rhythm-of-art-eizal-as

rhythm of art Erizal As

rhythm of art Erizal As

July 11 - 24, 2012

kuratorial

Ritme rupa yang ritmik

Ritme (rhythm) hadir dalam keseharian hidup kita; degub jantung, tarikan napas, emosi, persepsi, kicauan burung, deburan ombak, gemercik air, dan sebagainya. Suara, gerak, garis, warna, dan lain-lain sesungguhnya inheren dalam ritme. Ritmelah yang memberikan makna pada kehidupan.

Bahkan kosmologi merupakan kehadiran dari satukesatuan ritme antarplanet bagi kesadaran orang-orang Yunani Kuno, dan membangunnya sebagai konsepsi musik secara matematis-filosofis.

Where our feet lead us, where we look, where we hide, where we play, and all other places are none other than rhythm!

Such awareness evokes people to organize rhythm using their unique abilities and to make it a string of narrations presenting something that to one’s perception is kept hidden and shrouded. What is the meaning of this? Not all understand what one says, does, thinks or whether it is purposely kept as secret, and that’s the reality – rhythmic reality.

Rhythm is a choice of challenge that young painter Erizal AS taken for his second solo exhibition in Philo Art Space. To present this theme does not come naturally; it needs a close and serious look at his paintings to see that the characteristics are ripe with rhythmic nuance.

In the timeline of Indonesian art history, Erizal AS is still considered as a young

Rhythmic visual rhythm Rhythm is omnipotent in our life; it is there in our heartbeat, in every breath we take, in our emotions, and in our perceptions; it’s there in the chirpings of the birds, in the ocean’s waves, in the sound of water falling; in almost everything that surround us. It is inherent in sound, movement, lines, and colors.

It is rhythm that gives meaning to life.

In the conscience of the ancient Greeks, cosmology was none other than the presence of a unified interplanetary rhythm, and they built it as a musical conception in philosophy-mathematical form.

Ke mana kita melangkah, memandang, bersembunyi, bermain, dan sebagainya hal itu tak lain adalah ritme! Dengan kesadaran inilah lalu orangorang terangsang untuk menatanya dengan ketrampilan-ketrampilan khusus menjadi serangkaian narasi untuk mengungkapkan sesuatu yang menurutnya masih rahasia atau terselubung. Apa maksudnya? Tak semua orang paham atas apa yang dia katakan, lakukan, pikirkan, atau sengaja merahasiakannya, dan itu bagian dari realitas itu – realitas ritmik!

Ritme menjadi pilihan yang sangat menantang bagi pelukis muda Erizal As dalam pameran tunggalnya yang kedua ini di Philo Art Space.

Mengusung tema ini bukannya muncul begitu saja namun dengan perhatian yang serius bahwa memang Erizal As adalah salah satu pelukis dengan tampilan karakter lukisan-lukisannya yang menyolok nuansa ritmiknya.

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painter. But he has made a name in the exuberant contemporary paintings scene in the past five years. His avidity in his active participation in many exhibitions and painting competitions locally and internationally is a sign of a promising serious creativity and productivity. It would be right to say that Erizal is a painter that has established his distinctive character and language.

In this exhibition, Erizal AS would like to convey rhythm that is present in his daily life, in a subjective way, of course, and without the technical reason to modify rhythm and putting it into what we call music. What is interesting to note is his effort to create relations of meaning amongst the musical instruments, human figures, and nature. The significance of the three elements is evidence in the expressive conspicuous strokes of his paintings – as if they are catharsis intent on giving nothing to spare.

The meaning shaped by the relations of rhythm, human, and nature in Erizal’s paintings visibly shows a life narration that strongly represents figures which are dynamic, emotive, and clearly open. His choice of musical instruments such as the piano, guitar, saxophone and violin is merely to show that there are differences when it comes to individualistic expressions.

And what meaning could we expect from the narration of live by rhythm, or in this case, from music? In music rhythm we can find different breath of life narrations: tragedy, comedy, and irony.

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Arizal AS sekalipun terhitung masih muda dalam kancah sejarah senirupa Indonesia namun sebenarnya dalam kurun waktu semaraknya lukisan kontemporer Indonesia 5 tahun terakhir ini, namanya sudah cukup dikenal. Sikap aktifnya mengikuti pameran bersama di berbagai tempat, di dalam dan luar negeri dan lomba lukis, menunjukkan keseriusan kreativitas dan produktivitas yang menjanjikan! Jelasnya Erizal As bisa dikatakan pelukis yang sudah memiliki karakter atau bahasanya sendiri!

Dalam pamerannya ini, Erizal As bermaksud menyampaikan ritme sesuai dengan pengalaman kesehariannya, tentu saja subjektif, dan bukan dengan alasan teknik memodifikasi ritme ke dalam apa yang kita sebut musik itu. Hal yang menarik untuk dicatat adalah upayanya membangun relasi makna antara tiga unsur, ritme itu sendiri yang dipilihnya lewat alat-alat musik, figur manusia, dan alam. Makna dari ketiga unsur itu tampil secara menyolok pada torehan garis dan warna yang demikian ekspresif, bak katarsis yang sungguhsungguh tak ingin lagi menyisakan sesuatu.

Makna yang dibangun dari relasi ritme, manusia, dan alam dalam lukisan-lukisan Erizal As ini jelas pula menunjukkan sebuah narasi kehidupan yang kuat mewakili sosok yang dinamik, emosif, terangterbuka. Pilihannya pada alat-alat musik seperti piano, gitar, saxophone, dan biola sekedar menunjukkan adanya perbedaan ritme sejauh menyangkut ekspresi-ekspresi individualistik.

Dan apakah yang bisa kita harapkan makna dari sebuah narasi kehidupan oleh ritme atau dalam hal ini musik? Dalam ritme musik kita bisa menemukan berbagai napas narasi kehidupan; tragedi, komedi, dan ironi.

Umumnya manusia merindukan bahwa kehidupan harusnya tertata secara estetik, artinya harmonis.

Apakah syarat dasar untuk menciptakan harmonis itu? Tak lain adalah bagaimana menyeleraskan nuansa tragedik, komedi dan ironi! Namun belum cukup di sini jawabannya, karena pertanyaan akan berlanjut, darimanakah munculnya tragedi, komedi, dan ironi itu? Pertanyaan ini merupakan salah satu tantangan besar bagi para pemikir Yunani Kuno yang memunculkan disiplin pemikiran yang lalu dikenal sebagai filsafat!

When Pythagoras interpreted rhythm that he believed to be present in every planet through mathematics, as was written in the early paragraph of this writing, human endeavor to find harmony was believed to have reached a huge success! Music represents logos. The very principal of reality, order, structure and the harmony itself!

The importance of music that represents logos is seen as the foundation of Western civilization, culminating with Friedrich Nietzsche thinking in his book “The Birth of Tragedy�. Nietzsche reexamined the harmonic problem that was identified with the character Apollo and chaos with

People in general would desire to have life esthetically managed, as to find harmony. What are the prerequisite for such harmony? It is none other than the ability to align the tragic, the comic, and the ironic elements! But that would not be the final answer, as we would then be faced with another question: where do tragedy, comedy, and irony come from? The question was indeed the biggest challenge for ancient Greeks thinkers, which eventually gave birth to the discipline of thoughts that we now know as philosophy!

Reality is born out of rhythm! It comes from the human efforts to manage rhythm into various elements and domains of life. Without rhythm, all we have is chaos! Cosmology is believed to be a harmonious orders of strings of rhythm, from which human sees the meaning of life.

Realitas berawal dari ritme! Upaya manusia merespon dan menata ritme ke dalam berbagai unsur atau wilayah kehidupan. Tanpa ritme, yang ada hanyalah keos! Kosmologi dianggap sebuah tatanan harmonis dari serangkaian ritme lalu dari sinilah kemudian manusia mengenal apa makna kehidupan itu. Ketika phytagoras menginterpretasi ritme yang dianggapnya hadir di setiap planet dengan matematik, sebagaimana sudah disinggung pada paragraf awal tulisan ini, maka upaya manusia menemukan harmoni diyakini sukses besar! Musik mewakili logos! Prinsip realitas, tatanan, struktur atau harmoni itu sendiri!

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Dionysius. The problem there lies in how the characters are triggered, with the very thing that we have mentioned over and over, rhythm – music!

Keseriusan atas musik yang mewakili logos itu yang dianggap sebagai bangunan dasar kebudayaan Barat, berpuncak pada pemikiran Friedrich Nietzsche dalam bukunya, The Birth of Tragedy.

Nietzsche mempertanyakan kembali problem harmonik yang diidentikkan dengan karakter dewa Apollo dan yang keos diidentikkan dewa Dionysius. Persoalan di sana tak lain bagaimana masing-masing karakter itu dipicu oleh yang sudah berkali-kali kita sebut itu, ritme – musik!

We may be brought to tragedy, irony, or comedy through whatever rhythm we interact with. It is impossible to define the rhythm of life permanently. Rhythm will let us float, crawl, submerged, planted, or whatever.

Erizal seems incline to present that it would be possible for the rhythm of life to adjust to our own experiences, and how Erizal As nampaknya lebih cenderung sekedar menggambarkan bahwa ritme kehidupan bagaimanapun akan sangat mungkin menyesuaikan dengan pengalaman masing-masing kita dan bagaimana kita sendiri memaknainya. Hal itu bisa kita lihat bagaimana sebagai pelukis, ia sendiri bebas begitu saja memilih alat-alat musik yang sesuai dengan selera estetiknya.

Ritme itu kehidupan kita sendiri!

Selamat berpameran dan menikmati Tommy F Awuy kurator

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It seems to be such a simple matter, how we interact or relate to rhythm though this matter is hardly the exclusive concern of only few people. Erizal is only one of many painters that happen to be ready to interact with rhythm using painted media. He expresses that rhythm is spontaneous, energetic, hyphenated while at the same going in paradoxical circle. We wonder where in life’s narrative those expressive rhythms bring us.

Nampaknya mungkin begitu sederhana dalam kehidupan keseharian kita bersoaljawab atau bercengkrama dengan ritme. Bahwa soal ini, ritme bukanlah sesuatu yang sangat eksklusif hanya menjadi urusan oleh orang-orang tertentu. Erizal As hanyalah salah satu pelukis yang kebetulan siap bercengkrama dengan ritme dalam media lukis. Ekspresinya tak lain bahwa ritme itu spontan, enerjik, terputus sekaligus melingkar-lingkar secara paradox. Entah ritme-ritme nan ekspresif itu membawa kita ke narasi kehidupan jenis apa. Bisa saja kita mengalami tragedy, ironi maupun komedik oleh ritme apa pun yang kita akrabi. Sesungguhnya ritme kehidupan mustahil didefinisikan secara permanen. Ritme akan membawa kita melayang, merayap, tenggelam, tertanam, entahlah.

we put our own meaning to them. We can see that in how as a painter he has so freely chosen the musical instruments that conform to his aesthetic feeling.

Rhythm is our very own life!

Let’s enjoy the exhibition.

Tommy F Awuy Curator

>>>> Berawal dari lomba lukis yang diadakan Sekolah Menengah Seni Rupa (SMSR) di Padang, yang dikala itu saya masih duduk di bangku kelas 3 SMP di Padang Panjang, walaupun pada lomba itu saya tidak menjadi juara, namun karena momen itulah yang membuat saya bersekolah di sana dan kemudian melanjutkan ke Perguruan tinggi Institut Seni Indonesia ( ISI) Yogyakarta.

This all started with the painting competition held by SMSR (Art High School) in Padang, when I was a 9th grade student of Padang Panjang Junior High School. I did not win the competition, but the experience propelled me to study in the Art School, and eventually made me continue my study in Indonesia Art Institute (ISI) Yogyakarta.

It was in Yogya that I obtained most of my learning, with supportive campus environment and great lecturers, most of whom were great artists themselves. They taught us to be competitive and to be responsible for what we made into our art. After graduating in 2006, I decided to stay in Yogya because of the ever-lasting spirit to compete amongst the artists here, and the continuous drive to seek for new things and for the uniqueness in the art itself. There are endless flows of exhibitions that we can see and learn from, and where we can use as benchmark for what others have achieved. It is from there that we learn about ourselves and others. And I am learning from it and am still learning even now.

Di Yogyakarta inilah saya banyak belajar, baik dengan lingkungan kampus dan dengan dosen-dosen yang hebat, sebagian besar seniman juga, yang mengajarkan kita tuk selalu berkompetisi dan bertanggung jawab atas apa yang kita buat terhadap karya seni kita sendiri.

Setalah saya lulus di tahun 2006, saya memutuskan tuk menetap di Yogyakarta, karena semangat berkompetisi inilah yang selalu ada antara sesama seniman di kota ini. Semangat tuk terus mencari hal atau sesuatu yang baru dan unik untuk seni itu sendiri. Tentu banyaknya event pameran yang dapat kita Lihat terus menerus untuk menjadi acuan atau perbandingan atas pencapain dari sesama seniman, maka dari situlah kami mendapat proses pembelajaran atau saling belajar, bahkan sampai saat ini saya masih belajar dan terus belajar.

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I will explain a bit about my process of painting. First, I must prepare myself physically as no matter how brilliant or great your idea is, you cannot reach the optimum result without the support of good physical condition.

I paint or narrate; expressing my anxieties towards the things surrounding me, about the things I like and I don’t like. I tell them in spontaneous language of art. I seldom paint with sketch or draft; I just thought about the idea or the general form, sometimes without even thinking of the overall design nor do I guess or direct how the end would be. That, for me, is the challenge and also the excitement: the end is a surprise even for me. I let things flow and let them happen on the canvas; I let the fantasy, the imagination, and the expression take me to my climax. Thus the colors of my paintings are portraits of my emotions and of my mood at those moments. At times, when I got bored, I try to evoke ideas by looking at pictures, photos, from magazines, books of artists that inspire me. So in the process of painting, I seek, play with ideas or forms, with the objective of creating new thing – at least for myself.

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Sedikit akan saya ceritakan bagaimana proses saya melukis. Pertama-tama, untuk melukis saya harus siapkan fisik yg prima, sebab bagi saya walaupun memiliki Ide yg brilliant/bagus tapi kondisi fisik tidak prima, maka tidak akan menghasilkan karya yang maksimal.

Saya melukis atau melukiskan, merupakan luapkan ekspresi kegelisahan diri terhadap hal-hal di sekitar saya, hal-hal yang saya senangi dan yang tidak saya senangi sekalipun. Tentu dengan bahasa seni yang saya ekspresikan secara spontan. Jarang sekali dalam melukis saya membuat sketch/rancangan terlebih dahulu. Saya hanya memikirkan idea atau bentuk globalnya saja, bahkan kadang saya tak memikirkan rancangannya sama sekali dan hasil akhirnyapun tentu saya tidak menebak dan menentukannya. Itulah tantanganya dan sekaligus kenikmatan, hasil akhir adalah surprise’ bagi saya, semuanya akan mengalir dan terjadi diatas kanvas. Ke mana fantasi, imajinasi, ekspresi itu membawa, saya biarkan saja sampai pada suatu titik puas/klimaks. Maka warna-warna di setiap lukisan saya adalah potret dari perasaan dan suasana hati saya saat itu. Di kala saya jenuh saya mencoba mencari pancingan-pancingan Ide dari gambar/foto, majalah dan buku-buku seniman-seniman yang saya gemari.

Jadi dalam proses melukis itulah saya mencari, mengolah, mengotak-atik Ide ataupun bentuk, dengan sasaran setidaknya sesuatu yang baru bagi saya pribadi.

Pada pameran tunggal saya yang kedua ini saya mengangkat tema musik/rhythm atas bincang dengan mas Tommy Awuy, setelah beliau melihat karya saya di sebuah pameran tentang pemusik dan mengatakan pada saya tuk mengangkatnya pada sebuah pameran tunggal. Saya pikir itu adalah tawaran yang menarik. Tentu saya menyenangi musik, walaupun hanya sebatas penikmat atau pendengar saja, dan ketertarikan saya melihat pemain musik memainkan alat musiknya seperti ; biola, piano, guitar, dll. Dan soal musik atau nadanya itu sendiri saya sering berfantasi, memikirkannya bagaimana nada-nada dan gerakannya tuk saya visualkan dalam bentuk lukisan dengan bahasa ekspresif yang saya kuasai, sebab memang di saat melukispun biasanya selalu diriingi dengan Musik. Terimakasih tuk para musisi dan pemain musik yang secara tidak lansung telah memberikan saya ide dan inspirasi.

My big big thanks to my wife for all her support, suggestion, input and critics on my arts. And thank you to Philo Art Space and to my parents, and special thanks to my grandfather and my father for the artistic blood that is flowing in me too. I love you all.

In this second solo exhibition, I use music / rhythm as my theme, after a discussion with Tommy Awuy. He saw my paintings in an exhibition on musicians and he told me to present the theme on a solo exhibition. I thought it was a really interesting offer. I like music, of course, though only for enjoyment and as a listener. I am fascinated by the movement of musicians when they are playing their musical instruments such as the violin, piano, guitar, etc. The music and their tone are like objects for me. I picture them in my mind: the visualization of tones and movements. And I do listen to music when painting. My thanks for all the musicians and music players that have inspired me and given me ideas.

Tidak lupa juga saya ucapkan terimakasih kepada istri saya atas support, saran, masukan dan kritikannya atas karya-karya saya, juga terimakasih kepada Philo Art Space dan sekaligus kepada kedua orang tua saya. Ucapan khusus saya tujukan kepada kakek dan papa saya atas darah seninya yg melekat dan selalu mengalir. I love you All Selamat menikmati karya-karya saya.

Please enjoy my paintings!

Erizal As Erizal As

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saxophonist #01 • 160 x 100 cm • acrylic on canvas • 2012

detail

pianist #1

• 200 x 200 cm • acrylic and pastel on canvas • 2012

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jimi hendrix • 160 x 100 cm

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acrylic and charcoal on canvas

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2012 11

Rhythm in the silent Night

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190 x 130 cm • acrylic on canvas • 2012

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Violinist #4 200 x 150 cm • acrylic on canvas • 2012

My Violet Symphony

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170 x 120 cm • acrylic and pastel on canvas • 2012

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passion of conductor

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200 x 150 cm • acrylic on canvas • 2012

intuisi • 170 x 120 cm • acrylic and pastel on canvas

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2012

The meaning shaped by the re-

lations of rhythm, human, and

nature in Erizal’s paintings

visibly shows a life narration

that strongly represents fig-

ures which are dynamic, emomarilyn monroe • 200 x 150 cm • acrylic on canvas • 2012

tive, and clearly open. His choice

of

musical

instru-

ments such as the piano, gui-

tar, saxophone and violin is

merely to show that there are saxophonist #02 • 190 x 140 cm • acrylic on canvas • 2012

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pianist #2• 160 x 100 cm • acrylic on canvas • 2012

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maestoso •

200 x 180 cm

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acrylic on canvas

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2011

violinist #3 • 160 x 140 cm • acrylic on canvas • 2012 18

violinist #5 • 200 x 180 cm • acrylic on canvas • 2012

cellist 19

• 175 x 135 cm • acrylic on canvas • 2012

romantic • 235 x 200 cm • acrylic on canvas • 2012

violinist #2 • 175 x 135 cm • acrylic on canvas • 2012 20

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violinist #1 • 180 x 100 cm • acrylic and charcoal on canvas • 2012

I am fascinated by the move-

ment of musicians when they are

playing

their

musical

instruments such as the vio-

lin, piano, guitar, etc. The

music and their tone are ob-

jects for me. I picture them

in my mind: the visualiza-

tion of tones and movements.

And I do listen to music when

painting. My thanks for all

the musicians and music play-

ers that have inspired and given me ideas.

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Erizal As Born in Padang Panjang, 3 februari 1979 Education: High School of Fine Arts in Padang 19941997, Faculty of Fine Art, Indonesian Institute Of Art, Yogyakarta.

Solo Exhibition 2007 • Solo Exhibition ‘lines Project’ Koong Gallery, Jakarta Selected Group 2012 • Painting Exhibition, FREEKICK, Convention Hall Royal Square, Surabaya

2008 • Painting Exhibition ‘Celebrating The Differences, Elegance Art Space, Jakarta • Painting Exhibition ‘Biasa Gila’ Biasa Gallery, yogyakarta • Painting Exhibition ‘ Survey’ Edwin’s gallery, Jakarta • ”Boys|Girls” Contemporary Art, Youth life and culture in two part, Edwin’s Gallery, Jakarta • Painting Exhibition ‘Hulu Fantasi’ One Gallery, Jakarta • Painting Exhibition ‘ SENSI ” Philo Art Space, Jakarta • “ Manifesto” National Gallery, Jakarta • Painting Exhibition ‘ Sin Sign’ Gracia Art Gallery, Surabaya • Painting Exhibition ‘ Texture dalam Lukisan’ Jogja Gallery • Painting Exhibition ‘Jogja Art fair’ Taman Budaya Societed Yogyakarta • Painting Exhibition ‘Kuala Lumpur Art Fair’ Malaysia

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2011 • Islamic Visual Art Exhibition “BAYANG” National Gallery, Jakarta • Painting Exhibition Homoludens # 2, Emmitan CA Gallery, Surabaya • Painting Exhibition ‘My Space’, Philo Art Space, Jakarta • Painting Exhibition ‘Intip’ Jakarta Art Distric, Jakarta • Painting Exhibition ‘ City of west, Green Art Space, Jakarta • Painting Exhibition, Nusantara diatas kanvas, Sampoerna Strategic Center, Jakarta 2010 • Group Exhibition ‘Bakaba, Sakato Art Comunity, Jogja Nasional Museum, Yogyakarta • Group Exhibition Citra Ekspresi Jogja 2.Hotel Shultan, Jakarta • TRAMENDUM’ Philo Art Space 5th Anniversary, National Gallery, Jakarta 2009 • Painting Exhibition ’ TRAP(ESIUM)’ Edwins Gallery, Jakarta • Painting Exhibition ’Charity for Yayasan AIDS Indonesia, Linggar Gallery, Jakarta • Painting Exhibition “ Borderless World’ Second Unniversary of Srisasanti Gallery, Yogyakarta • Painting Exhibition ‘Exposign’ Jogja Expo Center, Yogyakarta

2007 • Painting Exhibition “kembali ke Gampingan”, ex FSR ISI yogyakarta • Painting Exhibition “Exsisten” jogja Gallery • Visual Art Exhibition “The Thaousand Mysteries of Borobudur”, Jogja Gallery • funrrissing “ BOOKAID” IVAA, Nadi Gallery • The Eleven Painters, El Canna Gallery, Jakarta • Visual Art exhibition, utan kayu, INTERNATIONAL LITERARY BIENNALE 2007, LanggengGallery, Magelang • 100 years of Affandi,’ Bung ayo Bung’ Affandi Museum, Yogyakarta • 1st Anniversary of Jogja Gallery, Visual Art Exhibition, Yogyakarta • “BUMI’, Mondecor Galeri, Jakarta • Inspiring Indonesian Contemporary Art,Shanghai Art Fair, Shanghai • Painting Exhibition ‘Behind The Horizon’ Sri Sashanti Gallery, Yogyakarta 2006 • Visual Art “Jalin Bapilin” Benteng Verdeburg Yogyakarta • Charity Art For Jogja, Gedung Taman Budaya Societed Yogyakarta • Painting Competition ‘Jakarta Art Awards’ Pasar Seni Ancol, Jakarta • Painting Exhibition “Indonesian Traffi” Mondecor Gallery, Jakarta

2005 • Charity for Aceh, TAKSU Jakarta • Painting Exhibition,” TAKSU Jakarta 2nd Anniversary Celebration • Painting Exhibition “ DRAMA’ Mon Décor Gallery, jakarta • Group Exhibition ”SAKATO”, Re-reading ” LANDSCHAP” Nadi Gallery,Jakarta • “DIES NATALIS ISI YOGYAKARTA KE XXI & NYOMAN GUNARSA PRIZE Fine Arts, ISI Yogyakarta • Painting Exhibition “Nasi Campur” Taksu Gallery, Jakarta • Painting Exhibition “ANTHOLOGY”, Mondecor Gallery,Jakarta 2004 • Painting Exhibition “OBJECT(ify)” NADI Gallery, Jakarta • Painting Exhibition “Mempertimbangkan Tradisi” Minang Kabau Artists of Indonesian, National Gallery, Jakarta • “Funrising” di Kedai Kebun,Yogyakarta • Painting Exhibition FKY XVI “BARCODE’ Gedung Taman Budaya Societed Yogyakarta • Painting Exhibition “New Works” TAKSU Gallery, Jakarta • TAKSU 10nd Anniversary, Celebrating 10 year of fine art in Kuala Lumpur, Malaysia • Painting Exhibition “LUSTRUM IV ISI” Yogyakarta

Yogyakarta • Painting Exhibition “SAKATO”,di TIM Jakarta • Dies Natalis XVI ISI Yogyakarta 1999 • LUSTRUM III ISI, Yogyakarta • Painting Competition “PRTISARA” Affandi Adi Karya” ISI Yogyakarta • Alumni Exhibition “ASRI/ISI”, Garuda Hotel Yogyakarta • Group Exhibition “SAKATO III”, Purna Budaya Yogyakarta 1998 • Painting Exhibition “LEPAS 97, FSR ISI” Gampingan,Yogyakarta • Painting Exhibition “Refleksi Zaman” Benteng Vredeburg, Yogyakarta • Painting Competition “Philip Morris Art Awards V”, Jakart.

1997 • Group Exhibition “SAKATO II”, Purna Budaya Yogyakarta.

AWARDS 2003 • Painting Exhibition “REPLY” FKY XV,Gedung Societed,Yogyakarta • Group Exhibition “SAKATO”, Langgeng Gallery. Yogyakarta • Painting Competition “PRATISARA AFFANDI ADHI KARYA”, ISI Yogyakarta • Cp Open BIENNALE “Interpelation” National Gallery, Jakarta • Finalists of the “INDONESIAN ASEAN ART AWARDS”, Gedung ASEAN Jakarta & Medan • Finalists of the “INDOFOOD ART AWARDS II”, National Gallery, Jakarta 2002 • Painting Exhibition “ Diversity in Harmony” Gedung societed, yogyakarta • Nomimated Painting Exhibition “PEKSIMINAS”,UKDW, Yogyakarta 2001 • Painting Group Exhibition “LENTERA Group”,Purna Budaya Yogyakarta • Painting Exhibition “ Untuk Semua Umur” Air Rumah Seni, Jakarta • 2000

• Painting Exhibition “20 West Sumatera Artist” Ciputra Hotel Jakarta • Painting Exhibition “ Manusia Dalam Perangkap Semu” Embun Gallery Yogyakarta • Painting Exhibition “Gerakan Seni Pertunjukan Rakyat ” ISI

• 10 Finalists, Lomba Keterampilan Siswa Tingkat Nasional, Jakarta • Painting Contest, Lomba Lukis Wajah pahlawan, museum Aditiawarman, Sumatra Barat • Finalists Philip Morris Art Awards V 2000 • Best Work at Dies Natalies XVI ISI Yogyakarta.

• Nominated as one of 10 Best at the painting contest Selekda PEKSIMINAS VI • CP Open BIENNALE 2003 • Finalists Indonesian Asean Art Awards • Finalists Indofood Art Awards 2006 • Finalists Jakarta Art Awards, 2006 2007 • As 20 nominees of visual art competition of The Thousand Mysteries of Borobudur

This catalogue is published in conjunction with a solo painting exhibition of Erizal AS

rhythm of art July 11 - 24, 2012 Š Philo Art Space Jl Kemang Timur 90 C South Jakarta 12730 Indonesia t/f: (62 21) 719 84 48 m: +62 811 10 60 47 e: philoartspace99@gmail.com w: www.philoartspace.com Curator: Tommy F Awuy Special thanks : Eros Djarot Photography of Artworks: Artist Translator : Andira Sampurno Design : www.hellofun.cz Published by Philo Art Space 033/2012 Copy Rights Š Philo Art Space All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photography, recording or otherwise, without the written permission from Philo Art Space

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