Handle with Care! - Erianto

handle w it h care! the ima ge & the min d in Eria nto ’s Pain ting s

ERI A N TO

t h e i m ag e & the mind in E r i a n to ’s Paintings

d g a l l e r i e , ja k a r ta , m ay 1 3 - j u n e 3 , 2 0 1 5

handle with care!

4 Handle with Care!

Tanpa Alamat 120 x 150 x 12 cm acrylic on canvas 2014

handle with care!

H e n d ro Wi ya n to Kurator Pame r a n

Sight says too many things at one time. Being does not see itself. (…) inside and outside do not receive in the same way the qualifying epithets that are the measure of our adherence. – Gaston Bachelard

“kem­­bali

ke

mungkin

seperti

han­tu. Gaya atau mashab itu su­dah mengharu-biru ki­ta sejak Sudjojono lebih se­­te­ngah abad lalu, komplit de­­ngan ma­ni­­fes­to heboh

real­isme”.

Seniman-seniman

yang terpikat ideo­logi ki­ri meng­gu­na­kan em­bel-embel “so­sial (is)” su­paya terasa ke­ pin­­cangannya dan ken­­tara si­­kap po­litik­nya.

Di tahun 70-an, hantu real­is­me bangkit lagi oleh pengaruh citraan iklan di ma­ja­lah dan pe­sona mesin fotografi di mana-mana. Itu dia citra realistik yang terimbas se­ngit oleh bom­­bardir dunia kapital. “Realisme ka­pi­tal­

5

R

ealisme

Handle with Care!

t h e i m ag e & t h e m i n d i n Er i a n to ’s Pa i n t i n g s

Certainly, it would be absurd to deny the concrete specificity of a painting –frame, canvas, color, paint, touch and gesture of the outline – but the image forms the point of rupture within the assurance of this propriety, precisely because it carries with it the indication of gaze, the means by which the invasion of the outside will occur. If the history of painting has never stopped playing tricks with figuration, it is, without a doubt, in order to attain a maximum purity no longer interfered with the appeal of the outside. But how does one break with the vector of sight when the proposition involves seeing? Marie-Claire Ropars-Wuilleumier

is­tik” – kalau boleh disebut begitu— bukan

da melukis realis sebelum mati-matian meng­

real­­isme kenyataan, tapi “realisme visual”

hinanya. Se­ba­gai “metoda”, seni lukis realis

(Jim Supangkat,1995: 10). Pendeknya, yang

dianggap tidak ber­jiwa dan nir-pribadi, dan

nampak (visible) bukan sekadar salinan dari

terasa pula kurang gre­get modernnya. Lu­

kenyataan, meski tetap bisa dibilang “realisme”

kis­an realis tak lebih dari upa­ya mengenali

(yang dilebih-lebihkan: “baru”, “new”, “hyper”,

“propriety”, norma kesantunan atau basa-basi

“super”, “nouveaux”, dan seterusnya). Ada

sa­ja di dalam seni; tak sanggup me­nampung

pula yang menjuluki “realisme Gareng”, karena

yang serba-esensi.

Handle with Care!

6

nafsu real­is­nya adalah “menantang fotografi” dan “me­wu­­judkan persepsi secara utuh tanpa

Tahun 2007-an Erianto adalah mahasiswa seni

perlu ban­tu­­­an mesin pencetak” (Dede Eri

rupa di Universitas Negeri Padang, Sumatera

Supria, dalam Supangkat, 1979: 89).

Ba­rat. Mestinya, gema pertarungan panjang ka­u­m realis di Jawa pernah didengarnya juga.

Kalau semua itu boleh dibilang pertarungan,

Se­bagai ca­lon seniman, dia membabi-buta me­

se­but­lah sebagai kontestasi kaum realis Jogja.

ngi­­rim pro­posal pameran ke semua galeri di

Se­per­ti apa peperangan itu di masa kini? Apa

Jakarta. Ru­jukannya di masa itu tak lain ada­

be­nar ada lukisan yang “benar-benar realistis”,

lah majalah “real­istis” bernama Visual Arts

kalau ti­dak ada rumusan terlebih dulu apa itu

yang isinya serba gado-gado. Ketika salah

real­isme? Apa betul lukisan sanggup menjadi

sa­­tu proposalnya nyantol dan karyanya di­

substi­tu­si ke­­nya­taan, kalau belum tersepakati

pa­­­merkan di Jakarta, ternyata ga­ya “realisme-

takrif ke­nya­taan (yang mana) dan substitusi

mentah”-nya ditampik mentah-men­tah juga.

(yang ba­gai­mana)?

Ba­rang tak laku itu dikembalikan ke­pada pe­ lu­kisnya dengan kondisi acakadut. Pen­deknya,

Erianto nyemplung ke dalam kontestasi kaum

ke­nangnya, “lukisan dianggap sam­pah karena

realis di Jogja melalui perasaan sakit hati

tidak terjual”. Barangkali orang sudah lupa

terhadap real­isme “kenyataan” medan seni

juga, tidak ada barang yang lebih realistis ke­

rupa di Indonesia. Dia mencebur ke rahim seni

timbang sampah di dunia ini.

lukis realis – Institut Seni Indonesia— lembaga kampiun yang diam-diam mencekokkan me­to­

Dengan teliti – sekaligus sakit hati— sejak

masa booming seni lukis itu membikin Mak

2010, Mak Etek menggarap tuntas ilusionisme

Etek – de­mi­kian dia dipanggil— gusar bu­kan

per­­mu­kaan kanvas: potongan dan urat kayu

kepalang. Kea­manan dan rupa-rupa penge­

yang pre­si­si, permukaan triplek yang mulus

pakan, seluk-be­luk pengiriman barang, status

dan kardus pe­nyok, tali pengikat yang lurus-

lukisan, citra ko­mersial galeri atau kewi­ba­­

te­gang, stiker ku­sam, logo perusahaan dan

waan mentereng ins­titusi di dunia seni tiba-

co­retan-coretan ta­ngan dari jasa pengiriman.

tiba menjadi obsesi dan kegalauannya luar-

Ki­ranya, itulah “sen­sasi permukaan” atau “sen­

dalam. Peti-pati kayu dan paralon yang lalu

sasi kebenaran” yang tak lain adalah ke­be­nar­

lalang dari studio seniman ke berbagai tempat

an ilusif yang dapat saja kita sebut sebagai

pameran itu bisa berkisah ba­nyak. Apa ar­ti­

“fragile”, persis seperti pe­nan­da tulisan “fragile”

nya kalau packing kembali? Apa mak­nanya

yang diulang-ulang pada per­mukaan “peti” itu.

ka­lau kiriman datang dari sebuah mu­seum “Hantu” ilusionisme Mak Etek mencekik mata

di negeri pinggiran? Penolakan atau penga­ku­

ki­ta. Tatapannya pada status karya seni di ma­­

an? Cerita sukses atau permulaan rasa frus­­

sa ki­ni sebagai barang, terasa konkret dan jitu.

trasi? Anda pernah dengar ada Indonesia Art

Ironi dan parodinya tentang pengalaman re­

Museum di Jalan Merdeka, Jakarta? Atau se­

la­­­sional se­niman di dalam medan seni rupa

ni­man dari Kampung Kersan mengirim pa­ket

—sejauh peng­li­hatan kita mampu menerobos

lukisan ke Museum of Modern Art (MOMA)

yang fisikal— te­ra­sa sangat halus. Inilah

di New York? Bagaimana nasibnya? Ba­gai­

“serang­an balik” Mak Etek ter­hadap medan se­

ma­na kalau kita membayangkan sebuah peti

ni rupa di sekitarnya yang di­pe­nuhi oleh ka­um

“berisi” lukisan dari Tate Modern Art Museum,

juragan “superrealis”.

London terbang ke alamat seniman muda be­ lum terkenal di Desa Tirtonirmolo? Apakah

Memang, cara lain untuk merasakan sensasi

National Museum of American Art mengirim

“ke­­benaran” pada ilusionisme karya Mak Etek

barang seni di dalam pipa paralon?

ada­lah justru dengan menerobos keluar da­ri pen­jara atau hantu-hantu ilusionisme itu sen­ diri. Apa artinya tanda “open” atau “handle

7

be­sar atau galeri tersohor ke studio se­niman

Handle with Care!

Kejadian ditampar “sampah” kaum realis di

with care”, kalau peti itu tidak pernah bisa

ta­kan banyak sekali nuansa, yang tak ter­hi­

di­­bu­ka dan tak akan pernah juga dihandel?

tung jumlahnya (Bachelard, 1969: 215-216).

Apa mak­sud­nya kode “fragile” kalau sejatinya

Meski Mak Etek mati-matian meng­ga­rap

ha­nya ada ke­kosongan menganga di dalam ?

ilu­si peti kayu, kardus dan paralon, yang di­

Institusi-ins­ti­tusi seni pengirim dan penerima

ba­­yangkan sesungguhnya adalah suatu pe­

itu sungguh-sung­guh ada, tapi stiker itu adalah

ris­­tiwa. Ya, peristiwa melalui pengiriman dan

citra yang nir-peristiwa. Kita membayangkan

pe­­nerimaan barang-barang “seni” itu yang tak

ada sesuatu di da­lam peti atau paralon melalui

ter­­hitung banyaknya dan nuansa maknanya.

Handle with Care!

8

ilusi permukaan yang menjanjikan “kebenaran”.

Kita bahkan ingin se­tengah memastikan me­

Mak Etek menegaskan ruang-ruang ilusifnya,

la­lui citraan realisme Mak Etek, bahwa kita

mem­­­buatnya konkret dengan obyek-obyek

membayangkan isi yang nya­ta di dalamnya.

tri­­­mat­ra, peti-peti yang meyakinkan berisi “lu­ kis­an” atau “patung”. Atau bungkus “kardus”

Ru­panya, itulah kisruh “dialektis” antara yang

yang kita ba­yangkan menghimpun setum­puk­

luar dan dalam, kalau boleh meminjam istilah

an katalog pa­meran yang masih gres keluar

Bachelard mengenai puitika ruang. Untuk

da­ri percetakan. Potongan-potongan kayunya

mem­­bu­at sisi yang dalam itu terasa konkret dan

adalah lukisan. Tekstur triplek itu lukisan. Kar­

yang luar itu (ke) luas (an), kita membutuhkan

dus itu lukisan. Teks “jangan ditidurkan” dan

se­ma­cam “antropologi imajinasi”. Tapi tegang­

gam­bar payung itu lukisan. Stiker itu lu­kis­an.

an an­tara yang dalam dan luar itu niscaya bu­

“Handle with care” adalah lukisan. Ka­re­na kita

kan sua­tu oposisi, dan keduanya jelas asi­me­

tidak pernah bisa memeriksa isinya, kita ka­

t­ris, kata Bachelard. Maka, hanya kalau kita

ta­kan saja isi di dalamnya ada­lah karya seni.

ber­sedia meng­hi­langkan rujukan-rujukan atau

Atau: karena kita tahu bahwa tidak ada sesua­

intuisi geo­metris kita, dan menjadi lebih se­di­

tu apa pun di sana, bayangkan saja se­ba­gai “se­

kit “fenomenologis”, ma­ka dialektika an­tara

suatu”, atau “apa”.

yang di dalam dan di luar itu akan men­cip­

“If the image is not in the mind, if the mind

Rujukan

itself is an image, in this case the mechanism

Supangkat, Jim, “Realisme Visual Sebagai Medium”, dalam Citra Realistik Indonesia, Pameran Lukisan (1-10 September 1995) Gedung Pameran Seni Rupa, Jakarta, (katalog)

of vision arises from trompe l’oeil that is by definition deceptive, through which sight is exchanged with the thing viewed.” (Bergson dan Wuilleumier, 1994: 75).

Yang di dalam —yang kita bayangkan bersama se­­bagai karya seni—memang selama-lamanya ter­tu­tup bagi kita. Ada pun yang dituntaskan oleh Mak Etek justru yang tampak di per­mu­ka­ seni”.

“Hantu kebenaran” pada lukisan, sesuatu yang mungkin memang mesti “ditangani dengan hati-hati”, boleh juga dikatakan seperti ini: painting, but truth of an outside that returns to painting through evidence by which it removes itself from sight,” tulis Marie- Claire Ropars-Wuilleumier (Wuilleumier, dalam Peter Brunette dan David Wills, 1994: 78).

Rumit kan? +++ Jakarta, 2 Mei 2015

Wuilleumier, Marie- Claire Ropars, “The Dissimulation of Painting”, dalam Deconstruction and the Visual Arts, Art, Media, Architecture (Peter Brunette dan David Wills, penyunting), Cambridge University Press, Cambridge, 1994

9

“Neither truth in painting nor truth outside of

Bachelard, Gaston, The Poetics of Space, diterjemahkan dari Bahasa Perancis oleh Maria Jolas, Beacon Press, Boston, Massachusetts, 1969

Handle with Care!

an, yang lebih dulu kita sepakati sebagai “karya

Supria, Dede Eri, “Realisme, Gaya Seni Lukis yang Nyaris Bangkrut”, dalam Gerakan Seni Rupa Baru Indonesia, Kumpulan Karangan (Jim Supangkat, editor), PT Gramedia, Jakarta, 1979

Handle with Care!

10

Ditenteng

35 x 25 x 19 cm acrylic on canvas 2015

Jangan Ditidurkan!

Handle with Care!

145 x 45 x 35 cm acrylic on canvas 2015

11

Lukisan dari Kasihan #2

Handle with Care!

12

99 x 99 x 9 cm acrylic on canvas 2014 - 2015

Lukisan dari Kasihan 100 x 120 x 10 cm acrylic on canvas 2014

Handle with Care!

13

14 Handle with Care!

Quality Painting for Global Museum #2 170 x 65 x 9 cm acrylic on canvas 2015

150 x 95 cm acrylic on canvas 2014

Handle with Care!

Shipment

15

16 Handle with Care!

Reconstruction of Painting 125 x 150 x 25 cm acrylic on canvas 2015

Handle with Care!

17

Reconstruction of Painting #2

Reconstruction of Painting #3

150 x 77 cm acrylic on canvas 2015

150 x 80 cm acrylic on canvas 2015

18 Handle with Care!

Quality Painting for Global Museum #2 100 x 170 x 9 cm acrylic on canvas 2015

handle with care!

H e n d ro Wi ya n to E xhibition Cu r ator

Sight says too many things at one time. Being does not see itself. (…) inside and outside do not receive in the same way the qualifying epithets that are the measure of our adherence. – Gaston Bachelard

ghost. The style or school of thought has boggled us since Sudjojono over half a century ago, complete with the flashy manifesto “return

to realism.” Artists who were captivated by the left ideology used “social(ist)” appendage to emphasize the gap and highlight their political stances. In the 70s, the ghost of realism rose again by the influences of advertisement imageries in the magazines and the charm of photography machines every where. Here was the realistic imagery fiercely affected by the capital world bombardment. “Capitalistic

19

R

ealism is perhaps like a

Handle with Care!

t h e i m ag e & t h e m i n d i n Er i a n to ’s Pa i n t i n g s

Certainly, it would be absurd to deny the concrete specificity of a painting –frame, canvas, color, paint, touch and gesture of the outline – but the image forms the point of rupture within the assurance of this propriety, precisely because it carries with it the indication of gaze, the means by which the invasion of the outside will occur. If the history of painting has never stopped playing tricks with figuration, it is, without a doubt, in order to attain a maximum purity no longer interfered with the appeal of the outside. But how does one break with the vector of sight when the proposition involves seeing? Marie-Claire Ropars-Wuilleumier

realism”--if it could be called that--not real-

be soulless and has no personality, and also

ity realism, but ‘visual realism’ (Jim Supangkat,

hardly modern. Realist painting is no more

1995:10). In short, the apparent (visible) is not

than an effort in identifying “propriety,” norms

just a copy of reality, although it remains argu-

of civility or mere politeness in art; unable to

ably the “realism” (which is exaggerated: “new”,

accommodate the all-essential.

“hyper”, “super”, “nouveaux”, etc). Some also dubbed it as “Gareng realism,” because its re-

Circa 2007 Erianto was an art student in

alist passion is “challenging photography” and

Padang State University, West Sumatera. Sup-

“realizing the full perception without the help

posedly, the echo of the Javanese realists long

of the printing machine.” (Dede Eri Supria, in

struggle came to his knowledge too. As a fu-

Supangkat, 1979: 89).

ture artist, he persistently sent exhibition pro-

Handle with Care!

20

posals to every galleries in Jakarta. His referIf all of those could be said as a struggle, let’s

ence at the time was no other than a “realistic”

call it the contestation of Yogyakartan realists,

magazine named Visual Arts with its hodge-

what is that struggle like in this era? Is there re-

podge of a content.When one of his propos-

ally a “truly realistic” painting, when there isn’t

als made it and his works were exhibited in Ja-

any prior formulation of realism? Can a paint-

karta, it turned out his “raw realism” style was

ing really able becoming a substituion of reali-

downright turned down. The unsold items

ty, when there hasn’t any definitions of (which)

were sent back to the painter in a messy condi-

reality and (what kind of) substitution?

tion. In short, he recalled, “The paintings were considered as junk because they didn’t sell.”

Erianto dove into the Yogyakartan realists con-

Perhaps people have also forgotten, there is

testation through disappointment on the real-

nothing more realistic than trash in this world.

ism of the Indonesian visual art field “reality.”

He plunged into the womb of realist painting

The experience of being slapped by the re-

art--the Indonesian Art Institute--a champion

alists’ “trash” during the painting boom had

institute that subtly imposes realist painting

made Mak Etek--as he’s usually called by--tre-

technique and then fervently rejecting it. As a

mendously upset. Safety and the miscellany of

“method,” realist painting art is considered to

packing, details on package shipment, paint-

ing status, gallery commercial image or the

tense straps, fading stickers, corporate logos

prestige of art institution suddenly became

and hand scribbles of the shipping service.

his obsession and his internal and external tur-

Presumably, that is the “surface sensation” or

moil. Wooden boxes and PVC pipes that go

“sensation of truth” that is no other than the il-

back and forth from artist studios to the vari-

lusive truth that we can refer to as “fragile,” just

ous exhibitioun venues must have been able to

like the inscription “fragile” repeated on the

tell a lot. What does it mean when a package

surface if the “box.”

is returned? What does it mean when a shipgallery to an artist studio in a periphery coun-

eyes. His view on the status of contemporary

try? Rejection or acknowledgement? Success

artworks as a commodity, feels concrete and

story or the beginning of frustration? Have

sharp. His irony and parody on the artist’s re-

you ever heard of an Indonesia Art Museum

lational experience in the visual art field--as

in Jalan Merdeka, Jakarta? Or an artist from

far as our eyes could see beyond the physical-

Kampong Kersan sending a package of paint-

-seems subtle. This is Mak Etek’s “counterat-

ing to the Museum of Modern Art (MOMA)

tack” to the visual art field populated by “su-

in New York? What is its fortune? How about

perrealists” bosses surrounding him.

imagining a box “containing” a painting fom Tate Modern Art Museum, London, flown to

Indeed, other ways to experience the sensation

an address of a relatively unknown young art-

of “truth” in Mak Etek’s illusionism work is by

ist in Tirtonirmolo village? Does the National

breaking out of the prison or the ghosts of illu-

Museum of American Art send artworks in

sionism itself. What does the signages “open”

PVC pipes?

or “handle with care” means when the box can never be opened and will never be handled?

With dilligence--also a broken heart--since

What does the “fragile” code means when ver-

2010, Mak Etek work in completing the il-

ily there’s only a vast emptiness inside? The

lusionism of the canvas surface: pieces and

art institutions sending and receiving are re-

precise wood grains, the smooth surface of

ally existing, but the stickers are non-eventual

plywood and dented cardboards, the straight-

images. We imagine there’s something in the

21

Mak Etek’s illusionism “ghost” is strangling our

Handle with Care!

ment arrive from a big museum or a renown

box or PVC pipe through surface illusion that

or “sculpture.” Or cardboard packaging that

promises the “truth.” We even want to half

we imagine containing piles of exhibition cata-

convince through Mak Etek’s realism imagery,

logues fresh from the printing machines. The

that we imagine a real content inside it.

wood pieces are painted. The plywood texture

Handle with Care!

22

is painted. The cardboard is painted. The text Apparently, this is the “dialectic” feud be-

“this way up” and the umbrella sign are paint-

tween the outside and the inside, if we could

ed. The sticker is painted. “Handle with care” is

use Bachelard’s term on the poetics of space.

painted. Because we can never check the con-

To make an inner side feels concrete and the

tent, we just say the content inside is art. Or:

outside is vast(ness), we need some sort of

because we know there’s nothing inside, just

“anthropology of the imagination.” But the ten-

imagine it as “something” or “what.”

sion between inside and outside is certainly not an opposition, and both is clearly asym-

“If the image is not in the mind, if the mind it-

metrical, Bachelard said. Thus, only if we were

self is an image, in this case the mechanism of

willing to omit our references or geometric

vision arises from trompe l’oeil that is by defi-

intuition, and becoming slightly “phenom-

nition deceptive, through which sight is ex-

enologist,” thus the dialectics between the

changed with the thing viewed.” (Bergson and

inside and outside will create many nuances,

Wuilleumier, 1994: 75).

countless of it (Bachelard, 1969: 215-216).

Although Mak Etek desperately worked on

The inside--which we imagine together as an

the illusion of wooden boxes, cardboard and

artwork--is forever closed for us. As for what

PVC pipes, what is really imagined is an event.

Mak Etek completed is what appears on the

Yes, the event through the sending and receiv-

surface, which we have previously agreed as

ing of these “art” objects that are countless in

an “art work.”

amount and meaning nuances.

“The ghost of truth” in painting, something Mak Etek affirmed his illusive spaces, making

that we might be able to portray as “handling

them concrete with three-dimensional ob-

with care” can also be stated like this: “Neither

jects, convincing boxes containing “painting”

truth in painting nor truth outside of painting,

but truth of an outside that returns to painting through evidence by which it removes itself from sight,” Marie- Claire Ropars-Wuilleumier wrote (Wuilleumier, in Peter Brunette and David Wills, 1994: 78).

Complex is it not? +++ Jakarta, 2 May 2015

Supangkat, Jim, “Realisme Visual Sebagai Medium”, in Citra Realistik Indonesia, Painting Exhibition (1-10 September 1995) Visual Art Exhibition Building, Jakarta, (catalogue)

Bachelard, Gaston, The Poetics of Space, translated from French by Maria Jolas, Beacon Press, Boston, Massachusetts, 1969 Wuilleumier, Marie- Claire Ropars, “The Dissimulation of Painting”, in Deconstruction and the Visual Arts, Art, Media, Architecture (edited by Peter Brunette and David Wills), Cambridge University Press, Cambridge, 1994

23

Supria, Dede Eri, “Realisme, Gaya Seni Lukis yang Nyaris Bangkrut”, in Gerakan Seni Rupa Baru Indonesia, Kumpulan Karangan (Jim Supangkat, editor), PT Gramedia, Jakarta, 1979

Handle with Care!

References

Paladangan Agam, West Sumatera, July 16, 1983

ERIANTO

Solo Exhibiton

Homoludends II, Emmitan Galeri, Surabaya, Indonesia

Intellectus Syndicate, AJBS Gallery, Surabaya, Indonesia

Bandung Contemporary Art Award (bacaa), Lawang Wangi & Science Estate, Bandung, Indonesia

Meta-Amuk, Gallery Nasional Indonesia, Jakarta Indonesia

Crossover (syn) aestethetic, Tujuh Bintang Art Space, Yogyakarta, Indonesia

2012 Antara Pintu dan Halaman (Bakaba #2), Sangkring Art Space, Yogyakarta, Indonesia

Peduli Merapi, Jogja Nasional Museum, Yogyakarta, Indonesia

2010 a moment in abstract, Galeri Canna, Jakarta, Indonesia

2015 Handle with Care!, D Galerie, Jakarta, Indonesia 2013 Play of Perception, Element Art Space, Singapore

Handle with Care!

24

CAUTION !!!, Sangkring Art Space, Yogyakarta, Indonesia

2012 Resistance, Projec Stage D Galerie , Singapore art stage, Singapore 2011 Returned, Inkubator Asia @ Forme, Jakarta, Indonesia

Residency Program 2011 Kultur Model, ( July - October) Passau City, Germany

Selected Group Exhibition 2015 NOW: Here – There – Everywhere, Semarang Contemporary Art Gallery, Semarang, Indonesia 2014 Yogyakarta Open Studio(YOS), Antena Projects, Yogyakarta, Indonesia

Korea International Art Fair(KIAF), COEK Hall A&B Seoul, Korea

Domesticity V, Kayu Lucie Fontaine Indonesia, Bali, Indonesia

Bazaar Art Jakarta, Ritz-Calrton Pacific Place, Jakarta, Indonesia

Legacies of Power (ArtJog 14), Taman Budaya Yogyakarta, Jogja, Indonesia

Kini (Bakaba #3), Jogja Gallery, Yogyakarta, Indonesia

Sang Strukturalis, Semarang Contemporary Art Gallery, Semarang, Indonesia

2013 Art ++, Edwins Gallery, Jakarta Indonesia

Looking East (ArtJog 12), Taman Budaya Yogyakarta, Jogja, Indonesia

Group Exhibition, Marc Straus Gallery, New York City, USA

FLOW , Michael Janssen Gallery, Berlin, Germany

FLOW, Rachel Gallery, Jakarta, Indonesia

ART Hong Kong 2012, Hong Kong Convenstion Centre, Hong Kong

Re.Claim, Galeri Nasional Indonesia, Jakarta, Indonesia

2011 Jakarta Biennale 2011, Central Park moll, Jakarta, Indonesia ARTJOG 2011, Taman Budaya Yogyakarta, Jogja, Indonesia

Master of Art, Indonesia Institute of Arts, Yogyakarta

Critical Points, Edwin’s Gallery, Jakarta, Indonesia

Reflection Of Megacities (JAA), North Atr Space, Pasar Seni Ancol, Jakarta, Indonesia

PLDPS X Exhibition, Taman Budaya Jambi, Indonesia

Boeng Ajo Boeng, in Commemoration of 100 years of Affandi, Collaboration with KS Belanak, Yogyakarta, Indonesia

2009 UP & HOPE, D’peak Art Space, Jakarta Indonesia.

The Thousand Mystery of Borobudur, Jogja Gallery, Yogyakarta, Indonesia

Sarantak, Semar Art Gallery, Malang, East Java Indonesia

P.P.S.S Taman Budaya Pekan Baru, Riau Indonesia

“Bersama” (PANTAU Group), Galeri Biasa, Yogyakarta Indonesia

Trap(esium), Edwin’s Gallery, Jakarta, Indonesia Minang Progresif, Genta Budaya Gallery, Padang, Indonesia

Awards

2008 Sumatera Imajinable, PLDPS XI, Taman Budaya Jambi Indonesia

2014 Nomination Sovereign Art Prize

Apresiasi Urban, Taman Budaya Padang, West Sumatera, Indonesia

2015 Nomination Prudential Eye Awards 2014 - 2015 2011

Finalist UOB Painting of the Year, UOB Plaza, Jakarta, Indonesia

Visual Art Exhibition, 100th Anniversary of Kebangkitan Nasional, Jogja Gallery, Yogyakarta, Indonesia

The Best Three Artwork BaCAA ( Bandung Contemporary art Awards), Lawang Wangi & Science Estate, Bandung, Indonesia

De Paris a Jakarta, Gallery Nasional Indonesia, Jakarta Indonesia

2010 Finalist of JAA ( Jakarta Art Award) Reflection of Megacities, North Art Space,

2009 The Big 20 finalist Tujuh Bintang Art Award, the dream (the Power of dream), Jogja National Museum. Yogyakarta.

2008 Finalist of Visual Art Exhibition, 100 th Anniversary of Kebangkitan Nasional, Jogja Gallery, Yogyakarta, Indonesia 2007 Favorite Works of Peduli Seni, Fine Art Exhibition with “Aksi Anak Bangsa”, Senayan City, Jakarta, Indonesia The Big 20 Finalist of The Thousand Mysteries of Borobudur, Jogja Gallery, Yogyakarta Indonesia 2006 The Big 10 Finalist of Pekan Seni Mahasiswa VIII, Makasar, Indonesia 2004 The Best Art Works, UNP, Padang, Indonesia

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The Dream (The Power of Dream), Tujuh Bintang Art Award, Jogja National Museum, Yogyakarta, Indonesia

Pasar Seni Ancol Jakarta, Indonesia

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HOMAGE, Tujuh Bintang Art Space, Yogyakarta, Indonesia

2007 Biennale Jogja, Collaboration with KS Belanak, Sangkring Art Space, Yogyakarta Indonesia

Catalogue for A solo exhibition by Erianto Handle with Care!

The Image & the Mind in Erianto’s Paintings Curator Hendro Wiyanto English Translator Mirna Adzania

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Published by D Gallerie Jakarta, Indonesia May, 2015 Edition 500 copies Designed by Kotasis Kamar Desain 3x3x3 Surabaya, Indonesia www.kotasis.com

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Jl. Barito I No.3, Kebayoran Baru Jakarta, 12130, +62-21-739 9378 dgalleriejakarta@gmail.com

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