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Previewing Larasati Jakarta Auction: Pictures of Indonesia 12 May 2019

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

 

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

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

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

 

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

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

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

 

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

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

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

 

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

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

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

 

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

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

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

 

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

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

Lot 647 "A Fight in a Village" Dewa Made Koendel Image Courtesy of Larasati                       A fight in a village – Dewa Made Koendel

 

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

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

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

 

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

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

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

 

Words: Richard Horstman

Images: Courtesy of Larasati

 

 

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Balinese artists the highlight of “Selematan Masa Depan” – an exhibition of emerging Indonesian artists in Bali

Art works by Budi Agung Kuswara - Image courtesy of Heri Pemad Bali Balinese Baroque (Discovery Toward Invention), 2018 & Time After Time (Discovery Toward Invention), 2018 by Budi Agung Kuswara

 

Presenting works by some of the finest emerging Indonesian contemporary artists over a one month period, Selematan Masa Depan (A Celebration of the Future) closed 15 January 2019 at the AB•BC Building, Bali Collection Nusa Dua, Bali.

Curators Rifky Effendy and Ignatia Nilu selected forty-seven artists from Bandung (10 artists), Yogyakarta (17) and Bali (20) who contributed a diverse array of seventy-four works in 2 and 3-dimensional forms – sketches, paintings, prints, sculptures, installations, video art and new media art. In the follow-up to the Art • Bali ‘Beyond the Myths’, the exhibition highlighted some of the talent that is currently pushing the boundaries of Indonesian contemporary art.

ART01157Exhibition view of Selematan Masa Depan (A Celebration of the Future) at the AB•BC Building, Bali Collection Nusa Dua, Bali.

 

While such exhibitions that display the contemporary artistic talent from Bali side-by-side with their counterparts from throughout Indonesia may be seen in Java, in Bali these occasions are, unfortunately, too infrequent. Importantly, this allows opportunities for young local artists, students and creatives, who have Internet connectivity and can access the ‘larger art world’, yet may not have the chances to travel outside of Bali, to personally observe some the developments and future direction of the national scene.

Opened by Bali’s new governor Wayan Koster 15 December 2018, Selematan Masa Depan is the second of a series of regular events at the AB•BC Building, which will help to define the location as one of the island’s foremost contemporary art venues, while becoming a new art and creative destination within the ITDC Nusa Dua tourism precinct. The Indonesia Tourism Development Corporation (ITDC) Nusa Dua is a designated location with tourism facilities and many of the island’s largest five-star resorts.

Sketches by Satya Cipta - images courtesy of the artist.                           Chinese ink sketches on paper  by Satya Cipta

 

“Balinese artists contributed some of the strongest works in the exhibition,” said well-known art critic Jean Couteau. “Especially Satya Cipta, Citra Sasmita and Budi Agung Kuswara.”

In Balinese Baroque (Discovery Toward Invention) 2018 and Time After Time (Discovery Toward Invention) 2018 by Budi Agung Kuswara, the artist experiments with the cyanotype technique, a photographic printing process that produces a cyan-blue print onto the paper with sunlight, along with archive photos and cultural items to produce aesthetically unique, and beautiful images.

“His works are highlighted by innovative visual framing, kind of pop art, yet visually refreshing and intellectually articulated around the memory theme,” said Couteau. Budi represents the vanguard of emerging contemporary artists in Bali today.

CITRA SASMITA - METAMORPHOSIS(The Flowers of Carnage) 2018 Acrylic and Oil on Canvas, Image courtesy of the artist          Metamorphosis (The Flowers of Carnage) 2018, by Citra Sasmita

 

Satya Cipta, who has recently captured the attention of the Balinese art world with her premiere solo exhibition A Budding Talent at Ubud’s Puri Lukisan Museum late 2018, presents four beautifully balanced Chinese ink sketches on paper. Drawing is the basic fundamental of Balinese traditional art, and her combination of drawing techniques with modern gender political themes are an exciting, recent development on the Bali art scene. “Satya’s wild exploration of a woman’s demand for control over her own body is formulated in a revamped, imaginative post-traditional line style similar to Gusti Lempad,” said Couteau.

Metamorphosis (The Flowers of Carnage) 2018, by Citra Sasmita, in her characteristic style of minimal iconography, also ‘speaks’ of gender politics, while communicating through an array of symbols. “In my new painting I adopt nature and nurturing symbols such as stone, cactus, a knife and scissors, a placenta and cloth with gold rose patterns,” Citra said. “I want to visualize to the current generation that they should be aware of, and protect their roots and traditions, for the benefit of the next generation. The future will mean nothing if the next generation do not have any idea about their past and history, and also the philosophies.”

ART01117Exhibition view of Selematan Masa Depan (A Celebration of the Future) at the AB•BC Building, Bali Collection Nusa Dua, Bali.

 

“Citra’s painting is a highlight because she explores and denounces macho vocabulary, and for her feminist statement,” Couteau said.

Selamatan Masa Depan enjoyed increased attendance numbers than the Art • Bali 2018 event because of the tourist high season, and more international and domestic visitors and locals visiting the venue,” said Army Firmansyah, one of the board members of Art • Bali and the AB•BC Building, part of the Heri Pemad Art Management Bali Team.

“Located in the Bali Collection shopping area many visitors see the sculptors and installations outside of the AB•BC Building, become curious and come in. Attendance numbers are important to us because the ticketed entry has to support our event operation costs.”

Putu Wirantawan - "Dimensi Dualitas" - pencil bollpoint on paper (115x141 cm) 2018Putu Wirantawan -Dimensi Dualitas, 2018 – pencil bollpoint on paper by Balinese artist Putu Wirantawan

 

“The idea of contemporary art and creative events as a tourism attraction is new to this area and while foreign tourists are happy to pay entry fees, we have to help change the mind-set and behaviour of domestic visitors to go alternative ticketed cultural events, rather than recreational venues and movies, for example.”

“The management of the AB•BC Building have many challenges to engage with in building the brand of this multifaceted creative space – inclusive within the Bekraf (Agency for Creative Economy Indonesia) vision for the development of the Indonesian creative economy that includes cuisine, design, architecture, and art themed events.”

“As for up coming events in 2019, we are now in progress of preparing 3 shows (including ART • BALI 2019 in October) which will be produced by HPAM. Those shows are in addition to one art exhibition that we are still in discussions with the organizer” he adds.

ART01246Exhibition view of Selematan Masa Depan (A Celebration of the Future) at the AB•BC Building, Bali Collection Nusa Dua, Bali.

 

ART00841

 

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Words: Richard Horstman

Images courtesy: Heri Pemad Art Management Bali Team

 

 

 

 

 

 

 

 

 

 

Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, August 2018

dewa putu mokoh "iringan pengantin" image courtesy of larasati                     “Iringan Pengantin” – Dewa Putu Mokoh 

 

Each year Larasati Auctioneer’s, Indonesia’s oldest fine art auction house, present two auctions in Ubud highlighting Balinese traditional art. Upcoming Sunday 26 August is seventy-four items for sale in the Traditional, Modern & Contemporary Art Auction. Open to the public, viewing begins 11am Friday 24 August at the Larasati Art Space at Tebesaya Gallery, Ubud, Bali.

The sale is led by a collection of Mr & Mrs Charles Powell, USA, and three beautiful traditional paintings by Wayan Radjin from the 1970’s. The sale presents works by old masters of traditional genres, some unique and rare paintings, works with investment potential, and an array of compositions that allow good entry opportunities into the market for new collectors.

wayan radjin "ramayana membebaskan dewi sita" image courtesy of larasati               “Ramayana Membebaskan Dewi Sita”- Wayan Radjin

 

Catering for a range of tastes works on offer include ink, and watercolour on paper, Indonesian modern art, Balinese modern and contemporary paintings and works in traditional styles, along with a wood carving. Distinguished Balinese artists featured are Ida Bagus Made Poleng, Ida Bagus Made Widja, Gusti Ketut Kobot and Nyoman Gunarsa. For new buyers wishing to enter the market, estimated prices in this sale begin at IDR 500,000 (USD $35). Auctions offer buying opportunities at prices much cheaper than purchasing works directly from the artist studio, or galleries.

These works by respected old masters will be of interest to the connoisseurs of Balinese art. Tjokorda Oka Gambir (1902-1975) is one of the founders of the Ubud School of Painting, lot# 549 Mythological Scene in Kamasan Style is a large 248 x 132cm work in natural colour on cloth with an estimated price of between IDR 65 – 80 million, while lot #550 Garuda & Wisnu is by one of the esteemed masters of the influential Pitamaha Artists Association from Ubud (1936-1945), Gusti Ketut Kobot (1917-1999) with an estimated price of between IDR 95 – 110 million.

dewa ketut rungun "burung burung bangau" image courtesy of larasati                   “Burung – Burung Bangau” – Dewa Ketut Rungun

 

Lot #574 Taris Bali is a superbly balanced composition of traditionally attired Balinese warrior emerging from the forest performing the unique warrior dance by Ida Bagus Made Poleng (1915 – 1999) who is regarded as one of the finest Balinese painters of the past century. This work bears the stamped identification that guarantees authenticity from the Ida Bagus Made Foundation, and has an estimated price of between IDR 165 – 190 million.

The following are rare pieces lot #544, Sarasvati is an early work by the respected Batuan painter Wayan Taweng (1922 – 2004) who trained under Nyoman Ngendon (1906 – 1946) with an estimated price of between IDR 10 – 15,000,000 million. Wayan Radjin (b.1945) is the son of the celebrated Batuan artist I Djata, considered the founding father of the Batuan School. Lot #527 Ramayana Membebaskan Dewi Sita by Radjin is a beautiful acrylic on canvas composition with an estimated price of between IDR 28 – 38 million. Most of Radjin’s works are on paper, and rarely does such a quality work come onto the market.

gusti ketut kobot "garuda wisnu" image courtesy of larasati                          “Garuda Wisnu” – Gusti Ketut Kobot

 

Lot # 572 Iringan Pengatin is a unique work because it is a crowded composition by the renowned painter of the unconventional, Dewa Putu Mokoh (1913 – 2010), and has an estimated price of between IDR 7 – 10 million, while lot #521 Ibu dan Anak, featuring a composition of a mother and child is too an unusual work by Dewa Ketut Rungun (1922-1986), who is noted for his bird compositions. It has an estimated price of between IDR 15 – 20 million.

Opportunities for good investments are lot #513 a. Di Malam Ini and b. Aku dan Dia Bermain, two paintings by Indonesia’s most important woman artist I Gusti Ayu Kadek Murniashi (1966 – 2006), with a combined estimated price of between IDR 18 – 25 million, and lot #520 Bali Life by Ketut Gelgel, which has an estimated price of between IDR 95 – 110 million.

i gusti ayu kadek murniashi "di malam ini" image courtesy of larasati                  “Di Malam Ini” – I Gusti Ayu Kadek Murniashi (Murni)

 

New collectors have opportunities to enter the market with lot #507 Hierarkie by Susilo Budi Purwanto, Berburu Kuda, lot# 512 by Made Wiradana, and two abstract oil paintings, lot #540 Kampung Nelayan Kusamba and lot #541 Gunungan Semar by noted Javanese painter Bagong Kussudiardjo (1928-2004), and the beautiful flowing flora and fauna forms within Burung Burung Bangau, lot #573 by Dewa Ketut Rungun. Emerging Balinese artist Ngakan Putu Agus Arta Wijaya is a young artist worth keeping an eye on, with excellent technical skills, good ideas and a distinctive style, lot# 508 Upgrade comes with an estimated price of between IDR 7.5 – 9 million.

Other popular artists within the sale are renowned Dutch colourist Arie Smit, Otto Djaja, Mochtar Apin, Jehan, Ida Bagus Nyoman Rai, Nyoman Dewa Jati, Dewa Putu Bedil and Agung Mangu Putra.

For buyers seeking to invest it is important to have a strategy, with the view of buying and holding for at least 10-15 years, and to invest early in an artist before everyone is getting on to the market. Look for works that are rare and unique – uniqueness referring to the quality and how often the artist makes such image or composition. A painting’s provenance is important for the established taste and also for authenticity, with the more prominent the previous owners, the better. This also includes the works history of exhibitions and inclusion in books or catalogues.

ida bagus made poleng "taris bali" image courtesy of larasati                           “Taris Bali” – Ida Bagus Made Poleng

 

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.

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.

The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati

 

 

 

 

 

 

 

 

Smart’s cutting parade of choreography

Chout Ballet Curtain, (The Choreography of Cutting) @ Tony Raka Art Gallery - Image Courtesy of Honold Fine Art & Evelyn PrittChout Ballet Curtain, (The Choreography of Cutting) at Tony Raka Art Gallery, Ubud – Image Courtesy of Honold Fine Art & Evelyn Pritt

 

Australian contemporary artist Sally Smart has a long and enduring bond with Indonesia, having first exhibited in 2005 at the Jogja Biennale. “I have a special fascination in the shadow theatre, and have had a collection of Wayang Kulit puppets for many years. This has inspired my interest in the representation of the shadow world and its story telling dimension, across cultures,” Smart said.

“I visit Yogyakarta regularly where I have formed relationships with artists and artisans who I continue to collaborate with and engage in immersive dialogue and practice, examining cultural history and the commonalities in the post-colonial world discourse.”

 

P.A.R.A.D.E - Sally Smart @ BIASA - Image Richard Horstman                         P.A.R.A.D.E – Sally Smart at BIASA, Kerobokan

 

In 2012, as the Sackler fellow at the University of Connecticut, USA Smart worked with their School of Puppetry and animation, learning shadow puppet techniques and creating a series of works that also included moving image. Her puppet creations are a fusion of Eastern and Western cultures, the artist also being inspired by the seminal European avant-garde artists of the Dada movement, along with the Constructivism philosophies. She positions early 20th century experimental choreography, costume and theatre design alongside traditional Indonesian shadow puppet performance.

The ‘immediacy and simplicity’ of collage as a potent contemporary art practice is often overlooked. Cutting out and re-assembling, taking from one source to compliment another is a disruptive, yet highly creative method with limitless potentialities. For Smart it is the foundation of the communication of her artistic ideas. “The cut out methodology has been a strong part of my practice since the early nineties – the expression of a cut out – aligns silhouette and the shadow play conceptually and technically,” she said.

Puppets (The Choreography of Cutting) - Sally Smart @ Tony Raka Art Gallery - Images coutesy of Honold Fine Art & Evelyn PrittPuppets (The Choreography of Cutting) – Sally Smart at the Tony Raka Art Gallery – Images coutesy of Honold Fine Art & Evelyn Pritt

 

Honold Fine Art (HFA) presents in parallel solo exhibitions Sally Smart’s most recent offerings held in two different venues in Bali, Indonesia. From 19 June The Choreography of Cutting opened at the Tony Raka Art Gallery, Ubud, and P.A.R.A.D.E. at BIASA in Kerobokan. Her work ‘speaks’ about the human body as a vehicle of expression through movement, performance and gesture, revealing collective and individual anxieties, while questioning the status quo.

At a glance both shows appear worlds apart, yet they are innately connected, P.A.R.A.D.E. being the perfect synthesis of Smart’s two works exhibited in Ubud. Displayed at Tony Raka is Chout Ballet Curtain, (The Choreography of Cutting) 2018, an enormous 350 x 900cm wall hanging assemblage in which abstract organic forms and imaginary landscapes come alive upon Smart’s colourful textile curtain that includes dye transfer photographic prints on satin and chiffon, with multiple collage elements. And, Puppets (The Choreography of Cutting) 2016-18 a mixed-media installation of over 30 abstract suspended puppets, with moveable parts and of varying dimensions.

P.A.R.A.D.E - Sally Smart @ BIASA Image Courtesy of Honold Fine Art & Evelyn PrittP.A.R.A.D.E – Sally Smart at BIASA  – Image Courtesy of Honold Fine Art & Evelyn Pritt

 

P.A.R.A.D.E is inspired by Smart’s encounter with the immense stage curtain painted by Pablo Picasso for the Ballet Parade in 1917 on display in Rome in 2017. In Smart’s P.A.R.A.D.E which features Parade (In Being Dancing), 2018, Staging the Studio (Blaubart &Pina), 2017-18, and Drama (Staging the Studio), 2018, all floor to ceiling curtains with photographic dye transfers on textile with collage elements, a troupe of figures are represented on transparent textiles intersecting and overlapping to create multiple images of performance.

While Chout Ballet Curtain is predominated by strong colors and dense ‘heavy’ fabrics, the illusory impact emphasizes the laws of gravity grounding the observer to the floor. P.A.R.A.D.E, on-the-other-hand, has the opposite impact. It’s multiple see-through films are soft and delicate, soothing upon the eye. While its transparent qualities with layered figures appear sensual – a most potent allure. Air conditioning choreographs gentle rhythmic waves of motion across the curtain’s surfaces that are seemingly engaged within a dance of their own, and we become captivated in the dynamic interplay of Smart’s layered translucent ‘performers’. Our vision is then drawn upwards allowing us to feel elevated and expansive. The beauty and simplicity of the material is seductive – our experience is potent and ethereal.

Puppets (The Choreography of Cutting) - Sally Smart @ Tony Raka Art Gallery - Image is coutesy of Honold Fine Art & Evelyn PrittPuppets (The Choreography of Cutting) – Sally Smart at Tony Raka Art Gallery – Image coutesy of Honold Fine Art & Evelyn Pritt

 

One of Australia’s leading contemporary artists, Smart is the recipient of numerous awards and prizes. She is currently the Vice-Chancellor’s Professorial Fellow at University of Melbourne, and a board member of the National Association for the Visual Arts. She is represented in significant international public and private art collections. Recognized internationally for her large scale cut-out assemblage installations and, increasingly, performance, Smart’s artistic practice engages identity politics and the complex relationships between the body, thought and culture.

The most delightful aspects of Smart’s work are the opportunities for audience interaction, and personal art experiences. Her installations invite the observer to venture closer, to wander within and take part in a make believe other world. In response some people become animated in their own intimate performance, which has the potential to touch them deeply, while being coded into their memories.

Detail of Chout Ballet Curtain, (The Choreography of Cutting) - Sally Smart - Image Richard Horstman   Detail of Chout Ballet Curtain, (The Choreography of Cutting) – Sally Smart

 

“I am interested to observe the audience physically engage with my work,” the artist said. “As performance and movement are imbedded conceptually in the works, the feeling of movement and dance within the space becomes manifest, with the puppets and the curtains – making it feel dynamic and engaging. I was excited to see this.”

When asked if she believes that as artists seek out new avenues to create more positive opportunities for fresh and personal audience art experiences that society will gain greater benefits through contemporary art? Smart responded, “Yes, always when something is triggered, even the slightest gesture, to reveal and present possibilities for news ways of thinking an engagement in all aspects of society. Art makes essential pathways.”

20180620_155042_IMG_4240                           Detail of P.A.R.A.D.E – Sally Smart at BIASA 

 

 

The Choreography of Cutting

at Tony Raka Art Gallery,

Jalan Raya Mas 86, Mas, Ubud

& P.A.R.A.D.E. at BIASA,

Jalan Raya Kerobokan 51 X, Kerobokan

Open from 17 June – 17 July 2018

www.sallysmart.com

 

Words: Richard Horstman

Images: Courtesy of Honold Fine Art with Evelyn Pritt & Richard Horstman

Welcome to Denpasar2018 Art+Design: An Exhibition & Movement

Invited artist Yoka Sara                        Denpasar2018 – invited artist Yoka Sara

 

During the month of October a unique program of activities presented by CushCush Gallery (CCG) in Denpasar highlights the ongoing transformation of the city into a modern creative hub that is evolving side-by-side with its cultural and historical icons. Opening 5 October DenPasar2018 Art+Design – An Exhibition & Movement headlines the program along with other community happenings, including Design Talk, Design Walk, Open Studios, that coincide with the launch of the DenPasar Art+Design Map 2018/2019.

 “In recent years many creatives from throughout Indonesia and overseas have been attracted to Bali for its lifestyle and rich culture. Many decide to base themselves here, while others return regularly. As the island’s multi-cultural society evolves so does its creative potential,” said CCG co-founder Suriawati Qiu, who along with her partner Jindee Chua in July 2016 launched CCG upon the local art and design landscape injecting exciting energy into Bali’s creative scene.

Curatorial Talk #1 with Kevin & Marishka 6 10 2018   Curatorial Talk #1 with Kevin & Marishka 6th October at CushCush Gallery

 

“Nowadays many of Bali’s youths have been educated in universities outside Bali and internationally, and then return. They are important agents of change and vital contributors to Bali’s artistic spirit and are stakeholders in the new emerging creative economy.”

The development of Bali’s contemporary art and design infrastructure (including new art spaces, co-working creative hubs, festivals, and organizations) are the important meeting and showcasing points for the thriving new generation of creatives. Following on from the first edition released in 2017 the DenPasar Art+Design Map 2018/2019 will include a listing of community events celebrating Art & Design in October.

OLYMPUS DIGITAL CAMERA               Design Talk – Denpasar Inside : Out at Maya Sanur Ballroom

 

The DenPasar Art+Design Map 2018/2019 highlights museums, government and cultural institutions, art and design educational institutions, art galleries and creative spaces, art and creative communities, festivals, artists’ studios, cultural heritage/public spaces/monuments, and the markets within the city of Denpasar.  The map is endorsed by the Denpasar Central Government (Pemerintah Kota Denpasar), Indonesian Hotel and Restaurant Association and the Denpasar Tourism Promotion Board, along with the Indonesian Government’s Agency for Creative Economy, Badan KREATIF Denpasar. Printed in 10,000 copies the map will be distributed at selected Creative spaces and hotels in Bali over the next twelve months. The unique feature of this year’s map is the QR Code to allow direct access to the listed venues via the smart phone App.

“The recent importance given to the creative economy, and its support through government organizations such as Bekraf encourages initiatives in the Creative sectors of economy,” Suria added. “The government plays an important role too.”

Invited artist Alit Ambara                         Denpasar2018 – invited artist Alit Ambara

 

Three invited artists along with 12 Shortlisted Open Call artists will exhibit in DenPasar2018 – An Exhibition and Movement. Themed “Jingga”, which describes the colour of twilight and is a metaphor of how the people of Denpasar feel about both the joys and hardships living in Denpasar. The theme endeavours to capture varying perspectives within Bali’s multi-layered realities in a three-month long exhibition showcasing works of fine artists, designers, architects and performers. Works featured include paintings, installations, multimedia projections, photography, ceramic art, and posters.

Co-curated by Suriawati and Jindee, and independent curator Stella Katherine, the invited artists include Sydney-based painter and performer Jumaadi (b. 1973, Sidoarjo, East Java), who has collaborated with Balinese traditional Kamasan painters, designer and activist Alit Ambara (b. 1970, Singaraja, Bali), exhibiting his poster designs and artefacts used in social movements, and renowned artist and architect Yoka Sara (b. 1965, Denpasar, Bali), who founded and leads SPRITES ART & CREATIVE BIENNALE (est. 2013).

Layung #2 zatkimia 17 10 2018            Layung #2 zatkimia at CushCush Gallery 17th October

 

DesignTalk invites distinguished practitioners and scholars of architecture and design disciplines, including Budiman Hendropurnomo of DCM Indonesia, Maximilian Jencquel of Studio Jencquel, a lecturer and researcher from Warmadewa University Gede Maha Putra, and Japa Wibisana and Magat Kurniawan as representatives of the Indonesian Young Architects community, to share their specialized perspectives on the evolution and transformation of Bali’s architecture. DesignTalk is hosted by Suzy Annetta, the Editor-in-Chief of Design Anthology Magazine and is themed “Bali Inside:Out”.

DenPasar2018 Art+Design is a collective effort to mark the city with its own distinct character as a hub for contemporary arts, design and culture. With CCG’s DenPasar program we aspire to put Denpasar city in the mapping of contemporary Art + Design in Bali and beyond by showcasing the potential in Denpasar and inviting Art + Design lovers to come explore,” Suria stated.

Denpasar2018 Mural Jamming with Kuncir and students of ISI Denpasar on the walls of the Kerobokan prison 30 10 2018Mural Jamming on the walls of the Kerobokan Prison with Kuncir and art students from ISI Denpasar 30th October

 

This combination of an exciting mix of people who are presently in Bali, and the many active platforms give a rise to exciting collaborations and events, to be shared amongst local communities. This visionary initiative helps to lay the foundation for increasing art/cultural/design tourism into the island’s capital and developing the local creative economy.

Located near the heart of the city, CCG is in Gang Rajawali, off Jalan Teuku Umar. An alternative gallery, with an inspiring and unique program embracing interactions and multidisciplinary creativity via explorations at the intersections of art, design, materiality, techniques and crafts, CCG prioritizes community engagement and learning, along with children’s workshops. Open to the public CCG is a must see in Denpasar.

Invited artist Jumaadi

                          Denpasar2018 – invited artist Jumaadi

 

Gotong Royong Seni with Mella Jaarsma 10 11 2018gotong royong seni with Mella Jaarsma 10th November at CushCush Gallery

 

Denpasar2018 Ceramic Painting Workshop 20 10 2018               Ceramics painting Workshop at CushCush Gallery 20th October

 

 

 

DenPasar2018 Exhibition continues until 5 January 2019

Monday—Friday: 9:00AM–5:00PM
Saturday: 9:00AM–12:00PM

CushCush Gallery (CCG)

Jl. Teuku Umar Gg. Rajawali No.1A Denpasar, Bali

Tel. (62) 361 484558

http://www.cushcushgallery.com

 

Words: Richard Horstman

Images courtesy: Denpasar2018 & CushCush Gallery

 

 

Balinese contemporary artist Budi Agung Kuswara: putting arts real values into perspective

21231555_207954026407213_6957891409753761884_nArtist Budi Agung Kuswara (lower, left of center) with staff, friends and patients of Rumah Berdaya

 

Art plays distinctive and irreplaceable roles within the development of a healthy society. Art offers us opportunities to be inspired, become more educated and aware, as well as to observe the thoughts and feelings of our fellow-man. The best contemporary art is essential to our well-being, having something important to say about the era we live in. Due to the onslaught of globalization, however, the financial values of art are becoming increasingly prized, over the real, functional values of art.

Balinese artist Budi Agung Kuswara represents the vanguard of emerging contemporary artists in Bali today who are reshaping the genre. What is significant about this artist, however, is his passion for how art can transform and bring greater meaning to individual lives, while building resilient communities.

26903979_1656075377748886_2074571056155799779_nVisitors at the gallery of Rumah Berdaya looking at art work by “Skizofriends Art Movement”

 

‘Kabul’, as he prefers to be known, was born in Sanur in 1982. From the age of twelve he worked beachside selling souvenirs to tourists, and he learned to surf the pristine waves that race along the coast’s outer reefs. Surfing inspired his deep connection with the forces of nature that influence his physical and non-physical worlds. His father was born in Klungkung, East Bali, the Classical art epicentre of the island. He was raised into the custom of Kamasan painting, the living tradition of story telling art used to decorate the island’s temples and the houses of the aristocracy, and serving to convey peace and harmony within Balinese society.

As a child painting was a readily accessible mode of expression, nurturing and playful, a medium through which Kabul could later explore his feelings, and ideas about identity and life. “My perspective was different to the traditional cultural identity and I came to understand that I didn’t fit in with the mainstream,” Kabul said. “So I learned to follow my own path.”

Anonymous-Ancestors    Anonymous Ancestors – art work by Budi Agung Kuswara for 2018 UWRF

 

The path of an outsider is one of duality – of freedom, yet of isolation as well. Kabul’s solitary experiences eventually led to feelings of lack of confidence; at times he felt depressed. His love of art became an increasingly vital activity – a guiding creative force. Motivated by the desire to share and inspire positive change Kabul wished to capitalize upon what had manifested during his personal struggles while he was a youth – his knowledge of art as a practical tool for self-transformation.

“I am inspired by the intervention of art into the public sphere and how it can become increasingly meaningful by responding to problems and needs of society,” Kabul said. “Through my own psychosomatic experiences I understand art is a potent medium for healing and self-empowerment.”

IMG_4668Art making at Rumah Berdaya – Budi Agung Kuswara with “Skizofriends Art Movement”

 

Kabul became aware of a community rehabilitation initiative established in 2015 by Rai Putra Wiguna, a psychiatrist at the Denpasar Regional Hospital, along with some of his patients. In response Kabul went on to create the Skizofriends Art Movement” in 2016, a group that focuses on both art therapy, and life-skills training programs for local men and women with schizophrenia. “I am committed to eliminating the stigma attached to people suffering from mental illness, while promoting their inclusion in society,” he said.

Following on from the success of Kabul and his colleague’s lobbying of the Denpasar Government Skizofriends Art Movement” in 2017 became a part of the Denpasar City Health Department Care Program, and is still ongoing. “By introducing a simple, sustainable model of how an organized art program can beneficially function for people, we immediately gained the government’s support,” Kabul said. The group was then offered an abandoned building in Jalan Hayam Waruk (next door to the Bali Bakery in Renon) that became “Rumah Berdaya”.

35151724_10216609420728479_6691008827497644032_o           “Skizofriends Art Movement” with artworks at Rumah Berdaya

 

Meaning house of empowerment, “Rumah Berdaya” began as a meeting place for people with schizophrenia, so they could learn new skills, interact and express themselves. Its focus is to create opportunities for the patients to constructively engage with the public, while helping them to regain their status as useful and productive members of society.

From 2002 Kabul spent thirteen years living in Yogyakarta, studying fine art at the prestigious Indonesian Art Institute (ISI), here his work became more politically and socially driven. Charmed by Orientalism and how exotic images led to supposed attitudes and ideas of Bali by westerners, in 2013 Kabul started using an old printing technique to experiment with, and explore his ideas about cultural identity, while creating new inroads in Balinese contemporary art.

Golden-Farmer                            Golden Farmer – Budi Agung Kuswara

 

With his life partner, Singaporean artist Mintio, they are the creative force behind Ketemu Project, in Batubulan. A visual art collective and social enterprise hybrid with a focus on social and international engagement, Ketemu burst onto the scene in 2015 during a critical period in the development of contemporary art infrastructure in Bali, injecting important fresh energy into the Bali art world.

Look out for Kabul’s art “Anonymous Ancestors”, on exhibition, and featured on all promotional media, in the upcoming 2018 UWRF, 24-28 October.

http://www.budiagungkuswara.com

 

Words: Richard Hostman

Images coutesy: Budi Agung Kuswara & Skizofriends Art Movement

 

 

 

 

 

Afghan artist’s “Iron Cocoon” a highlight of Jogja Art Weeks

"IRON COCOON" Amin Taasha - Image Richard HorstmanExhibition view – Iron Cocoon – Amin Taasha, 22 May – 7 June, Galeri Fadar Sidik,  ISI Yogyakarta

 

Indonesian and international art audiences visiting Yogyakarta during Jogja Art Weeks (JAW), a month long program of art events held throughout the Central Java, have a unique opportunity to observe a new direction in Asian contemporary art.

Iron Cocoon, the second solo exhibition by emerging Afghanistan artist Amin Taasha, open 22 May, Galeri Fadjar Sidik at ISI Yogyakarta, features a collection of ‘Abstract-Miniaturism’ paintings, presented together with audio compositions by Serbian composer Vanja Dabic, text, video and installation art, that may be observed individually, or as a whole.

Thoughtful SoulThoughtful Soul, 2018  – Amin Taasha. Watercolour, acrylic, ink, gold and sliver on paper 45 x 120cm

 

His compositions are a unique fusion of Asian cultural influences along with contemporary art ideas, featuring ancient script from Persia, Buddhist iconography, figures drawn from the 7th – 11th century miniature painting style of Afghanistan, along with Chinese ink modified calligraphy. Born in 1995 in Bamiyan Province in the mountainous central region of Afghanistan, Taasha draws upon a wealth of traditional art, where elements of Greek and Buddhist art were merged into a distinctive classical style known as Greco-Buddhist art, and then transforms this through the use of abstraction.

The decapitated Buddha is an ongoing theme throughout Iron Cocoon through which Taasha makes reference to the Taliban’s destruction of giant Buddhist statues found in his homeland. But while Forbidden, just one of nine of his larger vertical and horizontal monochrome scenarios makes direct reference to the violence committed by the Taliban, it is his central, and culminating installation, Witness that delivers the graphic evidence, and impact of the events that shocked the world in 2001.

"Witness" Amin Taasha - Image Richard Horstman                       Witness – Amin Taasha  Video installation

 

A circular line of earth becomes the frame for a short video documentary that reveals Taliban tanks and rockets firing at the giant Buddhist icons, while cultural experts lament the demise. A seated Buddha statue grounds the installation, ironically a headless observer, while suspended floating above, its decapitated head is taken away by a black crow inflight. Iron Cocoon is rich in symbolic metaphors, and the crow throughout the exhibition represents the powerful ignorant few that destroy important history and culture.

Within Taasha’s painting his mastery comes alive through his language of aesthetic simplicity. He balances the visual worlds of colour and form into perfect unions of the abstract, along with the recognizable form. He communicates on both the conscious and subconscious levels, through his Zen code of symbolic metaphors. His tiny figures at once connect us with the past while conveying wisdoms from an ancient time. Animals too play important roles.

"Untitled #10" Amin Taasha - Photo Richard Horstman Untitled #7 – Amin Taasha. Mixed media, gold ans silver on old book paper 13 x 19cm

 

Black is the predominant visual feature. It’s enigmatic potency functions on the subconscious level, creating a metaphysical realm with which to engage the audience. This blackness conjures up what the Buddhists refer to as the void – a place of commanding inner peace. Fine splashes of ink appear like smoke, and represent the eternal cycle of life. Gold and silver leaf are another important aesthetic feature, along with a measured array of dynamic colours, they function as powerful aesthetic tools.

Taasha moved to Kabul when the Taliban took over the area and began studying art in 2007, then in 2010 he attended the Kabul Fine Arts Institute where he has studied painting, miniature painting and calligraphy. In 2012 he was invited to participate in a workshop Seeking Study at the National Gallery of Afghanistan, as a part of the Documenta 13 international art project in Kabul. Two of his works were deemed to contain controversial subject matter and were prohibited from the exhibition by the Afghan Ministry of Information and Culture. Taasha was later subjected to police interrogation with the barrel of an AK-44 pushed to his head.

When The Sun Goes DownWhen the sun goes down – Amin Taasha. Watercolour, acrylic, ink, gold & sliver on paper, 45 x 120 cm

 

In 2013 Taasha moved to Central Java, receiving a one-year scholarship to study art at ISI Yogyakarta, the following year he was awarded a one-year scholarship at UNNES Semarang, and in 2014 received another scholarship at ISI, where he has been studying ever since. He has been exhibiting consistently for the past ten years in Afghanistan and Indonesia, as well as in Iran, Bangladesh, Lebanon, Indonesia, US, Canada, Germany and Italy. His works are in collections in the UK, US, Canada, Netherlands, Germany, France, India, Australia, Singapore and Indonesia. Iron Cocoon is his first solo exhibition in Indonesia.

The Iron Cocoon catalogue states, the concept of Taasha’s exhibition takes the metaphor of an armoured cocoon; a flexible protected shell that allows the person within to be able to transform, safe from the conflicts occurring outside. This is partially in reference to Taasha growing up in Afghanistan, a country synonymous with death and violence, and how art is able to first germinate in this environment, before being transposed to another country, where it can begin to grow in its new style.

A naudience members engages in Taasha's work while litening to the audio composition by Vanja DabicAn audience member engages with a painting while listening to an audio composition by Vanja Dabic.

 

Taasha, who exhibited in The Death of Contemporary Art, a group exhibition along side leading Indonesian artist Heri Dono in 2016 in Yogyakarta, is a part of a group of post-contemporary artists. Iron Cocoon follows on from his two sold-out exhibitions in Bangladesh and Iran this year. Taasha’s sensitivity connects with the deepest levels of our psyche, touching the soul. Works of extraordinary precision – beautiful and serene – Iron Cocoon reflects maturity that belies the artist’s years.

Amin Taasha - Image Richard Horstman                                        Amin Taasha

 

Forbidden Forbidden – Amin Taasha. Watercolour, acrylic, ink, gold & silver on paper. 45 x 120 cm

 

 

Iron Cocoon

Open daily 22 May – 7 June,

Galeri Fadar Sidik,

ISI Yogyakarta

Jalan Parangritis, Sewon, Bantul Yogyakarta

 

Words: Richard Horstman

Images: Courtesy Amin Taasha & Richard Horstman