Category Archives: Southeast Asian Art

“Dipping in the Kool Aid” highlights collaborations between contemporary artists & inmates of Bali prisons

Rodney Glick "Pixel Buddha" image courtesy of apexart Gallery New York                                           Pixel Buddha – Rodney Glick

 

What is the value of human life?

How does our society appraise personal endeavour, imagination and creativity when the priority of doctors and medical staff in hospitals is the preservation of life? Governments and penal systems assess prisoners as having little to contribute to community, some electing to terminate the lives of ‘serious offenders’ through capital punishment. Why is it acceptable for governments to execute people, while murder is illegal?

The exhibition “Dipping in the Kool Aid” relates to aspects of prisons and the incarceration system, and opened at Tony Raka Art Gallery, Ubud 4 March. It features the artworks of prisoners, artworks produced from workshops given by contemporary artists in Bali prisons, and independently produced works by some of the invited established and emerging Indonesian and Australian artists.

malaikat copy                                       King Kong’s Land – Malaikat

The works selected from a range of workshops, predominantly in the Klungkung Jail, East Bali, and the Bangli Jail, include installations, paintings, drawings and photographs, along with a painting by a member of the controversial Bali Nine inmates, Renae Lawrence.

“A function of prisons practically everywhere in the world ensures inmates are social outsiders, largely invisible to most citizens,” said Australian artist Mary Lou Pavlovic who organized and curated the exhibition. “Our central concern is to bring aspects of prison life to public view.”

The idea of the exhibition emerged from an art program Pavlovic helped establish with inmates at the Bangli Jail, Central Bali soon after the second round of prisoner executions were ordered by the President of the Republic of Indonesia Joko Widodo in 2015. “Our aim is to cherish and preserve life, the driving motivator for this entire project.”

Mary Lou Pavlovic and prison inmates Mary Lou Pavlovic with input from April, Exyl, Hendra, and Kadek,collaborative installation "Suspended Sentiments" Image courtesy of "Dipping in theSuspended Sentiments – Mary Lou Pavlovic and women inmates from the Klungkung and Bangli jails.

In April 2017 Pavlovic’s proposal written in response to the open call Apex Franchise Exhibition, sponsored by the apexart Gallery New York, offering funded exhibition opportunities, won. More than two hundred international art expert jurors had voted for her proposal to curate an exhibition in Bali about artists and prisoners collaborations arising from prison workshops. A non-profit arts organization in Lower Manhattan, apexart is funded in part by the Andy Warhol Foundation, and offers opportunities to independent curators and emerging and established artists, and challenges ideas about art, its practice, and its curation.

Highlights of “Dipping in the Kool Aid”, in which the cell formation is a theme of the exhibition’s presentation to emphasize the living space – life behind bars within a prison cell, include, the tiny, delicate folded paper birds “Terapi Origami/Orizuru” by Ridwan Fatkhurodin a.k.a. Kriyip on display, yet also given as symbolic gifts to attendees during the opening ceremony, Kenyut Djunaidi’s collaborative etched mirror self-portraits “Kamu Adalah Aku, (You are Me)” and Australian Rodney Glick’s humorously militarized carved wooden icon “Pixel Buddha”. Elizabeth Gower’s “365 Rotations” adds an ethereal element to the show. Multiple circular collages Gower and inmates forged from discarded packaging and advertising material form a constellation of wonderful geometric patterns.

"Angki Purbandono "Out Of the Box" Image courtesy of apexart                                Out of the Box – Angki Purbandono

Popular Indonesian artist Angki Purbandono presents an installation of photographs “Out of the Box” revealing his experience of ‘doing time’. Incarcerated for one year in Yogyakarta during 2013 for smoking marijuana, refusing to accept his imprisonment, Angki declared instead that he was undertaking an artist’s residency, and taught a guard how to take photographs. He also established the Prison Art Programs, a group of inmates and ex-inmates who exhibit art inside and outside the jail; some members are included here.

Three meters by three and a half meters wide, luminescent and sparkling with life “Suspended Sentiments”, features over 1700 individual cells with flowers, leaves, nuts, berries, butterflies, bugs and Christmas decorations embedded within epoxy resin. Pavlovic’s wall installation, the outcome of workshops for women in Klungkung and Bangli Jails is beguiling in beauty and simplicity, yet rich in emotion.

31052365_10155177701881916_4372840048123445248_n                                   Forgiveness #2 – Mangu Putra

“Physical power is defeated by wisdom,” said renowned Balinese painter Agung Mangu Putra of his composition, “Forgiveness 2”. Inspired by an iconic image, originally popularized by Indonesia’s founding father, President Sukarno, who was photographed bowing to his mother, the state symbolically begs the pardon of not only a mother, but of a citizen, instead of the usual power dynamic in which citizens bow before the state. Mangu’s Putra’s painting reveals a state official – a soldier – bowing and begging forgiveness of his mother, who has taken away his gun.

“American jail slang for entering uninvited into a conversation, the phrase “Dipping in the Kool Aid” pays tribute to the discrete Javanese tradition of Pasemon,” Pavlovic said. Reflecting on Indonesia’s revolutionary era of political art that began under the authoritarian President Suharto’s New Order regime (1966-1998), artists and journalists used an indirect form of satire to criticize the government. Pasemon is elegant because it touches the conscience,” she continued. “Correcting without embarrassing authority.”

30706637_10155177599011916_7359454426228064256_n                Terapi Origami/Orizuru  –  Ridwan Fatkhurodin a.k.a. Kriyip

“Values expressed in this exhibition contrast with aspects of the government’s treatment of prisoners recently in Indonesia. Pasemon has created a space for us in which our political positions are clarified without scratching the wound.”

30741219_10155177702336916_1128266463887491072_n              365 Rotations  –  Elizabeth Gower with inmates from Bangli Jail

30703717_10155176985641916_986154805040775168_o               View of “Dipping in the Kool Aid” at the Tony Raka Art Gallery

 

30708338_10155177599166916_6226232579398303744_n        After Hit n Run  –  Herman Yosef Dhyas Aries Utomo (a.k.a. Komeng)

 

Dipping in the Kool Aid”

Open to the public daily 10am – 5pm,

4 – 31 March 2018

Tony Raka Art Gallery,

JI.Raya Mas No. 86 Mas, Ubud, Bali.

 

Words: Richard Horstman

Images courtesy: apexart Gallery New York, Mary Lou Pavlovic & Bima Basudewa

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Citra Sasmita captures the Indonesian contemporary art spotlight

Citra Sasmita - "Torment" Image by R. Horstman                                       Torment – Citra Sasmita

 

The most significant display of contemporary art on the island during 2015 featured many of Bali’s finest artists exhibiting side-by-side with emerging talent. Violent Bali – Bali Art Intervention #1, opened at the Tony Raka Art Gallery, Ubud in November presenting eighty-five works raising issues such as identity, gender and cultural conflicts, and the New Order regime and the mass killing of 1965-66, among others.

One painting, however, stood alone for its pure economy of means. Distinguished by a balanced composition, minimal coloration and arresting imagery, the visual impact was immediate. Matching technical prowess with the controversial subject matter, the work’s essentials were complete. Torment by Citra Sasmita, one of only three exhibiting women, captivated the audience. The bold, yet disturbing narrative depicted a naked woman holding and kissing the snout of severed pigs head as blood drips from the pig, and the woman’s mouth. It ‘spoke’ of the psychological and physical abuse of women within the patriarchal Balinese society. Torment’s daring and aesthetic simplicity revealed Sasmita as an extraordinary young talent.

Citra Sasmita "Mea Vulva Maxima Vulva" 2016 Ceramic & mixed media Image richard Horstman                      Mea Vulva Maxima Vulva – Citra Sasmita

“You want to be an artist: you want to live poor?” was Sasmita’s fathers’ reaction upon learning that his daughter wanted to study fine art. Born in 1990 in Tabanan, Central Bali, as a child she had a passion for creative expression, and was destined to follow her heart. In conflict with her parents about her vocation, she studied literature and physics to appease them. While at university in Singaraja she joined a theater group that inspired her love of art and literature. Sasmita began painting secretly, without her parent’s knowledge, eventually exhibiting in a small community event in 2012.

“A journalist from the Bali Post newspaper wrote about the exhibition, and my parents read the review. At first, they disagreed,” Sasmita said. “Yet upon their final wishes, they consented, and then gave me their approval for my art career. I have always reflected upon this,” and she adds. “Without their blessing, it seemed impossible to survive in the challenging and highly competitive world of art.”

Citra Sasmita, third from the left, at the UOB Painting of the Year Award CeremonyCitra Sasmita (third from the left) during the UOB Painting of the Year Indonesia award ceremony, Jakarta, October 2017

After the exhibition, Sasmita was hired as an illustrator for short stories at the Bali Post. “Working at the Bali Post allowed me to investigate literature and symbolic forms that I began to adopt into my works. Art became the vehicle through which I could question my position as a Balinese woman.”

Promising to be the most important exhibition of the 2016 Bali art calendar Merayakan Murni (Celebrating Murni) ran mid-year at Sudakara Art Space, Sanur. Contextualizing the relevance, along with celebrating the legacy of iconic female Balinese artist I GAK Murniasih (1966-2006), the exhibition brought together the work of Murni along with 15 other local and international invitees. Sasmita’s installation Mea Vulva, Maxima Vulva, presented fifty small ceramic vaginas within a set of large out of balance scales, her reflection upon Balinese social class distinctions. Again she captured the audience’s imagination, while the critics paid due attention.

Old Mountain and Imaginary Pilars, 160 cm x 120 cm, mix media on canvas, 2017        Old Mountain and Imaginary Pillars – Citra’s UOB Gold Award painting

Even though Sasmita had entered many art competitions, success had always eluded her. “I became cynical, unless you were from one of the art and cultural capitals of Java, like Yogyakarta, Bandung or Jakarta, it was difficult to win a national competition,” she explained. In October 2017, however, her composition Old Mountain and Imaginary Pillars was honored with the prestigious Gold Award of the UOB Indonesian Painting of the Year 2017 competition, thrusting her into the national spotlight, while confirming her presence in the Indonesian contemporary art world.

“I have always doubted my chances in the UOB, last year, however, was my first submission,” Sasmita said. “In my concept, I wrote whole-heartedly about the plight of women in the Indonesian art world, and about the struggle against gender bias and sexism, and that there are few opportunities for women to speak up through their art.”

Sasmita has chosen her ideology not only as a criticism, yet she endeavors to inspire empathy for those who are confronted with these social issues. “It means a lot to me to achieve recognition from people who have not been willing to listen to my artistic ‘voice’, and in some ways disrespect women in Indonesian art,” Sasmita said. “Winning this competition is a great thrill, I understand, however, that I must remain humble and focused on my learning journey.”

12697353_896845307096369_7827360737894318145_o                              Birth of Nothingness – Citra Sasmita

 

Words: Richard Horstman

Images: Citra Sasmita & Richard Horstman

Under the hammer: Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 21 January 2018

lot #579 Ida Bagus Made Poleng "Stone Mason" Image courtesy of Larasati                             Lot # 579 Stone Mason – Ida Bagus Made Poleng

 

Larasati Auctioneer’s continue to provide excellent support in the development of Indonesian art, especially Balinese traditional painting, to growing local and international markets with its upcoming 21 January 2018 Traditional, Modern and Contemporary Art auction to be held in Ubud, Bali.

Eighty lots of fine art will go under the hammer, including paintings, sketches, a woodcarving and one delightful poster, in an array of categories, and with price accessibility for new buyers, intermediate collectors, and the connoisseurs alike. For the third year running real time, Internet bidding is available through the Larasati website opening the auction to a global audience.

lot #533 Bagong Kussudiardjo "Wanita Wanita Bali" Image courtesy Larasati                      Lot # 533 Wanita Wanita Bali – Bagong Kussudiardjo

This is an exciting sale with some absolute gems featured, along with works by renowned Indonesian and foreign artists, including Balinese master Gusti Nyoman Lempad (1862-1978), Ida Bagus Made Nadera (1910-1998), Ida Bagus Made Togog (1913-1969), Wayan Taweng (1922-2004), Antonio Blanco (1911-1999), Dutchmen Rudolf Bonnet (1895-1978) and Arie Smit (1916-2016) and Australian artist Donald Friend (1914-1980). The auction is highlighted by a special selection of works from the collection of one of the most forward thinking private collectors of Balinese art in the United States, Peggy Williams.

For the new buyer, or novice wishing to add to their collections there are many paintings and drawings priced at lower than US $500 that are very good buys if purchased within their estimates. Two, especially glowing works by recognized female painter Ni Gusti Agung Galuh, lot # 545, Pulang Dari Sawah and lot #546 Sunset with Ducks, both have an estimated price of between Rp. 4 million – 5 million. Lot # 548, Sore Hari di Desa by Gusti Agung Wiranata also has the same estimated price, while lot #524, Ocean Village Scene, an early work by the renown Batuan painter Wayan Bendi has an estimated price of between Rp. 5 million – 7 million and is another excellent opportunity to purchase a strong work. All of these works represent buying value not possible when purchasing paintings direct from the artist’s studio or from a gallery.

lot #524 Wayan Bendi "Ocean Village Scene " Image courtesy of Larasati                       Lot #524 Ocean Village Scene – Wayan Bendi

There are two lots of special interest for collectors and those seeking to purchase something unusual. Charming & Beautiful lot # 539 is a 75cm x 48cm advertising poster by the reputed Dutchman Willem Gerard Hofker (1920-1981), which has an estimated price of between Rp. 10 million – 12 million. Lot # 519, Barong by influential Balinese wood carver Nyoman Tjokot (1888-1971) has an estimated price of between Rp. 30million – 40 million and is a rare find from an artist who was at the forefront after the turn of the 19th century of new sculptural interpretations of icons of the Balinese culture.

Works in the mid price range are many and some strong paintings include groups by twoartists Bagong Kussudiardjo (1928-2004) and Dewa Putu Mokoh (1934-2000). Well known as a choreographer Bagong learned to paint from Indonesian masters Hendra Gunawan and Affandi, among others, before studying painting formerly at ASRI Yogyakarta. Of his four works offered, lot #530 Ibu dan Anak has an estimated price of between Rp. 12 million – 15 million, and Wanita Wanita Bali, lot #533, has an estimated price of between Rp. 45 million – 55 million.

lot#564 Anak Agung Gde Anom Sukawati "Suasana Pasar" Image coutesy Larasati             Lot #564 Suasana Pasar – Anak Agung Gde Anom Sukawati

Four works are on offer by Mokoh, noted for breaking with convention and producing compositions that were quirky, lurid, even intimate and highly unusual. The present owner purchased the paintings directly from the artist, and lot #553, Tajen, a delightful scene of an audience watching a cock fight, has an estimated price of between Rp. 22 million – 32 million.

Lots #517, 521, 577 & 580 are by Made Sukada (1945-1982). An artist held in very high esteem, his attention to compositional details and skin tones, set him apart from most and have led to him being a highly sought after painter, especially due to his short career. The idol of Indonesian international contemporary art superstar Nyoman Masriadi, lot #521 by Sukada, Dialog Arjuna dan Kresna has an estimated price of between Rp. 90 million – 110 million. Another beautiful work by Nyoman Kayun, lot #548 Pusupati has an estimated price of between Rp. 40 million – 80 million.

Lot#553 Dewa Putu Mokoh "Tajen" Image courtesy Larasati                             Lot# 553 Tajen – Dewa Putu Mokoh

An early work dated 1989, by Ubud’s most celebrated living painter, Anak Agung Anom Gde Sukawati, lot # 564 Suasana Pasar was painted when he was only 23 years old. While the influence of his father, A.A Gde Meregeg (1912-2000) is obvious, some five years later his work evolved and made a clear departure from his father’s style. With an estimated price of between Rp. 90 million – 110 million, this is an extraordinary piece to collect.

An extremely rare and early masterpiece by, arguably the most talented Balinese painter of the 20th century, Ida Bagus Made Poleng (1915-1999), will receive the attention from connoisseurs. Lot # 579, Stone Mason is offered as the top lot in this auction, with an estimated price between Rp.350 million – 450 million. Probably produced in the early 1940’s as it is painted on Masonite board, the work, which has excellent provenance, reveals his mastery of composition and the strong influence of Rudolf Bonnet is clearly shown in the way he has depicted figures working in the field.

lot #521 Made Sukada "Dialog Arjuna dan Kresna" Image courtesy Larasati                     Lot #521 Dialog Arjuna dan Kresna- Made Sukada

The final lot during the afternoon, lot # 580 by Made Sukada, Bali Life, has an estimated price between Rp. 40 million – 80 million and also comes with excellence provenance. An early work of remarkable beauty, its layered composition reveals fascinating central background features and is another step in Sukada’s journey in the master of anatomy, influenced by Rudolf Bonnet’s signature style of elongated human proportion.

Potential buyers bidding over the phone, or via real-time Internet bidding who are unable to attend the previews days or auction are advised to contact Larasati and enquire about the colour reproduction accuracy of the images contained within the online catalogue to ensure that what they wish to purchase can be realistically appraised. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections, therefore condition reports of the works, outlining the paintings current state and whether it has repairs or over painting, are available upon request.

lot # 580 Made Sukada "Bali Life" Image courtesy Larasati                            Lot #580 Bali Life – Made Sukada

Provenance, the historical data of the works previous owner/s is also important and is provided. An information guide including before the auction, during the auction and after the auction details, including conditions of business, the bidding process, payment, storage and insurance, and shipping of the work is also available. A buyer’s premium is payable by the buyer of each lot at rate of 22% of the hammer price of the lot.

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Sunday 21 January, while viewing begins from 11am Friday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

577                               Lot# 577 Tri Murti – Made Sukada

Viewing:

Friday,         19 January   11am – 7.30pm

Saturday,   20 January     11am – 7.30pm

Sunday,     21 January     11am – 1pm

Auction: Sunday 21 October, from 2:30 pm

 

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneer’s

 

 

 

 

 

Art eccentric – Ida Bagus Alit

Ida Bagus Alit                             The effervescent Ida Bagus Alit

 

The art world adores eccentric characters.

Lurking beneath the exterior of Balinese artist Ida Bagus Alits’ wacky persona is, however, a highly practical, compassionate and intelligent man. These traits meld into an effervescent personality that enchants everyone he meets.

Within the Balinese art world Gus Alit, as he is affectionately known, is a popular and unique figure; painter, sculptor, photographer, event organizer and art collective leader. A member of a well-known Brahmin high caste family in Denpasar, there is an aristocratic air about him, especially when attired in traditional costume and sporting his suave reading glasses. Yet one is not to be intimidated or coy within his presence, Gus Alit is as playful, and as friendly as a kitten.

Gus Alit’s passion for photography has drawn him along two distinctive paths. He is dedicated to documenting Balinese religious ceremonies around the island, capturing rare events, and the unique traditional costumes that characterize separate villages.  He does, however love to experiment with painting techniques upon printed images on canvas, striving to achieve new aesthetic results with his art photography.

Ida Bagus Alit, "No Doubt" 2014.                                No Doubt – Ida Bagus Alit

Grinning happily as he reveals images captured on his iPhone, his ever-ready pocket camera, Gus Alit explains one of the “secrets” of his photographic technique. The photos are of young Balinese women clad in traditional dress, glamorous and alluring – the iconic image of Balinese feminine beauty.

“At first they are shy, some even refuse to be photographed,” he says referring to his initial meetings with the models. “Yet I always win them over with a joke and my humor quickly sets them at ease.”   His photos recount the process of their transition from being restrained and rigid, to being relaxed and glowing in front of the camera. “Its important to make your models feel comfortable in order to capture and allow their inner beauty to shine.”

27797357_1905610429450254_2276016392130748197_o                              The Beautiful Balinese – Ida Bagus Alit

There are often visitors to Griya Satria Art House, Gus Alit’s family’s home on Jalan Veteran, opposite the bird market in Denpasar. They may be friends, family, or new acquaintances, locals and foreigners, all curious to see the collection of art on display set in lush tropical gardens while being enhanced by traditional Balinese architecture.   Recently more and more young couples, brides and grooms in traditional costume, stop by to be photographed by professional photographers, surrounded by Gus Alit’s unusual paintings and sculptures. The consequences are unique momentos that they surely will look back on with pride.

“This is a new era in photography,” Gus Alit says with a cheeky smile stretching from ear to ear.“ They now go from the Bali museum to Griya Satria Art House for their wedding photos.”

Of course Gus Alit jumps into the action and captures the couples in all their glory, as well. Often he will print the photo onto canvas then paint the background in his flamboyant style. If the subject is a friend he may gift them with the work, however many of his subjects upon seeing his creations, request to buy these unique images directly from him.

Ida Bagus Alit, "Friendship" 2011, acrylic on canvas                                   Friendship – Ida Bagus Alit

“What is important is not to copy,” exclaims Gus Alit. “True art must come from the heart.”

As the long serving president of B.I.A.S.A (Bali Indonesia Sculptors Association), he is a driving force in the promotion and preservation of traditional woodcarving, and contemporary sculpture in Bali. I question Gus Alit on the value of art collectives in Bali, which he believes are essential to the development of local art.

“As individuals or groups its important to know our strengths and weaknesses. Through this we will learn the ways and methods to move ahead. Learning is life long education,” he states with a wisdom that almost belies his jovial character. “As the head of B.I.A.S.A I take the time to visit each of the members and discuss with them their challenges and I help to provide solutions. B.I.A.S.A is like a big family to me.” Gus Alit is well versed in the concept of leadership with the heart.

 

IMGP4843                                Sculpture by Ida Bagus Alit

Abstract and figurative wood cravings are a fusion of the rich natural rhythms of the timber intertwined with faces and figures. Although they are not always be beautiful, Gus Alit introduces imaginative possibilities, while adhering to a yin/yang theme. Some of his sculptures he paints in an outrageous manner that none dare to copy.

While contemplating his paintings the observer may wonder what on earth are these creations! Are they the musings of a complete oddball? His large compositions, some canvases measuring over 4 meters in width, each, however, have themes taken from his culture, for example Tri Hita Kirana, the Balinese philosophy of three fold harmony between man, nature and the gods.

Gus Alit’s paintings are as eccentric as is his personality. A fusion of bright colors, figures and forms, they are both surrealistic and dynamic at once. Adaptations from the Wayang Kulit shadow puppet-theater and traditional masks, his figures and faces have evolved into quirky, other worldly creatures. Akin to galactic landscapes that flow across the canvas his compositions express humor while accentuating that art should be fun to create.

IMGP4842                             Painting by Ida Bagus Alit

“To be a real artist you have to be free and strive to create your own works under your own responsibility.”

His C.V lists the exhibitions he has participated in over the past 40 years, numbering well over one hundred. Born in Denpasar 1947, Gus Alit’s works have been displayed in many countries, while his buyers come from every corner of the planet. In 2006 he participated in an artist in residency program, as well as having a solo exhibition at the Vermont Studio Center, USA. A self-taught artist, who regularly travels abroad, his initial childhood inspiration has come from studying his artist father, Ida Bagus Agung.

Watching him chiseling away at a carving, with an eye for detail, while being the picture of focus and determination, his wiry hands and arms are powerful, yet sensitive as well. Gus Alit values the virtues and importance of art and culture above himself, is an asset to the island, and a proud ambassador of the Balinese arts.

IMGP4855                                 Sketches by Ida Bagus Alit

Gus Alit welcomes visitors at Griya Satria Art House,Jalan Veteran, opposite the bird market in Denpasar.

 

Words: Richard Horstman

Images: Ida Bagus Alit, Monika Kiraly & Richard Horstman

 

 

 

 

Indonesian artist Ichwan Noor’s Abu Dhabi F1 exposé

Noor's works received large local and international media exposure. Image courtesy I. NoorInternational media shooting in front of Noor’s Beetle Sphere at the 2017 Formula One Etihad Airways Abu Dhabi Grand Prix, held at the Yas Marina Circuit, Abu Dhabi, 23-26 November, 2017.

 

Reaching out to new audiences, across diverse sectors of the society to attract greater appreciation and acceptance of art is an ongoing process for artists, and the art industry. In recent years the Indonesian contemporary art world has held successful events merging with the fashion and design worlds, gaining increased exposure and popularity for the leading brands, including fairs, galleries and the artists themselves.

Yogyakarta based artist Ichwan Noor, recently, had a unique opportunity to capture the attention of a perhaps an unlikely sector of the public – the international Formula One racing industry and F1 fans. He exhibited three of his sculptures at the 2017 Formula One Etihad Airways Abu Dhabi Grand Prix, held at the Yas Marina Circuit, Abu Dhabi, 23-26 November.

Upon invitation from the Yas Marina Circuit Noor exhibited three of his iconic works, inspired by the motor vehicle, in Art@Yas, a side program conducted at the main grandstand during the Middle East’s biggest international event. The final race of the 2017 calendar attracted a crowd of over 60,000 people. Noor’s creations enthralled the local and international audience, many of whom were amazed to see the classic, arguably the most recognizable four-wheeler on the planet, breathtakingly transformed.

Ichwan Noor's three works at Art@Yas, Yas Marina Circuit, Abu Dhabi, United Arab Emirates - Image I. Noor                         Noor’s works at the Yas Marina Circuit

Caste in aluminum, featuring original auto parts of the VW beetle, 180cm in diameter, Beetle Sphere, colored black, and Beetle Sphere, colored grey are a continuation of an on going series the artist began in 2011. First exhibited internationally at Art Basel Hong Kong 2013, the works feature the 1953 Volkswagen Beetle reconfigured in a variety of new shapes, including cubes and spheres. The Beetle Sphere features in the collections of several major national and private institutions in Indonesia, Australia (National Gallery of  Victoria), Germany, China, Turkey, U.S.A., Sweden and India. Noor’s third work, Got Wood, 2017, 495 x 180 x 150 cm, is a to scale replica of a F1 racing car constructed from scraps of mahogany and teak wood.

According to Noor’s artist statement, “The idea behind my sculptures emerged from a insight towards objects that are products of a ‘transportation culture’, which induce signs of spiritual emotion – to behold a vehicle is to have a ‘magical’ or supernatural identity. By combining the techniques of manipulation and substitution, the sculptures form tends towards a realistic distortion allowing fresh interpretations about the object, and a shift in observation creating associative meanings.”

“The VW is familiar to almost everybody across the globe, no matter their age or social status. I see the VW Beetle as one of the most successful designs,” said the artist who graduated from the School of Visual Art at the Indonesia Institute of the Arts (ISI), Yogyakarta, and is a Professor of Fine Arts at the University of Yogyakarta.

F1 fans enjoy Noor's "Got Wood" a wooden replica of a F1 racing car            F1 fans enjoy Noor’s “Got Wood” a wooden replica of a F1 racing car

The works creation process involves Noor first making a polyurethane mould of a genuine Beetle carving a spherical polyurethane replica of the vehicle’s body and then casting it in aluminum. A separate spherical interior is produced and fitted to the cast exterior. The sculpture is then painted, fitted with acrylic windows and genuine trim pieces including lights, wheels and tyres.

Got Wood, (also called boyhood, manliness, or manhood) the artist said, “represents a set of traits, mannerisms, and characteristics associated with boys and men. Speed is an captivating symbol for some men who have great courage, while being a symbol of masculinity for strength, competition, courage and adventure.”

“As we all know, the Indonesian art infrastructure is still fragile so I try to take advantage of existing global infrastructure. With a limited local and world art markets it is important that artists interact with people beyond the artworld and exhibit in public spaces outside of the current gallery and museum system in order to make breakthroughts into new markets and art colections,” said the artist who was born in Jakarta in 1964, and is renowned for his large-scale sculptures of hybrid human, animal and technological forms, working with bronze, stainless steel, aluminum, various used materials and resin.

IMG_20171123_154306

The Middle East is no longer foreign to modern art with a lot of modern art being purchaseded by collectors from the region. In the world of contemporary art collections, however, collectors from this region are still lagging behind collectors from Asia. “For me the most important thing is to create a new art map outside of the map that is understood by Indonesian artists. Professionalism, of course, within the globalized art world is a necessity.”

“There is a serious and massive effort from the UAE to participate in the flow of the contemporary art world, which is directly related to their strategy that to raise the prestige of their country. This certainly will create many opportunities for Indonesian artists,” Noor adds, and suggests, “ artists should take the littlest of opportunities of getting involved in the global art infrastructure, and anything goes is a most appropriate expression for contemporary art works that we can take on the positive side.”

 

Words: Richard Horstman

Images Courtesy: IchwanNoor

 

 

 

 

 

Upcoming exhibition highlights the collaborations between contemporary artists and inmates of Bali prison

Inmates involved in art workshops at Klungkung jail. - Image Mary Lou Pavlovic              Inmates participating in art making workshop at Klungkung jail.

 

In early April this year Australian contemporary artist, Mary Lou Pavlovic, was advised by the apexart gallery New York that the proposal she’d written in response to their open call Apex Franchise Exhibition, offering four funded exhibition opportunities, had been successful. Pavlovic ranked third out of almost four hundred proposals from sixty-one countries. Over two hundred international art expert jurors had voted for her proposal to curate an exhibition in Bali about artists and prisoners collaborations arising from prison workshops.

Apexart is a non-profit arts organization in Lower Manhattan, NYC, funded in part by the Andy Warhol Foundation, that offers opportunities to independent curators and emerging and established artists, and challenges ideas about art, its practice, and its curation.

“I received an email advising me to contact the apexart Director, Steven Rand, who said he had good news,” Pavlovic said.   “So I thought I’d better call Apex and tell them of a hoax someone was running about them. Then, when I called, to my surprise, they confirmed that I had been selected, and that it wasn’t a hoax at all!”

From 2012-16, when in Bali, Pavlovic had been a regular visitor to inmates inside Balinese jails where she had witnessed the humanitarian benefits of art programs. “Prisoner’s lives are placed on hold and their space confined to the parameters of a prison. I realized, although prisoners couldn’t physically move very far, they could travel great distances with their imaginations by participating in arts activities,” said the artist who lives and works between Bali, and Mittagong, Australia, and completed a PhD at Monash University, Melbourne.

Inmates artworks - flowers and berries set in resin.Image Mary Lou Pavlovicjpg

“Inmates could also learn valuable skills and undertake enjoyable activities to relieve the daily monotony of prison life.”

Pavlovic was also aware that practically universally a function of modern prisons is to hide prisoners away from the rest of society. An exhibition involving prisoners and artists, she thought, would help to break down this barrier. It would allow the public an opportunity to reflect on their own perceptions of prisoners and prisons, along with the prisoners the opportunity to be seen in the role of artistic producers, rather than solely as criminals, and of little value to society.

The upcoming exhibition, organized and curated by Pavlovic, Dipping in the Kool Aid, (American jail slang for entering uninvited into a conversation) will be held at the Tony Raka Art Gallery, in Ubud, Bali, in 4 – 31 March 2018. The show will feature the artworks of prisoners, artworks produced from workshops given by contemporary artists in the Bali prisons, and independently produced studio works by some of the invited artists relating to aspects of prison and the incarceration system.

Pavlovic is interested in taking the exhibition beyond a community type art show in which members of a social group are asked to express themselves through art, and the therapeutic benefits of that process becomes the exhibition theme. “Exhibitions displaying prisoners artworks are common, but I think that if our project’s aim was only to display prisoner’s artworks, regardless of their artistic capabilities, then professional artists may not need to be involved at all,” she said.

Inmates at Klungkung jail art making. Image courtesy M.L. Pavlovic                                    Inmates at Klungkung jail art making

“There are so many highly capable creative people in jails, and so I thought that a more interesting and challenging way to address the exhibition, than a straightforward community art show, would be through a type of artistic laboratory in which the artists and prisoners skills are equally valued.”

With these ideas in mind, Pavlovic invited foreign international artists and Indonesian artists to give a range of workshops predominantly in the Klungkung Prison, East Bali. The workshops began in August, continuing on until March 2018 prior to the exhibition. East Javanese artist Djunaidi Kenyut conducts workshops inviting inmates to etch their own portraits onto postcard size mirrors. The prisoners become active agents in shaping his idea, and the overall work. The outcomes are ghostly etchings with viewers reflected in them.

“In the Klungkung prison there are about 100 inmates of which there is one person who is very enthusiastic to participate in the workshops, and there are others who like to join in. But I am very happy to witness their passion to know and learn to try new activities such as drawing,” Kenyut said.

Pavlovic provides lectures for women inmates involving embedding living things, like flowers leaves and berries in resin, to preserve life. At the prisoner’s request the group have incorporated butterflies, yet as the program continues the prisoners will incorporate items into their works that are important to them, such as family photos.

Other workshops conducted include East Javanese artist Imam Sucahyo who is posting drawings to inmates requesting their input, and Australian contemporary sculptor Rodney Glick, who has invited prisoners to his cafe, Seniman, at the Tony Raka Art Gallery, for work experience and to learn about art.

IMG_20170922_112054

Glick said, the Seniman coffee ethos is to create happiness. “What better way for people who crave freedom than to work a little and enjoy a coffee on the outside!” Other artists included in the upcoming exhibition are internationally renowned Indonesian artists Agung Mangu Putra and Angki Purbandono, along with the Prison Art Program founding members, and Elizabeth Gower, Alannah Russack and Pavlovic.

 

Dipping in the Kool Aid

Upcoming 3 – 21 March 2018

Tony Raka Art Gallery, Mas, Ubud

 

Words: Richard Horstman

Images: Mary Lou Pavlovic

 

 

 

Bruce Carpenter: presenting Indonesian art & culture to the world

BruceC-2a                                                          Bruce Carpenter

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

127446                                 Indonesian Tribal Art – Bruce W. Carpenter

 

Words: Richard Horstman