Optimism Volume 01 February 2010 by Developer Dewataweb

A central question in ‘What’s this? What’s that?’ would seem to imply the answer: art is not always commercial, because there is also a need for art to act as a ritual and interaction with the people and their surroundings

Volume 01 No 01 February 2010

optimism 2010 1

From The Editor

Salam budaya, Allow us to introduce Art Gallery magazine, an art info ‘zine’ containing information about art gallery activities, especially in Bali, in which we include news and views about various forthcoming exhibitions, and review those taking or having recently taken place. For this debut edition we are featuring two major events in the local art world, namely the happening art Apa Ini Apa Itu – undoubtedly a phenomenal event at the end of 2009, and an exhibition featuring the work of Jeihan, an artist who has consistently maintained a distinct style throughout his lengthy career. Forthcoming exhibitions featured include Optimism 2010 at MahaArt Space, which shows the work of no less than 27 artists. In addition, there are profiles of Made Budhiana, Made Wianta, and an essay about the late great Gus Dur. It isn’t easy to cover everything happening in the art world, but we hope that with the help and contributions of readers and galleries, future editions will be all the more comprehensive in their coverage. We are therefore very happy to receive any information about gallery events. MADE WIANTA Please do not hesitate to contact us. Unlimited Space, We also welcome any writing that 2002 ink on paper accords with our mission, is written in an easy-to-read style, is comprehensive and informative, and of course covers the activities of artists and galleries. More than this, we hope that the information we provide will serve as a source of information and entertainment that can support the enjoyment of and appreciation of art for all. Happy reading!

Editor

Cover: Happening Art Apa Ini, Apa Itu (What’s this, What’s that) Photo by Daniel Zacharias

Publisher PT Properti Media Editorial Board Ema S. Contributor Wayan Sunarta Hartanto Rofiqi Hasan Design & Layout Yudi Dluwang Marketing Diah Dila Accounting Dahlia Letissia Printing Cahaya Timur Offset Office Jl. Raya Puputan Renon 126 Denpasar, Bali Phone +62 361 8728866 Fax+62 361 221950 E-mail: artgallerymagz@gmail.com

Art Review

he happening art Apa Ini, Apa Itu (“What’s this? What’s that?”) at Lepang Beach, Klungkung Bali, 29-31 December 2009 underlined an ongoing tendency today in which we see art returning to its roots, to the earth and to nature. More than this, spiritualism is also addressed in almost all of the works of these 27 artists hailing from 6 countries. The event is staged by Djagad Art House, and features artists including Wayan Sujana Suklu, Daniel Kho, Wayan Sujana Suklu, Wayan Sudiarta, Daniel Zacharias, and Daniel LeClaire (USA), who are showing and sharing their ideas and their creative art concepts. This contemporary art festival features installation art, performance art, contemporary music, and performing art

requiring audience participation. The audience are invited to take part in installations from Wayan Sujana Suklu, Nyoman Erawan, Wayan Sudiarta, Daniel Kho, Daniel Zacharias, Danuta Franzen (Polandia), Nyoman Sujana Kenyem, Eko Prawoto, Joko Dwi Avianto, Made Djirna. Coincidentally the material the artists are using is naturally occuring, even in the content of the video art created by Charlie Crooijmans (Holland). Contemporary dancers like Jasmine Okubo (Japan), Diah Kristin, Nyoman Sura, and the husband and wife team Agung Gunawan and Deasylina da Ary, along with Surya Darma, added novelty for the audience, most of whom were locals more used to viewing traditional art. One of

“What’s this? What’s that?” Returning to the Roots of Art 4

EMA S.

DJAGAD ART HOUSE/DANIEL ZACHARIAS

the most interesting performances came from the artists Cedil (Ketut Suanda), Wayan Pacet, and Mahardika, who performed contemporary art music. Also worthy of mention was the installation by Wawan S Husin and Welldo Wnophringgo that ran within the exhibition space for more than 53.5 hours. The climax of the event saw Tisna Sanjaya collaborating with Nyoman Erawan. The performance art ‘Ritus Abu’ by Tisna Sanjaya was based on a similar performance at Sanur Village Festival in August 2009, later re-worked by Tisna in order to incorporate performance media created by Erawan: Space Cremation. At the beginning of the event, Shooshie Sulaiman (Malaysia) symbolized the start of proceedings by ritually planting an

offering in the ground. Ritus Abu is a ritual symbol in the art of Tisna Sanjaya as he reads the current state of culture, society, art, and politics in Indonesia. Tisna Sanjaya features Islamic religious symbols in Ritus Abu. The five paintings buried in Sanur symbolized the way muslims live. This latest collaboration with Nyoman Erawan featuring cremation rites is a kind of harmonization of art with the spiritual, as both activities ultimately have the same end, to acknowledge the great creator. A central question in ‘What’s this? What’s that?’ would seem to imply the answer: art is not always commercial, because there is also a need for art to act as a ritual and interaction with the people and their surroundings.[Ema S.] 5

filled with yellowish black eyes and a smile planted on his

places objects in front of backgrounds that display social

lips. “He said he painted my spirit.” Although appearing

context. Both approaches are represented in the

speckled with paint, Wiratha said he was impressed by the

exhibition which includes work by the late S Soedjojono

painting, which showed the impression of Wiratha

entitled A Meeting of two Great Expressionists.

gleaned by Jeihan. Painting at speed and with intuition are indeed part

The uniqueness of Jeihan lies in his avoidance of

of Jeihan’s trademark. Jeihan admitted to the curator of

portraiture. Instead he strives to enter natural

the exhibition Putu Fajar Arjana, that for the last two

consciousness in order to capture the aura of his models.

years he has tried to rely on instinct as a basic

Because of this, he is often referred to as a painter who

psychological fundamental, rather than as a condition

develops mystical nuance in his work. This is often related

controlled by consciousness.

to his early childhood experiences, in particular skirting

For many years Jeihan was known as a western

with death age 5, when he fell from a ladder. As he

formalist painter as opposed to a folk realist. Western

recovered from this accident he was treated to all kinds of

formalism regards the subject of the painting without

favors - at his own request, in particular he was regaled

reference to any particular ideology, while folk realism

with batik cloth and given his favorite Javanese sugar

EMA S.

snacks. [Rofiqi Hasan]

he Spiritual Instinct of JeihanOn the stage of

carrying out a dance movement appeared. Her face cast

Bentara Budaya Bali, Lena Guslina is moving

down, eyes black as though closed.

composition in response to the work of senior painter

opening of his solo exhibition Between Technique and

Jeihan Sukmantoro. The result is a kind of rite, devotional

Instinctive Framing: 9 Windu Jeihan (27 December 2009 to 17

and contemplative, and of course attractive. Lena can be

January 2010), Lena was not the only model to receive this

said to have been successful in reproducing the mystery

spontaneous treatment. Marathon-like, the 72 year-old

emanating from the pupil of the eye of the dancer in

painter painted the head of Trade and Industry in Bali Gde

Jeihan’s canvas.

Wiratha, who was there to open the event, as well as

enthusiastically. She is presenting a dance

On the same occasion, Jeihan joined with others in

One evening towards the end of December, at the

singer and actress Ayu Laksmi. He was able to complete 9

admiration of Lena. Spontaneously, and very quickly, he

paintings altogether in the space of approximately one

allowed his large brush to cross an expansive canvas.

hour.

After no more than a minute, the figure of a woman 6

The uniqueness of Jeihan lies in his avoidance of portraiture. Instead he strives to enter natural consciousness in order to capture the aura of his models. Because of this, he is often referred to as a painter who develops mystical nuance in his work.

Gde Wiratha was pleasantly surprised by his portrait, 7

Art

Exhibition

Introduction by Exhibition 18 February-18 March 2010

Optimism 2010

Issues surrounding contemporary art are celebrated by many artists who were either born or now live in Bali, via the various elements of realism that we come across in our daily lives: the environment, humanity, politics, and the various industrial products that define urban culture. And these artists achieve their ends through an equally wide variety of visual strategies.

ealism has changed, not only because of the development of supporting media (electricity for lighting, cameras, computers), but also because of changes in ideology, the relationship between the country post cold war and globalisation. In the study of international relationships, these phenomena have been termed neorealism, especially in the work of Kenneth Waltz who described the international systems that determine the behaviour of a country. The individual signification of context no longer takes place solely in relation to ideology, but also because of the relationships between professions supported by media. Realism and contemporary Balinese art are a case in point, because globalisation is far more apparent in Bali if compared to other parts of Indonesia. Bali can no longer view itself as Bali, or even as Indonesia. It must now regard itself at the same time as a global entity throbbing like an organ of a larger system. The concept of the outsider, either foreigners or domestic migrants, carries within it the norms of globalization, and is a reality in Bali today, where its liberalizing effects have been clearly felt. Bali is bracing itself for a new political identity according to which truth is no longer to be found in a solo face and voice, rather in the causes and effects of joint goodness. It has become an oasis for an aesthetic people who see beauty as a language comprising various processes. Does art realism – for the Balinese artist operating in the above context – represent a suitably pertinent question in the reading of this exhibition, Optimisme 2010, staged by MahaArt Space, Sanur, Bali, and which features 25 artists aged between 35 and 40?

Visual Unity The visual geography and even anthropology of Bali displays a uniqueness that separates it from other parts of Indonesia. The environment, village-city, mountain-sea, opposites that co-exist in a unified way. In the city we find rice fields and rural life. And the mountains and the sea are similarly ‘one’. The coast and the hills are not culturally divided as they are in Java. This unity is even to be found in the combination of the traditional and the modern, of ritual and the daily economy. As a consequence of this unity we find an analogy in traditional Balinese art, often referred to as ‘non-perspective’: there is no central object or focus. All is unified in a visual community reminiscent of a mantra, repetitive and compact, deeply provocative, vibrating and intense. Narration (of fables, for example) does not elicit correspondence, rather it elicits rhythm and density. Unity is in the name of devotion, prayer, and togetherness. Creatures (human, animal, even mythological) exist at a level no greater than the world that surrounds them. Technical aspects, whether lines or incisions, move like rain or the chirping of insects. The results of manual labour are devoted to a visual unity that transfers detail to the level of movement and sound. In the context of contemporary Balinese art, this unity brings with it provocation in the sharp arrangement of space within a composition, or maximizing detail in order to achieve vibrance. Hyper-reality is also achieved through the enlargement of objects that replace the atomization featured in traditional Balinese art. And various other visual strategies make use of digital media. How best, then, to interpret contemporary Balinese art in the context of Bali itself? This question is placed somewhat ambiguously in the work of Wayan Redika, a female Balinese dancer amidst

various paint brushes covered in old paint. The space is divided into two colours, clear blue and dark brown. The brushes are arranged in such a way as to alter the interpretation of the work variously: thousands of arrows transforming the traditional face, a gateway to tradition, or no sign at all. Indeed, there is the impression that this unity is being shaken: devotion is being replaced by television, prayer is being replaced by protest. The canvas is now seen more as a place to execute a visual strategy based on new ideas, and and no longer as a place of worship. The work of Wayan Apel Hendrawan and Wayan Anyon Muliastra, both represent forms of social protest or statement. In the context of Hindu Bali, the paintings of cows by Nyoman Wijaya, also convey irony in the contrast between that which is regarded as sacred and the reality of our consumer culture. The cows are made using deep incisions and warm colours. It is painting as reading: Who are we as consumers? Balinesque painting, as in the aforementioned work of Redika or Wijaya, is epitomized in the work of Made Kaek, which preserves manual technique in the use of pencil and Chinese ink brush, but never showing off in its perfection. He is able to control his use of technique, aware of the need to control expression up to a certain limit. The resulting effect is a layering of just the right kinds of emotion, namely the spirit world and the beasts of the netherworld, both integral to Hindu-Bali narrative, but also the narrative of Kaek himself. Kaek also strives not to be provoked by colour, preferring instead to allow black and white to dominate. For a visual strategy that features composition as a way to read, we turn to the work of Gede Arta. This work uses natural backgrounds and farming figures, placed not in a relationship of production, rather one in which the very near and the very far are juxtaposed, and with variations of colour presented either in transparent blocks or caked on thickly or cubistically. This, analytical style of composition can also be seen in the work of I Nyoman Ari Winata. Deformed figures arouse emotion, or a kind of dehumanized narrative. Figures with gestures convey the feelings of bodies worked hard, bodies that suffer and are abused, and feelings of loss. Meanwhile, figures without background remove the distinction between standing, hanging, and floating.

painting through Bonet and Walter Spies, for example, is an important aspect of this political identity, although let us not forget the role of Tjokorda Sukawati during the 1930s. When we look at the phenomenon of the return of the social space in Bali as a united space, then in comparing traditional and contemporary art in Bali we see that there is no relationship between the two. Their connectedness lies simply in the fact that they both occur at the same time and in parallel. There is nothing ‘over there’ and ‘over here’, everything is here. There is no traditional and no modern, all is contemporary, here and now. There is no age gone by and no up-to-date. Everything is mixed together and intertwined, both the old and the new. This posturing of Bali has been described analogously by Putu Wirata Dwikora, who notes that however modern the Balinese in the villages might appear to be (surfing the Internet, using handphones, driving cars, and in professional employment), they never let go of tradition, and continue to communicate with the dead, and so on. (2009). The Hindu-Bali tradition shows the cosmology of birth, death and reincarnation; the relationship between the living and the dead; between the material and the non-material (Mahabutha); between the sacred and the profane (ceremony

The Mystical-Pragmatic Dimension Globalisation indeed implies a paradigmatic shift in the reading of contemporary Balinese art. This political identity alters the complexity of discourse both at the internal as well as the external level. The way we read modern Balinese

+ cockfighting + gambling): all takes place in harmony. It is a cosmology that implies a cycle of life, forming a perfect circle, bringing all things together and placing them at their respective points within the cycle. The narration of this cosmological space can be seen in the work of Made Duatmika, for example: Dance and Ceremony, Disco and Gamelan. And another example is in the graffiti Power Cut. People at prayer, usually sterotypically female icons like those seen in stained glass, angelic females, peace and love, all are found in the work of I Ketut Tenang. A wide background of blue blurs into the face of an old man in the painting (Cundrawan). Religious and traditional Hindu-Bali indeed relies heavily on visual language – that can be seen and therefore communicated. This language does not rely on a view of space as having perspective, because perspective implies some kind of structure, and the ratios resulting from structure result in a dialectic of space having a here and a there. Meanwhile these have been replaced in the Balinese people by more mystical and pragmatic relationships. This, then is the essence of the unified space that we find in the context of Bali. Belief (as a mechanism of ritual) and function (fulfilling daily needs) has replaced the dialectics of structure. See how space is arranged in the work of Ketut Teja Astawa, for example. His paintings seem to be showing an above, a below, and a centre. All areas are essentially mythological, but they operate together, in harmony, according to their respective functions, so that the eye follows the sky as would a bird. Traditional and contemporary Balinese art can only really be distinguished according to their respective archeologies: one is a narrative offering contextualised by Hindu-Bali cosmology, while the other is oriented towards global art. One is traditional representation, the other is individual presentation and is responsible for its own form of expression and for the ideas contained within it. These differences in archaeology, between the traditional and the contemporary, do not automatically correspond to parallels in the community of artists in Bali. The attitudes of Balinese artists from these two camps are in fact very similar in terms of their daily activities: production, creativity and ritual combined. Contemporary art does not automatically imply a personification of values that significantly alter the artist’s view of tradition. It is more a means to achieve diversity, which is an inevitable aspect of the global village. Realism resides in Balinese art and therefore it is impossible to read it according to cosmology alone. A radical 10

discourse is no longer necessary when ritual is an integral mechanism used by the Balinese to move between domestic and public spaces. Optimism (a theme of this exhibition), which is represented according to Balinese cosmology as residing above (through the concept of reincarnation and the hierarchy of spirits) is a given. Optimism despite the various environmental problems (global warming) can be interpreted as hope, a search for space and alternative movements, maintaining the dream of a united world in which we all live at peace with each other. Optimism is most apparent when set against the background of issues like global warming, which is currently receiving attention around the world alongside other issues such as human rights. Life force is set against ecological capacity, which is rapidly diminishing due to human activity. However, some artists, such as I Made Budiadnyana and IB Puja, avoid dramatic responses to situations like this. Both derive a visual language from pure forms, transparent layers and textures. In the work of I Made Dolar Astawa objects are uniquely combined: amidst a cluster of metallic colored chillis we find a red-as-a-chilli tomato. This strategy of shifting colours is how Astawa makes a statement about pressing issues. In yet other works, such as those by V. Dedy Reru, we find icons from Pop culture. Wayan Pastika explores the sensuality of the female queen, achieving sensation in the juxtaposition of fiction and sensuality. Sensations, such as those created by superheroes like Superman, help to politicize - hyper-realistically - the will of the super-ego. Hyper-reality like this is a local means to explore the myth of the hero, be it religious or traditional. More recently it has also been associated with the politics of beauty, of superiority, and of gender. Kondang Sugito makes statues that reflect the sensation of personification. For example there is the piece that features a penis as focal point, and of course, the ‘face’ of the piece is busy observing birds that are flying around it. (burung = bird, a local slang word for penis). At the same time it is as though the penis is attending to all directions, in a state of loneliness. The works of these artists, along with those of many others taking part in the exhibition: Wayan Hendra Kusuma, Antonius Kho, Made Wiradana, Uuk Paramahita, Putu Sudiana Bonuz, Made Suta Kesuma, Putu Edy Asmara Putra, Wayan Sumantra, Kadek Wijana, and Made Romi Sukadana, all beg for a return to optimism as something basic to life, something that we own, and something that cannot be taken away from us by anybody.[Maha Art Space]

Berbagi Ruang#2, 2009, 45 x 280 cm, oil on canvas

Nyoman Wijaya Born: Tabanan, Bali, November 1971. Education: 1998-2003 Study life drawing in Sanggar Senin-Kamis, Sanur, Bali Solo Exhibition 2009: AS. SENT, Kendra Gallery, Seminyak, Bali Group Exhibition 2009: Fascination, Andi’s Gallery, Jakarta. 2008: ASEAN Water Color 2008, Neka Museum, Bali Expanding Contemporary Realism, Akili Art Museum, Jakarta Manifesto, Galeri Nasional, Jakarta Cosmetic Culture, Kendra Gallery, Seminyak, Bali 2006: The Real Thing, Lirik Gallery, Bandung 2005: Pre-Bali Biennale, Darga Gallery, Bali 2004: Membaca Realisme, Nava Art Gallery, Denpasar, Bali 2003: Narasi Realistik, Klinik Taxu, Denpasar, Bali 2001: Sesari, Gedung Titik Dua, Denpasar, Bali 1999: Bali-Yogya Painting Exhibition, Kuta, Bali 1998: Figure Drawing Exhibition, Sanur Raya, Bali Awards 18 Nomination of Akili Museum of Art Award (AMAA) 2008 11

I Made Romi Sukadana Born in Denpasar, January 22 ,1973

Solo Exhibitions 2001: “Sides of Woman” at Paros Gallery, Gianyar Bali. 2007: “Dialogue with the Reality” at Kamandalu Resort, Ubud. 2009: Sebuah Nama, at Ten Fine Art Sanur Group Exhibitions 1993: Tugas Akhir SMSR Denpasar; 1995: 2th KAMASRA STSI Denpasar; STSI Denpasar at Camberra Australia; 1996: 3th KAMASRA STSI Denpasar 1997: Angkatan ’94 STSI Denpasar at Taman Budaya Denpasar Benda Seni & ½ Seni at Joger Kuta Bali; 1998: Angkatan ’94 STSI Denpasar at Taman Budaya Mataram Lombok; Refleksi 98 at Darga Gallery, Sanur. 1999: Tugas Akhir STSI Denpasar. 2000: Himpestrada at Museum Bali. 2001: Sesari at Gedung Titik Dua Denpasar; Imajinasi dan Warna at Bizete Gallery Jakarta; Kelompok 5 “Oriental” at Art Centre Denpasar. 2002: Sanggar Poleng at Cotages Fremes Denpasar; Perupa dalam 16 “Unity” at Gabrig Gallery Sanur; “Small” at Paros Gallery Gianyar Bali. 2003: “Tai Black” Tanah Air Indonesia Hitam; Perupa dalam 16 “Big” Art Centre Denpasar & Santrian Gallery Sanur; New Harmony at Rare Angon Gallery sanur Small and Beautiful at Kiridesa Gallery, Singapure. 2004: Drawing “New Harmony II” at Rare Angon Gallery Sanur; “OH!! At K Sudana Gallery Ubud; Ten Artist Intruduce Themselves at Ten Fine Art Sanur. 2005: Color Space and Arcitectural at Santrian Gallery Sanur; Exhibition and Art Show with Ten Fine art at Hogart Collection, Melbourne, Australia; Simple is Beauty at Guet Fine Art Sanur; “BRIKOLASE” Ten Fine Art Sanur. 2006. “Jago” at Niki Gallery Ubud; Unlimited with Ten Fine Art at Danes Art Veranda, Denpasar; Panorama with Ten Fine Art at Ganesa Gallery Four Season Jimbaran. 2007: Me between us at Tony Raka Gallery, Ubud; Sanur Village Festival 2007 “ A[r]tmosphere at Guet Fine Art Sanur; “I BUMI” at GWK Jimbaran. 2008: Entitas Nurani at Art Centre Denpasar; Sanur Village Festival 2008 “Green” at Segara Beach Sanur

Wayan Pastika

Perlu Perhatian, 2009, 140 x 140 cm, oil on canvas

Born in Tabanan, 24 December 1971

Education : SMSR (Sekolah Menengah Seni Rupa) Denpasar, Bali Drawing Study Sanggar Senin-Kamis, Sanur, Bali Solo Exhibition : 2000 The Body and The Beauty, Art Center Denpasar, Bali

Minum Susu, 2009, 150 x 200 cm, oil on canvas

Selected Group Exhibition : 2008 Silince Celebration, Toni Raka Gallery, Ubud, Bali Tri Hita Karana, Cosmetic Culture, Kendra Gallery, Seminyak, Bali 2003 Pelangi Nusantara, Garden PlAZA Hotel, Surabaya 2002 Pesta Warna, Rasuna Club Jakarta 2001 Wanita, Duta Wijaya Renon, Bali 1998 Ruwatan Bumi, Taman Budaya Denpasar, Bali 1997 Seni Untuk Semua, Gatot Subroto, Denpasar, Bali 1990 Drawing Figur, Paros Galerry, Bali 13

Gede Arta Born in Kintamani, 24 December 1976 Education: STSI Denpasar 2002 Exhibition 1998: Lukisan Cat Air, Angkatan 97, Art Centre,Denpasar; Kamasra STSI, Sahadewa Galeri, Batuan,1999: Angkatan 97, STSI, Denpasar; 2000: Pekan Kesenian Mahasiswa, STSI Denpasar; Open House, STSI Denpasar. 2001: Tugas Akhir, STSI, Denpasar; Cultural Heritage Concervation, Grand Bali Beach, Sanur Bali. 2002: Ruwat Sarira, Sanggar Jarak Bang, RSJ Bangli. 2003: Narasi Alam Manusia, Hotel Alam Kul-kul, Kuta; Renungan Merah Putih, Monumen Nasional Margarana, Tabanan. 2004: Dasa Muka, 4th BCW, Museum ARMA-Ubud. 2005: Pre Bali Biennale, Tonyraka, Ubud. 2008: Radar Bali, TonyRaka, Ubud. 2009: Survey # 2, Edwin’s Gallery, Jakarta; Point to Point, Elcanna Gallery, Jakarta; Vanessa Art Link, Jakarta

Wayan Sumantra

Born ini Pecatu, Badung, Bali, 29 January 2010 Solo Exhibition: 2000 Expresi 2000 hotel Sahid Jakarta 1998 Grand Mirage Hotel Nusa Dua Bali 1999 WTC Singapore

Group Exhibition: 2001 Bali Art Festival “Earth Exorcising” Art Centre Denpasar 2002 Group Ruko Gatsu Denpasar 2003 WTC Singapore 2004 Vanessa Art House, Jakarta O Miracullum Diptera, One Galleri Jakarta 2005 Bali Biennalle, Darga Gallery Bali 2006 Vanesa Art House Jakarta Horison di Timur, Lirik Galleri Bandung 2007 “Brussels Voice Of Peace” “Portofolio” Jogya Gallery, Jogyakarta 2008 King Dom Animal, Jogya Gallery Artikulasi, One Gallery Jakarta 2009 Tonny Raka Gallery 14

Lamunan Siang#3, 2009, 196 x 216 cm, oil on canvas

I Made Budiadnyana Education: STSI Denpasar

Group Exhibitions: 1993 SMSRN Denpasar, Batubulan, Gianyar 1994 Alumnus SMSR, Art Centre, Denpasar 1995 KAMASRA, Bali Art Festival, Denpasar 1996 Ngulat Taksu, Museum Sidik Jari, Denpasar 1997 Gores 94 Group, Kemuda Sari Art Gallery, Ubud 1998 KAMASRA, Canberra, Australia 1999 100 Finalists Competition Art Painting Philip Morris, Galeri Nasional, Jakarta 2000 Exhibition with Nyoman Tusan, Galeri 9, Ubud Sesari Kuta News, Gedung Titik Dua, Denpasar 2001 Tamasya Imagination, INA Gallery, Jakarta 2002 Sanggar Poleng Kesiman, Cottage Frame, Denpasar 2003 Galang Kangin; Esthetic and Nature, Grya Santrian Gallery Sanur 2004 10 Artist Introduce Themselves, 10 Fine Art Sanur 2005 10 Fine Art, Melbourne Art Show, Australia 10 Fine Art, Hogart Collection, Melbourne, Australia 2006 Galang Kangin, Millenium Gallery, Jakarta Montiq Gallery, Jakarta 10 Fine Art, Danes Art Veranda, Denpasar 10 Fine Art, Four Seasons Resort, Jimbaran, Bali Galang Kangin: Triumph and Defeat, Taman Budaya Yogyakarta 2007 A[r[tmosphere, Sanur Village Festival, Darga Gallery, Sanur 2008 Green, Sanur Village Festival, Segara Beach, Sanur 2009 Golden Box#3, Jogja Galeri, Yogyakarta

I Nyoman Ari Winata

Born in Tabanan,14 March 1971

Exhibition: 1992: Sanggar Dewata Indonesia, Yogyakarta 1993: Dies Natalis PSSRD Universitas Udayana, Denpasar Lamak Bali Art Group, Art Centre Denpasar 1994 HMJS PSSRD Universitas Udayana, Puri Bukit Mas Gallery, Ubud 1995 ”Kelompok 14”, Art Centre Denpasar Experimental Art, UNS, Solo 1996 HMJS PSSRD Unud, Museum Sidik Jari Denpasar Bali Arts Festival, Art Centre, Denpasar 1997 Bali Arts Festival, Art Centre Denpasar 1998 1.000 Meters Painting, Hyatt Bali, Sanur, Denpasar 2001 Kartun, Gedung Titik Dua, Denpasar 2002 Kartun, RS Ari Santi Ubud 2003 BogBog Bali Cartoon Magazine, Batan Waru Café 2009 Galang Kangin Expectation Confirmation, Tony Raka Gallery, Ubud Experience: 1999-2001 Illustrator Tabloid Lintang Bali Post, Denpasar 2001-2004 Contributor Bog-Bog Bali Cartoon Magazine 16

Dialog, 2009, 125 x 125 cm, oil on canvas

V. Dedy Reru Born in Denpasar,15 February 1973 Education: ISI Denpasar (2003-2006) Solo Exhibitions: 2007: Bali Revisited, Roemah Roepa, Jakarta 2008: Legacy of the Future, 10 Fine Art Gallery, Sanur Group Exhibitions: 1993: SMSRN Denpasar, Museum Bali, Denpasar; 1995: Drawing Show, Dynasti Hotel Kuta; 1997: Portrait, Malibu Pub, Lovina, Singaraja; 2000: Lima Warna, Rare Angon Gallery, Sanur; 2001: Nyama Braya, Ajis Gallery Ubud; 2002: Poleng Kesiman, Cottage Frame Denpasar; 16 Artists, Art Centre Denpasar; Paradise Youth Activity, RRI Denpasar; 2003: Big, Art Centre Denpasar; New Harmony, Rare Angon Gallery Sanur; Saraswati Dalam Imaji, Nandya Gallery Ubud; 2004: Ohh, Sudana Art Gallery, Ubud; Drawing New Harmony II, Rare Angon Gallery Sanur; ISI Denpasar, Museum Sidik Jari Denpasar; Satu Malam, Griya Santrian Gallery Sanur; 10 Artists Introduce Themselves, 10 Fine Art Sanur; 2005: The Sky By The Kite, Guet Sanur; Indonesian Kite, Museum Jakarta; Bukit Layang Layang, Johor Malaysia; 10 Fine Art, Melbourne Artshow Australia; 10 Fine Art, Hogaart Collection Australia; Simple is Beauty, Guet Sanur; Scane of Nature, Jenggala, Jimbaran; Brikolase, 10 Fine Art Sanur; 2006: Jago, Niki Galeri Ubud; Berdua, Montiq Gallery, Jakarta; Sanur Village Festival, 10 Fine Art Sanur; Unlimited Danes Art Veranda Denpasar; Panorama, Ganesha Gallery Four Seasons Resort Jimbaran; 2007: A[r]tmosphere, Darga Galeri Sanur; Shanti-Shanti Bali, Borobudur Hotel Jakarta: 2008: Green, Segara Beach Sanur; 2009: Golden Box #3, Jogja Gallery, Yogyakarta

Cundrawan

Born in Denpasar, October 1972 Education: 1998-2003: Life drawing model in Sanggar Senin-Kamis, Sanur 1992-1998: Fine Art and Design, Udayana University Group Exhibitions: 2009: Real(i)ty, Vanessa Art Link, Jakarta, Indonesia 2009: Point to Point, Elcanna Fine Art, Jakarta, Indonesia 2008: Asian Water Colour Exhibition, Neka Museum, Ubud, Bali 2008 Cosmetic Culture, Kendra Gallery, Seminyak, Bali 2006: The Real Thing, Lirik Art Gallery, Bandung 2005: Pre-Bali Biennale Exhibition, Raka Gallery, Mas, Ubud, Bali 2001: Sesari, Gedung Titik Dua, Denpasar, Bali 2000: Bali-Japan Painting Exhibition, BungaBunga Bali Artist Community, Kuta, Bali 1999: Bali-Yogya painting Exhibition, BungaBunga Bali Artist Community, Kuta, Bali 1998: Figure Drawing Exhibition, Sanur Raya, Denpasar, Bali

John Lenon and Friend#4, 2009, 120 x 150 cm, oil on canvas

IB Puja

Born in Jember, 22 January 1970 Solo Exhibition: 2009: Window 2009, An Abstract Journey 2007: JA Gallery, Jakarta 1999: Studio Painter, Saba, Bali 1998: Pelukis Cilik Museum, Jember Group Exhibition: 2008: 10 Painters in Jakarta; 2007: Window 2007 An Abstract Journey in collaboration with Stefen in Germany; Group exhibition in Australia; 2006: JA Gallery, Jakarta; 2005: Window 2004 an Abstract work inspired by long efort to ind identity in collaboration with Roel Veldema, Holland; 2004: 10 Painters, Jakarta; Singapore; Studio, Saba, Bali ; 2003: UKM Universitas Jember; Kiyanto Gallery, Batu, Malang; 2002: Balinese Painting Exhibition, Bali; 2001: Lorin Hotel, Bali; Citra Lukisan Indonesia, Surabaya; Citra Lukisan Istimewa, Mercury Hotel, Surabaya; 2000: Sheraton Hotel, Surabaya; Soetardjo Building, Jember; Sapex 2000, DKS Gallery, Surabaya; 1999: Pemda Building Jember; Greget Empat Kota, Jember; Jember Municipality Building; Citra Estetika, Jember; Puspenmas, Jember; Wali Songo Festival, Surabaya; 1998: Natour Kuta Beach Hotel; Ramada Bintang Bali Hotel Kuta; Museum Jember; Sheraton Hotel Surabaya; Empat Express, Bhayangkara Building Jember; 1997: Patra Jasa Hotel Kuta; GOR Kaliwates, Jember; Bali Clif Hotel Jimbaran, Bali; Kuta Shopping Centre; 1996: Pelukis Cilik Museum, Jember; 1983-1994: Exhibition in Jember

Between, 2009, 140 x 180 cm, oil on canvas

I Made Dolar Astawa

Born in Gianyar, 22 August1972, Education: SMSR N Denpasar

Exhibition: 1991: Sanggar Giri Kusuma, Museum Bali 1992: SMSRN Denpasar, Batubulan 1993: Kelompok 35, Museum Bali 1994: Kelompok 35, Museum Bali 2001: HPS, GWK Jimbaran Lima Warna, Rare Angon Galeri Sanur 2002: Soft opening Griya Santrian Galeri Sanur Perupa Dalam 16, Art Centre Denpasar 2003: BIG, Art Centre Denpasar & Griya Santrian Galeri Sanur New Harmony, Rare Angon Galeri Sanur Bali Art Festival XXV, Art Centre Denpasar 2004: Mozaik, Griya Santrian galeri Sanur New Harmony II, Rare Angon galeri Sanur Satu Malam, Griya Santrian Galeri Sanur 10 Artists Introduce Themselves, 10 Fine Art Sanur

2005: Painting The Sky By The Kite, Guet Galeri Sanur Indonesia Kite Museum Jakarta Bukit Layang Layang, Johor Malaysia 10 Fine Art at Melbourne Art Show Australia 10 Fine Art at Hogaart Collection Australia Brikolase, 10 Fine Art Sanur 2006: Jago, Niki Galeri Ubud Montiq Galeri Jakarta Sanur Village Festival 10 Fine Art Sanur 10 Fine Art, Danes Art Veranda Denpasar 10 Fine Art, Ganesha Galeri Four Season Jimbaran 2007: Sanur Village Festival, Darga Galeri Sanur â&#x20AC;&#x2DC;IBUMIâ&#x20AC;?, GWK Jimbaran 2008: Green, Segara Beach Sanur 2009: Art Installation, Sanur Vilage Festival Sanur

Uuk Paramahita

Born in Denpasar, 17 April 1978. Education: Fine Art Painting, STSI (ISI Denpasar)

Exhibition: 2000: Exspresi Bumi, Kuta Paradisso Hotel. 2001: 20 Finallis Nokia Art Award, Arsip National Museum Jakarta. 2004: Dasa Muka, Arma Museum, Ubud. 2005: Bali Biennale Space and Scape, Tony Raka Gallery and Komaneka Gallery; 2006: Aku Kedua, Danes Art Veranda Denpasar. 2007: Me Between Us, Tony Raka Gallery Bali. 2008: Silent Celebration, Tony Raka Gallery, Bali; Kisah Dua Kota, Sangkring Art Space, Yogyakarta; Super Ego, th Ego Gallery, Jakarta; Wajah-wajah, Junge Gesichter, Agon. e.V Passau, Germany; 13th Asian Art Bienalle Bangladesh, Shilpakala Academy Dhaka; Aku yang Bebas, Darga Gallery Sanur Bali. 2009: Survey#2, Edwin Gallery Jakarta; Our World, Ganesha Gallery Four season Resort Jimbaran Bali; Ilustration Cerpen Kompas. 2008: Bentara Budaya Jakarta, Bentara Budaya Jogja , Bentara Budaya Bali, 2010: Survey II 10, Edwin Gallery Jakarta; Return To Abstraction , Tony Raka Gallery Bali. Award: 20 Finalis of Nokia Art Award (2001)

Tukang Sapu, 2009, 120 x 180 cm, acrylic, pencil, airbrush on canvas

I Wayan Apel Hendrawan

Born in Sanur, 29 May 1974. Education: Bali Art Design School Exhibition 1995: Gabrig Galeri Sanur; 2001: HPS, GWK Jimbaran; Gabrig at Miami, Florida etc, USA; Gedung Mario Tabanan; Gelar Dua Budaya Indonesia-Jepang, Bunga-Bunga Bali, Kuta Centre Bali; 2002: HPS soft opening Griya Santrian Galeri Sanur; Perupa Dalam 16, Gabrig Galeri Sanur; 2003: BIG, Art Centre Denpasar & Griya Santrian Galeri Sanur; New Harmony, Rare Angon Galeri Sanur; Bali Arts Festival XXV, Art Centre Denpasar; 2004: ‘Mosaik’, Griya Santrian Galeri Sanur; New Harmony II, Rare Angon Galeri Sanur; Satu Malam, Griya Santrian Galeri Sanur; 10 Artist Introduce Themselves, 10 Fine Art Sanur; 2005: Painting The Sky By The Kite, Guet Galeri Sanur; Indonesia Kite Museum Jakarta; Bukit Layang Layang, Johor Malaysia; Ten Fine Art, Melbourne Art Show Australia; 10 Fine Art di Hogaart Collection Australia; Brikolase, 10 Fine Art Sanur; 2006: Jago, Niki Galeri Ubud; Exhibition with Made Budiadnyana, Montiq Galeri Jakarta; Sanur Village Festival, 10 Fine Art Sanur; 10 Fine Art, Popo Danes Art Veranda Denpasar; 10 Fine Art, Ganesha Galeri Four Season Jimbaran; O House Galeri Jakarta; 2007: Sanur Village Festival, Darga Galeri Sanur; ‘IBUMI”, GWK Jimbaran; 2008: Green, Segara Beach Sanur; 2009: Art Installation HPS, Sanur Vilage Festival Sanur 22

Keramaian di Pulau Kecil, 2009, 140 x 140 cm, acrylicon canvas

Wayan Anyon Muliastra

Born in Denpasar, 18 September 1975 Education STSI Denpasar Suap, 2009, 160 x 140 cm, oil, pastel on canvas

Exhibitions: 1994: SMSRN Denpasar di Batubulan; 1995 Alumnus SMSR, Art Center Denpasar; 1996 Kamasra, Bali Cliff Resort Jimbaran; Kamasra, STSI Denpasar; Kelompok Kangin Kauh, Kuatro galeri Kuta; 1997: Dies Natalis STSI Denpasar; 1998: Refleksi Seni 98, Darga galeri Sanur; 1999: Angkatan 95, Ayuk galeri Batuan; kelompok Kangin Kauh, Art Center; 2000: Philip Morris Art Awards 2000, Galeri Nasional Jakarta; 2001:Satu Lima Group, BIG galeri Ubud; Bizette galeri Jakarta; 2002: Satu Lima Group, Bizette galeri Jakarta; Satu Lima, Koi galeri Jakarta; 2003: Perupa dalam 16, Gabrig galeri; Perupa dalam 16, Art Center; Perupa dalam 16, Griya Santrian galeri; Reality and Identity, Kiri Desa Galeri Singapore; Small and Beautiful, Kiri Desa galeri Singapore; 2004: Painting and Seeing, Sudana galeri; Satu malam, Griya Santrian galeri; 10 Artist Introduce Themselves, 10 Fine Art Sanur; 2005: 10 fine Art, Melbourne Art Show Australia; 10 Fine Art, Hogaart Collection Australia. 2006: Jago, Niki Galeri Ubud; Sanur Village Festival, 10 Fine Art Sanur; 10 Fine Art, Popo Danes Art Veranda Denpasar; 10 Fine Art, Ganesha Galeri Four Season Jimbaran; 2007: O House Jakarta; Sanur Village Festival II, Darga Galeri Sanur; â&#x20AC;&#x2DC;IBUMIâ&#x20AC;? , GWK Jimbaran; 2008: Green di Segara beach Sanur.

Mobilitas#2, 2009, 146 x 200 cm, oil on canvas

I Wayan Hendra Kusuma Born in Denpasar, 18 February 1973

Education: 1992: Art & Design Study Udayana University, Denpasar 1999: Drawing study Sanggar Senin Kamis, Sanur Bali Group Exhibitions 2000 Bali-Japan Painting Exhibition, Kuta Bali 2001 Dua Budaya Bali - Yogya, Kuta Centre Bali 2002 Tema Perdamaian, Art Centre, Bali 2005 Pre-Bali Biennale, Darga Gallery, Sanur Bali 2006 The Real Thing, Lirik Gallery, Bandung 2008 Entitas Nurani, Art Centre, Denpasar Bali 2009 Point to Point, Elcana Art Gallery, Jakarta Real(i)ty, Vanessa Art Link, Jakarta 25

I Putu Sudiana Bonuz

Born in Nusa Penida, Bali, 30 December 1972 Education : Sekolah Tinggi Seni Indonesia/STSI Denpasar (1995-2002) Solo Exhibitions 2000: Melintas batas, Forum Merah-Putih, Denpasar; 2003: Universal Spirit, Jenggala Keramik Jimbaran, Bali; Esensi Abstrak, Art Centre Denpasar, Bali; 2006: Journey of the soul, Relish Café and Pool, Jakarta; 2008: Pleading Lifes Tenacity, the St. Moritz and Kemang Village, Jakarta. Awards 1995, 1997, 1998: The Best Artwork from Kamasra, STSI Denpasar; 1999: Semi Final of The Philip Morris Art Award VI, from YSRI Jakarta.

Made Kaek

Born in Denpasar, January 23, 1967 Group Exhibitions 1989-1991: Sanggar Dewata Group in Jakarta, Denpasar Bali; 1991: Bali Art Festival – Art Centre Bali; 1992: Group exhibition of HIPMI Conference at Nusa Indah Convention Centre, Nusa Dua Bali; Sanggar Dewata Indonesia, Hindu Federation Meeting at Art Centre Roh#12, 2009, 145 x 70 cm (two panels) Bali; 1993: 12 Artist Exhibition of Century Plaza Kuta; STSI Anniversary, STSI Collage, Denpasar Bali; 1994: Sanggar Dewata Indonesia, Museum Nyoman Gunarsa Klungkung, Bali; “Aid for Aid”, Rudana Gallery Ubud; 1995: One ManWork Shop in Okinawa Japan; 1996: Forum Saraswati Bali, Bali Art Festival; “Ekspresi 1996”, Gallery LIBI Denpasar; 1997: “Ruko Gatsu” Denpasar; 1998: Imperial Hotel Kuta Bali; Drawing and Sketch exhibition, Art Centre Denpasar Bali; 1999: Krisna Gallery Ubud; Sanggar Dewat, “Millennium Art” 6 Museum in Bali; Paros Gallery Sukawati –Gianyar Bali; 2001: Garuda Wisnu Kencana (GWK) Nusa Dua Bali “Bening”; 2002: Sika Gallery Ubud “Peace and Unity”; National Gallery Indonesia, Jakarta “Seni Rupa Nusantara II”; Paros Gallery, Sukawati – Gianyar Bali “Small”; 2003: Garuda Wisnu Kencana “Swiss Cows Bali”; Jubellium Bali Art Festival, Art Center Denpasar; Exhibition & launching book “ 4 + 1 = Venezia at Danes Art Veranda Denpasar; 2004: Sketch and drawing “ Dasa Muka “ at ARMA Ubud- Bali; 2005:The Peak Jakarta; Astra Building, Jakarta; 2007: A(r)tmosphere, Sanur Village Festival, Bali; 2008: International Contemporary Art Fair 2008, Mid Valley, Kuala Lumpur, Malaysia; 2009: SDI Now, Tony Raka Gallery, Mas Ubud; Encounter, Hana Art Space Ubud Bali; Friendship Thought Art, Alila Jakarta Solo Exhibitions 1997: Pesona Bali Resort Seminyak, Bali; 2002: Humanity and Eccentricity, Galeri Sembilan, Lod Tunduh, Ubud, Bali; Tree Monkey Café & Gallery Ubud; 2006: My Playful Journey, Ganesha Gallery Four Season Jimbaran Bali Award 1990: Young and Sport Minister of Indonesia; 1991-1992: Bali Art Festival; 1995: Citra Usadha Indonesia Foundation Award

Group exhibitions 1994: with SMSR at Art Centre Denpasar; 1995: with Kamasra at STSI Denpasar; 1996: Ngulat Taksu, at Museum Sidik Jari, Denpasar; with Kamasra at Bali Cliff Resort, Nusa Dua; 1997: Soemardja Gallery, ITB, Bandung; with kamasra at Gedung Mario Tabanan; 1998: Bali Painters Parade at Bali Hyatt, Sanur; “Refleksi Seni 98”, at Darga Gallery Sanur; 1999: Catur Muka, “Harmony” at Bali Museum, Denpasar; ”Kangin Kauh Group” at Art Centre Denpasar; Semifinals of the Philip Morris Art Award VI, National Gallery Jakarta; “Millenium III” at Museum Neka Ubud; 2000: “Gunung Batur“ at Museum Sidik Jari Denpasar; Catur Muka “Reality & Identity” Art Centre Denpasar; Three Painters at Hadiprana Gallery Jakarta; “Refleksi Seni II” at Darga Gallery Sanur; 2001: Three Painters, at INA gallery Jakarta; 2002: “Narasi Abstrack” at Rare Angon gallery, Sanur; 40th Anniversary at Hadiprana Gallery Jakarta; “Kembalikan Baliku” at APSARI Gallery Jakarta; Two Painters “virus” at Sutarta Gallery Ubud; 2003: “Taiblack” at STSI Denpasar; Three Painters at Komaneka Gallery Ubud; 2006: “Between Two Windows” at Danes Art Veranda, Denpasar; “Kayuning kayu” at Hadiprana Gallery, Jakarta; “Jago” at Niki Gallery Lodtunduh, Ubud; “Perjalanan Seni Lukis Abstrak Indonesia” at Taman Budaya Jogjakarta; Two Painters “ Bahasa Hati & Perubahan Musim” at Komaneka Gallery Ubud; 2007: “Artmosphere”, Sanur Village Festival, at Guet Gallery, Sanur; “Love Letter”, at Tonyraka Gallery, Mas Ubud; ”Global worming”, GWK, Jimbaran-Bali; 2008: Joint Exhibition, Kiri Desa Gallery, Singapore; ”Green” Sanur Village Festival, Sanur-Bali.

Making Love, 2010, 165 x 145 cm, acrylic on canvas

I Made Suta Kesuma

Born in Jembrana, March 24, 1971 Education: 1997 Graduated from STSI Denpasar Solo Exhibition 2000 Green Series, Sembilan Gallery, Ubud; 2002 Simplicity , Three Monkeys Café, Ubud; 2003 Image of Lotus Plant , Sutarta Gallery, Ubud; 2005 Poetry of Water , Sudana Gallery, Ubud; 2007 Linier, Three Monkeys Café, Ubud; 2008 Expression of Women, Three monkeys Café, Ubud Child in Tim e, 2009, 60 X 60 X 40 cm , epoxy resin

Kondang Sugito

Born in Pati, March 1960 Education: STSRI “ ASRI” (ISI) Yogyakarta Exhibition 1992 Invitation by Inge D’wild, Kotrijk Brussel 2000-2003 Alumnus ASRI Yogyakarta, Jakarta 2006 Back to Sense, Dahara Gallery, Semarang 2008 Metro Solid, Cipta II Gallery, Jakarta Art and Beauty, Kamandalu Hotel, Ubud-Bali 2009 Narasi, Syang Art Space, Magelang Award Certificate Urkunde, Spray Metal, MST HOFMANN GmbH, Germany

Selected Group Exhibition 1990-1996: Exhibition in Bali 1997 Students’ Final Assignments Exhibition, STSI Denpasar; Group Exhibition, Canberra Australia; Bali Art Selecton, STSI Denpasar; 1998 Bali Artists Parade, Bali Hyatt Hotel, Sanur, Bali; Art Reflection, Darga Gallery, Sanur, Bali; Mandala of LifeII, Taman Budaya Denpasar; Abstract Festival, Duta Fine Art Gallery, Jakarta; 1999 18 Artist, Tiga Nam Gallery, Ubud; Mandala of LifeIII, Taman Budaya Yogyakarta; Group Exhibition, Grand Mirage, Nusa Dua; Tujuh Perupa Bali, TIM, Jakarta; 2000 Group Exhibition at The Sheraton Hotel, Nusa Dua; ART REFLECTION II, Darga Gallery, Sanur, Bali; Group Exhibition at The Kiridesa Gallery, Singapore; 2001 Three Artist, INA Gallery, Jakarta; Sesari, Gedung Titik Dua, denpasar; 2002 Abstract Narration, Rare Angon Art Gallery; Jembrana Artist Community, Negara; 2003 Sangga Buana, RRI Denpasar; Tai Black, STSI Denpasar; Reality & Identity, The Kiridesa Gallery, Singapore; 2004 DASA MUKA, ARMA Museum, Ubud; 2005 Pre Bali Binnale, Tony Raka Gallery, Ubud; 2006 Intuitive/ Reflection The Kiridesa Gallery, Singapore * On Female Body, Sudana Gallery, Ubud Bali;; 2007 Artmospere, Sanur Art Festival, Sanur Bali. * Global Worming, GWK, Bali; 2008 Bening Art Community in Painting Exhibition, Gallerita, Sanur * Painting Exhibition with Teja Astawa in Montiq Gallery Jakarta * Super Ego in Ego Gallery Jakarta * Green, Sanur Art Festival. * Bening Art Community Painting Exhibiton in Pendet Museum, Ubud. Awards 1992 Best Work 1st , awarded by the Kakanwil X Deparpostel Bali; 1995 Best Work 1st , awarded by the Dekranasda Bali; 1996 Best Work 1st , awarded by the Kakanwil X Deparpostel Bali

1977 First study under the guidance of artist Barli, studio Ranggagempol, Bandung, Indonesia; 1978 Batik studies, Institute of Batik and Craft, Yogyakarta, Indonesia; 1981/ 82 Academy of Fine Art, Bandung, Indonesia; 1985 Academy of Fine Art FH Cologne (M. Brinkhaus and Prof H. Schaffmeister) Cologne, Germany; Since 1990 Member of Foerdergemeinschaft Junge Kunst e.V., Bonn, Germany; 2004 Founder of Wina Gallery, Ubud - Bali, Indonesia Awards 1989 1st Prize at the competition “Malen auf Liegestuhlen”, FH Art Design Olivandenhof, Cologne, Germany; 1998 1st prize “Mask in Venice”, Art Addiction Annual in Venice; 1998 Gold Masks “Diploma of Excellence”, Palazzo Correr, Venezia, Italy.

Ketut Teja Astawa

Born in Tuban, 1 March 1971. Education: Sekolah Tinggi Seni Indonesia (STSI) Denpasar

Exhibitions: 1991: Museum Ratna Warta Ubud; Kelompok Lanjalan Ubud; Dies Natalis STSI Denpasar, STSI Denpasar; 1991: Art Center Denpasar; Peksiminas, STSI Denpasar; 1992: Museum Sidik Jari Denpasar; Seni Masa Kini, STSI Denpasar; 1993: Museum Seni Lukis Klasik Nyoman Gunarsa Klungkung; Kamasra, STSI Denpasar; 1994: Kelompok Sebelas, Darga Gallery Sanur; 1995: Kelompok Sebelas, Art Center Denpasar; Arnanda Tour Kuta; 1996: Canberra Sidney Australia; Refleksi Seni’98, Darga Gallery Sanur; 2000: Refleksi Seni II, Darga Gallery Sanur; 2001: Taksu Bali, at Gallery 678 Jakarta Selatan; Seni Rupa Bali Kontemporer, Bentara Budaya Jakarta; What II, Gallery Sembilan Ubud Bali; Himpunan Pelukis Sanur, Balairung Dewi Sri Exhibition Hall Garuda Wisnu Exhibition Kencana, Jimbaran; 2002: Himpunan Pelukis Sanur Soft Opening Santrian Gallery, at Santrian Gallery Sanur; Perupa Dalam 16, Gabrig Art Gallery Sanur; Paradise Youth Activity For Humanity Sangga Bhuana, at RRI Denpasar; 2003: TAIBlack Dies Natalis STSI XXXVI, STSI Denpasar; Exhibition BIG Perupa Dalam 16, at Art Center Denpasar & Santrian Gallery Sanur; NEW Harmony, at Rare Angon Gallery Sanur; Pesta Kesenian Bali XXV, Art Center Denpasar; 2004: Mosaik Himpunan Pelukis Sanur, at Santrian Gallery Sanur; Drawing New Harmony II, Rare Angon Gallery Sanur; 10 Artist Introduce Themselves, 10 Fine Art Sanur, Bali; Auction, at Swissotel the Stamford Singapore; The Journey Himpunan Pelukis Sanur, at Museum Puri Lukisan Ubud; 2005: Bali to Bali, at Sun Jin Gallery Singapore; “Art As Self xpresion”, Santrian Art Gallery; 2006: Ganesha Gallery Four Season, Jimbaran, Bali; 2007: Exhibition Juxtapose at Gallery Ellcana, Jakarta; 2008: Pameran Perupa Bali at Montiq Gallery, Jakarta; 11th Beijing International Art Exposition, Beijing; Bali Art Now, Jogyakarta; “ Works Of Ketut Teja Astawa “ {solo exhibition} at Gallery Roemah Roepa, Jakarta; 2009: “Batman Forever” {solo exhibition} at Sunjin Gallery, Singapore; “Balinese Kunst In Geur En Kleur” at Nederlands Parfumflessen Museum Awards 2001: Finalis Philip Morris Art Award Indonesia

Museum Collection Der Welkulturen am Schaumainkai, Frankfurt, Germany

Antonius Kho

Born in Klaten, Java, Indonesia, 1958

Selected Group Exhibition 2001 “Two in one room”, Smend Gallery, Cologne, Germany; “Contemporary of Art Indonesia-German”, Deutsche Welle, Cologne, Germany; Fordergmeinschaf Junger Kunst, Im Refugium Centrum, Konigswinter; ”Zeig mir einen Engel”, Wilhelmm, Fabry Museum, Hilden Alte Kloster Gallery, Cologne Germany; “Me, My self and I”, Alte Feuewache, Cologne; “Globalisierung”, Wrtschafverband Bildender Kinnstler NRW, Forum Bildender Kiinstler, Essen, Germany; ”Verbindungeen / Punkt Acht”, Forum, Bergisch Gladbach, Germany; ”Holz in Kiinstlerhand”, Ligna plus Hannover, Hannover, Germany; “Lich & Schantten”, Gebra, Hennef, Galerie in Torschloss Tettnang, Germany; ”Menschen blider”, GTZ, Eschborn, ”Figuratif”, Sala Agora, Cambril, Spain; 2002 “K2”, Bank fur Sosialwirtschaft, Cologne, Germany; “Dialog Zwischen der Kulturen”, Kunthaus Spandau, Berlin, Germany; 2003 “Two in one room”, Millenium Gallery, Jakarta, Indonesia; “Imagined Bodies”, Cemara 6 Gallery, Jakarta, Indonesia; “Artosism”, 678 Gallery, Jakarta, Indonesia; 2004 “Watercolour 2004”, National Gallery, Jakarta, Indonesia; “Multi Sub Culture”, Auswaertiges Amt, Neubau, Berlin, Germany; “Multi Sub Culture”, Candrika Gallery, Jakarta, Indonesia; “Images”, Taksu Gallery, Jakarta, Indonesia; “Multi Sub Culture” Two Dimensional Indonesia; “Fine Arts”, Ministry of Foreign Affairs, Berlin, Germany; “New Work”, Taksu Gallery, Jakarta, Indonesia; “Asian Watercolour”, Jeju, Korea; “Bale Pare Art Festival 2004”, Bandung, Indonesia; “After the Affair Art Project”, Puri Art Gallery, Malang, Indonesia; “Noboundaries”, Bali Padma Hotel, Kuta, Bali, Indonesia; 2005 Bincang-bincang Seni Rupa, Visual Arts, Niko Hotel, Jakarta, Indonesian; 2 Titik API, Santrian Art Gallery, Sanur, Bali; 2 Titik API, Puri Art Gallery, Malang; Bahasa Lama Tajuk Baru, Elcanna Gallery, Jakarta; Summit Bali Bienalle, Darga Gallery, Sanur, Bali; 2006 Small Works, API, Taman Budaya, Yogyakarta; Embodying The Present Tonyraka Art Gallery, Mas-Ubud, Bali, Indonesia

I Putu Edy Asmara Putra Born in Tampaksiring, 5 April 1982

Solo Exhibition : 2008 “Don’t Cry For Me Indonesia”, Instalation and Performing Art, Danes Art Veranda, Denpasar Group Exhibition 2009: “Siclus” Gaya Art Space, Sayan Ubud; “Ilustrasi Cerpen”, Bentara Budaya Jakarta, Jogjakarta, Bali; “POLI[CHROMATIC], V Art Gallery, Jogja; “Final Examination” ISI Denpasar. 2008 : “Aku Yang Bebas” Darga Gallery, Sanur; “Radar Bali Art Award”, Tony Raka Gallery,Mas Ubud; “Green”, Sanur Vilage Festival, Sanur; “3rd Beijing International Art Biennale, China; “Super Ego”, Ego Gallery Jakarta; V Art Gallery Jogjakarta; “Silence Selebration”, Toniraka Gallery, Ubud. 2007: “ Global Warming Local Warning”, GWK Jimbaran; “Lorong dan Waktu”, Arti Multimedia, Denpasar; “Me Between Us”, Tony Raka Art Gallery, Mas, Ubud; “Nyawa seNyawa, Danes Art Veranda, Denpasar. 2006: “Between Repetition and Deconstruction”, Perpustakaan Umum dan Arsip Kota Malang; “Peksiminas VIII, Makasar; “Season” 6, ISI Denpasar; 2005: “Lawar Art” Massari Gallery, Ubud; “Pre Bali Biennale 2005”, Tama Gallery, Ubud; Kelompok Sandal Jepit, Sidik Jari Museum, Bali 2004: Kias Warna, Bali TV; Schetch and Water Colors 2003, Sidik Jari Museum, Denpasar; Kelompok Kaja-Kaja, Pak Putih Gallery, Ubud; Bali TV Exhibition

Universe Movement

Wayan Redika

Born in Karangasem, 1961

Exhibitions: 1990: Bali Arts Festival 1991: Puri Agung Karangasem; Bali Arts Festival 1992-1993: Art Centre Denpasar, Bali Arts Festival 1994: Art Centre Denpasar; Museum Bali; Puri Bagus, Candi Dasa 1995: Art Centre Denpasar; Matahari Beach Resort Bali 1998: Hilton International Hotel, Surabaya 1999: Ganesha Gallery, Four Seasons Resort JImbaran, Bali; SanggarDewata Indonesia, Museum Neka (Ubud), Museum Rudana (Ubud), ARMA (Ubud), Museum Seni lukis Klasik Nyoman Gunarsa (Klungkung), Museum Bali dan Art Centre Denpasar. 2000: Solo exhibition, Ganesha Gallery, Four Seasons Resort, Bali. Paros Gallery, Sukawati -Bali 2001: Bentara Budaya Jakarta; Pranoto Gallery, Ubud, Bali; Modern Magic, Art Forum, Singapore; Kebyar JogjaBali, Suardhana Fine Art Gallery Denpasar; Melampaui Rupa, Jezz Gallery Denpasar 2002: “Tiga Generasi” Satrya Art Gallery Denpasar; Irama Kesadaran Komunitas Seni Rupa Lempuyang, Art 32

2003: 2004:

2005:

2006:

2007: 2008:

2009:

Centre Denpasar; solo exhibition Inner Reflection, Ganesha Gallery, Four Seasons Resort Bali; Ilustrasi Kompas, Jezz Gallery - Denpasar Hotel Bali Sol, Nusa Dua Agung Rai Museum 0f Arts (ARMA) Ubud, Bali; Bali Temptation, Langgeng Gallery, Magelang; V-Gallery, Jakarta Style Life, Tony Raka Gallery, Ubud, Gianyar; Bentara Budaya, Jakarta Jeju-Bali, Tony Raka Gallery Ubud, Bali; Bali-Jeju, JejuDo Culture Building, Jeju South Korea; Style Life, Vanessa Gallery, Jakarta Jago, Nikki Gallery Ubud; C-Art Space, Seoul, South Korea; Beijing Art Fair, Beijing, China; Sensitive, Lempuyang Art Community, Danes Art Veranda Denpasar; Anjangsana ke Negeri Takdir, Tirtagangga, Bali; Bali Spirit, Damping Gallery, Ubud Ovu[M]lasi, Paros Gallery, Sukawati, Gianyar Entitas Nurani, Art Centre, Denpasar; Ilustrasi Cerpen Kompas, Jakarta, Bandung, Jogyakarta, Surabaya; Asian Water Colour, Museum Neka, Ubud Bali; Magic Drawing, Seoul Korea Selatan HiperLink, Tujuh Bintang Gallery, Jogjakarta; Marine Instalation Art, Sanur Village Festival

The Green Mask

I Made Wiradana

Born in Denpasar, 27 October 1968

Solo Exhibition 1999 Imajinasi Purba, Purna Budaya Jogjakarta 2000 Bentuk-bentuk Purba, The Chedi Ubud Bali 2001 Deklarasi Seni Akhir 2001, ARMA Museum, Ubud 2002 2002 Collaboration, Radisson Bali 2003 Kanvas Itu Bulat, Mon Décor Gallery Jakarta Imajinasi Liar, Mon Décor Gallery Jakarta 2004 Global Convention on Peace, Asoka Hotel New Delhi India Mural With Size 180x800 cm, Puma Museum 2005 Art of Wiradana, Bidadari Gallery Ubud 2006 Bali is My Live, Elkana Hotel Belgium 2008 Eksodus Binatang, Srisasanti Gallery Jogjakarta

Kembang dalam Renungan

Ketut Tenang

Born in Denpasar, 1971

Exhibitions: 1990: Bali Arts Festival 1991: Puri Agung Karangasem; Bali Arts Festival 1992: Art Centre Denpasar, Bali Arts Festival 1993: Bali Arts Festival 1994: Art Centre Denpasar; Museum Bali; Puri Bagus, Candi Dasa 1995: Art Centre Denpasar; Matahari Beach Resort Bali 1998: Hilton International Hotel, Surabaya 1999: Ganesha Gallery, Four Seasons Resort JImbaran, Bali; SanggarDewata Indonesia, Museum Neka (Ubud), Museum Rudana (Ubud), ARMA (Ubud), Museum Seni lukis Klasik Nyoman Gunarsa (Klungkung), Museum Bali dan Art Centre Denpasar. 2000: Solo exhibition, Ganesha Gallery, Four Seasons Resort – Bali. Paros Gallery, Sukawati -Bali 2001: Bentara Budaya Jakarta; Pranoto Gallery, Ubud, Bali; Modern Magic, Art Forum, Singapore; Kebyar Jogja-Bali, Suardhana Fine Art Gallery Denpasar; Melampaui Rupa, Jezz Gallery Denpasar 2002: “Tiga Generasi” Satrya Art Gallery Denpasar; Irama Kesadaran Komunitas Seni Rupa Lempuyang, Art Centre Denpasar; solo

Group Exhibition 1989 Taman Budaya Denpasar 1990 SDI di Pemuda Building, Jakarta 1991 Spirit 90 Widya Mandala Jogjakarta 1992 SDI, di Museum SLKI, Jogjakarta 1993 Kelompok 11,Kerti Wood Carving, Ubud Young Artist, Jogjakarta 1994 Spirit 90 di Purna Budaya Jogjakarta Lustrum II of Indonesia, ISI Jogjakarta 1995 Philip Moris Art A Ward, Jakarta; SDI, Jogjakarta 1996 Spirit 90 di Taman Budaya, Denpasar

1997 1998 1999 2000

2001

2003 2004 2005 2006 2007

2008 2009

Bali Art Party, Taman Budaya, Denpasar Kelompok 11, Sika Gallery, Ubud Spirit 90 di Taman Budaya Jogjakarta Philip Moris Art Award, Jogjakarta Ruwatan Bumi, Taman Budaya Denpasar Indonesian Painting, Rudana Museum, Ubud SDI “Millenium III” Six Museum Bali Bali Spirit di Ina Gallery, Jakarta Beautiful Art Expression di Moom Gallery, Jakarta Menangkap Bayang-bayang, Ina Gallery Jakarta Philip Moris Art Award, Jakarta Memasuki Sejarah, Ina Gallery, Jakarta Bali Fokus Plus, Santi Gallery Jakarta Kecil itu Indah, Edwin Gallery, Jakarta Eleven Painters of SDI, Rudana Museum Ubud Painting The Kite in The Skay, Sanur Simple is Beauty, Guet Sanur, Duet, Montiq Gallery, Jakarta Jago, Niki Gallery Ubud Indonesia Traffic, Mon Décor Gallery, Jakarta Love Letter, Tony Raka Gallery, Ubud Shanghai Art Fair, China Nostalgia Dua Kota, Sangkring, Jogjakarta SDI Now, Tony Raka Gallery, Ubud Indonesian Contemporer, Gallery MBC Korea

Award -The Best Artwork FSR ISI Yogyakarta -The Best SchtechFSR ISI Yogyakarta -Phinalist Philip Moris 199, 1998, 2000 -Ambassador Award of Indonesia-Belgium, 2006

Kadek Wijana Born in Nagasepaha, Singaraja, 8 August 1994 Education: Junior high school (SMP) Exhibition: (2009) Seni Lukis Kaca Nagasepaha, Bentara Budaya Bali

Made Duatmika

Tajen, 2009, 50 x 60 cm, oil on glass

Born in Denpasar, 1971

Exhibitions: 1990: Bali Arts Festival 1991: Puri Agung Karangasem; Bali Arts Festival 1992: Art Centre Denpasar, Bali Arts Festival 1993: Bali Arts Festival 1994: Art Centre Denpasar; Museum Bali; Puri Bagus, Candi Dasa 1995: Art Centre Denpasar; Matahari Beach Resort Bali 1998: Hilton International Hotel, Surabaya 1999: Ganesha Gallery, Four Seasons Resort JImbaran, Bali; SanggarDewata Indonesia, Museum Neka (Ubud), Museum Rudana (Ubud), ARMA (Ubud), Museum Seni lukis Klasik Nyoman Gunarsa (Klungkung), Museum Bali dan Art Centre Denpasar. 2000: Solo exhibition, Ganesha Gallery, Four Seasons Resort – Bali. Paros Gallery, Sukawati -Bali 2001: Bentara Budaya Jakarta; Pranoto Gallery, Ubud, Bali; Modern Magic, Art Forum, Singapore; Kebyar Jogja-Bali, Suardhana Fine Art GalleryDenpasar; Melampaui Rupa, Jezz Gallery Denpasar 2002: “Tiga Generasi” Satrya Art Gallery Denpasar; Irama Kesadaran Komunitas Seni Rupa Lempuyang, Art Centre Denpasar; solo

Penangkilan Sang Pancapandawa, 2009, 50 x 60 cm, oil on glass

Art Profile

The Dynamic and Energetic Wianta

Nature & Life Made Budhiana Made Budhiana is still around. He still paints in a strong abstract style with a keen sense of line, space, composition and colour. A keen practitioner of yoga since his high school days, he doesn’t smoke, and he doesn’t drink. Tekun believes in clean living, in herbs and health drinks. He admires the beauty of stones such as agate and other precious stones, and collects things that are antique and unique. Budhiana was born in Denpasar, 27 March 1959. He graduated from ISI Yogyakarta. Since 1989 he has held five solo exhibitions at galleries including Sika Contemporary Art Gallery Ubud (2001), Ganesha Gallery, Jimbaran, Bali (1998), and The Northern Territory Museum of Art and Sciences, Darwin, Australia (1989). He has also exhibited at several joint exhibitions both at home and abroad. In addition, he has received several awards for his efforts in the field of painting. In April 2010 he is due to hold a solo exhibition at MahaArt Gallery, Sanur, Bali. He is an idealist and a romantic, at least if viewed from 38

his affinity with nature and all of its beauty. The smell of sea salt, sun striking barren land, the coolness of mountain nits, the humidity of tropical forests, all are one with his spirit. Wherever he goes he takes a camera and photographs interesting objects. Back in the studio he sores these on his beloved Mac. A walk beyond the village limits is not only a means to find inspiration for painting. It is also a way to change the way we look at the world and at ourselves. It is a simple study of nature and of life, without pretense. “Our view of the world really needs to change in order that our spirits might be enriched with variety.” Nature and life, for Budhiana, are sources of inspiration and beauty that are without end. There is beauty in simplicity and plainness. “At times nature appears calm and yet it is full of movement of which we are unaware. This is the uniqueness of nature that we should regard as essential.” [Wayan Sunarta]

ade Wianta ended 2009 sweetly, staging two solo exhibitions, both of which featured fresh new work that had not been shown previously. At the end of November 2009, Wianta showed around 100 works in a Spotlight exhibition organized by O House Gallery, at the Nasional Gallery in Jakarta. Then, on 20 December, the date of his 60th birthday, he held a second solo exhibition at Space on Space at Gaya Art Space Ubud. This second exhibition featured around 1,000 works that filled the art space for a period of one month. Why two exhibitions back to back? During his 40 years working as an artist, Made Wianta has always come across as tough, dynamic and energetic. He is always on the move and keen to address pressing issues in his various solo exhibitions. At the beginning of December last year he was interviewed in his studio he recalled his happening art Art and Peace, a colossal work staged on 9 December 1999. Here he was hoping for an end to violence and aggression in the world, but ten years on his wishes have not been met. The piece is therefore still relevant today. He continues to write poetry wherever he happens to be, and using whatever materials are close to hand – tissues, cigarette packets, tickets for shows, parking tickets, or newspaper. He has published three collections of poetry and is now putting together an anthology of his work in English. In other news, Wianta is negotiating with a school in the US, where he will be teaching for a term next year. Of course he will continue to work there and to exhibit there. Wianta uses various means to maintain his intensity and consistency. He sketches every day, prolifically. Indeed this is something he has done every morning for decades and is evidenced in his strength of line. He also reads widely on the subject of culture and philosophy. “An artist is obliged to read, either from books or from the events that take place around him,” said Wianta, who also walks and swims to keep fit. Books are another obsession for Wianta. He is never happier than when his work is written up and shown in published form. So far he has published 15 titles covering his work and his poetry, an oeuvre that has widened his influence in several countries and established him as a world player in art, taking him to places like the Biennale Venezia (2003) where he showed his work Dreamland, a response to the tragic Bali bombing in 2002. This year he will be showing work at the Beijing Biennale that tackles the issue of global warming and other environmental problems. We are constantly in anticipation of the next surprise to come from Wianta, including this solo exhibition at MahaArt Gallery. [Ema S.] 39

Art for You

Gus

f on this occasion the sky darkens, water drips from leaves, and the earth develops a damp odor, there will be untold grief, a grief that we all share, that we share every time love embraces difference, owned by anybody who loves peace. Yes, Gus Dur (KH Abdurrahman Wahid) is gone for ever. He has entered his final resting place. Gus Dur was an ‘infinite ocean’. He always gave a feeling of peace to those at the edges of society, the underprivileged and the oppressed. And because he was such an ocean without a bottom, his message of peace will be felt until the end of time. Gus, even though we may have had different religious beliefs, I always think of you as my kyai (guru). You were a particularly great kyai when it came to thinking. Because you were a true scholar, intimately involved and up-to-date with the people and their lives, by no means reserved to speaking your mind from the height of power. Actually you could sit on the throne of any palace. The entire contents of the universe will be saddened by your departure, Gus. This I read from the tear of a bird flitting across the water in Sanur. Its song is one of grief and is reflected in the hearts of all of us who love peace. I notice, as I walk along the beach path to the East of Sanur, that the bird is advancing towards Karangasem. Perhaps he wants to inform one of your close friends about your departure, Gus. There, in Karangasem, one of your best friends lies resting. Ibu Gedong Bagoes Oka ‘Coral from Karangasem’. Only she, Gus, standing as she did in the parliament house, remained loyal to you when all others in the building left you behind. Since that time, I have had the utmost respect for Gus, despite one or two differences of opinion here and there. Knowing who your friends were, I came to understand you better, Gus. Your departure reminds me of the beginnings of real democracy in this country. When you formed the Democracy Forum during the 1990s, in which ‘leadership’ led to ‘homogeneity’ amongst the intelligentsia, in contradiction to their actual principles. Here, Gus, you and your friends achieved the real reformation, at least in terms of democracy and the spirit of freedom. Through a friend, who was also your superior(?), edi-

tor of Matra, Kemala Atmodjo, I came into contact with the true meaning of democracy. I soon came to understand you and your friends, our country’s top scholars. I was very lucky, Gus, because during my evenings at Wisma Art Taman Ismail Marzuki (TIM) Jakarta, I was able to attend discussions by Fordem, because TIM is not far from Jl. Gondangdia, the place where Fordem staged their discussions. In the beginning, Gus, I was rather timid about joining in the discussions at Fordem, and I always chose a seat close to the door so that I could make a quick escape if the police came. The pressure of tens of years of oppression made me afraid - that was the reality, Gus. The same happened at the halalbihalal event held at Fordem, TIM in 1992. On that occasion, Kemala Atmodjo was chairing the event. Again I took my place close to the door when Kemala was interrogated by police who stormed the building. I was still afraid. I was nowhere near as bold as Putu Wirata, my friend. He was bold enough to form the Alliance of Independent Journalists (AJI) in Bali and at the height of oppression. However, after several such events I became more selfaware, Gus. Feelings of fear need not be harbored by all of the beasts of the earth. I also began to understand, Gus, that intellectuals do not represent a class of their own, but act individually in the struggle for freedom and truth, in a search for justice, freedom, and democracy. Gus, I was finally brave enough to sit in the front row and forgot about the door while I was listening to your discussions at LBH Jakarta in 1993. You were with Adnan Buyung and Franz-Magnis Suseno as speakers. And there it is, Gus, the many lessons that I have learned from you. Most importantly, Gus, I was able to overcome fear in the search for truth. This time the drizzle is possibly the tears of the universe lamenting our loss. We will always miss you, and all like you, who have been able to convey the good news that the belief that you embrace is the belief in a peace for all. Gus, for me you are the greatest guru. Finally, Gus, I would like to quote from Umbu Landu Paranggi, as as a tribute to you: “Goodbye Gus, see you in Ibrahim’s camp.” Essay by Hartanto

Chusin Setiadikara Innocence, 2009 140 x 200 cm, Oil on canvas

Krijono, Made Ngantosang Putu, 1991 142 x 142 cm, oil on canvas

Made Wianta, Calligrapy (detail), 2009 94 x 209 cm, oil acrylic on canvas

Nico Vriolink Woman 2009 150 x 100 cm oil on canvas

AS Kurnia Selaras Tumbuhan 1999 86 x 56 cm oil, acrylic on canvas

Murni, Banyak Cara Mancapai Nikmat 80 x 80 cm, oil on canvas Ida Bagus Indra Penari di Atas Awan 2009 143 x 91 cm acrylic on canvas

Mohamed Wanita dan Bunga 1997 138 x 113 cm oil on canvas

Made Budhiana, Untitled, 2009 64 x 76 cm, mixed media on paper

For further information please contact: Diah Dila Maha Art Gallery 0361 8728866 Tatang BSp, Greeting from Indonesia, 2008 100 x 180 cm, oil, acryilic on canvas

Mangu Putra, Untitled, 2004 40 x 60 cm, charcoal on paper

Art Agenda Return to the Abstraction Tony Raka Art Gallery, Jl Raya Mas 86, Mas, Ubud, Bali Curator: I Wayan Seriyoga Parta 18 Maret-10 April 2010 Artists: I Nyoman Erawan, I Wayan Darmika, I Made Wiradana, I Ketut Tenang, I Nyoman Sukari, Gusti Alit Cakra, I Ketut Susena, I Made Sumadiyasa, I Made Mahendra Mangku, I Wayan Sujana “Suklu”, I Nyoman Sujana “Kenyem”, I Made Supena, Putu Sudiana “Bonus”, I Made Wiguna Palasara, I Made Budi Adnyana, I Ketut Teja Astawa, I Made Galung Wiratmaja, I Nyoman Diyana, I Made Suarimbawa “Dalbo”, I Wayan Setem, I Made Uuk Paramita, I Kadek Susila Dwiyana, I Putu Suardana“Vijie”, Willy Himawan, Rio et all

Danes Art Veranda Jl Hayam Wuruk 159, Denpasar Bentara Budaya Bali Jl Prof IB Mantra 88A, Bypass Ketewel, Gianyar, Bali. Kendra Gallery Jl. Drupadi 88B Seminyak, Kuta, Bali

The Poetry of Nature Ganesha Gallery at Four Seasons Resort Bali at Jimbaran Bay (4 Mach-5 April 2010) Exhibition & Book Launching Artist: I Nyoman Sujana Kenyem Biasa Art Space Jl. Seminyak 34, Seminyak Kuta Museum Pasifika BTDC Block P Nusa Dua, Bali T-Artspace Jl. Raya Ubud, Bali Ten Fine Art Jl. Danau Tambingan, Sanur Museum Puri Lukisan Jl. Raya Ubud, Bali Agung Rai Museum of Art (ARMA) Pengosekan, Ubud, Bali Museum Neka Campuhan, Ubud, Bali Hanna Art Space Jl. Raya Pengosekan, Ubud, Bali

next exhibition 25 march-25 april 2010

oasis to be affandi mella djaarsma nyoman erawan jompet kuswidananto s. teddy curator: afrizal malna discussion & video art Affandi After Epoch

Free Zone, 9 December 2009-9 January 2010 @ MahaArt Gallery

Club House Bali Beach Golf Course, Jl. Hang Tuah 56, Sanur, Bali 80032 T: 0361 289566 F: 0361 285488 E: mahaartgallery@yahoo.com