Tag Archives: Tony Raka Art Gallery

Images of Bali fuse with Old Masters paintings to create landmark pictorials

AFTER THE HARVEST small                              After the Harvest, 2019 – Joel Singer

 

“I approach every magical day here in Bali with gratitude and wonder. Gratitude for having the joyful privilege of living on the gorgeous rice fields north of Ubud,” says Canadian avant-garde filmmaker and photographer Joel Singer who first visited Bali in 1979 and has lived here for the past decade.

“I usually awaken with the sunrise and have an early morning walk with my dogs out on the stunning terrain of the Campuhan Ridge,” he continues. “I’m always photographing daily life around me and images continually coalesce in my mind – likely and unlikely juxtapositions.”

Bali Turner small                               Bali Turner, 2019 – Joel Singer

 

“About seven years ago I was struck with a blast of realization while watching the golden evening light on the ripening rice fields,” explains Singer whom since the mid-1980s has experimented with cut and paste photographic collages. (long before the advent of Photoshop, the popular digital image manipulation computer program)

“I was then vividly reminded of some of the “Hudson River School” paintings, (the mid-19th-century American art movement of landscape painters influenced by Romanticism) and later during the rice harvest I was reminded of some of Breugel’s work.” (Pieter Breugel (1525 –1569) was the most significant artist of Flemish Renaissance painting who pioneered large compositions depicting landscapes and peasant scenes).

Bali Caravaggio (or the Feast of the Cockfight) - Joel Singer 2019             Bali Carrivagio (or the Feast of the Cockfight), 2019  – Joel Singer

 

“Then with the magic of Photoshop, I began to work with some of the images of the Old Masters paintings combining them with images of Balinese daily life. It seemed like an inevitable fit and I’ve continued to explore this merging ever since into creations I termed many years ago “PHOTAGES” describing my process of photo – collage – montage.”

Singer’s series “When the Old Masters Visited Bali” pays homage to the master European painters. In “Bali of Gold” multiple images of musicians and dancers are married with an abstract background of swirling energy and colour made famous by the iconic English landscape painter JMW Turner.

Bali Van Gough Revisited, 2018 - Joel Singer                    Bali Van Gogh Revisited, 2018 – Joel Singer

 

While in “Bali Caravaggio (or the Feast of the Cockfight)” he fuses two disparate worlds – gesticulating audience action images from a Balinese cockfight layered upon a composition by Caravaggio where men are sitting at a table engaged in animated discussion prior to a chicken feast. Darkness contrasts with light, emphasizing Balinese Hindu philosophies, and of course the visual technical prowess of the Renaissance maestro. Another composition features the smiling face of Mona Lisa on the surface of a flooded rice field that is reflecting the morning light, her raised finger points to the shining sun. Singer delicately fuses humour with natural beauty creating a heart-warming composition.

Humour again comes to the fore in his pairing of dancers from Matisse’s famous “Dance 1” with the frightening demonic creatures that star in the Balinese Ogoh-ogoh parade, together frolicking hand-in-hand in a circular romp. Other compositions are meetings of the Balinese landscape with rural and cultural activities that are either immediately arresting, or simply gracious and eternally beautiful.

UNDER THE VOLCANO small                        Under the Volcano, 2018 – Joel Singer

 

“When I ‘go to play’ up in my loft in my house overlooking the rice fields I try to surprise myself. To give vision to my dreams and the spirits which inhabit this place. I trust my intuition when approaching a ‘blank canvas’ and now, after 50 years, my ‘editing’ skills learned through filmmaking and skills of the juxtaposition of sometimes unlikely images are more finely honed with every passing year,” he says of his creative process. “I refer to my work as ‘images of elsewhere’. I play with time and sequencing, creating ‘eye music’. There is something about the timelessness of experiencing archetypal rural life, the rhythms of the planting and harvesting seasons suggest a blending of aesthetics.”

Monet Temple copy                                 Monet Temple, 2019 – Joel Singer

 

Born in Montreal, Canada in 1948 aged 12 Singer discovered the fascination of image-making. Later in college, he majored in fine arts and encountered the magic of film and cinema. He then yearned to participate in the great renaissance in avant-garde cinema stirring in the U.S.A. A film history class taught by the poet/filmmaker James Broughton (1913 – 1999) at the San Francisco Art Institute in 1974 then changed his life. During the 70s and 80s Singer showed his avant-garde films around the world while collaborating with his, then life partner Broughton, many of their films were collected by institutions including the Museum of Modern Art in New York, and the German Filmmuseum in Frankfurt and the Austrian Filmmuseum in Vienna.

TRIPTYCH small signed copy                                     Triptych, 2018 – Joel Singer

 

Singer gives us insights into the natural rhythms of life via his fresh and fantastic windows into the extraordinarily diverse visual and cultural, multi-dimensional worlds of Bali. “I’m not interested in the slightest in ‘reality’, it’s HIGHLY overrated,” Singer states.  “My desire is to make the invisible somehow visible through the magic of creating another ‘separate reality’. Through my work, I hope to bring some beauty into this very troubled world.”

A selection of Singer’s pictures is currently on display at the Tony Raka Art Gallery, in Mas, Ubud.

Mona Lisa and the rising sun. 2019 Joel Singer                           Mona Lisa and the Rising Sun, 2019 – Joel Singer

 

 

 

Words: Richard Horstman

 

 

Smart’s cutting parade of choreography

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

 

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

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

 

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

 

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

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

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

 

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

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

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

 

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

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

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

 

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

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

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

 

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

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

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

 

 

The Choreography of Cutting

at Tony Raka Art Gallery,

Jalan Raya Mas 86, Mas, Ubud

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

Jalan Raya Kerobokan 51 X, Kerobokan

Open from 17 June – 17 July 2018

www.sallysmart.com

 

Words: Richard Horstman

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

“Dipping in the Kool Aid” highlights collaborations between contemporary artists & inmates of Bali prisons

Rodney Glick "Pixel Buddha" image courtesy of apexart Gallery New York                                           Pixel Buddha – Rodney Glick

 

What is the value of human life?

How does our society appraise personal endeavour, imagination and creativity when the priority of doctors and medical staff in hospitals is the preservation of life? Governments and penal systems assess prisoners as having little to contribute to community, some electing to terminate the lives of ‘serious offenders’ through capital punishment. Why is it acceptable for governments to execute people, while murder is illegal?

The exhibition “Dipping in the Kool Aid” relates to aspects of prisons and the incarceration system, and opened at Tony Raka Art Gallery, Ubud 4 March. It features the artworks of prisoners, artworks produced from workshops given by contemporary artists in Bali prisons, and independently produced works by some of the invited established and emerging Indonesian and Australian artists.

malaikat copy                                       King Kong’s Land – Malaikat

The works selected from a range of workshops, predominantly in the Klungkung Jail, East Bali, and the Bangli Jail, include installations, paintings, drawings and photographs, along with a painting by a member of the controversial Bali Nine inmates, Renae Lawrence.

“A function of prisons practically everywhere in the world ensures inmates are social outsiders, largely invisible to most citizens,” said Australian artist Mary Lou Pavlovic who organized and curated the exhibition. “Our central concern is to bring aspects of prison life to public view.”

The idea of the exhibition emerged from an art program Pavlovic helped establish with inmates at the Bangli Jail, Central Bali soon after the second round of prisoner executions were ordered by the President of the Republic of Indonesia Joko Widodo in 2015. “Our aim is to cherish and preserve life, the driving motivator for this entire project.”

Mary Lou Pavlovic and prison inmates Mary Lou Pavlovic with input from April, Exyl, Hendra, and Kadek,collaborative installation "Suspended Sentiments" Image courtesy of "Dipping in theSuspended Sentiments – Mary Lou Pavlovic and women inmates from the Klungkung and Bangli jails.

In April 2017 Pavlovic’s proposal written in response to the open call Apex Franchise Exhibition, sponsored by the apexart Gallery New York, offering funded exhibition opportunities, won. More than two hundred international art expert jurors had voted for her proposal to curate an exhibition in Bali about artists and prisoners collaborations arising from prison workshops. A non-profit arts organization in Lower Manhattan, apexart is funded in part by the Andy Warhol Foundation, and offers opportunities to independent curators and emerging and established artists, and challenges ideas about art, its practice, and its curation.

Highlights of “Dipping in the Kool Aid”, in which the cell formation is a theme of the exhibition’s presentation to emphasize the living space – life behind bars within a prison cell, include, the tiny, delicate folded paper birds “Terapi Origami/Orizuru” by Ridwan Fatkhurodin a.k.a. Kriyip on display, yet also given as symbolic gifts to attendees during the opening ceremony, Kenyut Djunaidi’s collaborative etched mirror self-portraits “Kamu Adalah Aku, (You are Me)” and Australian Rodney Glick’s humorously militarized carved wooden icon “Pixel Buddha”. Elizabeth Gower’s “365 Rotations” adds an ethereal element to the show. Multiple circular collages Gower and inmates forged from discarded packaging and advertising material form a constellation of wonderful geometric patterns.

"Angki Purbandono "Out Of the Box" Image courtesy of apexart                                Out of the Box – Angki Purbandono

Popular Indonesian artist Angki Purbandono presents an installation of photographs “Out of the Box” revealing his experience of ‘doing time’. Incarcerated for one year in Yogyakarta during 2013 for smoking marijuana, refusing to accept his imprisonment, Angki declared instead that he was undertaking an artist’s residency, and taught a guard how to take photographs. He also established the Prison Art Programs, a group of inmates and ex-inmates who exhibit art inside and outside the jail; some members are included here.

Three meters by three and a half meters wide, luminescent and sparkling with life “Suspended Sentiments”, features over 1700 individual cells with flowers, leaves, nuts, berries, butterflies, bugs and Christmas decorations embedded within epoxy resin. Pavlovic’s wall installation, the outcome of workshops for women in Klungkung and Bangli Jails is beguiling in beauty and simplicity, yet rich in emotion.

31052365_10155177701881916_4372840048123445248_n                                   Forgiveness #2 – Mangu Putra

“Physical power is defeated by wisdom,” said renowned Balinese painter Agung Mangu Putra of his composition, “Forgiveness 2”. Inspired by an iconic image, originally popularized by Indonesia’s founding father, President Sukarno, who was photographed bowing to his mother, the state symbolically begs the pardon of not only a mother, but of a citizen, instead of the usual power dynamic in which citizens bow before the state. Mangu’s Putra’s painting reveals a state official – a soldier – bowing and begging forgiveness of his mother, who has taken away his gun.

“American jail slang for entering uninvited into a conversation, the phrase “Dipping in the Kool Aid” pays tribute to the discrete Javanese tradition of Pasemon,” Pavlovic said. Reflecting on Indonesia’s revolutionary era of political art that began under the authoritarian President Suharto’s New Order regime (1966-1998), artists and journalists used an indirect form of satire to criticize the government. Pasemon is elegant because it touches the conscience,” she continued. “Correcting without embarrassing authority.”

30706637_10155177599011916_7359454426228064256_n                Terapi Origami/Orizuru  –  Ridwan Fatkhurodin a.k.a. Kriyip

“Values expressed in this exhibition contrast with aspects of the government’s treatment of prisoners recently in Indonesia. Pasemon has created a space for us in which our political positions are clarified without scratching the wound.”

30741219_10155177702336916_1128266463887491072_n              365 Rotations  –  Elizabeth Gower with inmates from Bangli Jail

30703717_10155176985641916_986154805040775168_o               View of “Dipping in the Kool Aid” at the Tony Raka Art Gallery

 

30708338_10155177599166916_6226232579398303744_n        After Hit n Run  –  Herman Yosef Dhyas Aries Utomo (a.k.a. Komeng)

 

Dipping in the Kool Aid”

Open to the public daily 10am – 5pm,

4 – 31 March 2018

Tony Raka Art Gallery,

JI.Raya Mas No. 86 Mas, Ubud, Bali.

 

Words: Richard Horstman

Images courtesy: apexart Gallery New York, Mary Lou Pavlovic & Bima Basudewa

Upcoming exhibition highlights the collaborations between contemporary artists and inmates of Bali prison

Inmates involved in art workshops at Klungkung jail. - Image Mary Lou Pavlovic              Inmates participating in art making workshop at Klungkung jail.

 

In early April this year Australian contemporary artist, Mary Lou Pavlovic, was advised by the apexart gallery New York that the proposal she’d written in response to their open call Apex Franchise Exhibition, offering four funded exhibition opportunities, had been successful. Pavlovic ranked third out of almost four hundred proposals from sixty-one countries. Over two hundred international art expert jurors had voted for her proposal to curate an exhibition in Bali about artists and prisoners collaborations arising from prison workshops.

Apexart is a non-profit arts organization in Lower Manhattan, NYC, funded in part by the Andy Warhol Foundation, that offers opportunities to independent curators and emerging and established artists, and challenges ideas about art, its practice, and its curation.

“I received an email advising me to contact the apexart Director, Steven Rand, who said he had good news,” Pavlovic said.   “So I thought I’d better call Apex and tell them of a hoax someone was running about them. Then, when I called, to my surprise, they confirmed that I had been selected, and that it wasn’t a hoax at all!”

From 2012-16, when in Bali, Pavlovic had been a regular visitor to inmates inside Balinese jails where she had witnessed the humanitarian benefits of art programs. “Prisoner’s lives are placed on hold and their space confined to the parameters of a prison. I realized, although prisoners couldn’t physically move very far, they could travel great distances with their imaginations by participating in arts activities,” said the artist who lives and works between Bali, and Mittagong, Australia, and completed a PhD at Monash University, Melbourne.

Inmates artworks - flowers and berries set in resin.Image Mary Lou Pavlovicjpg

“Inmates could also learn valuable skills and undertake enjoyable activities to relieve the daily monotony of prison life.”

Pavlovic was also aware that practically universally a function of modern prisons is to hide prisoners away from the rest of society. An exhibition involving prisoners and artists, she thought, would help to break down this barrier. It would allow the public an opportunity to reflect on their own perceptions of prisoners and prisons, along with the prisoners the opportunity to be seen in the role of artistic producers, rather than solely as criminals, and of little value to society.

The upcoming exhibition, organized and curated by Pavlovic, Dipping in the Kool Aid, (American jail slang for entering uninvited into a conversation) will be held at the Tony Raka Art Gallery, in Ubud, Bali, in 4 – 31 March 2018. The show will feature the artworks of prisoners, artworks produced from workshops given by contemporary artists in the Bali prisons, and independently produced studio works by some of the invited artists relating to aspects of prison and the incarceration system.

Pavlovic is interested in taking the exhibition beyond a community type art show in which members of a social group are asked to express themselves through art, and the therapeutic benefits of that process becomes the exhibition theme. “Exhibitions displaying prisoners artworks are common, but I think that if our project’s aim was only to display prisoner’s artworks, regardless of their artistic capabilities, then professional artists may not need to be involved at all,” she said.

Inmates at Klungkung jail art making. Image courtesy M.L. Pavlovic                                    Inmates at Klungkung jail art making

“There are so many highly capable creative people in jails, and so I thought that a more interesting and challenging way to address the exhibition, than a straightforward community art show, would be through a type of artistic laboratory in which the artists and prisoners skills are equally valued.”

With these ideas in mind, Pavlovic invited foreign international artists and Indonesian artists to give a range of workshops predominantly in the Klungkung Prison, East Bali. The workshops began in August, continuing on until March 2018 prior to the exhibition. East Javanese artist Djunaidi Kenyut conducts workshops inviting inmates to etch their own portraits onto postcard size mirrors. The prisoners become active agents in shaping his idea, and the overall work. The outcomes are ghostly etchings with viewers reflected in them.

“In the Klungkung prison there are about 100 inmates of which there is one person who is very enthusiastic to participate in the workshops, and there are others who like to join in. But I am very happy to witness their passion to know and learn to try new activities such as drawing,” Kenyut said.

Pavlovic provides lectures for women inmates involving embedding living things, like flowers leaves and berries in resin, to preserve life. At the prisoner’s request the group have incorporated butterflies, yet as the program continues the prisoners will incorporate items into their works that are important to them, such as family photos.

Other workshops conducted include East Javanese artist Imam Sucahyo who is posting drawings to inmates requesting their input, and Australian contemporary sculptor Rodney Glick, who has invited prisoners to his cafe, Seniman, at the Tony Raka Art Gallery, for work experience and to learn about art.

IMG_20170922_112054

Glick said, the Seniman coffee ethos is to create happiness. “What better way for people who crave freedom than to work a little and enjoy a coffee on the outside!” Other artists included in the upcoming exhibition are internationally renowned Indonesian artists Agung Mangu Putra and Angki Purbandono, along with the Prison Art Program founding members, and Elizabeth Gower, Alannah Russack and Pavlovic.

 

Dipping in the Kool Aid

Upcoming 3 – 21 March 2018

Tony Raka Art Gallery, Mas, Ubud

 

Words: Richard Horstman

Images: Mary Lou Pavlovic

 

 

 

The Cosmic Worlds of Visionary Balinese Artist Putu Wirantawan

Putu Wirantawan 2016

 

Rarely in Bali does the observer have the opportunity to experience art of such a unique and “other worldly” quality as created Balinese contemporary artist Putu Wirantawan. The fundamental key to Balinese traditional art is drawing, for Wirantawan, however, it serves a different function to that of his artistic forefathers.

About 15 years ago Wirantawan (b.1972 Negara, Jembrana, West Bali) became overwhelmed by what he perceived as a block in his artistic development. Yet, unbeknown to him at the time, he was in the formative stages of creative innovation. Having learned to draw and paint in his youth, actively exhibiting since 1993, and a graduate in Fine Arts from the ISI Yogyakarta 2005, (Indonesian Art Institute), Wirantawan had already become competent in the mediums of oil and acrylic paint, along with water-color to produce figurative and abstract works. Wirantawan, however, had become bored with these genres and wished to break free.

                                         Soulscape II, 2010 – Putu Wirantawan

His solution was to return to the basics of drawing. Wirantawan followed his intuitive urges and focused on spontaneous ideas that evolved into unexplainable sketches. He completed page after page in his sketch pad until eventually the idea blossomed, why not piece together some of these works into larger compositions.

Wirantawan’s process is determined by the flow of imaginative energy between his conscious and subconscious minds. The freedom and flexibility within his technique allows him to arrive at authentic compositions that he believes would be impossible to initially conceive – a powerful creative element had returned to his art along with seemingly endless possibilities to explore.

Working in pencil and ballpoint pen on paper, enhanced with a touch of color Wirantawan draws on the fundamentals of surrealism and abstract art.  “Many of my ideas come from the simplest of objects or from observations of the atmospheric, such as the elements of sunlight, fire, water and smoke,” says Wirantawan. “The elements contain a magic that ignites my imagination and I then transform the shapes I see into something new.”

             Tebaran Energi Sejati, 2008-2012, 9 panels, 2915 x 1260 cm – Putu Wirantawan

“Drawing is a flexible and spontaneous technic, it can be done wherever and whenever, and is not affected by the material drying quickly or still being wet. Drawing nurtures new spirit that enables me to feel free to explore my flowing ideas,” Wirantawan said. “Drawing is soul therapy for the mental burdens resulting from challenges in daily life.”

Often described as a visionary Balinese artist, Wirantawan’s works invite the observer into an abstract world of geometric structures that appear like futuristic cities, galactic landscapes and vast sanctums in the outer most reaches of the cosmos. While his work is truly contemporary and free of traditional Balinese aesthetics and the orthodox approach, there is a deep relationship to the Balinese Hindu philosophical universal view.

Initially, Wirantawan’s works appear almost cryptic and strange, yet they mysteriously radiate a warmth with an unexplainable fascination to the eye. The core structural content of his work is based on the principles of sacred geometry, in which arrangements of lines within harmonic proportions produce systems and symbols that resonate with the subconscious mind.

                                Gugusan Citra Batin, 1236011, 2011 – Putu Wirantawan

Wirantawan often utilizes the circle, which is nature’s perfect symbol, appearing like floating disks, planets and glowing orbs with auras radiating light. “Geometry is the essence and structure of all natural shapes on earth and in the solar system.   All cycles of life and natural phenomena follow a repetitive circular order of birth, death and then rebirth,” he said.

The geometrical symbols Wirantawan uses are governed by a mathematical ratio known as the Golden Ratio, first devised by the ancient Greek mathematicians defining an invisible order that regulates the 3 dimensional proportions of the earth plane. These harmonic proportions were used in the design of sacred buildings in ancient and renaissance architecture to produce a spiritual energy that is believed to facilitate connectivity with a higher universal intelligence.

The coloration of Wirantawan’s works contains the most basic of all visual dualities – black and its interrelationship with the color white. The impact of color psychology, the advancing nature of the white upon black creates dramatic depth of field. Some imagery simply morphs from light to dark and flows in and out of discernible surrealistic forms.

Wirantawan has won a series of awards and honors, including nomination as one of the 10 best Indonesian artists in 2000 Philip Morris Art Awards, as well as being a finalist in the International Triennial “Print and Drawing” in Bangkok, Thailand 2008 and again in 2012.

Blissful Line, Wirantawan’s 2015 solo exhibition at the Tony Raka Art Gallery in Ubud, featured hundreds of his sketches on papers covering the gallery’s walls, the focal point of attraction, however, was his extraordinary, and new venture into installation. Gugusan Energi Alam Batin (the Configuration of the Natural Energy of the Soul), 606 x 246 x 312 cm.  Within the context of contemporary Balinese art Wirantawan has developed a dynamic individual style, both beautiful and compelling, that clearly stands alone.

IMGP9421                           Gugusan Energi Alam Batin – Putu Wirantawan

IMGP9400                             Sketches by Putu Wirantawan

IMGP9397

Words & Images: Richard Horstman

 

 

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

 

 

 

 

ABAD FOTOGRAFI: the Age of Photography #2

yasu-suzuka_resized                Tapestry of Buddhist Monks Hands – Installation by Yasu Suzuka

The origins of the ABAD FOTOGRAFI – The Age of Photography exhibition that opened at the National Gallery of Indonesia in Jakarta 15 November may be traced back to 2013, and the artistic and cultural heartland of Bali, Ubud.

A small group of senior photographers from Jakarta traveled to Bali to do some shooting assignments and met up with expat photographers from various countries who reside in Bali. This spontaneous meet-up developed into serious discussion and eventually expanded, involving more photographers, both local and international.

Inspired by developments and the diversity in the world of photography, the idea of organizing a joint exhibition came about to show this diversity; an exhibition featuring photography of the most conventional, to the most progressive works.

sjaiful-boen                ‘Pemahaman Nenek Luh…!!!’– Installation by Sjaiful Boen

The Age of Photography – Intentions and Transparency in Photographs opened 12 December 2013 at the Tony Raka Art Gallery in Ubud, presenting the work of leading Indonesian and expatriate professional and amateur photographers. Senior Indonesian curator Jim Supangkat brought together 29 photographers from Indonesia, America, Japan, Australia and Europe in an exhibition full of contrasts and delights.

One of the highlights was by Swiss born engineer and software developer Jiri Kudrna, a pioneer in experimental photography. Kudrna’s photo machine created fantastic images – a fusion of the four time space dimensions – housed within a dark room in the gallery and allowed observers to participate within his unique procedure.

“The picture take process is a complex choreography between the photographer, model and machine with often almost unpredictable results. Randomness is a desired and calculated part of the process,” Kudrna said.

james-wilkins                                                  Conflict – James Wilkins

Given the current revolution in digital smartphone technology that includes cameras as a functional component photography is now been accessed by the masses. While most are obsessed with self-empowerment via “selfies” and posting the images onto social media platforms, many too are exploring the greater creative and practical potentials of photography. As a consequence the opening of The Age of Photography #2 in Jakarta attracted an enormous crowd, along with much media attention.

The exhibition featured a huge array of diversity by a group of twenty local and international photographers. Works are printed on stone, acrylic glass, cloth and bamboo, cyanotypes, pinhole shots, analog processed pictures, hi-res landscapes, along with abstract images difficult to identify as photographs. While being more experimental than the first exhibition in 2013 some of the highlights of The Age of Photography #2 include American photographer, artist and designer based in New York and Bali James Wilkins’ two technically perfect, huge abstracts of body armor.

Conflict is a complex, layered consideration of both the interpersonal, micro aspects of psychology and being, and the macro themes of conflict throughout the history of time,” Wilkins said.

kun-tanubrata                                  Images by Kun Tanubrata

Popular with the local media, Indonesian photographer Sjaiful Boen exhibited two political,  controversial, and censored installations, ‘Pemahaman Nenek Luh…!!!’ & “As Your Grandmother’s Understanding…!!!’ featuring Jakarta’s currently besieged Governor Ahok. Boen’s interactive installations talk to the audience.

Renowned Japanese photographer Yasu Suzuka (b.1947) contributes an impressive installation Tapestry of Buddhist Monks Hands, featuring textiles with large black and white dye printed images of praying monk hands, hung in unison. His installation resonates with a potent contemplative aura while being a message for world peace. At the center of the ‘Praying Hands’ work there is a pinhole photograph showing the Hiroshima Atomic Bomb Dome in Japan.

Prominent Balinese painter Agung Mangu Putra works shine with the simplicity and genius. De Ja Vu #5, a black and white image printed on paper captures a twisted cloth seemingly captured floating in mid air, set against gloomy skies and an ocean seascape. “Photography is a medium that allows me to express ideas and thoughts that I cannot achieve using conventional mediums,” Mangu Putra said.

jiri-kudrna-1                                 Light Plane Photographs by Jiri Kudrna

Indonesian photographer Hermandari Kartowisastra (b.1943) presents two beautiful black and white minimal landscape images printed on aluminum silver brush, Ekuilibrium 1 & 2. Presenting the works side-by-side she splits the images in the middle with the horizon line contrasting light and dark skies upon empty, surreal landscapes. Kun Tanubrata (b.1947) exhibits four beautiful works printed on rattan mats, Aku Bertanya is both elegant yet haunting in its simplicity and comes complete within the exhibition catalog with a complementing poetic verse.

Again Jiri Kudrna’s work was a highlight of the exhibition, presenting six Light Plane Photographs (LPP) created with his experimental machines, half printed on acrylic glass and the remainder printed on brushed aluminum. His three interactive installations, Space – Time Variations were very popular, the audience creating over 1800 pictures in four days.

jiri-kudrna-3                         Space – Time Variations Installation by Jiri Kudrna

“The most satisfactory thing for me is to watch the Indonesian kids experimenting with my installations, being creative and having fun,” Kudrna said.   LPP is a technique invented by Kudrna uses a plane of light and a camera to record photographs with unique optic effects.

ABAD FOTOGRAFI – The Age of Photography

Continues through unti 28 November at the National Gallery of Indonesia.

More images may be accessed on Facebook.com/abadfotografi &

@abadfotografi on Twitter

r-haryanto                                               Images by R. Haryanto

Words: Richard Horstman