Tag Archives: Made Valasara

ART JAKARTA 2019 – evolving into one of the regions most significant art fairs

Japanese artist Takehiko Sugawara "Garyu no Matsu" Image Richard Horstman                   Garyu no Matsu  – Japanese artist Takehiko Sugawara

 

Under wraps, the 11th edition of Art Jakarta, Indonesia’s most significant art fair open from 30 August – 1 September 2019 at JCC (Jakarta Convention Center). And by reports from gallerists, exhibiting artists, attendees and the Fair organization itself, outcomes have exceeded expectations.

Following on from the demise of Art Stage Jakarta in 2017, and Art Stage Singapore in 2018, Art Jakarta has strategically positioned itself, filling the void and consolidating itself as one of Southeast Asia’s most important art fairs. Featuring 70 galleries from 14 countries – Hong Kong, Japan, South Korea, Singapore, Indonesia, Malaysia, USA, Taiwan, Russia, Australia, Thailand, Philippines, Vietnam and China, the fair enjoyed strong sales, with more than 39,000 visitors over the three days.

Art Jakarta fairground view Saturday 31 August. Image courtesy of Art Jakarta Art Jakarta fairground view Saturday 31 August. Image courtesy Art Jakarta

 

From Indonesia, 30 of the country’s established and emerging galleries participated, including Edwin’s Gallery, RUCI Art Space, Lawangwangi, CGartspace, Bale Projects, SAL Projects and ART_UNLTD by BEKRAF, a presentation of 51 emerging and established artists from different backgrounds, initiated by Indonesian Agency for Creative Economy (Badan Ekonomi Kreatif ) and curators Asmujo J. Irianto, Bob Edrian, Irawan Karseno and Totot Indrarto.

Just a few of the international gallery participants were Amy Li Gallery – Beijing, Flowers Gallery – London/New York/Hong Kong, Mizuma Gallery – Tokyo/Singapore/New York, Yavuz Gallery – Singapore and Bluerider ART from Taipei. Thirty per cent of the 70 participating galleries made their debut at Art Jakarta, reflecting the brand’s strong reputation and potential. Auction house Phillips Asia was among the new exhibitors, displaying artworks, watches and jewellery.

"Lumina Clorofilliana", 2019 Filippo Sciascia. Lacqured Photo Aluminium And Led Light. Image coutesy of Yeo Workshop

“Lumina Clorofilliana”, 2019 Filippo Sciascia. Lacquered Photo Aluminium And Led Light. Image courtesy of Yeo Workshop

 

“Due to the uncertain political environment of the past few years there has been a subdued market response to the fair,” stated Edwin Rahardjo, founder of Edwin’s Gallery and the Head of the Indonesian Association of Art Galleries (AGSI). “This year, however, we have had a more stable political and economic climate in Indonesia, which has led to a renewed energy. I could feel that the audience was much more positive and upbeat. The increased activity by young local collectors was noticeable.”

Art Jakarta reported several new buyers acquiring art pieces for the first time as well as renewed interest and purchases from buyers who had been inactive for some time. New international collectors were also spotted at the fair, expanding Art Jakarta’s collector base. Collector’s attending the fair hailed from throughout Southeast Asia and the Asia region, Europe, America and Australia.

"Savage Orchid" 2019 - Nus Salomo. Image richard Horstman                                 Savage Orchid 2019 – Nus Salomo

 

Commenting upon the relocation of Art Jakarta from the Ritz-Carlton Jakarta, Pacific Place to the Jakarta Convention Center in Senayan, Rahardjo said, “The JCC has many practical advantages over the previous venue, including being larger. It allows for much easier loading and unloading of artworks, and offers positive tax incentives for international galleries.”

Australian based Indonesian artist Jumaadi works from his Yogyakarta and Sydney studios and was represented at Art Jakarta by Jan Manton Art from Brisbane, Australia. His exhibition of thematic and aesthetically distinct works stood out amongst the competition. Jumaadi’s feedback was also positive, “We have previously participated in Australian and Southeast Asian fairs; however, this is the first experience for both Jan Manton and I at Art Jakarta – and it was amazing. Comparatively speaking this fair is no worse off, or better off than the others. It is very dynamic, and the number of people during the opening was astonishing. The response to my work was strong, and we are very optimistic about the future of Art Jakarta.”

Art Jakarta fair attendees and installation by Filippino artist Ronald Ventura at Yavuz Gallery. Image by Richard HorstmanArt Jakarta fair attendees and installation by Filippino artist Ronald Ventura at Yavuz Gallery

 

“The move from Pacific Place means that the audience is art-focused and not shopping mall visitors looking for alternative entertainment,” said Kemal Ezedine, a regular participant at Art Jakarta, who exhibited paintings with Jakarta’s CGartspace. “I believe that Art Jakarta is now stepping up to the next level.”

Art Jakarta is an essential meeting place,” said Suriawati Qui co-founder of CushCush Gallery in Denpasar. “Such interactions between the national and international art communities open up opportunities for important issues and conversations to be raised, opportunities for artists and galleries to get to know their peers from across the region, and encourages cross-cultural and cross border collaborations.”

Artwork by Balinese contemporary artist Made Valasara. Image Richard Horstman                   Artwork by Balinese contemporary artist Made Valasara

 

“As an international gallery, we have always enjoyed participating in Art Jakarta and connecting with the Indonesian art community,” said Audrey Yeo, owner/producer of Yeo Workshop, Gillman Barracks Singapore. “The fair allows us to market our artists and programs with familiar faces and new networks. With its rejuvenated format and the new venue, there was a general sense of enthusiasm from the audience and the galleries. Art Jakarta is currently very promising as one of the strongest regional fairs. The fair has good organisers with a solid working style.”

“Although small, Art Jakarta was fascinating and featured some good work. One aspect I especially liked was the smaller booths representing art collectives and artist initiatives,” said Ian Findlay-Brown, editor and publisher of Asia Art News based in Hong Kong. As one of the regions first art magazines in the English language, and one of the most knowledgeable writers in the Asia region with over 40 years of experience, Findlay-Brown has witnessed the major changes in the Southeast Asian art scene during the past thirty years.

Indonesian artist Jumaadi represented by Jan Manton Art. Image Richard Horstman             Indonesian artist Jumaadi represented by Jan Manton Art

 

Commenting on “Jakarta Scene” a designated space in the fair for artist collectives and artist initiatives that offered many diverse artworks, art products and objects, along with valuable information about their activities, that are a cornerstone of Indonesia’s dynamic art scene, Findlay-Brown stated, “You don’t often see this aspect of a local art scene represented in an art fair in the Asia region. It reveals an important facet of the vitality of the local art world that can often be missed or overlooked.”

“Their array of art products, clothing, toys and sculptures emphasizes an important fun aspect of the art world. The Fair directors, by inviting these dynamic young individuals and collectives highlight a fundamental and vibrant characteristic of the Indonesian contemporary art world.”

Sculpture by Chinese artist Cai Lei. Image Richard Horstman                               Sculpture by Chinese artist Cai Lei

 

“The strength of the Indonesian art scene has always been its ‘gotong-royong’ or community spirit. This has lent Art Jakarta its special Indonesian identity which translates into a very unique fair experience for our visitors, exhibitors and partners,” said Art Jakarta Fair Director Tom Tandio. “It is only by working together that we can strengthen the art scenes in both Indonesia and Southeast Asia, which will benefit the community as a whole.”

“We were very humbled by the positive response that we received as it is a measure of the confidence that Indonesia and the region’s art community has placed in Art Jakarta, and the changes that we implemented for this 11th edition of the Fair.”

Art Jakarta enjoyed large audiences and strong sales during the fair the that ran 30 August - 1 September. Image coutesy of Art JakartaArt Jakarta enjoyed large audiences and strong sales during the fair the that ran 30 August – 1 September. Image courtesy of Art Jakarta

 

"Iris" by Singaporean artist Melissa Tan exhibited by ISA. Image Richard Horstman                       Iris by Singaporean artist Melissa Tan exhibited by ISA

 

 

Words: Richard Horstman

Images courtesy of Richard Horstman unless stated.

CROSSING: Beyond Baliseering

20161206_173640
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