Tag Archives: Arie Smit

Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 8 October 2017

Lot 549 Nyoman Meja "Subali & Sugriwa" 1997 Image courtesy of Larasati                               Lot 549: Subali & Sugriwa – Nyoman Meja

 

Art auctions are an exciting and accessible way to grow your collection. For the curious observer and new buyers auctions are fascinating processes that give insight into the art world that is often perceived to be opaque, mysterious, and even intimidating. Auctions allow opportunities for new buyers to enter the market often at amounts well below gallery prices and cheaper than purchasing directly from the artist’s studio.

Larasati Auctioneer’s upcoming 8 October 2017 Traditional, Modern and Contemporary Art auction to be held in Ubud, Bali offers eighty lots of fine art for sale in varying categories including Indonesian and Balinese art, and catering to the budgets of new buyers, intermediate collectors, and the connoisseurs.

Lot 532 Arifein Neif "Balinese Temple" 1992 Image courtesy of Larasati                                Lot 532: Balinese Temple – Arifein Neif

Since February 2016 real-time Internet bidding has been available through the Larasati website opening the auction to a global audience. Real-time Internet accessibility allows prospective buyers to follow along observing hammer prices to assess the situation of the market and level of interest of a certain class or individual lot, while also allowing for bidding strategies to be revised.

A feature of the twice-yearly Larrasati auction is always the fascinating array of Balinese modern traditional paintings available for sale; the genre that evolved through the influence of the Pitamaha Artist’s Association established in 1936 in Ubud to oversee the growth of this art style catering for new burgeoning markets that quickly developed during the first wave of tourism to embrace Bali.

Lot 546 Nyoman Kayun "Suasana di Desa" 2008, Image courtesy of Larasati                              Lot 546: Suasana di Desa – Nyoman Kayun

Two works of interest by masters of the Pitamaha are Lot 565, Perebutan Tirta Kamandalu by Anak Agung Gde Meregeg (1912-2000) with an estimated price between Rp.60,000,000 – 80,000,000, and Lot 575, Sang Hyang Jaran by Tjokorda Oka Gambir (1902-1975) with an estimated price between Rp.20,000,000 – Rp. 25,000,000. These paintings offer excellent buying opportunities if purchased within the undervalued estimated prices. Both artists have had enormous influence on the development of Balinese art, Gambir one of the founders of the Ubud School of painting, while Meregeg, one of the first students of Walter Spies (1895-1942) is the grandfather of the celebrated Ubud painter A.A. Anom Sukawati.

New buyers have excellent opportunities to enter the market with Lot 505, Broken Triangle, 1990 by Made Wianta, which has an estimated price between Rp.5,000,000 – 7,000,000, Lot 510, Dua Wanita Jawa, 1988 by Bagong Kussudiardjo (1928-2004) with an estimated price of between Rp.6,000,000 – 8,000,000, and Lot 511, Figur Wayang, 1990 by Pande Gde Supada which has an estimated price of between Rp. 6,000,000 – 8,000,000. Both Wianta and Supada played formative roles in the shaping Balinese modern and contemporary art in the 1970’s.

Lot 561 Dewa Ketut Rungan "Burung-Burung Surgawi" Image courtesy of Larasati                  Lot 561: Burung-burung di Surgawi – Dewa Ketut Rungan

For buyers prepared to hold works for a 10 – 20 period some good long-term investments are available here; Lot 564, Calonarang is an ink on paper work by the respected Sanur painter Ida Bagus Nyoman Rai (1915-2000) and has an estimated price between Rp.10,000,000 – 12,000,000. Lot 566, Mythological Scene is a stunning work by Dewa Nyoman Leper (1917-1984) with an estimated price between Rp.15,000,000 – 18,000,000. Nineteen-year-old Pande I Made Dwi Artha typifies the talented new generation of Batuan painters that promise an exciting future for the most loved and critically acclaimed genre of Balinese art. His dynamic and fascinating take on the culture of corruption, Lot 534, People Are My Toys has an estimated price of between Rp.7,000,000 – 9,000,000.

The connoisseur’s attention will be upon the later part of the auction, especially the final two lots by Ida Bagus Made Poleng (1915-1999). Lot 579, Kawan Rusa has an estimated price between Rp. 140,000,000 – Rp. 170,000,000, and Lot 580 Tari Baris is estimated between Rp. 150,000,000 – Rp. 200,000,000. Poleng is arguably the most talented Balinese painter of the 20th century. Lot 578, Panen Raya is a rare work by Dewa Putu Bedil (1921-1999) with an estimated price between Rp. 70,000,000 – Rp.90,000,000, and Lot 576, by Ida Bagus Made Nadera (1910-1998) Kehidupan Nelayan has an estimated price of between Rp.65,000,000 – 80,000,000.

Lot 559 Nyoman Gunarsa "Subali & Surgawi" Image courtesy of Larasati                          Lot 559: Subali & Surgawi – Nyoman Gunarsa

The recent passing of pioneering modernist Nyoman Gunarsa in early September was an enormous loss to the Balinese art world. Born in 1944 in East Bali, Gunarsa was instrumental in helping forge new paths in Balinese aesthetics with his own dynamic interpretation of the wayang figures of Classical Balinese painting. His legacy as an artist, art lecturer and art community leader – one of the icons of the island’s cultural landscape – however, will continue on through the generations of artists he has inspired. Lot 559, Subali & Sugriwa is an excellent work by Gunarsa that will attract attention and has an estimated price of between Rp.45,000,000 – 55,000,000.

Other works of note are Lot 532, by Arifein Neif, Lot 546, Suasana di Desa by Nyoman Kayun, Lots 549 & 550, by Nyoman Meja and Lot 561, Burung-Burung Surgawi by Dewa Ketut Rungan. Lot 558, by Arie Smit, Lot 574, Potret Wanita Bali by A.A Gde Sobrat and Lot 572, The Birth of Ganesha, by Gusti Ketut Kobot (1917-1999) with an estimated price between 65,000,000 – 75,000,000. Good works for mid level collectors include Lot 518, by Made Suarsa, Lot 526, by Gusti Agung Wiranata, Lot 540, by Ketut Tagen and Lot 568, by Dewa Ketut Ding.

Lot 579 Ida Bagus Made Poleng "Kawanan Rusa" Image courtesy of Larasati                           Lot 579: Kawan Rusa – Ida Bagus Made Poleng

Prospective 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.

Lot 576 Ida Bagus Made Nadera "Kehidupan Nelayan" 1950 Image courtesy of Larasati                          Lot 576: Kehidupan Nelayan – Ida Bagus Made Nadera

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Sunday 8 October, while viewing begins from 11am 6 Friday.

The online catalogue is available at: www.larasati.com

 

Viewing:

Friday,           6 October   11am – 7.30pm

Saturday,   7 October     11am – 7.30pm

Sunday,     8 October     11am – 1pm

Auction: Sunday 8 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

 

 

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Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 11 February 2017

 

lot-304-djedeng             Devotion – a unique modernist wood craving by Ketut Djedeng

Upcoming this weekend, Saturday 11 February Larasati Auctioneers present an excellent array of predominantly Balinese traditional art for sale. Lot #335 Dewi Tidur, is a poetic depiction of a sleeping goddess being watched over by nature spirits, by 36-year-old Made Griyawan, a rising star of the renown Batuan school. This is just one of the seventy items of fine art going under the hammer from 3pm at Traditional, Modern & Contemporary Art auction to be held in Ubud, Bali.

lot-339-nadera-ida-bagus-made                   Pertunjukan Arja 1991 – Ida Bagus Made Nadera

From sketches on paper in ink and pastel, to lithographs, woodcarvings, and paintings from various genres of Balinese traditional art, along with some rare gems on offer. The quality of works, along with the price ranges make Saturday’s auction attractive to both the connoisseur, and the new buyer wishing to enter the market at affordable rates. The following is a few recommendations.

lot-325-kayun-i-nyoman              Sacred Sang Hyang Dedari Dance – Nyoman Kayun

Auction highlights for the connoisseurs include works by deceased masters of the 1930’s Pita Maha artists collective, Lot# 363 Sita Satya, by Gusti Ketut Kobot (Pengosekan1917-199) with an estimated price between Rp. 90,000,000 – 130,000,000. Pementasan Calonarang, Lot# 362, by Ida Bagus Made Togog (Batuan 1913-1980) has an estimated price between Rp. 100,000,000 – 125,000,000, and Upacara Potong Gigi, Lot# 352, by Ida Bagus Made Widja (Batuan 1912-1992), with an estimated price between Rp.20,000,000 – 25,000,000, are all strong compositions of balance and harmony.

lot-343-jan-portenaar-javanese-dancer-ooc-91x60                            Javanese Dancer 1958 – Jan Christiaan Poortenaar

Two founding fathers of the Pita Maha are also featured; Bali’s iconic modernist Gusti Nyoman Lempad (1862-1978), Lot #360, Erotic Scene, has excellent provenance with an estimated price between Rp. 35,000,000 – 45,000,000, and influential Dutch artist Rudolf Bonnet (1895-1978), his pastel on paper depiction, Portrait of a Balinese Boy 1956, Lot# 323, has an estimated price between Rp.100,000,000 – 125,000,000.

rudolf-bonnet-portrait-of-balinese-boy               Portrait of a Balinese Boy 1956 – Rudolf Bonnet

Much attention will be focused upon the following lots, Upacara di Pura, 1979, Lot # 314 by popular Sumatran painter Rusli (1922-2005), with an estimated price between Rp. 30,000,000 – 40,000,000. Noted woman Balinese painter Ni Gusti Agung Galuh’s Beautiful Scenery, Lot# 317, with an estimate between Rp. 38,000,000 – 48,000,000, depicts sunlit rice terraces within a mountainous landscape. Lot# 325, Sacred Sang Hyang Dedari Dance, by Nyoman Kayun (b. 1954,Peliatan, Ubud) with an estimated price between Rp. 180,000,000 – 230,000,000, for its size is a rare find. Upacar Melasti, Lot# 353 by Wayan Matra has an estimate price between Rp. 75,000,000 – 95,000,000, the setting sun glows red upon the focal point of a Balinese religious ceremony.

lot-363-kobot-i-gusti-ketut                     Sita Satya ca, 1950’s – Gusti Ketut Kobot

Buyers with an eye for a bargain take note, if purchased within their estimate prices the following lots, including the fore mentioned Lot #335 Dewi Tidur, all represent good buying. Hanoman Membangan Jembatan Rama Setu, Lot # 361, ink on paper by Gusti Made Deblog (1906-1986 Denpasar), has an estimated price between Rp. 20,000,000 – 25,000,000. Kegiatan di Sawah 1963, Lot# 319, by master of the Pitamaha, Ida Bagus Made Nadera, estimated between Rp. 15,000,000 – 20,000,000, and Devotion, a modernist wood carving by Ketut Djedeng, Lot #304, has an estimate price between Rp. 1,500,000 – 2,500,000.

lot-364-sutama-i-made                  World of Dreams, 2016 – Made Sutama

Lots # 364-368 represent special long-term investment buying opportunities, being five works of the nine finalists of the first TiTian Prize. Honoured for innovation in Balinese art, the awards were presented during the one-year anniversary of the TiTian Bali Foundation, 29 January 2017. Lot# 364, World of Dreams in the Keliki style by Made Sutama has an estimated price between by Rp. 50,000,000 – 60,000,000. Nature Teasing, Lot# 368 by an exciting new talent of Batuan, twenty-two-year-old Wayan Aris Sarmanta has an estimated price between Rp. 20,000,000 – 25,000,000. Sarmanta, along with Gede Suryawan, Lot# 367, Living in Nature, are emerging artists with promising futures.   A set of three woodcarvings, Emotion II, Lot# 366, by Made Supena also offer good buying at prices estimated between Rp. 15,000,000 -20,000,000.

lot-353-matra-i-wayan                              Upacar Melasti 2013 – Wayan Matra

Other noted artists include influential Dutchman Arie Smit (1916-2016), with four works on offer, Joko Pekik, Wayan Bendi, and Dewa Putu Mokoh, while Jan Christiaan Poortenaar’s (1886-1958), Javanese Dancer, Lot # 343 is a beautiful composition featuring exquisite negative spaces. The proceeds of Lot # 369 The Bible by Korean artist Lee Ji Hyun, and Lot# 370 Portrait of a Gentleman, by Gerard Pieter Adolfs (1889-1968) will benefit non-commercial art programs on Balinese traditional art.

As an alternative to conventional investments buying art and holding for the long- term, 10-20 years can prove to be sound financial planning, often appreciating ten fold. The market for Balinese traditional art is considered by experts as still being undervalued.

lot-314-rusli                                          Upacara di Pura, 1979 – Rusli

Buyers bidding over the phone, or live online who are unable to attend the previews days or auction are advised to contact Larasati and inquire about the color reproduction accuracy of the images contained within the online catalogue to ensure that what they wish to purchase can be realistically gaged. Condition reports of the works, outlining the paintings current state and whether it has repairs or over painting are available upon request. Provenance, the historical data of the works previous owner/s is also important.

lot-342-rudin-i-ketut                                              Tari Baris – Ketut Rudin

Viewing:

Thursday, 9 February   11am – 7.30pm

Friday, 10 February     11am – 7.30pm

Saturday 11 February   11am – 1pm

Auction: Saturday 11 February, from 3 pm

Larasati Bali Art Space

Jalan Jatayu, Tebesaya, Peliatan, Ubud, Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneers

 

 

 

The Bali Art Scene 2016: The Final Six Months Overview

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

20160827_191628                                                  Arie Smit (1916-2016)

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

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

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

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

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

14642015_1359257894086482_2982552466485278854_n

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

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

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

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

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

20160817_111722                                      Bali LandscapesWillem Kerseboom

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Words: Richard Horstman

Images: Richard Horstman & various photographers

 

 

 

 

Wayan Karja: From a ‘Young Artist’ to Balinese Visionary

p21iwayan-img_assist_custom-511x337                                                       Wayan Karja

Within every Balinese village there is a tale or two to be told.

The association between the master and pupil has played a vital role in the development of Balinese traditional art. The bonds amid teacher and student, father and son, or among relatives have enabled the sharing of ideas, support and tuition. Such relationships helped categorize Balinese art by village styles or ‘schools’.

In the late1920’s – 30’s, Balinese art was being revolutionized and adapted for foreign tastes. The two-dimensional Hindu narratives, Kamasan or Wayang paintings met head on with western aesthetics and the results were dramatic. The development of tourism created large markets for these new paintings, and localized schools of art, such as the Ubud, Sanur and Batuan schools, came to the fore.

20160804_184737                                                “Cosmic Energy 2016”

Fast forward to 1959 when Arie Smit, an accomplished Dutch artist living in Penestanan began sharing art materials with, and teaching young boys in the village. This was the beginning of the “Young Artists” style, and at its height there was about 300 village practitioners. Colorful and fresh, it was very popular in the 1970’s as tourism was enjoying a revival. Penestanan has a distinctive artistic history of its own.

This tale however, is about a painter, art educator and administrator from the village who has succeeded in creating a unique artistic voice within the framework of Balinese modern art.

Wayan Karja’s earliest memories are of sitting in his father’s lap with a paintbrush in hand.

“My father often guided my hand through sketches or marked areas within a composition that I would fill in with color,” Karja says. “I was very lucky to grow up in a thriving art environment, every member of my family within the compound was painting, even the women too. This intense activity was inspirational.”

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Born in Penestanan in 1965 Karja’s natural ability and birthright automatically sealed his fate. Determined to learn more about art he received a wealth of local and international art education. Karja studied in Switzerland in 2008-11 painting abstract landscapes, while in 1997-99 he undertook an art scholarship at the University of South Florida, USA. At the School of Fine Arts, Denpasar, 1981-85 he broadened his knowledge of art theory and international art, and then at the Udayana University in Denpasar, 1985-1990 delved into impressionism and abstraction, and was inspired by Monet, Van Gogh and Matisse.

From 1978-81 Karja studied the Ubud style learning about light, shade and the anatomy. As a child he was introduced to the master pupil association and trained for many years under the watchful eye of his father Ketut Santra who gave him his indoctrination into the “Young Artist” style. “There were no galleries at that time so the buyers came direct to the artist’s home. At the age of 10 I sold my first painting,” Karja recalls.

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In 1994 upon visiting a museum in Switzerland Karja had his most profound art experience. One that began his love affair with modern art. He observed a pure red composition by the American abstract painter Mark Rothko.

“Is this what they call art?” Was Karja’s cynical response.

Yet by the time Karja had completed his tour of the museum the significance of the work was understood. Rothko’s work leapt out from the walls and “spoke” to him unlike any other artist had previously done. Rarely had an Indonesian artist adopted color as their sole message, least of all the Balinese.

“Balinese art is about tight configurations of patterns, details and narratives yet I was always driven to search into its philosophies.” Karja’s journey eventually led him to a deep exploration of cross-cultural thinking and he began combining the philosophy of the Balinese Hindu Mandala colors with modern western techniques. Karja’s initial response to the colors and movement of his environment (landscape and culture) had been based on emotion, yet the impact of Rothko and other western painters demanded from him a new sense of selfexpression.

“Balinese abstraction developed in the 1970’s yet it was different to the western model. Most of our creations are deeply rooted in traditions including icons, symbolic and non-symbolic elements, as well as philosophical and spiritual aspects of the Balinese way of life.” Karja’s direction evolved through intellectual endeavor, “Allowing my work to become simpler and more spiritual,” Karja says.

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Karja’s technique involves building layers of color, often in drips and with the use of watered down medium often creating swirling and dynamic organic forms. The works may be subtle and shimmering, or powerfully vibrant. They are always inviting, meditative and mysterious, creating aesthetic contrasts between the landscape and the cosmos.

“There is no separation between art and life,” Karja says. “Life is color and my physical and spiritual journey is to become an accomplished colorist painter.”

His contribution, via teaching, to the development of Balinese art has been substantial. Karja began in 1990 at the School of Fine Arts in Ubud and then at the Indonesian Institute of the Arts (ISI) in Denpasar where he continues teaching to this day. Over the years he has taught locally and abroad holding various positions, from 2002-04 as head of the Fine Arts Dept., Indonesian College of the Arts (STSI), Denpasar and from 2004-08 as the Dean of the Visual Arts Department at ISI.

“I enjoyed and benefited from this experience,” he says. “However being an administrator took me away from my artistic dreams.”

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Karja has exhibited in many international countries and frequently travels locally and abroad giving lectures, speeches and engaging in collaborative projects. At his family’s guesthouse Santra Putra in Penestanan is his gallery and studio, along with a space open to the public for workshops and events, where he teaches tourists and often hosts exhibitions by young local artists.

“Journey to the Unknown” Karja’s March 2015 exhibition in Jakarta showcased 42 paintings created between 2010-15 was an outstanding success. “The audience’s response was excellent, nonetheless I experienced an unexpected sense of liberation. I realized to complete a procession from childhood through to adulthood, my transition from a world of freedom to one dominated by mental activity, in order to sustain my creative journey I have to return to a childlike state.”

“I have now opened a new door with the motto – play, flow and free. I am invigorated and my works reflect a new joy,” Karja says.

“Now I am learning how to play again.”

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http://www.wayankarja.com

Words: Richard Horstman

 

 

The Legacy of Arie Smit 1916-2016

20160827_191628The Death of Dutch Colorist Arie Smit 23 March 2016 is an Enormous Loss to The Canon of Southeast Asian Art.

 

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

Renowned for his vibrant landscape paintings and scenes of Balinese village life Smit is a much-loved artist; his work forms part of collections in Indonesia, and throughout the world. Characterised by rapid movements with dense mosaics of color, allowing only scenic images to emerge in abstract forms, Smit’s compositions resemble an impressionist-pointillist style, and have been dubbed “Poems of Color.”

painting-by-arie-smit-image-richard-horstman                                        “Rhythms of Life” 1990

Drafted into the Netherlands army, sent abroad and stationed with the topographical service in Batavia, now Jakarta, Smit first set foot in the Dutch East Indies in 1938. Previously he studied art at the Academy of Arts in Amsterdam. In 1942 with the out break of World War II he was imprisoned by the invading Japanese army, later being shipped to Singapore, Thailand, and then Burma to undertake forced labour.

In 1950 Smit returned when the Dutch acknowledged Indonesia’s sovereignty after the revolution of Independence (1945-1949), becoming an Indonesian citizen. He settled in Ubud in 1956. Enchanted by the tropical light and landscape he roamed throughout Bali, reputedly moving house 36 times. Smit became the most important stimulator of painting on Bali, post Second World War.

20160827_192255                              “Full Moon Ceremony” 1994

“The Balinese trust more in their feelings than which meets the eye,” said seminar speaker Suteja Neka, founder of the Neka Art museum, long time friend, and Smit’s art dealer. “Smit’s unique skill was in capturing the potent invisible elements of Bali in his dazzling colourful verve.”

“Smit had a different way of seeing Bali’s landscape compared with the other Western artists of the 1930’s-1950’s era,” said art observer, Indonesian Art Institute (ISI) lecturer, curator and artist Dr. Wayan Kun Adnyana. “Bringing a western perspective, similar to fauvism, through his personal interpretation colour became the language and entity to explore and communicate Bali’s tropical nature.”

20160827_192221                               “Galungan Holiday” 1996

“In 1960 Smit began sharing art materials with, and teaching young boys in the village of Penestanan, near Ubud. This was the beginning of the “Young Artists Style”. At its height there was more than 300 practitioners,” said international artist and ISI lecturer Wayan Karja, who was born in Penestanan in 1965. “He helped transform the village, and prosper economically; poor farmers turned into painters. Not only was he an art teacher, Smit was a father figure to the village as well.”

The “Young Artists Style” was fresh and exciting; 60’s Balinese psychedelic pop art that emphasized color, the denseness of pure decoration, with a strong graphic sense. Smit did not attempt to influence the style of boys work, only the subject matter of village life. At his home studio he was careful to keep his paintings out of sight so they were never copied.

During the tourism boom of the 1970’s the genre became enormously popular.

20160827_192357                                                “Orchids” 1991

Smit’s work comes in a wide range of formats, from small postcard sizes to works of 1.5 meters or larger. After the 2008-2010 Indonesian contemporary art boom that witnessed over inflated prices for up and coming artists, collectors shifted their focus to Indonesian modern art. Paintings by the old masters became popular, some of which were considered as undervalued.

In 2011 the market realized a record price for the most expensive work sold at auction by Smit at the March Larasati Singapore sale. “Balinese Village and Farmlands” sold for close to 5 times its estimated price at a high of US $ 124,000. At Christie’s Hong Kong Asian 20th Century Art Sale May 2015 Smit’s “Pura” sold for just over US $ 207,000.

20160827_192435                                 “A Tropical Garden by the Sea” 1999

Nowadays many of Smit’s works sell for modest prices within their estimates and under US $4,000. The Smit connoisseurs however, are very specific about their choices with some willing to compete bidding the prices up, determined to secure their desired trophy works.

During Sotheby’s Hong Kong Autumn Sales 2016 in the Modern and Contemporary Southeast Asian Art Day Sale 3 October thirteen paintings by Smit, ranging through the decades from the 1970’s – 1990’s, go under the hammer. They are sure to attract much attention from regional and international art collectors.

20160827_192122                                              “Low Tide” 1988

Believing that a painter’s style was, in short, his personality, Smit’s oeuvre reinforced his claim, reflecting traceable changes and developments over time. His aesthetics created a greater position for Bali within the context of Indonesian art.

Arie Smit spent his final days lying peacefully in bed at home in Ubud, despite his failing eyesight his mind remained clear. Famed for his “broken colors” style, his passing is a monumental loss to the canon of Southeast Asian art.

20160827_192147           “A Split Gate. Three Women and a Dog, And Two Heron Birds” 1999

The paintings pictured above are just a small part of the Arie Smit collection at the Neka Art Museum on Jalan Raya Sanggingan, Ubud.

 

Indonesian Art Growing in Popularity With Regional Collectors: Reviewing Sotheby’s Hong Kong Autumn Sales 2016

sothebys-auction-scene_modern-and-contemporary-asian-art-evening-sale-image-coutesy-sothebysScene from the Sotheby’s Sale 2 October, Affandi’s “Borobudur and the Sun” 1984, sets a new world record for the artist selling for US $ 1.26 million. All Images courtesy of Sotheby’s  Hong Kong.

 

More than 290 items of fine art went under the hammer in two auctions of special interest to collectors of Indonesian Modern and Contemporary Art during Sotheby’s Hong Kong Autumn Sales 2016. The Modern and Contemporary Asian Art Evening Sale 2 October, and the Modern and Contemporary Southeast Asian Art Day Sale 3 October featured paintings by the prominent Indonesia artists. More than half the total of auction lots sold achieving prices over their high estimates, reflecting a well-curated sale aligned with the current market.

affandi_borobudur-and-the-sun                        “Borobudur and the Sun” 1984 – Affandi.

There were two notable highlights of the Modern & Contemporary Asian Art Evening Sale, of the four works by Indonesia’s most internationally renowned modernist Affandi (1907-1990), 2 sold within their estimated prices, however Lot # 1034 “Borobudur and The Sun” 1984, estimated between US$ 585,000 – 880,000 set a new world record for the artist selling for US $ 1.26 million, including the buyers premium.

ay-tjoe-christine-when-it-is-the-only-path-of-going-home-image-courtesy-of-sothebys-hong-kong“When It Is the Only Path of Going Home” – Ay Tjoe Chrsitine. Sold for US $ 429,000.

Indonesia’s most sought after female contemporary painter Ay Tjoe Christine (b.1973) is distinguished by her sensitive, yet often dark and moody abstract compositions. Lot # 1071 “When It Is the Only Path of Going Home”, estimated price between US $ 77,500 -104,000 sold for a whopping US $429,000. Another work by Affandi, Lot #1035 “Balinese girl with Piglet” estimated between US $ 232,000 – 322,000 sold for US $ 505,000.

lee-man-fong_satay-vendor-with-mother-and-son “Tukang Sate Dengan Anak & Ibu” – Lee Man Fong. Sold for US $ 161,000.

Lot # 1064 by Lee Man Fong (1913-1988) “Setelah Mandi” with an estimated price between US $ 77,000 – 116,000 sold for US $ 145,000. Lot # 1061 “Village Life” 1975, by Hendra Gunawan (1918-1983), estimated between US $ 710,000 – 1,100,000, sold for US $ 846,000, while Lot # 1073 “Proud” 2012, by Nyoman Masriadi (b.1973), estimated between US $ 258,000 – 387,000 sold for US $320,000.

09_hendra-gunawan_chicken-vendors               “Pedagang Ayam” – Hendra Gunawan. Sold for US $ 350,771.

Highlights of the 3 October Modern & Contemporary Southeast Asian Art Day Sale include Lot # 399 “Landscape Gunung Kawi, Bali” by Srihadi Sudarsono (b.1931), estimated price between US$ 49,000 – 71,000, sold for US $ 89,000. Lot # 391 “Pedagang Ayam” by Hendra Gunawan estimated between US $154,000 – 232,000, and sold for US $ 350,771, and Lot # 368 “Three Women in the Garden” by Adrien le Mayeur (1880-1958) estimated between US $ 154,000 – 232,000 sold US $ 319,821.

srihadi-sudarsono_landscape-gunung-kawi-bali       “Landscape Gunung Kawi, Bali” – Srihadi Sudarsono. Sold for US $ 89,000.

Again Ay Tjoe Christine was popular, Lot # 218 “When I See It Is The Only Way Home #1”, estimated between US $ 38,000 – 64,000 sold for US $ 258,000. Mochtar Apin (1923-1994) with Lot # 385 “Memecah”, a wonderful abstract triptych with an estimated price between US $ 38,000 – 64,000 sold for US $ 92,720. Lot # 364 “Exotic Nude With Gong” by Antonio Blanco (1923-1991) with an estimated price between US $ 8,000 – 12,000 sold for US $ 25,972.

2-lot-368-adrien-jean-le-mayeur-de-merpres_three-women-in-the-garden   “Three Women in the Garden” – Adrien le Mayeur. Sold US $ 319,821.

Lot # 227 “Seven Magnificent Masterpieces #1&2”by Bali’s Gede Mahendra Yasa (b.1967) is from a series focusing on the exploration of Balinese aesthetics, with an estimated price between US $ 38,700 – 64,500 the works sold for US $ 116,000. Collectors responded with enthusiasm to works by emerging artists demonstrating the healthy development of the market, two Indonesian artists with strong results were Oky Rey Montha (b. 1986) Lot # 225 “The Dark Salvador” estimated price between US $ 5,800 – 8,300 sold for US $ 11,284, and M Irfan (b. 1972) with Lot #237 “One Day For Good Day” estimated between US $19,000 – 25,000 and selling at US $ 40,000.

mochtar-apin_memecah-triptych-1 “Memecah” – Mochtar Apin. One third of the triptych that sold for US $ 92,720.

The recent death of renowned Dutch colorist Arie Smit (1916-2016) was an enormous loss to Indonesian art. Thirteen paintings within a range of prices went under hammer, four failed to sell, while 8 sold within the estimated prices, however Lot # 348 “Full Moon in Bali”, estimated price between US $ 14,000 – 20,000 sold for US$ 20,956. Other well known artists included in the sales were S. Sudjojono, Dullah, Agus Suwage, Entang Wiharso, Agung Mangu Putra, Heri Dono, Rudolf Bonnet and Willem Hofker.

gede-mahendra-yasa_i-seven-magnificent-masterpieces-image-courtesy-of-sothebys“Seven Magnificent Masterpieces #2” – Gede Mahendra Yasa.  His two works sold for US $ 116,000.

“In 1996, Sotheby’s began selling Southeast Asian Art in Singapore. The auctions for the category moved to Hong Kong in 2008, providing a platform for increased international exposure,” said Sotheby’s Hong Kong Head of Department, Southeast Asian Art, Kim Chuan Mok.

“Southeast Asian art is considered relatively affordable compared to art in other regions, making it a popular entry point for new collectors. Indonesia dominates the region’s art market with a greater than 50 percent market share based on total auction sales at Sotheby’s and Christie’s.”

lot-348_full-moon-in-bali                     “Full Moon in Bali” – Arie Smit. Sold for US$ 20,956.

An example of the buoyancy of this market was evident at the 2015 Sotheby’s Autumn Sale with Hendra Gunawan’s “Bathing in the Shower” selling for US $ 1.3 million, more than 5 times higher than the most expensive Southeast Asian painting sold at the first auction for the category in 1996. The results of the 2 & 3 October auctions confirm the growing demand for Indonesian modern and contemporary art by regional collectors (Taiwan, Hong Kong & Japan), especially works by the maestros, by collectors seeking quality.

nyoman-masriadi-proud-image-courtesy-of-sothebys-hong-kong

“Proud” 2012 – Nyoman Masriadi.  Sold for US $320,000.

Words by Richard Horstman

 

Larasati Traditional, Modern & Contemporary Art Auction: Bali 21 August

made-sutama-the-dream-image-richard-horstman                                “The Dream” 2015 –  Made Sutama (b. 1977 Keliki)

Eighty works of fine art went under the hammer before an enthusiastic floor of bidders at Ubud’s ARMA museum 21 August Larasati Traditional, Modern & Contemporary Art auction. The attractive array of paintings in Balinese traditional styles and Indonesian modern and contemporary genres offered good buying opportunities in prices ranges suitable for new collectors and connoisseurs alike.

From the beginning of 2016 real time bidding has been available through the Larasati website, opening the auction to a global audience. The auction featured spirited bidding both on the floor and via telephone, and purchases online. Most of the works sold within their estimate prices while for new collectors purchases were available starting from Rp. 3.5 million.

20160820_181740                                      “Aksi Badut and Topeng” – Ketut Sadia (b. 1966 Batuan)

Ida Bagus Putu Sena (b. 1966 Tebesaya, Ubud) is a remarkable talent, his characteristic style while being extraordinarily detailed, features dark and moody compositions. Lot #523 “Shadow Puppet Show” 2009, estimated price between Rp. 75 – 90 million, was hammered down for Rp. 95 million. (all works incur a 22% buyers premium on top of the auctioneers selling price). Lot #530 “Petani’ 2003 by Ketut Kasta (b. Peliatan 1945), a beautiful figurative work in muted pinkish hues, serene in its simplicity was estimated between Rp. 25 – 30 million and sold for Rp. 40 million.

Iconic Dutch painter Arie Smit (1916-2016) died in March at home in Ubud, only days short of reaching the golden age of one hundred years old. Responsible for the development of the “Young Artists” style of Balinese traditional art in the early 1960’s, since his passing prices for his some works at Hong Kong auctions have noticeably increased.

putu-deaw-bedil-suasana-pasar-image-richard-horstman                                    “Suasana Pasar” –  Dewa Putu Bedil (1921-1999)

Of the three lots available, Lot #546 “A Girl Leaving the Temple” estimated between Rp. 65 – 75 million, sold for Rp 65 million, Lot #547 “The Forest“ estimated between Rp. 95 -120 million sold for Rp. 85 million, while #548 “Boy” 1988 estimated price between Rp. 270 – 320 million, however failed to sell.

Works of painstaking miniature detail characterize the Keliki School of Balinese traditional art. Three excellent paintings were available by up and coming artists who represent the future of this genre. Lot #519 “The Dream” 2015 by Made Sutama (b. 1977 Keliki) is a colorful fantastic composition, estimated price between Rp. 10 – 12 million sold for Rp. 9.5 million. Lot # 520 “The Death of Kumbakarna” 2014 by Putu Kusama (b.1986 Keliki) with an estimated of Rp. 12 – 15 million sold for Rp. 17 million via the internet, and Lot # 550 “Festivity at Temple” by Made Ocen (b. 1974 Keliki) undervalued with an estimate price between Rp. 10 – 12 million and sold for Rp. 9 million. Each of these works offered excellent buying for the seasoned collectors along with those with mid range budgets for good long-term investments.

a-a-gede-anom-sukawati-mengarak-jero-gede-image-by-richard-horstman            “Mengarak Jero Gede” 2003  –  A.A. Gede Anom Sukawati (b. Ubud 1966)

A rare old work by the renowned Batuan painter Wayan Bendi Lot # 555 “Tourists in the 1950’s” estimated price between Rp.15 – 20 million sold for Rp. 14 million. Lot # 505 “Aksi Badut and Topeng” by another outstanding Batuan painter Ketut Sadia with an estimated price between Rp. 16 -20 million sold for Rp. 16 million offering good value buying for this innovative composition. Considered an “outsider artist” Putu Dewa Mokoh (Pengosekan 1936-2010) is a painter of unusual, often quirky and humorous compositions. Lot # 502 “Berenang di Laut” estimated price between Rp. 18 – 22 million sold for Rp.16 million, while Lot #558 “Hunting in the Forest” estimated price between Rp. 28 – 35 was hammered down for Rp. 30 million.

ketut-kasta-petani-2003-image-richard-horstman                                       “Petani’ 2003 –  Ketut Kasta (b. Peliatan 1945)

The Pitamaha artist’s collective played a decisive role in the development of Balinese modern traditional art from 1936-1945 and two works by deceased masters of the collective were available. Lot# 567 by Gusti Ketut Kobot (1917-1999) “Garuda Whisnu” was undervalued for its size of 105 x 75 cm, estimated price between Rp. 90 – 110 million and selling for Rp.85 million. While Lot #568 by Ida Bagus Made Togog (Batuan 1913 – 1989) “Story of Dukuh Siladri” a shimmering work of exceptional quality and condition, estimated price between Rp. 270 – 350 million, sold for Rp. 350 million.

Lot # 569 “Suasana Pasar” Dewa Putu Bedil (1921-1999) is a extraordinary work of balance and beauty, being undervalued at the estimate between Rp. 75 – 90 million, it sold for Rp. 95 million. Of the contemporary works available sought names such as Jumaldi Afli, Ugo Untoro and Dede Eri Supria attracted only marginal attention, yet offered good buying opportunities for new collectors wishing to purchase works by big name artists.

arie-smit-a-girl-leaving-the-temple-photo-by-richard-horstman                               “A Girl Leaving the Temple” – Arie Smit (1916-2016)

The most prized work of the afternoon was the final item, was Lot # 580 “Mengarak Jero Gede” 2003 by A.A. Gede Anom Sukawati (b. Ubud 1966) arguably Bali’s finest living traditional painter. His 75 x 135 cm acrylic on canvas composition, a stunning dance scene of detail and vibrancy, estimated price between Rp. 160 – 190 million, realized determined bidding selling for a world record price for the artist at Rp. 345 million, inclusive of the 22% buyer’s premium.

Words & Images: Richard Horstman

20160820_182538             “Story of Dukuh Siladri” – Ida Bagus Made Togog (Batuan 1913 – 1989)

20160820_181951                   “Berenang di Laut” – Dewa Putu Mokoh ((Pengosekan 1936-2010)