Category Archives: National Gallery Singapore

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

 

 

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

 

 

 

 

The Bali Art Scene 2016: The Final Six Months Overview

15878100_120300001416662373_1113857188_oBudi Agung Kuswara with patient from Rumah Berdaya, a community based psycho-social rehabilitation center utilizing art as a tool for creative solutions.

 

The concluding six months of events on the 2016 Bali art calendar were exceptionally busy; the following are some of the highlights of the closing half of the year:

In late May contemporary artist Budi Agung Kuswara, co-founder of Ketemu Project Space, began his special art project in Denpasar, co facilitated by a professional psychiatrist at “Rumah Berdaya”, a community based psycho-social rehabilitation center utilizing art as a tool for creative solutions. The project continued throughout the year providing activities for people with schizophrenia to encourage social interactions through art making, productivity and independence while expressing their ideas and thinking.

Skizofriends Art Movement will be an ongoing program following on from the success of Budi and colleague’s lobbying of the Denpasar Government to become supporters. In 2017 it will become a part of the Denpasar City Department Health Care Program, while Skizofriends Art Movement was involved in activities at the Denpasar Festival 2016 28-31 December at Lapangan Puputan, Denpasar.   Budi must be congratulated on this initiative aimed at empowering individuals and building community through engaging the public through the potent creative forces of art.

made-valasaraValasara’s Konstruksi semesta, semesta yang teralienasi menpertanyakan kediriannya dalam ekspresi tunggal.

Made Valasara made a conspicuous presence during ArtJog 9’s Universal Influence 27 May opening at the Jogja National Museum in Yogyakarta, Central Java. Being the only Bali based Balinese artist invited to exhibit his work was both an honour and an excellent opportunity for exposure to large national and international audiences. Valasara’s installation, konstruksi semesta, semesta yang teralienasi menpertanyakan kediriannya dalam ekspresi tunggal, a series of 25 individual works of various sizes, overall dimensions of 230 x 520cm stood out for its originality.

Adopting the canvas as a standalone medium, along with sewing techniques, he layers and fills the canvas to create 3 dimensional embossed and debossed compositions. His small white figures, presented behind glass revealed his evolving technique with the innovation of his debossed works. Valasara’s attention to narrative development too, revealed an engaging Balinese narrative.

widyantara-i-gede-late-hero-115-x-81-cm-acrylic-on-canvas-2015Gede Widyantara’s Last Hero 2016 which may be viewed upside down to reveal a demonic face.

Traces Under the Surface: Batuan Painting Exhibition, 3 June -31 July at TiTian Art Space, Ubud explored artistic lineage that evolved in the renowned village of traditional painting, Batuan. The exhibition focussed upon the teacher/student relationship following on from Nyoman Ngendon (1906-1946), a multi talented artist and innovator who experimented with perspectives, creating “unreal” 3 dimensionality within the early rigid framework of the Batuan paintings. Ngendon’s great distinction was that he believed in sharing his techniques, while persuading his students to break with traditions and become art innovators themselves.

Traces Under the Surface featured the lineage of Wayan Taweng (1922-2004) who learned to paint primarily from Ngendon, beginning at the age of eight, and later teaching his sons Ketut Sadia (b.1966), Wayan Diana (b.1977) and Made Griyawan (b.1979), along with others. Paintings by the fore mentioned Balinese artists, and Taweng’s grandson Gede Widyantara (b.1984) proved to be some of the finest examples of the Batuan genre and its process of innovation. Widyantara’s talent, that belies his age, reveals that the future of Batuan painting will indeed by exciting.

imhatthai-suwwathanasilp-murnis-temple-mixed-media-human-hair-thread-wood-glue-31-x-18-x-10-cm-image-courtesy-of-ketemu-project-spaceSleeping Murni by Thai artist Imhathai Suwatthanaslip, made with Murni’s hair.

A unique, palpable buzz welcomed the opening of Merayakan Murni (Celebrating Murni) 16 July at Sudakara Art Space, Sanur. The project, which gathered local and regional artists to create works in response to the legacy of the iconic female Balinese artist I GAK Murniasih (1966-2006) “Murni” proved to be one of the most anticipated Bali art events of recent history. Some of the highlights were works by artists Illa from Singapore, renowned Dutch “Indonesian” artist Mella Jaarsma, Imhathai Suwatthanaslip from Thailand, along with Punia Atmaja and Citra Sasmita from Bali.

Murni was an artist of rare quality, unequalled in Indonesia at least. Along with such reverence comes great emotional attachment to the artist by her many friends and admirers, the exhibition therefore was not without critics. Some critics stated the Sudakara venue was too small and the exhibition included too many international artists, and as a consequence failed grant enough space in order for Murni’s ouvre to be fully appreciated by the audience, many of which had yet to be exposed to her work.

Others thought the exhibition overly ambitious, attempting to achieve too much, too soon, while the film about Murni could have represented a more positive theme. Event organizers Ketemu Project Space, along with their young and energetic team proved, however that their presence on the Bali art scene is indeed exciting, with enormous, yet to be realized potential.

20160703_112528                            At The Point of View#4 – Radwin Nurlatif

At The Point of View opened Friday 1 July at Santrian Gallery Sanur, with Radwin Nurlatif presenting one of the most outstanding photography exhibitions of 2016. Curated by Rifky Effendy, the exhibition captivated not only for its high standards of technical quality and presentation of superbly beautiful aesthetic and conceptual images (giclée prints on Hahnemühle photo rag ultra smooth 305 gsm), yet in the simplicity of some of the digital images that wonderfully contrasted women with nature, or women in surreal compositions.

kemal-ezedine-2016-asj-image-richard-horstmanKemal Ezedine was represented by Edwin’s Gallery Jakarta at Art Stage Jakarta 2016

The presence of Balinese artists at Indonesia’s two international art fairs held in Jakarta, Art Stage Jakarta 5-7 August & Bazaar Art Jakarta 2016 25-28 August help to consolidate Bali’s growing presence on the Indonesian art world, which during recent years has tended to be dominated by artists from Java and West Sumatra. While Art Stage, among its hundreds of exhibitors featured only three Indonesian Bali based artists, Agung Mangu Putra, Made Valasara and Kemal Ezedine (along with Ashley Bickerton), Bazaar Art Jakarta, on the other hand featured the work of 13 artists.

From the traditional genre was Nyoman Meja (b. 1950, Ubud), others artists present were Nyoman Gunarsa, Made Wianta, Nyoman Erawan, Agung Mangu Putra, Gede Mahendra Yasa, Wayan Kun Adnyana, Teja Astawa, Kemal Ezedine, Ketut Moniarta, Tang Adiawan, Putu Wirantawan, Wayan Mandiyasa and Ketut Sumadi. Erawan’s installation at the Mon Décor Art One booth provided a strong contrast to what was on display at the fair, while being deeply engaging.

mangu-putra-pura-puncak-mangu-2016-oil-on-canvas-200x300cm                Pura Puncak Mangu 2016 – Agung Mangu Putra

Paskal Gallery’s acute eye for display, allowing attendees from a distance to be captured by the alluring and mysterious qualities of the 190 x 290 cm oil on canvas composition Pura Puncak Mangu, by Agung Mangu Putra confirmed why he is regarded as one of Indonesia’s most respected painters. His scene of a group of Balinese people praying at the remote mountain top temple in Buleleng was one of the highlights of Bazaar Art. The Neo Pitamaha collective made a strong presence at Bazaar Art with works exhibited by four artists and Jakarta’s Edwin’s Gallery confirmed their confidence in Kemal Ezedine by dedicating their entire booth at both fairs to the Ubud resident artist.

Sanur based Swedish painter Richard Winkler, also present at both fairs represented by Zola Zulu Gallery of Bandung, also enjoyed strong sales with his eye-catching and technically brilliant ‘utopian Bali’ compositions. Sotheby’s presented contemporary works by Mangu Putra and Mahendra Yasa in the preview of their Hong Kong Autumn Sale, while Sidharta Auctioneers presented Gunarsa and Meja, and ISA Art Advisory presented modern works by Arie Smit (1919-2016) and Adrian Le Mayeur (1880-1958).

ida-bagus-made-nadera-fajar-mengjingsing-1949                   Ida Bagus Made Nadera – Fadjar Mengjingsing 1945

A landmark event in the history of Indonesian modern art, held from 2 – 30 August at Jakarta’s National Gallery of Indonesia was 17/71, Goresan Juang Kemerdekaan (Brushstrokes of the Independence Struggle). Presenting 28 paintings from the collection (over 3000 works) assembled by Indonesia’s founding father President Sukarno the exhibition was opened on August 17th, on the 71st anniversary of the proclamation of independence by the Indonesian President Joko Widodo.

Ida Bagus Made Nadera’s (1912-1988) beautiful 188 x 300 cm modern traditional composition Fadjar Mengjingsing made a special presence, along with works by Walter Spies and Rudolf Bonnet in an exhibition featuring scenes of the independence struggle by Indonesian maestros such as Affandi, Sudjojono and Srihadi alongside pictures of iconic Indonesia.

20160827_191628                                                  Arie Smit (1916-2016)

During the 27 August seminar at Ubud’s Neka Art Museum, a gathering of over 100 members of the Balinese art community, and distinguished guests Suteja Neka and Agung Rai, and paid homage to the legacy of the Dutch post-modern colourist Arie Smit (1916-2016). The iconic painter, who left a distinguished mark in the history of art in the region, passed away 23 March, only days short of his 100th birthday.

Renowned for his vibrant landscape paintings and scenes of Balinese village life Smit is a much-loved artist; his work forms part of collections in Indonesia, and throughout the world.

He started teaching painting to young boys in the village of Penestanan in 1960, beginning the “Young Artists Style”, while at its height there were more than 300 practitioners. He helped transform the village, and prosper economically, being both an art teacher and a father figure to the village. Smit’s passing is a monumental loss to the canon of Southeast Asian art, while the Young Artist Style is one of the most exciting developments in Balinese art in the later half of the 20th Century.

made-wianta-receives-the-award-from-bali-governor-mangu-pastikaMade Wianta receives the Bali Mandara Parama Nugraha 2016 Award from the Governor Mangku Pastika.

A special 30 August ceremony at Taman Budaya Cultural Center Denpasar by the Bali Government honoured local figures who have made important contributions to Bali. An icon of Bali contemporary art, internationally renowned, Made Wianta (b. 1949, Tabanan) received the Bali Mandara Parama Nugraha 2016 Award from the Governor Mangku Pastika in highest appreciation of promoting Bali through contemporary art.

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Often overshadowed by the southern regencies of Gianyar, Badung and Tabanan, Buleleng is not only home to a unique Balinese art history (Van Der Tuuk in 1845 and his commissioning of Balinese artists work for his research into the first dictionary of the Balinese language), yet a community of talented artists. Exhibitions by artists from Buleleng are held annually in the southern regencies, and on 22 October Qilin – Membaca Social Budaya Warga Pecinan Kota Singaraja (Socio-cultural readings of Singaraja’s Chinatown Residents) opened at Neka Art Museum in Ubud, and continued for one month.

Based upon curatorial research led by Hardiman, from the Art Department of UNDISKHA University in Singaraja, along with his young team of Made Susanta Dwitanaya, Dewa Gede Purwita, Ketut Wisana Ariyanto and Gede Panca Gautama, into the culture of the Chinese Tionghoa community, the group exhibition delved into spiritual and religious practises, artefacts and there traces, stories from their literature, and portraits of figures from the community. Of the many highlights were the eight collective works, including Spreading Qilin, an installation of terracotta Chinese dragon characters.

20161023_161947A Brutal Contrast of Concrete and Kamasan Painting combined street art along with paintings from selected emerging local talent from Batuan, Ubud, Tabanan and Denpasar.

Cahyendra Putra and the Neo Pitamaha Invite You To: A Brutal Contrast of Concrete and Kamasan Painting opened 23 October will be recorded in the annals of Balinese art history. The outsider exhibition, which in many ways was noteworthy, was underpinned by a long-awaited and fresh approach to presenting art in Ubud, outside of the conventional gallery, art space and museum format.

This collaborative project, organized by Kemal Ezedine, features street art by artists from Bali & Jakarta, along with paintings from selected emerging local talent from Batuan, Ubud, Tabanan and Denpasar. Set within the gutted interior of a building, twenty young artists revealed their interpretation of the famous Bali 1930’s Pita Maha artist’s association in dynamic contemporary art that challenges the establishment. Highlights included works by Wayan Budiarta, Wayan Aris Sumanta and street artists Ego, Saf, Ola, and Slinart.

20160817_111722                                      Bali LandscapesWillem Kerseboom

Bali Landscapes by Dutch painter Willem Kerseboom opened at TiTian Art Space, Ubud 28 October (continuing until late January 2017). Kerseboom, who shares his time between Holland/Belgium and his home North Bali presented acrylic landscape compositions of a rare quality. His imaginary, abstract snapshots, are deeply engaging, while being a fine creative contribution to the long line of Dutch artists who have been inspired by Bali.

jiri-kudrna-light-plane-photography                             Light Plain Photographs – Jiri Kudrna

Ubud based Swiss engineer and software developer Jiri Kudrna, a pioneer in experimental photography has made major contributions to the development of contemporary photography. Kudrna’s contributions to Age of Photography #2, open 15 – 28 November at the National Gallery of Indonesia, Jakarta were from his inventions that created Light Plain Photographs (LPP), and his three interactive installations, Space – Time Variations.

 LPP’s are fantastic images using a plain of light and a camera to record photographs with unique optic effects – a fusion of the four-time space dimensions – while the subject is housed within a dark room and participates within their own unique photographic procedure. Kudrna’s Space – Time Variations were very popular with exhibition audience who created over 1800 pictures in four days, and were also able to upload the images onto social media platforms.

Power Playing works by Arum & Ida Adi.jpg                      Power Playing – Images by Arum & Ida Adi at Lingkara

Lingkara Photography Community of Denpasar is an alternative platform for contemporary photographers in Bali. Over recent years Lingkara have presented a range of quality collaborative exhibitions and events. Driven by a small core group of dedicated artists Lingkara not only strive to support the collective, yet seek out professional opportunities by engaging with and representing artists via product development and management.

Power Playing opened 20 November presenting mostly large-scale works by Candra Mpu Glimblond, Christina Arum, Ida Adi, Ismail Ilmi, Rudi Waisnawa and S.R. Awy. While the artists individual techniques involved varying processes, such as re printing images, painting, collage with the help of additional tools, mirrors, candles and magnifying tools to make impressions, the final large-scale results which were applied to the walls were a single photograph without digital enhancement. Lingkara are making important contributions to the development of contemporary photography in Bali and Power Playing was a very strong collective showing, while Arum’s technically labor intensive work was one of the highlights.

mangu-putra-2016-puputan-badung-the-fall-of-badung-kingdom-2-oil-on-canvas-370-x-150-cm         Puputan Badung 1906 (The Fall of Badung Kingdom # 1) – Agung Mangu Putra

Agung Mangu Putra: Between History and the Quotidian ran from 25 November – 12 December at Singapore’s Gajah Gallery. Mangu Putra continues his research into critical Dutch colonial events that shaped Indonesian and Balinese history. Highlights were Puputan Badung 1906 (The Fall of Badung Kingdom # 1& 2) 2016 & 2014, compositions pieced together from archival accounts and images into enormous paintings up 370 x 1590 cm in size. The works reveal the story of the Dutch colonial army’s confrontation with the Kingdom of Badung in Kesiman, Denpasar in 1906 that resulted in the tragic puputan event (act of ritual suicide).

Mangu Putra’s investigation into these events are important because these events occurred during a crucial era of the nation’s history and theses events without more historical examination may become historical myths.

20170103_170338                     Ashley Bickerton‘s sculptures at Follow the White Cube

The Pop-Up gallery concept is new to Ubud, Bali and was successfully adopted by Honold Fine Art twice in 2016. Follow the White Cube opened 26 November at Italian artist Filippo Sciascia’s studio in Nyuh Kuning. The exhibition featured work by artists Jumaldi Alfi, Marco Cassani, Ashley Bickerton, Fendry Ekel, Bepi Ghiotti, Yusra Mantunus, Narcisse Tordior and Filippo Sciascia.

Set within a ‘white cube’ display areas that lent well to strong, yet conventional viewing experience, the works ranged from paintings through to sculpture, installation and video art presented exciting contrasts. While the spontaneity of the Pop-Up concept is a fresh and much-needed addition to the Ubud art scene.

doors-of-perception-made-aswino-aji                              Doors of Perception 2016 – Made Aji Aswino

CROSSING: Beyond Baliseering presented some of the finest emerging contemporary artist from Bali at Forty-Five Downstairs Gallery, Melbourne, Australia, open 6 December. Reflecting upon Bali’s visual and social culture while exploring themes of personal life experiences, environmental, social and political issues in the contemporary society, the exhibition showcased paintings, photography, sculptures, and large-scale installations.

In the most important international group showing of Balinese contemporary art outside of Indonesia that featured Art of Whatever, Made Aji Aswino, Budi Agung Kuswara, Citra Sasmita, Kemal Ezedine, Made ‘Dalbo’ Suarimbawa, Natisa Jones, Slinat, Made Valasara, Wayan Upadana and Yoesoef Olla, highlights included Aswino Aji’s monumental two-sided wood craving installation, Doors of Perception 2016, 250 x 300 x 80 cm, a representation of a candi (traditional Balinese temple entry), along with works by‘Dalbo’ Suarimbawa, Upadana, Slinart and Citra Sasmita.

5-kasper-x-nedsone-teges-ubud                                 Lukas Kasper& Nedsone at work during Way Up

Bali’s ever evolving street art movement is increasingly discovering new sights to enliven along the streets of urban Denpasar and within the villages of the Badung and Gianyar Regencies. Way UpStreet Art Collaboration Project initiated by Cata Odata, Allcapsstore and Lukas Kasper began in November 2016 and will continue through until the end of January 2017.

The project was born through the meeting of Cata Odata and Australian artist Lukas Kasper beginning with the idea to contribute vibrantly to Ubud’s street areas and to collaborate with nine street artists from Bali on 20 walls. Local artists include Nedsone, Kmis3, Lezart, Slinat, Yapstwo, Sleeck, and 1escv. The event included the Way Up online map on the website and the 17 December Spray Jam workshop, and Kelas Belajar sharing session 18 December at Cata Odat, and the #UbudScavengerHunt. 17 December through 11 January which will include a prize to the winner.

http://way-up.cataodata.com/follow-the-map.html

putu-wirantawan-2016                  Contemporary Art from Bali – Installation by Putu Wirantawan 2016

Contemporary Art from Bali opened 15 December at LAF (Langgeng Art Foundation) Yogyakarta, and continues through until 31 January 2017. Curated by Rifky Effendy and Gede Mahendra Yasa the show featured some of the finest contemporary artists currently working in Bali, foreigners, Indonesians and Balinese: Ketut Susena, Ketut Samadi, Made Aswino Aji, Teja Astawa, Natisa Jones, Wayan Mandiyasa, Ketut Suwidiarta, Putu Wirantawan, Ashley Bickerton, Marco Cassani, Filippo Sciascia, Ketut Moniarta, Kemal Ezedine, Wayan Upadana, Made Valasara and Rodney Glick.

Overshadowed by the traditional art scene, and often overlooked within the context of the Indonesian art world contemporary art and the art infrastructure is on the rise in Bali. Making an important statement within the context of Indonesian contemporary art, in the Javanese cultural and creative heartland with its ever-evolving art infrastructure and eco system, this exhibition is the most important collective showing of contemporary art from Bali held in Indonesia in 2016.

20161230_175209                        Inside of Being  – Installation by Pande Ketut Taman 2016

The 30 December opening at the Tony Raka Art Gallery punctuated the end of 2016 and friendship and creative achievement by four Balinese contemporary artists, alumni of the Indonesian Art Insititue SI Yogyakarta. Inside of Being highlighted the talents of Putu Sutawijaya, Made Sumadiyasa, Made Mahendra Mangku & Pande Ketut Taman, artists who have shared friendships for over 30 years, while at the same time during their individual careers making significant contributions to the development of Balinese art. The exhibition, which includes paintings, both small and large-scale, and installations will continue through until 30 January, including an Artist’s Talk from 3pm 5 January at Tony Raka Art Gallery.

Such a report would not be fully complete without highlighting the stoic efforts of Warih Witsatsana and his small army of dedicated assistants at the Bentara Budaya Bali Cultural Center. Their consistent weekly programs throughout the year are a shining light in the support and development of Bali’s thriving creative culture.

With an emphasis upon education via lectures, discussions, presentations and hands on workshops, especially for the younger generations, Bentara Budaya’s one of a kind model is an inspiration to other aspiring art and cultural facilities on the island. 2016’s broad range of events, including numerous collaborations with international artists, institutes, and organizations highlights their open platform to global cultural expressions, while underlining Bali’s internationally renowned welcoming attitude to foreign cultures and creative expressions.

Words: Richard Horstman

Images: Richard Horstman & various photographers

 

 

 

 

JIMB#2 Jogja International Miniprint Biennale

jimb2-at-galeri-soemardja-bandung-image-jimb2                          The Opening of JIMB#2 at Galeri Soemardja, Bandung

One of the highlights of Jogja Art Weeks, a month-long plethora of events held during June in Yogyakarta was the 2nd Jogja International Miniprint Biennale (JIMB#2). Emphasizing the exceptional skill of participating artists working in an array of print making mediums, the biennale was on display 24 May – 10 June at Sangkring Art Project.

In an era where new media and media exploration are often praised as the demigods of ‘art now’, conventional art forms such as printmaking are often overshadowed. The travelling exhibition, held also at Bentara Budaya Solo 1-7 September, recently ran from 20-28 October at Galeri Soemardja, Bandung.

“Art can be now made with the help of artisans, machines, or other objects and intermediaries. In the current art environment the artist’s hands are no longer considered significant in carrying on the struggles of the soul,” said artist, gallerist and JIMB#2 Jury Chairman Agung Kurniawan.

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“To return to the use of skilled hands is a kind of pilgrimage, and perhaps also an important turning point.”

The travelling exhibition featured one hundred and twenty-one mini prints by 110 finalists included 5 winners and 11 works from 5 guest artists from twenty-eight countries. The biannual event, themed ‘Homo Habilis – Handy Man’ serves as both a mini print exhibition and competition for Indonesian and international artists.

The works range within the four conventional printmaking techniques, relief printing (woodcut, linocut, rubber cut, collagraphy), intaglio (etching, drypoint, photo etching, aquatint, mezzotint), planograph (lithography), and serigraphy (silk screen and stencil). The maximum size of the works, printed on paper, are 20 x 20cm unframed, and 28 x 28cm framed.

bulgaria_dimo-kolibarov-three-best-works-2                 “Cycle: The Diary of a Child – the Golden Fish” – Dimo Kolibarov

“The mini print Biennale was planned from two perspectives, the desire to offer a unique graphic arts forum, and to follow the dynamic in the current constellation of visual art,” said JIMB#2 Director Syahrizal Pahlevi.

“The Jury agreed on the theme “Homo Habilis ” – dubbed the ‘handy man’ – being the first documented pre-historic human to use stone tools, to accompany our question, “How far does contemporary art and contemporary life underappreciate ‘the strength and miracle of the hand’?” Pahlevi said.

Taking into account some of the latest issues in the world of printmaking, JIMB#2 invited five guest artists, two Indonesian and three international artists, including one of the winners from the first JIMB in 2014, Lidija Antanasijevic (Serbia, UK) to participate. The artists were chosen because of their international reputations, Art Werger (USA), important contributions as print makers, Setiawan Sabana (Indonesia), the introduction of popular technical innovations-Kitchen Litho, Emilie Aizier (France), and widely acknowledged dedication to printmaking, Yamyuli Dwi Imam (Indonesia).

canada_deborah-chapman-three-best-works-2                         Print by Canadian Artist Deborah Chapman

JIMB#2 participant Muhlis Lugis is a Yogyakarta based artist who since 2013 has been forging international markets with his relief print wood cut works, being represented by Vin Gallery, Ho Chi Ming City, Vietnam at international art fairs Art Taipei 2015, and Asia Contemporary Art Show 2015 in Hong Kong.

“To crave the wood block ready for printing 18.5 x 14.5 cm in size, requires one day,” said the Indonesian Art Institute (ISI) Yogyakarta graduate, who was born in South Sulawesi in 1987. “The block is then covered with oil based ink to which paper is applied and next sandwiched between layers of felt, ready for the printing press. The process appears simplistic, yet to produce the quality works requires patience and skill.”

“Mini prints demand to be observed up close,” said Kurniawan. “Without regarding them at close range and looking carefully we miss the essence of these works; the line and textures that shape a narrative.”

italy_paolo-ciampini-three-best-works-2                                   “The Woman” – Paolo Ciampini

“In JIMB#2 the craftsmanship in printmaking is visually prominent,” he said, commenting on the high standard of work in the exhibition. “Especially in the work of Italian artist Paolo Ciampini, that reveals microscopic lines of extraordinary detail.”

Within Ciampini’s winning etching work “The Woman” the artist utilizes the cross hatching technique in scoring the steel printing plate, emphasizing the naked woman’s form. “Gate V” by Polish artist Weronica Siupka, another JIMB#2 winner, depicts a brick wall and paved entryway that too reveals remarkable dedication to achieving extraordinarily fine lines.

Bulgarian artist Dimo Kolibarov, however prefers the colorful etch aquatint technique. The strength of “Cycle: The Diary of a Child – the Golden Fish” is both in the narrative, along with the acute hand skills. In the work a child embraces a large golden fish while above floats various images and forms, akin to the child’s imaginative ideas.

20161021_120513                     JIMB#2 Participant and Yogyakarta based artist Muhlis Lugis

“Most of the best works in this exhibition are by international artists, reflecting, unfortunately, the decline in printmaking in Indonesia today. JIMB#2 is a warning sign for the development of printmaking in Indonesia,” Kurniawan adds. “We are fortunate to have such an exhibition where we can learn a great deal from the examples of other printmakers and apply this knowledge to our own future development of printmaking.”

http://www.jogjaminiprints.com

20161021_120624                                           Muhlis Lugis’ Studio

Words: Richard Horstman

 

 

National Gallery Singapore Presenting and Archiving Indonesian Art

Farah Wardani. Image courtesy of NGSAssistant Director of the National Gallery Singapore Resource Center Indonesian Art Historian Farah Wardani. Image Courtesy NGS

A meeting point for major civilizations, religions and colonial powers, Southeast Asian art has experienced a turbulent social and political history defined by a complex relationship between local traditions and influences from the West. Open from November 2015, the National Gallery Singapore (NGS) oversees the world’s largest public collection of modern Southeast Asian art.

Boasting over 8,000 works including paintings, sculptures, printmaking, photography and video from the 19th and 20th centuries, housed in two immaculately restored and transformed national monuments – the former Singapore Supreme Court and City Hall – the NGS works together with international museums to jointly present Southeast Asian art in the global context.

bosch-brand-forest-fire-raden-saleh-1849-ngs-uob-souteast-asia-gallery-image-richard-horstman               “Bosch Brand” (Forest Fire) 1849  – Radan Saleh, National Gallery Singapore

Two exhibitions currently running at the NGS highlight Indonesian art. “Between Declaration & Dreams: Art of South East Asia Since the 19th Century” features nearly 400 artworks (over 90 by Indonesians) in the UOB Southeast Asia Gallery. The exhibition brings together the defining art movements and styles in the development of Indonesian modern art. From the “grandfather of modernism” Raden Saleh (1811-1880), featuring his 1839 composition “Wounded Lion”, to the “pretty pictures” Mooi Indies landscape genre that prevailed until early in the 20th Century.

Sudjojono (1913-1986) and friends next challenged the paradigm with a new nationalist style while banding together in the collective, PERSAGI (Persatuan Ahli Ahli Gambar Indonesia, 1938). The exhibition continues with the likes of Affandi, Hendra Gunawan, Walter Spies, and A.A Gede Meregeg to the 1970’s avant garde with the iconic work from the Gerakan Seni Rupa Baru movement, “Ken Dedes” by Jim Supangkat (1975 remade in 1996), and the 1993 video documentation by Krisna Murti,”12 Hours in the Life of Agung Rai the Dancer.”

ken-dedes-jim-supangkat-1975-remade-1996-image-richard-horstman                         “Ken Dedes” 1975 – Jim Supangkat, National Gallery Singapore

In the Singtel Special Exhibition Gallery “Reframing Modernism”, open from 31 March- 17 July, was the NGS’s first international collaboration, with the Center Pompidou of Paris. The history of modernism is a story of influence: that artistic movements developed in Europe and America and then spread to the rest of the world. The landmark exhibition focuses on the practices of individual artists in the West and Southeast Asia and how they can be connected to one another.

Drawing on over 200 iconic works exhibiting side-by-side are Kandinsky, Matisse, Picasso and Chagall, to name a few, along with Indonesian masters including Lempad, Sobrat, Sudjojono, Affandi and Hendra Gunawan. Labeled as ambitious exposition by some foreign critics, this is a unique opportunity to engage with some of the master works of modern art, complimented by the presence of Indonesians, and is an essential insight into modern art development. Emphasis was given to the architect-cum-artist icon Lempad (1862-1975), whose line sketches revolutionized Balinese art, and the mysterious, pioneering female modernist Emiria Sunassa (b.1894 Nth Sulawesi – 1964). Dubbed an artist, nurse, princess, elephant hunter, plantation administrator, businesswoman and social activist, Sunassa began painting at the age of 40.

sculpture-by-edie-sunarso-painting-sudjojono-purusing-a-poster-1956-image-richard-horstman  Sculpture “The Head  of Monument for the Independence of West Irian”  – Edi Sunarso, National Gallery Singapore

While both exhibitions, presenting some of the finest local art with curatorial attention bringing it into greater context, in a world-class institution are a boon for Indonesia, it is the less publicized, archival projects occurring deep within the sanctum of NGS that will garner increasing international interest to Indonesian art, along with added value.

“People tend to see archives as merely a library, knowing its important, yet often taking them for granted,” said Farah Wardani (b.1975 Jakarta), who after 10 years as Director of IVAA (Indonesian Visual Art Archive center) in Yogyakarta was recruited to NGS as Assistant Director of the Resource Center to oversee building the archival inventory. “I am excited to be a part of this enormous NGS project, the first highly focused, professional effort to archive SE Asian and Indonesian art history with international standards. It’s a starting point,” she adds.

dscf5310      “Title Unkown” (Abstract in Orange) 1968 – Ahmad Sadali, National Gallery Singapore

“Setting up the fundamentals of Indonesian art history involves the digitization of information, so we partner up, mostly with artist’s families, then sort through photo albums, diaries, catalogues and interviews, often finding the unimaginable,” Wardani revealed, having recently worked with the Sudjojono Center archiving almost 4000 items by the artist.

“Archiving requires great time and energy, yet the resources can be used in many different ways. Archives are artifacts that bring value by activating life into the artwork adding to the sustainability of the eco-system.”

“Archiving and database resources enable Indonesian art history to come out in the open,” Wardani said, commenting on what the project means for Indonesian art. “How many people actually study the masters of Indonesian art? It is still a niche art, a very unique subject, with a short and intense history. This is a wonderful opportunity for the international community to learn about more Indonesian art.”

dscf5163 “Mereka Yang Terusir Dari Tanahnya” (Those Chased Away From Their Land) 1960 – Amrus Natalsya, National Gallery Singapore

With the increasing engagement of Indonesia art and archival information and hence the relative growth in international appreciation, foreign institutions, curators, collectors and the curious will target the nation’s home grown art, ultimately benefiting the Indonesian art eco system in many ways, including financially.

Words & Images: Richard Horstman

 

dscf5153                      “Perusing A Poster” 1956 – Sudjojono, National Gallery Singapore

dscf5256                          “Pasar” 1943 – Emiria Sunassa, National Gallery Singapore

National Gallery Singapore

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Tel:+65 6271 7000

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www.nationalgallery.sg