Tag Archives: Kemal Ezedine

WHAT’S NEXT – A Group Art Exhibition

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

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

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

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

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

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

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

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WHAT’S NEXT

Continues until 20 April
Sika Contemporary Gallery

Jalan Raya Sanggingan No.88X, Ubud

opposite Bintang Supermarket

Tel: 0361 975084

Open daily 9am – 6pm

Words & Images: Richard Horstman

 

 

 

 

 

 

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CROSSING: Beyond Baliseering

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Narasi Menunngu Lahiran (The Anticipation of Giving Birth) 2016 –  Made ‘Dalbo’ Suarimbawa, in the foreground, background: The Fireflies #1 2016 – Budi Agung Kuswara

 

Bali holds a special place within the hearts of many Australians and while Balinese traditional art has long been recognized as an international icon, Australian audiences however, know little, or nothing about contemporary art from Bali.

As a platform for understanding contemporary Balinese and Indonesian culture, and maintaining a cultural bridge between Indonesia and Australia, Crossing: Beyond Baliseering, a group showing of emerging contemporary artists from Bali opened 6 December at FortyFive Downstairs Gallery in Melbourne.

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

Crossing: Beyond Baliseering reflects upon Bali’s visual and social culture while exploring themes of personal life experiences, environmental, social and political issues in the contemporary society, showcasing a range of paintings, photography, sculptures, and large-scale installations by some of the finest artists in Bali.

Presented by Project 11 as part of Multicultural Arts Victoria’s Asian contemporary arts festival Mapping Melbourne 2016, the exhibition features work by 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.

20160913_121758                                 Let’s Play Series #2 2016  – YoesoefOlla

The policy of ‘Baliseering’ was first introduced in the 1920’s by the Dutch colonial government to train locals to continue the traditional arts of dance, theater, painting, sculpture and literature. Visually, this meant that art portrayed scenes of the Balinese in cultural activities and ‘authentic’ settings that became fastened in the Balinese art identity through the media and tourism.

Attended by members of Melbourne’s Indonesian community along with the local art community, FortyFive Downstairs Gallery, situated in the inner city gallery precinct, was full with enthusiastic art lovers during the opening.  While warmly welcoming the foreign artist’s, many of the audience engaged deeply with both the artists and their artworks.

20161206_171049                                 Mea Vulva, Maxima Vulva 2016  –  Citra Sasmita’s

Made Aji Aswino is an avid critic of Indonesian and Balinese society, focusing especially upon the pitfalls of the human ego. Aji exhibited a 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). The outside of the entry features craved figurines and faces of ego monsters, along with typical iconography to be found in Balinese wood cravings.

Vibrantly painted figures adorn the work with long conical noses echoing a Pinocchio-like-character – a reflection on the pretensions and lies of everyday society the artist witnesses. The dynamic colors of the outside of the entrance represent varieties of ‘disorderly’ personalities, while the inner side of Doors of Perception reflects duality, painted in subdued monochrome representing the ‘peaceful’ personalities.

baliseering-kemal-ezedine                                         Baliseering 2016 – KemalEzedine

Kemal Ezedine presents Baliseering 2016, 180x 300 cm, a mixed media narration about the influence of the Dutch Colonial government in shaping the political identity of Bali. His colorful mixed media work  combines and layers the techniques of a traditional Indonesian painting method adapted from European practices alia prima, or the direct painting technique, with graphic techniques inspired by Balinese scared drawings, and Indonesian social realism art. The results are a dynamic composition layered with technical and philosophical meanings.

One of Bali’s most well-known emerging artists Wayan Upadana exhibited three excellent works, Globalisation Euphoria 2010 features a chocolate covered Rangda reclining in a white bath tub, while Glo(BABI)sation 2013 a chocolate coated pig relaxing in a modern kitchen sink. Si Gendut Pencari Tuhan (Fatty the God Seeker) 2013 on the other hand features a Barong masks attached to a fat naked body sitting in the lotus position. Upadana makes critical social references while adapting icons of the Balinese culture in his polyester resin works that are technically and conceptually strong.

20161206_171301           Si Gendut Pencari Tuhan (Fatty the God Seeker) 2013 – Wayan Upadana

Two dimensional works featuring contrasting images of iconic Bali are presented by Budi Agung Kuswara, The Fireflies # 1&2, 2016, Golden Farmer, 2016, both cyanotype (photogram) and pigment prints on archival paper provide strong aesthetic impacts while being interesting departures in media adaptation and technical skills. Natisa Jones exhibits two engaging abstract figurative compositions that reflect on identity, while Made Valasara presents his signature canvas relief works that break with the conventions of Balinese traditional painting.

 Pantaggruelisme 2016 utilizes polyethylene terephthalate stuffed in canvas, while in The True Portion of David 2014 Valasara uses laminated canvas. Adopting the canvas as a standalone medium, along with sewing techniques, he layers and fills the canvas to create 3 dimensional embossed, or as in The True Portion of David debossed compositions.

20161206_172001                                 The True Portion of David 2014 – Valasara

Art of Whatever’s Everyday is Sunday 2016 invites people to sit, relax and reflect upon his functional art creation.  The colorful three meter couch shaped into a reclining figure with tentacles for a head, along with matching helmets were popular with the audience, many opting to loll and engage in the light-hearted art experience.

Yoeseof Olla Let’s Play Series # 1,2&3 2016, features three leather wall hangings, compositions in permanent marker that combine pop and street art imagery that parodies the popular international perception of Islam and the burqa wearing Muslim women.

One of the strongest works in the exhibition is Narasi Menunngu Lahiran (The Anticipation of Giving Birth) 2016, a sculptural mother and child representation by Made ‘Dalbo’ Suarimbawa. During recent years Dalbo has been experimenting with paper upon his two-dimensional compositions, Narasi Menunngu Lahiran however reveals his greater commitment to technical skill and concept in this enthralling installation that reveals incredible attention to details and defines him as an artist of unique talent.

20160911_160047                                 Everyday is Sunday 2016  – Art of Whatever

Citra Sasmita’s works make strong statements about gender politics within the patriarchal Balinese society. Always confronting, Citra exhibits three works, two paintings and one installation, Mea Vulva, Maxima Vulva 2016 that features ceramic vagina’s within a set of scales and comments upon social class distinctions.

Street artist Slinat (Silly in Art) presents a poignant and intriguing installation Ironic, Ironic Island 2016 that features his signature gas masked figures upon wooden windows and doors adopting imagery from iconic paintings by Abdul Aziz. He contrasts Bali’s exotic and peaceful international tourism marketing identity with current social and economic issues that are currently confronting the people of Bali.

20161206_173918                                   Ironic, Ironic Island 2016 – Slinat

Crossing: Beyond Baliseering

Continues through 17 December 2016,

FortyFive Downstairs Gallery

45 Flinder’s Lane, Melbourne.

Open: Tuesday – Friday 11am – 5pm

Saturday 12pm – 4pm

+613 9662 9966

20161206_170438                                    Sitting at Home 2014 – Natisa Jones

Words & Images: Richard Horstman

Neo Pitamaha – An Art Movement in the Making?

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

Held at the location of former residence of the iconic Bali art influencer, Dutch painter Rudolf Bonnet (1895-1978), this collaborative project features street art by artists from Bali & Jakarta, along with paintings by selected emerging local talent from Batuan, Ubud, Tabanan and Denpasar. In this event, which is set within the gutted interior of a building, twenty young artists reveal their interpretation of the Pita Maha (great spirit, guiding inspiration) in dynamic contemporary art that challenges the establishment.

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The Pita Maha was a famous artist’s collective established in Ubud in 1936 by Tjokorda Agung Sukawati, Prince of Ubud , senior local artist and Bali’s first modern master Gusti Nyoman Lempad and expat Europeans, Walter Spies (1895-1942) and Rudolf Bonnet. Its vision was to develop and preserve a new art genre, labeled Balinese modern traditional art, and to present it outside of Bali.

 

Commercially and culturally, the birth of the Pita Maha, and its legacy had dramatic consequences. Large and new markets began to open for Balinese artists, from the 1930’s the initial wave of European and American tourists began to arrive, and an industry evolved to carter for their needs. Ubud as a consequence became perceived as the epicenter of Balinese Art and Culture.

20161023_161832                                    Painting by Wayan Budiarta

Located opposite the Campuhan Hotel on Jalan Raya Campuhan, for two decades the building that is the venue for A Brutal Contrast of Concrete and Kamasan Painting has remained unused. Stripped back to its core structural form of raw, concrete ceilings and floors, with aging white washed brick walls, it becomes the perfect environment for an underground event that within it’s soul is deeply rooted in ideology, and peppered with controversies from the Dutch colonial past.

Street art by Unclejoy, the Punten, Ego, Saf, Ola, Slinart and Kemalezedine, with potent sociopolitical content rendered in dynamic spray can color brings the tired, forgotten interior into vibrant life. Emerging Balinese contemporary Balinese artist Made Aji Aswino, a.k.a Ego continues on with his theme about the monster that is the human ego. His works makes references to the phenomenon of materialism that is engulfing modern Bali, and he juxtaposes his monsters of the ego identity with popular consumer icons. Kemalezedine meanwhile takes images from Dutch colonialism making reference to the era of the Pita Maha artists collective.

wayan-aris-sumanta                                Painting by Wayan Aris Sumanta

The paintings by emerging young Balinese artists are positioned to create a dynamic contrast with the street art, and igniting the interior walls. The artists include Dewa Gede Sanju, Gede Anton, Wayan Budiarta, Pande Made Di Artha, Made Ariana, Dwi Wayan Eka, Wayan Aris Sumanta, Gede Dwiyantara, Kadek Jutawan, Agus Suputra, Ketut Sumadi & Wayan Mandiyasa.

Batuan artists Wayan Budiarta and Wayan Aris Sumanta reveal that the Batuan School of painting boasts fresh and exciting talent, and that the recent formation of the Baturlangan artists collective in Batuan is reinvigorating this famous genre of Balinese art. Both artists possess a rare talent, while Budiarta’s works, one with powerful surrealistic elements, are especially outstanding.

street-art-by-ego-a-k-a-made-aji-aswino                                   Street Art by Ego, a.k.a Made Aji Aswino

This event is organized by Kemal Ezedine, one of the founding members along with Gede Mahahendra Yasa of the new art movement, the Neo Pitamaha. The Neo Pitamaha is an exciting development in Balinese contemporary art that has it ideology deeply rooted in the historical development of Balinese art during the past century, and began in 2013 with Mahendra Yasa, Ezedine (b.1978 Yogyakarta) and two other Balinese artists.

“We (the members of the Neo Pitamaha) have knowledge of history, culture, narratives and symbols within Balinese art yet we do not use this for our art discourse,” Ezedine says. “We aim to reinterpret this from a contemporary art perspective – retaining the principles involved with the techniques and methods. By opening this to new viewpoints we endeavor to awaken new spirit and introduce a fresh model of possibilities into Balinese art.”

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During the past 3 three years Ezedine and Mahendra Yasa have strategically set out to impact upon the Indonesian contemporary art scene participating in high level events in Java; exhibitions and art fairs in Bandung, Jakarta and Yogyakarta. Their presence was especially visible during August at the two international art fairs Art Stage Jakarta 2016 and 2016 Bazaar Art Jakarta.

A highlight of A Brutal Contrast of Concrete and Kamasan Painting opening was the palpable atmosphere that graced the event. A rare buzz of excitement was alive within the venue adding a fresh dimension to the already extraordinary event.

wayan-budiarta                                   Painting by Wayan Budiarta

Throughout the history of Indonesian art, artist’s collectives have played an essential role in shaping Indonesian modern and contemporary art. The art/anti colonial collectives that evolved last century in Java (PERSAGI 1938, POETERA 1942) played defining roles in the pro nationalism movement, while importantly using art as propaganda. In Bali the importance of organized art communities cannot be overstated.

There some key factors that give birth to art movements and the Neo Pitamaha have already succeeded in striking important targets, along with capturing a lot of attention in the Indonesian art capital of Jakarta. What remains next will play a defining role. One vital element within their ideology involves an important, yet tragic story of one of the true pioneers of Balinese art who was murdered by pro Dutch sympathizers in Batuan in 1946.

This is an anti establishment story.

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Cahyendra Putra and the Neo Pitamaha Invite You To: A Brutal Contrast of Concrete and Kamasan Painting was a part of the 2016 UWRF Art Exhibitions program and is listed in the UWRF Program Book on page 40, as Bali Underground: Pita Maha And Rudolf Bonnet. It was located on Jalan Raya Campuhan, opposite the Campuhan Hotel, upstairs on level 2 of the building that on the ground floor is a Notaris office. Look for the stairway and then head up.

Continuing through until 30 October, open daily 09:00 – 17:00.

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Words & Images: Richard Horstman

 

 

 

 

 

 

The Bali Art Scene 2016 – An Overview

Citra Sh"Torment"

“Torment”  2015 – Citra Sasmita one of the strongest works from the ‘Bali Art Intervention #1’ “Violent Bali”

This overview looks back over the past six months (and more) at exhibitions and happenings of note in the Bali art scene which in the past year has witnessed some critical infrastructure developments.

Closing out 2015 ‘Bali Art Intervention #1’ “Violent Bali”, open 10 November at the Tony Raka Art Gallery in Ubud, featured the work of 60 artists, and was the strongest collective showing of contemporary art in Bali since July 2013’s “Irony in Paradise” by Sanggar Dewata Indonesia at ARMA. Slated to run for a month the exhibition continued into the new year and works by Citra Samsita, Wayan Wirawan, Agus Cahaya, Ida Bagus Putra Adnyana, Pandi Acmadi, Tatang BSP, amongst many others were worthy of mention.

Made Budhiana. "In the Darkness of Night" Image M. O'Riordan “In the Darkness of Night” 2015 – Made Budhiana from the “Cruise Control” Exhibition

“Cruise Control Indonesia – Top End Artist’s Camp Exhibition” 23 January – 13 February 2016 at the Northern Center of Contemporary Art (NCCA) in Darwin, Australia showcased the some of the fruits of the 2015 Artist’s Camp, an engagement by 6 Indonesian artists in the Northern Territory (NT). For five weeks Made Budhiana, Wayan Wirawan, Made Sudibia, Made ‘Dalbo’ Suarimbawa and Ni Nyoman Sani from Bali, and East Javanese artist Suryani were guests of the government of Northern Territory and were exposed to foreign lands and societies, and delved creatively into new visual and conceptual territories.

The biannual Artists Camp, which was first held in 2012 in the NT, and then with two subsequent Camps in Bali (2012 & 2014) is the initiative of Australian art lover Colin MacDonald and Made Budhiana, working with the NCCA, expanding upon the original modal of the Artists Camp that first began back in 1978. The exhibition displayed some outstanding works of cross-cultural engagement and its success in underlined by the support the Chief Minister of the NT government and the Commonwealth Bank of Australia. Despite international political relations between Indonesia and Australia recently weathering stormy seas, art and cultural remain the most important and enduring engagements between the two countries.

TiTian Art Space. Image by Richard Horstman                 TiTian Art Space – Image Featuring works by Teja Astawa & I.B. Purwa

Merging perceptions and practices from the past with the present, along with an innovative vision for the future, Yayasan TiTian Bali (YTB), a new art foundation launched 29 January 2016 at Bentara Budaya Bali cultural center, is setting out to revolutionize Balinese art. Inaugurated on the 80th anniversary of the founding of the Pitamaha artists collective in Ubud, the Balinese artist co-operative TiTian Art Space, located on Jalan Bisma Ubud, will help transform artists into art entrepreneurs within the creative economies.

The brain child of the former 20 years volunteer curator and international liaison officer for Puri Lukisan Museum, Soemantri Widagdo, exhibitions hosted this year have showcased some of the finest Balinese traditional and contemporary artists such as Teja Astawa, Ida Bagus Putu Purwa, Made Griyawan, Aris Sumanta and Gede Widyantara to name a few. The June “Traces Under the Surface – Batuan Painting Exhibition” set 3 generations of Batuan painters from one family side-by-side in a unique expose into the development of Batuan painting. The regular series of exhibitions and workshops along with the revolutionary vision of YTB are an exciting and important addition to the Bali art infrastructure.

With plans to build a Museum of Contemporary Art (Bali MOCA), an international class museum located in Ubud, within the next ten years, exhibiting both old and new work of the highest quality, YTB expects to inspire new directions and achievements in Balinese art, while being the premier hub for Balinese visual arts by 2021.  Balinese traditional art is undergoing an exciting revival underpinned by fresh young talent and strategic collective activity, for example in Batuan led by the formation of the Baturlangan Artist Collective of Batuan.

With the mission to place Balinese art on global platforms the welcome addition of  YTB to the Bali art scene will aid in future consolidation of the current flourishing of Balinese traditional painting. The 21st century ushers in a new paradigm of global thinking and the art world is responding and evolving especially due to the impact of the internet and social media which is empowering individuals to develop global brands and presence. Yayasan TiTian Bali is building a new eco system for Balinese art for the 21st Century.

A.A Gede Anom Sukawati-"Tari Joged Bumbung". Image courtesy of Larasati“Joged Bumbung” 2008 – A.A Gede Anom Sukawati featured in the 1oth Anniversary Larasati Balinese Modern Traditional & Contemporary Art Auction at ARMA Ubud.

Results of the special 10th anniversary Larasati Balinese Modern Traditional & Contemporary Art auction at ARMA 28 February confirm that the market for Balinese traditional art is growing steadily while providing excellent value through the low to medium and high price ranges. Emphasizing quality over quantity the 81 items birthday sale featured a parade of beautiful works including sketches, watercolors, wood carvings and paintings by “Old & Young” Balinese masters.

During the past decade, with two auctions per year in Ubud Larasati have opened up an international forum for the trade of high quality traditional Balinese works, especially paintings. By introducing professionalism of an international standard that Bali had yet to experience in its art dealings Larasati has helped create a real, healthy market for traditional Balinese art. The auction included works by popular artists I.B Made Poleng, Gusti Lempad, Made Sukada, A.A Gede Anom Sukawati, and I.B Nyana to name a few.

A feature of the sale was Larasati Auctioneers providing for the first ever real-time data over the internet allowing easy, direct access to buying opportunities for a global audience. The auction audience revealed more foreigners in attendance than Indonesians being a testament to the developing international market of the Balinese art which is considered by experts to be undervalued. Larasati CEO Daniel Komala confirmed that the outcome of first ten years of auctions have exceeded all expectations.

I GAK MURNIASIH - SEDANG ACTION - AOC - 100 x 100cm - 2003                                                  “Sedang Action” –  I GAK Murniasih

“Merayakan Murni / Celebrating Murni”, a project gathering local and regional artists to create works in response to the legacy of the iconic female Balinese artist I GAK Murniasih (1966-2006) “Murni” started 8 December 2015 at the innovative new art space Ketemu Project Space in Sukawati. Punctuating the beginning of the 6 month plus program of events, culminating with the group exhibition at Sudakara Art Space Sanur 16 July 2016, the 8 December event was an intimate evening of discussions.  Featuring friends and colleagues of Murni’s, while introducing some of the breadth of her work, and the schedule of up coming events was reveled that included artist in residency programs and curator discussions. This highly anticipated exhibition will be the most important of the 2016 art calendar.

AJI02649_1-1_LR“Forgotten Optical Satsuma Filters” – Ashley Bickerton at Rumah Topeng dan Wayang Setiadharma

Kayu, a series of exhibitions that began in 2014 presented by French art worker Lucie Fontaine at Rumah Topeng dan Wayang Setiadharma in Mas, has been a highly valuable contribution to the appreciation of contemporary art in Bali. Organized and curated by Italian artist and Ubud resident Marco Cassani, Kayu showcased both local and international artist in cross cultural collaborations, group and solo exhibitions. Kayu aims to support the growth and awareness of contemporary art in Indonesia through experimental and conceptual projects and operations as an incubation facility to give the opportunity for information and knowledge exchange between Bali and Indonesia with the outside art world. Projects have included artists Corrado Levi, Radu Cosma, Entang Wiharso and Luigi Ontani.

The exhibition space at Rumah Topeng, a traditional Javanese teak warehouse is a unique setting for the presentation of contemporary art allowing the ambience of cultural design elements and raw timber to enhance the presence of the art. Despite not being well attended by the local art community, importantly Kayu allowed an opportunity for people to enjoy art in an alternative exhibition setting, in contrast to the often “sterile” gallery spaces, while positively contributing to the viewer experience. The program culminated in April with Ashley Bickerton’s first ever solo exhibition in Indonesia “Forgotten Optical Satsuma Filters” that featured his experimental “non commercial” color creations.

DSCF4872             “King Udayana : A Visual Epic” 2016 – Ketut Budiana at Bentara Budaya Bali

The historical collaboration between the Udayana University of Bali and the Bentara Budaya Bali Cultural Center, Denpasar on Friday 15 April highlighted a landmark event in Balinese painting, presenting the works of Balinese master artist Ketut Budiana. Officiated by the Governor of Bali, Made Mangku Pastika, the exhibition “King Udayana : A Visual Epic” featured an enormous narrative canvas, 8339 x 140 cm spanning the walls of the pavilion paying homage to the lifetime journey of the 10th century Balinese King Udayana.

Budiana invited the audience to wonder clockwise around the pavilion to engage with this poetic work laid out in such as way as to occupy the four directions of the compass, with their respective gods, and colors, symbolically linking the human existence with the cosmos. Often described as a “fantastic’ painter” Budiana communicates stories that appear to come from the subconscious in dream like imagery that often evolves from swirling clouds of energy. Post exhibition the work was installed within the Rectorate’s hall of the Udayana University in Jimbaran.

13173813_10153830185898778_8308656514481768488_n     “Kartini” – Cherographed by Jasmine Okubo, May 2016, image by Dewandra Djelantik

Long time collaborator with Indonesian artists, Japanese choreographer, dancer and performer Jasmine Okubo continues to push the art performance genre into new and exciting realms. Her performance during the opening of Rie m’s April exhibition “Conexion & Contradiccion” at the Villa Pandan Harum, Ubud was captivating, as were other during the year. While Rie’s exhibition of cross cultural infusions was outstanding, and importantly introducing the art of collage in a fresh and highly sensitive manner to the local art community, Jasmine’s performance, melding the futuristic aesthetics with Balinese and Japanese flavors typifies her extraordinary talent.

Okubo’s 5 June performance at Rumah Sanur in a silent enclosed space brought into dynamic, otherworldly life with excellent visual aesthetics via video mapping during the Art Ritual, themed about the transition from WATER to AGNI for the 2017 Sprites Bali Art & Creative Biennale broke new ground for the performer and the audience alike.

DSCF5736                               “Questioning Balinese Painting” 2016 – Kemal Ezedine

 

Neo Pitamaha art collective headed by Gede Mahendra Yasa and Kemal Ezedine brings a fresh, strategic, intellectual approach to the art explorations in the historical development of Balinese traditional painting. Beginning in 2013, inspired to investigate a new paradigm of Balinese painting, since 2014 they have been exhibiting in high-profile events in Bandung, Semarang and ArtJog in Yogyakarta. During 2016 they have been increasingly focusing their attention outside of Bali especially engaging with curators, collectors, along with larger audiences. Mahendra Yasa and Ezedine both held solo exhibitions at Langgeng Art Foundation, during the Jogja Art Weeks June/July art extravaganza for the local and international audiences gathered in Yogyakarta for the opening of ArtJog9.

The Neo Pitamaha’s critical and strategic approach is building positive momentum, importantly raising the bar of what Bali based collectives may achieve, while setting a potent example for others to learn from. Ezedine’s enormous 2016 mural project, highlighting his graphic illustration and dynamic color design skills, upon ceiling panels of the café dining area the new Artotel in Sanur is a visual feast for the eyes while helping to define the uniqueness of Bali’s first art themed hotel.

DSCF4884Detail from Gusti Agung Mangu  Putra’s 2016 painting of the 1906 Pupatan in Denpasar at Gwangju Art Museum, South Korea

Social issues and important Balinese historical events are themes close to Gusti Agung Mangu Putra’s heart. In the May 2016 “In Commemoration of the 36th Anniversary of the May 18th Democratization Movement 2016 Asian Democracy, Human Rights, Peace Exhibition – The Truth To Turn it Over” at the Gwangju Art Museum, South Korea he exhibited his painting of the 1906 Pupatan in Denpasar  Bali. Following from his research early in 2016 he reconstructed a scene post puputan killings that depicts leaders of the Dutch military battalion posing with the body of the Raja of Denpasar.

IMG-20160609-WA003       The WOI (Wall of Indonesia) Exhibition at Bloo Art Space, Padang Bai, East Bali

The prevalence of artist run initiatives such as Cata Odata in Ubud, Ketemu Project Space (who via their regional approach, professionalism and highly structured methodology have raised the bar high in Bali for others to be inspired), Luden House in Ubud, and the recently renamed Bloo Art Space located at the Bloo Lagoon Eco Resort and Villas in Padang Bai (also managed by Cata Odata), have become major forces within the development of art in Bali. While these community focused organizations embrace and grow through the dynamic connectivity of social media and the internet what is essential is that there are venues outside of the gallery commercial modal that continue to grow and survive as essential pillars of the art infrastructure in Bali.