditional small to mid-sized ceramic industries, large-scale factories, ceramic producing communities and ceramic institutions, such as colleges and vocational schools.

Aligning the artists with Indonesia’s environment, people, and culture, the programs rural and urban hosts have their own respective characteristics, materials and resources, as well as facilities. The residencies were held in Bandung, Majalengka, Kasongan-Bantul, Sleman-Yogakarta, Semerang and a few locations in Bali. While about half of forty-one artists were ceramicists the biennale presented wonderful opportunities to the remaining invitees, who had never, or rarely worked with clay to explore this ‘new’ medium.

SoeYuNwe                                                  Korean artist Soe Yu Nwe

“Introducing well-known contemporary artists into JCCB#4’s program helps both collectors and the curious in their perception of what is contemporary art, and how it explores mediums outside of the realms of conventional painting and sculpture,” Effendi said and adds, “The artists were excited to participate in the residency program, to explore new mediums and find fresh form for their ideas.”

“I was chosen by JCCB#4 for my residency with PT Sango Ceramics Indonesia (the nations leading ceramics tableware manufacturer based in Semarang) who allowed me creative possibilities that both they and I had yet to encountered,” said emerging artist Uji Hahan from Yogyakarta, whose work Liability – Between Lack and Achievement” was an exhibition highlight.  “The work, in which I experimented with electroplating techniques, challenged both PT Sango’s and my own working practices.”

Maria Volkhova "Cloboters" 2016 Image courtesy JCCB#4                                          Cloboters – Maria Volkhova

“Inspired by natural history specimens and archaeological findings, being the creator and a collector, Broken Dreams Without Wings explores some of the ways people have brought things together into purposeful collections to preserve memory,” said Singaporean artist anGie Seah of her clay series in which she rearranged objects to create new ways of thinking about nature, time and interpreting tangible things from her environment.

“I enjoyed the process of experimentation with other materials to add-on to the clay bodies of my work, underlining JCCB#4 concept Ways of Clay.”

20161207_215913                                                     anGie Seah

 Eddie Prabandono, known for his large-scale installations, exhibited Padi one of the more interesting aesthetic and conceptual works of JCCB#4 that featured a collection of plates piled one upon the other, over two meters high positioned upon a chair, from which rice grew during the exhibitions duration. Making reference to human greed in his ‘living art work’ Prabandono said, “The increasing use of agricultural land for housing and development is an important issue that requires urgent attention.”

Other highlights include Bandung artist Arya Pandjalu’s glazed stoneware Electric Earth, Ukrainian Maria Volkhova’s Cloboters and Serbian Ljubica Jocic Knezevic’s Fragment Of Life.

14715488_10154510455512107_5407491981682033517_o              Participating Artists and Curators, National Gallery of Indonesia

Supported by a program of Artist Talks – Ceramic Sharing & Presentations, regular gallery tours, and ceramic workshops by Ganara Art Space open to the public every weekend, attendance numbers at the National Gallery revealed one of the success stories of JCCB#4. During the holiday seasons visitors numbers were 1000 per day, while non-holiday periods visitors ranged between 500-600, and on weekends increased to 700-900 people a day.

15875410_10155328161509316_5169993784207623161_o                                             Padi – Eddie Prabandono

 

Words: Richard Horstman

Images: Courtesy JCCB#4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Swedish Artist Richard Winkler at Home in Bali

Work in progress                             Richard Winkler at work in his Sanur studio

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

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

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

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

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

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

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

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

20160825_161839                                                  A Beautiful Afternoon, 2016

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

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

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

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

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

Words & Images: Richard Horstman

 

 

 

 

 

 

 

 

 

 

Ethnic Faces – Wolfgang Widmoser

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In May 2015, German born painter Wolfgang Widmoser, along with eight western artists ventured East across the Java Sea to South Sulawesi, Indonesia upon a traditional Penisi Bugis sailing boat. According to Wolfgang, “ to find and explore human history that is not really known.”

the-guardian                                     The Guardian – Wolfgang Widmoser

Visiting several islands the artists interacted closely with the islanders, the encounter with the indigenous people deeply fascinated Wolfgang. His response was to paint a series of portraits of some of the characters he met along the way.

bo                                              Bo – Wolfgang Widmoser

Wolfgang sets out to not merely represent the physical, yet through his distorted, interpretive style, he calls ‘fantastic realism’ he creates a window into the subject’s soul. Every detail of the subject’s face, every wrinkle and pore is an opportunity to explore, often rendering the details into landscape like scenarios. Yet it is via the enlarged eyes of his subjects that the observer may traverse the physical and access other dimensions. Earthly inhabitants are transformed into other worldly beings.

twilight                                   The Twilight – Wolfgang Widmoser

Ethnic Faces, an exhibition of paintings, some taken from the fore mentioned series, while others are recent reworking of an older succession of portraits, opened 25 February at Bali Bohemia, Ubud, Bali. The evening was a birthday celebration for the well-known Ubud character, born 1954, Munich, who has lived in Indonesia for more than 30 years.

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“To me all painting is abstract, an order of colored shapes on canvas through which I like to create illusions,” Wolfgang said. “A face is more than face, it is an archetype. I am a theoretical artist, my paintings are founded on color, composition and beauty.”

“Art, science and philosophy are all one. They provide the answers to all the mysterious questions that have captivated humanity throughout the ages. Yet while science attempts to inform the mind, art connects with the spirit.”

gnome                                       Gnome – Wolfgang Widmoser

Wolfgang painted, played music and studied architecture and philosophy since his childhood. In 2007 his exhibition of fantastic Indonesian faces set in cosmic scenarios, Venus Rising at Bentara Budaya Jakarta exposed his talents to the Indonesian art world. While he has exhibited in many European cities, Australia and the United States, during the past decade he has been relatively quiet in Indonesia.

warrior                                   The Warrior – Wolfgang Widmoser

In 1973-1978 Wolfgang studied classical Renaissance painting techniques with Salvador Dali in Cadaques, Spain and Ernst Fuchs in Vienna, Austria, making him the most advanced painter of classical western techniques living in the country. His presence compliments the Indonesian modern and contemporary fine art scene.

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“I am researching my truth,” Wolfgang said. “I believe there’s more to the world than meets the eye, and I enjoy reaching higher grounds. Connecting with the spiritual world seems to be a must in our turbulent times.”

 

Ethnic Faces

Bali Bohemia

Nyuh Kuning, Ubud, Bali

Jalan Nyuh Kuning, Ubud

25 February – 25 March 2017

Open Daly: 9am – 11pm

Facebook: Wolfgang Widmoser

Words & Images: Richard Horstman