Tag Archives: Slinat

DENPASAR2017 – highlighting the diverse creativity of Denpasar

DENPASAR2017 Group - for caption see emailThe starting journey of DENPASAR2017. 17 participating creatives, together with invited speakers Marlowe Bandem and Ayip Budiman after DENPASAR TALK posed for a group photo to mark the beginning of their DENPASAR2017 exploration.

 

Since its arrival upon the Bali art and design landscape in July 2016, CushCush Gallery (CCG) in Denpasar has injected fresh and exciting energy into the local creative scene. An alternative gallery, with an inspiring and unique program embracing interactions and multidisciplinary creativity via explorations at the intersections of art, design, materiality, techniques and crafts, CCG prioritizes community engagement and learning, along with children’s workshops.

In a city that is becoming a melting pot of Indonesian ethnicity with internationals, highlighted by a thriving youth culture, CCG is making a positive, and much needed contribution to the island’s contemporary art infrastructure. And while Denpasar is rapidly expanding and a new contemporary urban culture is in the making, creative hubs such as CCG feed the growing demand for meeting points that are potent venues for the sharing of ideas and discussion.

Urban Sketchers Bali presentation for DENPASAR2017 Exhibition, Image by R. Horstman Part of the panoramic of watercolours by Urban Sketchers Bali presentation for DenPasar2017 Exhibition

In 2017 CCG facilitates a year round program of exhibitions, residencies, workshops and collaborations that focuses on the development of contemporary art and design experiences in Denpasar and Bali, hosting exchanges between the local and international communities of artists and creatives and Bali.

“This year’s DenPasar2017 is a new and exciting, yearly CCG program that we believe is destined to put Denpasar on the map of the art and design route in Bali,” said CCG’s co-founder Suriawati Qiu. “The exhibition will introduce locally based young artists and creatives with works that speak of Denpasar.”

Marlem Bandem giving a presentation for Denpasar Walk             Marlem Bandem giving a presentation during DenPasar Walk

The DenPasar2017 program of weekly events began 10 June with the Launch of the DenPasar2017 Art & Design Map, and Meet the Artists of DenPasar2017, part 1 (of 2). This was followed by activities such as KitaPoleng & Denpasar Deaf Community dance workshop, led by the brilliant Japanese, Bali-based dancer and choreographer Jasmine Okubo, workshops by the Urban Sketchers Bali Academy, DenPasar Street Talk, with street artists Slinat, Bombdalove and Swoofone, and DesignTalk with Nyoman Miyoga, Fransiska Prihadi, Charlie Hearn and Eva Natasa. The program culminates on 26 August with the presentation of Three Eras of Denpasar by Masuria Sudjana and the silent movie screening of Arsip Bali 1928, narrated by Marlowe Bandem.

The launching of the DENPASAR2017 Art & Design Map spotlighted the first map to highlight city features such as museums and galleries, government and cultural institutions, art and design educational institutions, art and creative communities, artists’ studios, cultural heritage/public spaces/monuments, and the markets within the Denpasar area. The map is endorsed by the Bali Tourism Board, Badan KREATIF Denpasar, and the Denpasar Tourism Promotion Board.

Image by Susanto Sidhi VhisatyaKangen Denpasar – Susanto Sidhi Vhisatya in the DenPasar2017 Exhibition

The Road to DenPasar2017 began in January through an open call, CCG invited artists and creative communities to respond to “Bahasa Pasar” in small 2 dimensional works. Seventeen participants were selected from creative backgrounds including architects, dancers, fashion, jewelry, and graphic designers, photographers, street artists, and fine artists. As an introduction for the selected artists CCG facilitated a “Melali Ke Pasar” (journey to the market), a one-day event consisting of 2 parts: DenPasar Talk and DenPasar Walk, with invited speakers, cultural experts, Marlowe Bandem and Ayip Budiman. Bandem highlighted the importance of the role of documentation through art and other creative means, which is deeply embedded in Bali’s culture.

Invited artists and art communities in the DenPasar2017 Exhibition were prompted to re-think and give meaning to the city that is relevant in today’s society via the theme of the traditional markets, paying homage to the role of the market in the development of Denpasar city. Some of the highlights of the exhibition are the collaborative installation of photographs and short film highlighting the dynamic street art designs by Swoofone, and the Urban Sketchers Bali panoramic group presentation of watercolors depicting Denpasar market scenes.

20170719_151818                            Cover of the DenPasar2017 Art + Design Map

“The overall response to the DenPasar2017 program has been excellent,” said Suriawati, who co-founded CCG with her partner Jindee Chua. “Yesterday’s (5 August) DesignTalk attracted a diverse audience from many creative backgrounds listening to presentations from creatives each with a unique journeys within the fields of interior, landscape, architecture and furniture design.”

DesignTalk, along with landscape designer Nyoman Miyoga featured Fransiska Prihadi, an architect who spends 20% of her time designing architecture and interiors, and the other 80% organizing the Minikino Film Week, a Bali based international annual short film festival, Charlie Hearn, who came to Bali from London on an intuitive urge after the 2008 economic crisis and founded Inspiral Architects. His team now designs resorts, private residences, yoga spaces, and other exciting projects. And furniture designer Eva Natasa started out making a personal array of furniture for her home two years ago, in 2016 her collection ‘Lula’ was exhibited in Italy at Milan Salone Del Mobile.

20170723_091217                       Dadian Ratu – Dian Suri in the DenPasar2017 Exhibition

“Personally I feel these creatives are able to lead their DesignLife journey’s successfully in Bali. Bali is unique, open, embracing and nurturing,” Suriawati said. “Bali has international exposure, while at the same time gives space, comfort and has just the right environment to support creativity.”

DenPasar2017 Exhibition continues until 26 August.

CushCush Gallery (CCG)

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

Tel. (62) 361 484558

http://www.cushcushgallery.com

 

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