e-highest

PHILO ART SPACE 8TH ANNIVERSARY

A SOLO EXHIBITION

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HIGHEST

NYOMAN SUJANA KENYEM

9 - 29 SEPTEMBER 2013

Philo Art Space 8th Anniversary

Ketinggian yang Tertinggi Nyoman Sujana Kenyem - salah satu pelukis muda Bali yang bisa dibilang punya kegigihan khusus bergelut dengan perubahan jaman. Ia tidak berdiam nyaman dalam ruang tradisi namun tidak juga meleburkan sekujur diri pada ‘semangat jamannya’. Kreativitas bagi Kenyem bukanlah sebuah pilihan tegas demi sebuah identitas karya yang serba lengkap! Tepatnya ia mengalir pada alur yang ia coba buat sendiri sebagaimana bisa kita saksikan itu lewat kekhasan karya-karyanya.

Pameran tunggal Kenyem kali ini bertepatan dengan hari ulang tahunnya dan hari ulang tahun Philo Art Space ke-8 (9 September 2013). Sebuah pertemuan yang mengasyikkan. Mengadakan pameran merupakan sebuah pertemuan gagasan, visi dan imajinasi. Philo Art Space yang berfokus pada permasalahan budaya urban disambut dengan semangat oleh Kenyem sekalipun pada awalnya nampak merasa agak canggung sebagai sosok yang menganggap dirinya tak hadir secara keseharian di dalam budaya yang dimaksud.

Pada hematnya Kenyem sekalipun tidak secara keseharian namun tidaklah jauh dari permasalahan budaya urban. Sebagai sosok yang bertempat tinggal dan dibesarkan di Ubud – Bali, bisa dibilang Kenyem mengalami suasana budaya yang sangat unik. Ubud bisa dibilang sebuah kondisi “serba semuanya”; trandisional, modern,

The Ultimate High Nyoman Sujana Kenyem - one of Bali emerging painters that holds a resilience of his own in dealing with the change of time. He does not inertly reside in the traditional space, but neither dose he merge himself totally into the ‘spirit of his era’. For Kenyem, creativity is not a rigid option for a complete and ultimate identity of a creation! He is flowing in the track that he tries to create which is evident in the uniqueness of his paintings.

This solo exhibition coincides with the 8th anniversary of Philo Art Space on 9th September 2013. It is such a delightful unison. To hold an exhibition is a convergent of ideas, vision, and imagination. Philo Art Space, that focuses on urban culture issues, is warmly welcomed by Kenyem, though he at first seemed to be a bit timid as he considered himself not a person that is not totally drenched in such culture.

Practically, Kenyem indeed does not touch the issues daily, but he is not that far away.

As a figure that lives and was raised in Ubud – Bali, Kenyem is experiencing a unique cultural ambiance. Ubud represents a condition that is ‘everything there is’: traditional, modern, super-modern, quiet, calm, glittering, brown, yellow, white, black, et cetera. Ubud is a cultural condition that is beyond definition.

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supermodern, sunyi, tenang, gemerlap, coklat, kuning, putih, hitam, dan lain sebagainya. Ubud benar-benar sebuah kondisi budaya yang mustahil terdefinisikan.

Dalam karya-karyanya yang dipamerkan kali ini Kenyem mengekspresikan fenomena ambang antara ikon dunia urban seperti gedung yang menjulang dan pohon tinggi besar sebagai ikon dari ‘noble savage’ (alam liar yang mempesona-agung), antara kota dengan kampung, antara progresivitas dengan ketenangan, dan seterusnya.

Dari beberapa ikon (khasnya) karya Kenyem sendiri seperti sosok-sosok yang aktif, kembang kecil, matahari, bulan, bukit, gunung, jalan, kita bisa merasakan suasana kehadiran alam, tepatnya ikon-ikon ini membawa kita pada suasana alam ‘bawah sadar’ lalu itulah yang diperhadapkan dengan konstruksi kesadaran modernitas yang hadir sebagai tatanan gedung-gedung menjulang sebagai superegonya manusia urban.

Dari karya-karya yang dipamerkan ini Kenyem mengekspresikan ketakjubannya akan fenomena urban sekaligus sebagai sebuah kritik yang demikian halus.

Estetika Kenyem ini bisa kita lihat pada kondisi begitu terobsesinya manusia urban akan “ketinggian” yang pada hematnya itu merupakan bagian dari misteri alam kehidupan: bulan, matahari, gunung, dan lain-lain.

Obsesi itu tentu saja merupakan wujud ambisi manusia urban untuk menghadirkan “ketinggian” sebagai persoalan keseharian yang barangkali itulah yang disebut sebagai “daya-kuasa” (power) untuk mengendalikan kehidupan secara keseluruhan.

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In his exhibited paintings, Kenyem expresses the threshold phenomenon between the urban world icons such as building jutting at the skies and big, tall trees as icon of the ‘noble savage’ (the awe-inspiring wild cosmos), between city and village, between progression and calmness, and the likes.

The uniqueness of Kenyem icons are themselves like active figures: small flower, sun, moon, hill, mountain, street from which we can sense the presence of nature. Specifically, these icons take us to the realm of ‘subconscious’ as they are confronted with the construction of modern consciousness that is presented as order of high-rise building to illustrate the urban people superego.

In his paintings, Kenyem expresses his admiration for the urban phenomenon while also inserting subtle criticism. Kenyem aesthetic can be seen from the obsession of urban people with ‘height’ which actually is a part of life realm mystery: the moon, sun, mountain, et cetera.

Such obsession is obviously the depiction of urban people ambition to flaunt ‘height’ as daily issues that may be considered as ‘the power’ to control life as a whole.

Height as obsession or superego of urban people? How can we explain this? Urban people are perhaps no longer care about origins as they can easily break a problem link as they are threatened by the complexity of such problem that appears in front of them. From tender age they are faced with a variety of properties to own, and it was not easy to own them without having to pass certain struggle.

However, height is a concept that refers to the competition to achieve ‘the ultimate high’.

Modernity is triggering such competition though a narration of human history which eventually will end at the perfection point where they find ‘the absolute self’. ‘Absolute self’ may only

Ketinggian sebagai obsesi atau ikon superego manusia urban? Dari mana hal ini harus dijelaskan? Manusia urban barangkali tak lagi mau peduli tentang asal-usul sebagaimana ia bisa dengan mudah memutuskan matarantai persoalan ketika terdesak oleh kompleksitas problem yang hadir langsung di depan matanya. Sejak kecil ia sudah diperhadapkan dengan berbagai properti untuk dimiliki dan sebenarnya tidaklah mudah untuk memilikinya tanpa harus melewati perjuangan tertentu.

Ketinggian bagaimanapun merupakan konsep yang mengacu pada kompetisi untuk meraih yang “tertinggi”.

Modernitas memicunya lewat sebuah narasi kesejarahan manusia yang kelak akan berakhir pada satu titik kesempurnaannya yakni menemukan “diri yang absolut”.

“Diri yang absolut” (absolute-self) hanyalah mungkin terjadi di dalam sebuah relasi antar diri-diri yang lain sebagai sebuah masyarakat dengan berbatas tempat ataupun tidak.

Kota menjadi representasi dari relasi sosial di mana para warganya datang dari berbagai tempat dengan harapannya masing-masing. Lalu di sanalah jawaban bagaimana harapan itu tertangkup menjadi sebuah obsesi untuk meraih tempat tertinggi oleh superego yang lalu kita sebut sebagai “kota” manusia urban itu.

Beberapa karya Kenyem menghadirkan fenomena urbanisasi yang tak terelakkan, bagaimana pesona kota dengan gedung-gedung menjulang itu bak bagian dari diri psikologis kita yang memanggil-manggil.

Mungkin pula bagian dari potensi diri kita sendiri yang menuduh-nuduh akan menjadi manusia tertinggal jika kita tak pergi meraih mimpi di kota.

materialize in a relation amongst other selves that form a society, whether based on location or not. City becomes a representation of social relation where their citizens come from various places and with their own hopes. And it is the place where all those hopes converge into an obsession to reach the highest place driven by superego, that we then call ‘city’ of the urban people.

Some of Kenyem’s paintings display the un-avoided urbanization: how the awe of a city with its high-rises represents a part of our own psychology that beckons us. But perhaps, it is a part of our potential self that accuses us of being an underdeveloped person unless we pursue our dream in the city.

City is made of a variety of existences that do not touch each other, as with the movement of particle without door (monad), but on the other hand, the city is presenting strong communities which to Kenyem, these communities are the place to hang hopes from the remains of the spirit of solidarity to reach the highest. Thus the spirit of solidarity that is generally considered irrelevant in urban setting as it is seen as a typical rural spirit is presented here boldly, and indeed it is worth to be noticed.

Kenyem seems to be optimistic that the glam of a city indeed offers promises that may very well channel our potentials to reach the ultimate high, but we must be also aware that, our own subconscious realm which holds the wild nature that is astonishing as well, is a condition that attaches to us and become a part of our existence, be it urban or rural people. Remember, the concrete jungle of a city is only an extension of a jungle with its trees. The most important thing is to have the self awareness that the spearing superego has the subconscious as its base.

Happy exhibiting, Kenyem!

Tommy F Awuy Curator

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Kota bagian dari bermacam eksistensi yang bisa tak saling bersentuhan seperti gerak partikel tak berpintu (monade) namun di lain pihak ternyata menampilkan komunitas-komunitas yang kuat dan bagi Kenyem nampaknya komunitas-komunitas ini menjadi harapan sebagai sisa semangat solidaritas untuk meraih yang tertinggi. Maka semangat solidaritas yang umumnya dianggap sebagai tak relevan dalam kondisi urban karena lebih dilihat sebagai semangat masyarakat desa di sini tampil menantang dan memang sangat layak diperhatikan.

Kenyem nampaknya optimis bahwa pesona kota memang menawarkan janji-janji yang mungkin akan sangat bisa menyalurkan potensi-potensi kita untuk meraih pencapaian tertinggi namun suatu hal, bahwa bawah sadar kita sendiri, tentang alam yang liar namun tak kalah mempesonanya tetap merupakan kondisi yang melekat dan senantiasa menjadi bagian dari eksistensi kita, apakah itu mau disebut manusia urban maupun manusia desa. Ingat, belantara kota dengan gedung-gedungnya hanyalah perpanjangan dari hutan belantara dengan pohon-pohonnya.

Dan yang terpenting untuk memahami diri bahwa superego yang menjulang tak lain adalah bawah sadar sebagai dasarnya.

Selamat Pameran Kenyem!

Tommy F Awuy Kurator

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Kota di Atas Pohon_200 x 200 cm_Mixed Media on Canvas_2013

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Menjulang Tinggi_200 x 200 cm_Mixed Media on Canvas_2013

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In his paintings, Kenyem expresses his

admiration for the urban phenomenon while

also inserting subtle criticism. Kenyem

aesthetic can be seen from the obsession

of urban people with ‘height’ which ac-

tually is a part of life realm mystery:

the moon, sun, mountain, et cetera. Such

obsession is obviously the depiction of

urban people ambition to flaunt ‘height’

as daily issues that may be considered as

‘the power’ to control life as a whole.

Mengejar Waktu_150 x 200 cm_Mixed Media on Canvas_2013

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Menatap Rembulan di Atas Kota_150 x 200 cm_Mixed Media on Canvas_2013

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Di Antara Gunung dan Kota_200 x 200 cm_Mixed Media on Canvas_2013 11

Dalam Kebisingan Sunyi_150 x 200 cm_Mixed Media on Canvas_2013

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Kota Impian_150 x 200 cm_Mixed Media on Canvas_2013 13

Sudut Kota_150 x 200 cm_Mixed Media on Canvas_2013

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Meraih Mimpi (Kota Menanti)_150 x 200 cm_Mixed Media on Canvas_2013

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Melintas di Atas Kota_150 x 200 cm_Mixed Media on Canvas_2013

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Pusaran Kota_150 x 200 cm_Mixed Media on Canvas_2013

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Rumah Pohon dan Gedung Bertingkat_150 x 200 cm_Mixed Media on Canvas_2013

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However, height is a concept that refers to the competition to achieve ‘the ultimate high’. Modernity is triggering such competition though a narration of human history which eventually will end at the perfection point where they find ‘the absolute self’. ‘Absolute self’ may only materialize in a relation amongst other selves that form a society, whether based on location or not. City becomes a representation of social relation where their citizens come from various places and with their own hopes. And it is the place where all those hopes converge into an obsession to reach the highest place driven by superego, that we then call ‘city’ of the urban people.

Terlupakan_150 x 200 cm_Mixed Media on Canvas_2013

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Anak Desa Menuju Kota_150 x 200 cm_Mixed Media on Canvas_2013 20

Berjuang Meraih Mimpi_150 x 100 cm_Mixed Media on Canvas_2013

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Belantara Beton & Kegelisahan_150 x 100 cm_Mixed Media on Canvas_2013

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Kisah Pohon dan Kota_150 x 100 cm_Mixed Media on Canvas_2013 23

Mimpi Taman Kota_150 X 100 cm_Mixed Media on Canvas_2013

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Kota Belantara_150 x 200 cm_Mixed Media on Canvas_2013

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DalaPaanX i n J a g a e d a n I m a n AnasRman padahmya mjakkita meatkembli sjarahke siaan yang s a n k i n 26

NYOMAN SUJANA KENYEM Born 9 September 1972 in Sayan, Ubud, Gianyar Bali. Studied at STSI Denpasar (1998) Awards 1998: The Best Artwork Tugas Akhir STSI Denpasar 1996: The Best Painting Kamasra Prize, STSI Denpasar 2012: MahaArt Gallery, Denpasar Gallery 7Adam, Singapore

Solo Exhibitions 2013: Highest, Philo Art Space, Jakarta, Indonesia G13 Gallery, Kelana Jaya, Selangor, Malaysia 2011: The Bicycle Diaries, Komaneka Art Gallery, Ubud, Bali 2010: Embracing Nature’s Poem, Ganesha Gallery, Four Seasons Resort Bali at Jimbaran Bay 2009: The Bridges of Nature, D’Peak Art Space, Singapore 2008: Symphony of Life, Kemang Village, Jakarta 2007: Fulmoon in Bali, Sawah Art Gallery, Singapore 2006: Heading for the Heart’s Way, Gaya Fusion of Senses, Ubud, Bali The Art of Nyoman Sujana ‘Kenyem’, Montiq Art Gallery, Jakarta 2005: Dance of Life, Conrad Bali Resort & Spa, Nusa Dua, Bali The Abstraction of Leaves, Jenggala Gallery, Jimbaran Bali 2004: Leafscape, Danes Art Veranda, Denpasar, Bali Moving with in the Shadow, Ganesha Gallery, Four Seasons Resort Bali at Jimbaran Bay 1996: Galeri Nakita Stockholm, Swedia

Bersyukur Kita Tunggal Ika, Hadiprana Gallery, Jakarta Sudamala: An Artistic Journey, Sudakara ArtSpace, Sudamala Suies & Villas, Sanur, Bali Artists Museum Weeks, BatuBelah Art Space, Klungkung On Going Echoes#3, Myanmar-Indonesia Art Exchange, Cemara 6 Gallery, Jakarta Dialogue II, Gaya Art Space, Ubud, Bali 2011: JakartaBienalle, Jakarta Dialogue, G13 Gallery, Kelana Jaya, Selangor, Malaysia Bertiga, Ambiente, Jakarta Abstract Moment, Galeri Elcanna, Jakarta On Going Echoes#2, Myanmar-Indonesia Art Exchange, Tanah Tho Gallery, Ubud, Bali Bali Making Choices, Mondecor, Jakarta Nusantara di Atas Kanvas, Bank Mandiri Denpasar & Jakarta 2010: Solitude of the Earth II, Bentara Budaya Bali MindScape, Galeri Nasional Indonesia, Jakarta Solitude of the Earth, Bentara Budaya Yogyakarta Beijing International Art Biennale, Beijing, China

Group Exhibitions

Integritas Jiwa Tampak, Bentara Budaya Bali

2013: The Arts Island Festival, BatuBelah ArtSpace, Klungkung, Bali

On Going Echoes#1, Myanmar-Indonesia Art Exchange, New Zero Art Space, Yangon, Myanmar

Sprites Art Project, Kintamani, Bali The Straight Contour, Jimbaran Corner, Bali

Kupu-kupu

Artspace,

Return to the Abstraction, Toniraka Art Gallery, Ubud Bali 27

2009: Apa Ini Apa Itu, Djagad Art House, Lepang, Klungkung, Bali

Bali Art Contemporary, Bentara Budaya, Jakarta

Ar(t)iculations, Hanna Art Space, Ubud, Bali

2000: Plawa Bali Resto, Sanur

Bentara Budaya Bali

Face from the Mount, Sidik Jari Museum, Denpasar

Gallery M, Daegu, Korea

Reflection II, Darga Gallery, Sanur, Bali

Sampoerna Strategic Square, Jakarta

Five Painters, Ina Gallery, Jakarta

Borderless World, Srisasanti Gallery, Yogyakarta

1999: Tiga Nam Gallery, Ubud, Bali

2008: Silent Celebration, Toniraka Gallery, Ubud, Bali Ahimsa, Bentara Budaya Jakarta Bali Art Now, Jogja Gallery, Yogyakarta Pada Sebuah Pesta, V-Gallery, Yogyakarta Entitas Nurani, Art Center, Denpasar, Bali Green, Sanur Village Festival, Denpasar, Bali 2007: Ar[t]mosphere, Sanur Village Festival, Denpasar, Bali Global Warming Kunstkamera, GWK, Jimbaran, Bali 2006: Reconsculture, ARMA Museum, Ubud, Bali Change Seasons, Komaneka Art Gallery, Ubud, Bali 2005: Pre-Bali Ubud, Bali

Biennale,

Raka

Gallery,

Bali Biennale, Danes Art Veranda, Denpasar, Bali Art Singapore 2005 2004: Tree of Life, Sembilan Gallery, Ubud, Bali

7 Painters Bali, Cipta II Gallery, TIM, Jakarta Three Painters, Komaneka Gallery, Ubud, Bali 1998: Canbera, Australia Duo Sujana, Novotel, Tanjung Benoa, Bali Bali Hyatt, Sanur, Bali Mandala of Life II, Art Centre, Denpasar, Bali Abstract Festival, Duta Fine Art, Jakarta Reflection I, Darga Gallery, Sanur, Bali 1997: Bali Art Festival XIX, Bali Art Centre, Denpasar, Bali 1996: Mandala of Life I, Sika Art Gallery, Ubud, Bali Three City, Monas, Jakarta 1995: Expo 95, Jakarta Nyoman Gunarsa Fine Art Museum, Klungkung, Bali TATA Ubud, Bali Peksiminas III, Jakarta 1994:

Dasa Muka, ARMA Museum, Ubud, Bali

Sidik Jari Museum, Denpasar, Bali

2003: TAI-Black, STSI Denpasar

Bali Art Festival XVI, Bali Art Centre, Denpasar, Bali

Canna Gallery, Jakarta 2002: Puri Lukisan Museum, Ubud, Bali 2001: Kuta News, Titik Dua Building, Denpasar, Bali

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Mandala of Life III, Purnabudaya, Yogyakarta

1993: STSI Denpasar Peksiminas II, STSI Denpasar, Bali

Jenggala Ceramic, Jimbaran, Bali

1992:

Sembilan Gallery, Ubud, Bali

Art Centre, Denpasar, Bali

This catalogue is published

© Philo Art Space

w: www.philoartspace.com

in conjunction with a solo

Jl Kemang Timur 90 C

Curator: Tommy F Awuy

exhibition “HIGHEST”

South Jakarta 12730

Special thanks: Nyoman Sujana

Indonesia

Kenyem, Ema Sukarelawanto

t/f: (62 21) 719 84 48,

Photography of Artworks: Artist

m: +62 811 10 60 47

Translator : Andira Sampurno

e: info@philoartspace.com

Design : milovtrisno@gmail.com

Nyoman Sujana Kenyem, 09

-

29 September 2013

Published by Philo Art Space 039/2013

Copy Rights © 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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However, height is a concept that refers to the competition to achieve ‘the ultimate high’. Modernity is triggering such competition though a narration of human history which eventually will end at the perfection point where they find ‘the absolute self’. ‘Absolute self’ may only materialize in a relation amongst other selves that form a society, whether based on location or not.

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