Romancing Indonesia (1-10 November 2012)

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Modern and Contemporary Painting and Sculpture 1-10 November 2012 Royal Opera Arcade Gallery, Pall Mall, London ROMANCING INDONESIA

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Man, Fung-yi & Mok, Yat-san In The Mood For Intimacy 2012 Brass, stainless steel and painted stainless steel 168 cm x 480 cm x 30 cm This work was specially commissioned through One East Asia for Resorts World at Sentosa (RWS), Singapore.

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Foreword It is certainly a most happy occasion for the Embassy of the Republic of Indonesia in London to learn that One East Asia is organizing an Indonesian Arts Exhibition: Romancing Indonesia, as part of the Asian Arts in London, from 1 to 10 November 2012.

With its beautiful landscapes, pristine scenery and its rich cultural heritage, the Indonesian archipelago is often nicknamed ‘The Emeralds along the Equator’. Bursting with history and tradition, Indonesia has a rich and varied past to create not only a distinctly Indonesian cultural heritage but, through interaction with its neighbours, has also influenced the region.

The long journey we traversed into becoming the nation we are today continues to be inspired by our rich history and traditions. This continuum embraces the diversity within our society, religion, language, culture and art, while at the same time being receptive to occidental and oriental influences.

The British public may be familiar with some aspects of Indonesian arts and culture, such as the officially UNESCO recognized Indonesian batik as intangible cultural heritage of humanity, the enchanting traditional Javanese gamelan or the dynamic sound of the Balinese gamelan, and the serenity of a Balinese dance. However, following the 1998 reform process, this has brought forth many new creative minds and resourcefulness particularly among Indonesia’s youth.

Intent at promoting awareness and closer relations between and amongst our peoples, the Indonesian Embassy therefore commends and congratulates One East Asia, whose efforts have succeeded in bringing Indonesian art to the heart of London through the Romancing Indonesia exhibition.

I sincerely hope that everyone who experiences and acquires a glimpse of Indonesia’s contemporary art through this exhibition will leave with a greater understanding and appreciation of the history, power, and journey and of the people behind them.

His Excellency T M Hamzah Thayeb Ambassador of the Republic of Indonesia to the United Kingdom

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I am often asked by people new to buying art how they should go about creating their collections: what to look for, how much to spend, which names to watch. Behind these considerations is the question: how does one cultivate tastes that are both personal and informed, and select works that will bring pleasure and, perhaps, financial benefit?

Drawing an analogy with wine connoisseurship, my answer is this: in order to develop a palate one must taste plenty of wine. In other words, the only way to form a collection is to look at as many works as possible and have the confidence to judge them using instinct and intellect, while remaining open to unfamiliar aesthetics.

Romancing Indonesia is, I hope, the start of a love affair between our viewers and Southeast Asian art.

The aim of the exhibition is to introduce you to the art and culture of Indonesia as it is today, offering a glimpse of the development of contemporary art in the country over the last four decades.

So let the love affair begin. We may never agree on everything, nor experience the same feelings standing before the same artworks. However, once our knowledge and sensibilities are sharpened, our debates and deliberations will come from genuine aesthetic considerations, not from politics, prejudices or fashions.

One East Asia is extremely proud to be part of the prestigious Asian Art in London 2012 and to present this small collection of modern and contemporary Indonesian fine art.

I would like to thank all our working partners, the General Hotel Management (GHM) in particular, for their generous contributions in support of this exhibition.

Finally, I would like to extend my gratitude to His Excellency T M Hamzah Thayeb, Ambassador of the Republic of Indonesia to the United Kingdom, for his encouragement of our efforts to bring the art of Indonesia to London.

Daniel Komala Founder and Chairman, One East Asia

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ONE EAST ASIA is a Singapore-based international art management company. It aims to enrich the appreciation of Asian art, especially Southeast Asian art, through diverse programs and educational activities.

Located in the heart of Singapore’s premium shopping belt of Orchard Road, One East Asia aspires to connect Asian art to the world, providing avenues for collaboration, discussion, education, communities, networks and links.

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Sidharta’s Door, and A Room of Possibilities...

Suwarno Wisetroromo Art Critic, Curator and Lecturer at the Indonesian Art Institute, Yogyakarta, Indonesia

The Indonesian artist Gregorius Sidharta Soegijo (1932-2006) was a door maker: he would assemble an entrance and leave it wide open for anyone who wished to come through to enter at any time.

Everything beyond would be in its right place; the ideas and possibilities of art emerging from the creative ferment of Indonesia could be sampled, or become part of a dialogue . ‘Mr. Dharta’, as people usually called him, was the catalyst for the development of contemporary art in Indonesia. With his faith and passion, he moved beyond the traditional conventions of ideas, forms, materials and techniques.

The Crying of Bathari Goddess, Dewi Bathari

Grow and Develop II, Tumbuh & Berkembang

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He transcended commonality. When he didn’t ‘believe’ in the character of a sculptural matrial, such as wood – which he thought had the potential to be employed in many more ways than those for which it had generally been used – he would paint it, sometimes only on one or two sides. He also used traditional elements within his sculpture, painting and graphic work, eventually diverging from contemporary mainstream ideas about fine art to explore traditional forms. This can be seen in the coloured teak sculpture Tangisan Dewi Bathari (The Crying of Bathari Goddess) 1976 (h.210 cm) at the Fukuoka Museum of Art, Japan, and Salib Berdaun (The Leaf Cross), 1986, made of coloured polyester, in the collection of Bentara Budaya, Jakarta.

He was clear about his creative drive, saying: “I want to reconnect with tradition while staying in the present; I hope to make the distance between traditional and modern life disappear. To do this I continuously and intensely stay in touch with objects, forms, stories, ideas, and so on, that have been a result of, and expression of, traditional life and norms”1. His fascination with the values and soul of traditional art also appeared in his monumental public works, such as: Tonggak Samudra (The Ocean Poles), 1980 (Tanjung Priuk, Jakarta); Keseimbangan dan Toleransi (Balance and Orientation), 1996-97 (Fukuoka, Japan); Tumbuh & Berkembang II (Grow and Develop II), 1988 (Seoul, Korea); Tumbuh dan Berkembang III (Grow and Develop III), 1991 (Pakubuwono Park, Jakarta); and Tarian Tradisional (Traditional Dance), 1962 (Hotel Indonesia Kempinski, Jakarta). Not only were the foundations and inspiration of Sidharta’s works clear, but also the forms and concepts were strong. He kept on experimenting,

using different possibilities of configuration, materials and techniques.

Another ‘door maker’ is Srihadi Soedarsono (b.1931), a senior artist who presents himself as an intellectual and cosmopolitan religious leader. He was born and raised in the religious community of Solo, Central Java, but went to study Fine Art in Bandung, and taking his Masters’ degree in the United States. His Javanese sensitivity fuses with the modern intellectual world and he produces works that are filled with soul; he has never been seduced by the superficial or artificial.

Consciously choosing grand visual themes – the panoramic seascape, temples at Borobudur, palace dancers – he infuses them with emotion.

What I call Sidharta’s ‘possibilities of the open carved door’ have been vindicated by the new generation of contemporary artists. These people are endless wanderers.

They are not faced with the challenges experienced by Sidharta and Srihadi’s generation: material and intellectual needs are easily met and the artistic ethical code has been loosened to the point where any theme and style can be taken up, and the use of artisans in the execution of works is common practice.

Ivan Sagita (b.1957), for example, is able to realise his three-dimensional works through the skilled hands of his technicians without compromising his claim as the originator of the ideas, emotions and soul expressed, and to remain the rightful owner of the final physical forms. By contrast, the authority of ideas and manual execution are fully the hands of Sumatran artist Yunizar (b.1971), who takes amorphous forms and assembles them into a wild panorama. Passionate and skilled artist Stefan Buana (b.1971) explores the possibilities of materials such as sand and soil, charcoal, rubber, used tyres and so on.

Younger artists such as Samsul Arifin (b.1979), Soni Irawan (b.1975), Yudi Sulistyo b.(1972), Dhanang Pambayun (b.1978), Dita Gambiro (b.1986), Maria Indriasari (b.1976) and the collective Indieguerillas (founded in 1999) illustrate the importance of the craft approach to fine art in their attention to detail.

Yudi Sulistyo, for example, executes imaginary forms (such as robots) with extraordinary manual skill using

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Gregorius Sidharta in his studio, 1970s.

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hardboard, which he assembles to create unique forms that are similar to rustic steels. ‘Imagination’ and ‘craftsmanship’ skills are the keywords to his success.

Dear My Country Leaders, Please Be Transparent!, Stefan Buana

The theme of changing forms, which derives from traditional tales and mythologies, is also pursued by some younger artists. Indieguerrillas’ Coexisting in Multiple Stagnant, 2012, starts with the world of play and playfulness as represented by toys, puzzles and cartoon-style figures, which they rearrange into a colourful eyecatching maquette. Similarly, Rudi Hendriatno (b.1980) transforms imaginative shapes into sculptures with a toylike appearance. Artists like Maria Indriasari and Dita Gambiro play with the concept of changing forms through creating images of their observations of everyday life, whereby a multitude of activities are presented in a single unified picture.

Looking Through My Feet, Rudi Hendriatno

The works of Samsul Arifin (b.1979) exhibit a different spirit. His work stems from critical views about education and social issues, which he voices in the form of dolls, both in his paintings and his three-dimensional works.

For example, with his dolls he includes pencils, erasers and other everyday objects used by schoolchildren in order to comment on the world of education, and thereby succeeds in transforming common objects into meaningful metaphors.

The clear division of artistic styles associated with the two main Indonesian art schools, Bandung and Yogyakarta, which was defined by the late art critic Trisno Sumardjo in 19542, is now blurred. It is no longer easy to pinpoint specific characteristics of the work that comes out of these establishments. YogyakartaBandung is a creative and competitive arena for its artists; each of them are shaped by their chosen environment. One thing that is certain, however, is that artists in both centres now carefully consider the importance of ‘craftsmanship’ in order to conquer material and techniques. They believe that it will enable the to communicate their ideas through their chosen forms.

Are You Pure?, Maria Indriasari

Sidharta’s door can be walked through easily: the art world beyond is full of possibilities and challenges.

Notes: 1 Sanento Yuliman dan Jim Supangkat, G. Sidharta di Tengah Seni Rupa Indonesia, Jakarta: PT Gramedia, 1982, p1.

2 See John Clark, Modernity in Asian Art, Wild Peony, University of Sidney East Asian Studies Nuber, terutama paparan Helena Spanjaard ‘ The Controversy Between the Academics of Bandung and Yogyakarta’, 1993.

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Srihadi Soedarsono Krakatau 1984 Oil on canvas 100 x 200 cm

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Indonesian Contemporary Art: Four Decades of Change Viv Lawes Co-Curator of Romancing Indonesia, Lecturer and Arts Journalist

London has some of the most scholarly and respected dealers of Asian Art in the world. Asian Art in London (AAL), now in its 15th year, is an event that showcases the very best of their collections. Therefore the opportunity for One East Asia to exhibit Southeast Asian works of art as part of AAL – in only the second year where dealers based outside the UK have been eligible to apply – is a great honour.

This was cast in 1958, the year after the artist returned to Indonesia after studying at the Jan Van Eyck Academy in the Netherlands. It has been included not only because Sidharta was a master whose ever-evolving style influenced generations of Indonesian artists, but also as a reference point to demonstrate how much contemporary art practice has changed in the last forty years.

Last year One East Asia held an independent exhibition, Indonesia’s Crouching Tigers and Hidden Dragons, at Artspace Galleries, Mayfair (9-20 November 2011).

We dipped our toes in the London art market to assess the reception of a selection of Indonesian artworks dating from the mid-19th century to the present day.

It was most encouraging and we started planning the second show soon after.

When Sidharta made this sculpture, his practice was at what Dr. Andrew Leng calls the ‘Adapt’ phase of post-colonial art, where Western models were modified

by Asian artists rather than adopted wholesale (in this case no attempt has been made to westernize the woman’s features)1. Sidharta’s ‘Adept’ phase, which Dr. Leng classifies as a period of cultural independence in which the artist ‘remakes the form to [his] own specification’ is explored in Suwarno Wisetroromo’s incisive essay published in this catalogue.

Romancing Indonesia is the result. Where last year we selected work to show a narrative overview of 170 years of Indonesian fine art, this year the aim is to look predominantly at contemporary work set against the developments of the previous four decades. The title of the show is perhaps anachronistic, redolent of the idealised exoticism that characterised the Western view of the East in 19th and early 20th centuries.

‘Romancing’ in this case means the process of cajoling out the true character of fine art produced in this enticing country today.

Pelukis Hardi President of the Indonesian Republic Year 2001, Suhardi 1979 Serigraph 58 x 44 cm

There are three un-catalogued works by which we hope to demonstrate the social and political history of the country and artists’ reactions to its twists and turns, which laid the foundations for recent contemporary art practices: Hardi’s 1979 screen print President of the Republic of Indonesia 2001, Suhardi; Sucipto Adi’s Racing, 1986; and Future Dialogue, 1998, by Heri Dono.

The majority of works in the catalogue have been executed over the last five years, at a time when Indonesian artists have never been freer in terms of choice of subject, style and material; when personal choices have grown in a country becoming more confident after the overthrow of the Suharto regime in 1998; and when the trickle effect of the boom in Chinese contemporary art has started to reach the Indonesian market. Galleries, art fairs, biennales and triennials, and, increasingly, auction houses have all served to whet the appetite for up-to-the-minute works.

Hardi (whose given name was Suhardi, b.1951) executed President soon after founding, with other artrists, the New Art Movement (Gerakan Seni Rupa Baru) in 1975.

Other notable members included Jim Supangket (b.1948) and Nyoman Nuarta (b.1953). The group rearranged the face of art in the archipelago, focusing critically on political and social issues affecting Indonesian society. While encouraging work that drew distinctly upon Indonesian culture, it concurrently introduced contemporary concepts such as installation and performance to practice. It also marked the beginning of true art criticism and discussion in Indonesia, of which artist-turned-curator Jim Supangket is still a leading figure.

In the show there are only a handful of works that were not made between 2007 and 2012. These include Soeparto’s Cat, 1992 and Agus Suwage’s My Heart, 2002, but the most obvious exception in terms of date is Gregorius Sidharta’s bronze head Freedom.

In President, Hardi superimposes his own face on a military style figure in a graphic style reminiscent of the posters of Revolutionary China. This is no accident: Sukarno, the first president of independent Indonesia (and himself a passionate art collector), was a friend of

Dr Andrew Leng, ‘Pragmatism and the Arts- An Awkward Embrace’, Painting and National Identities, 1999. http://www.usp.nus.edu.sg/arts/uar2299a/studnwriting/pearlin.pdf

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Sutjipto Adi Tjitrosampurno Racing 1986 Oil and pencil on canvas 46 cm x 36 cm

Mao. However, the political system against which Hardi is venting spleen is that of President Suharto, whose New Order government (1968-1998), an anti-communist dictatorship, suffocated freedom of expression in every walk of life. Hardi’s dangerous transgression resulted in a stint in jail.

The irony revealed by hindsight is that Hardi was right in his vision of greater freedom: by the titular date of 2001 the Reformasi – the overthrow of the Suharto regime – had taken place and Indonesia had its first freely elected leader, President Abdurrahman Wahid, popularly called ‘Gus Dur’.

The unfolding story of social change during the 1980s is told in Sutjipto Adi’s (b.1957) painting, Racing, 1986.

The rich attend the races, indulging in a pastime that has traditionally been associated with the social elite, while those less fortunate scream from disembodied heads. It was executed at a time when the boom in oil prices of the previous few years, fuelled by the oil crises of 1973 and 1979, saw oil-rich Indonesia go from relative poverty to wealth – but only for the few.

Social divisions grew significantly wider, and continued even when oil prices declined in the mid-1980s and the government diversified into manufacturing and export of non-oil products, resulting in increasing industrialisation.

New wealth spawned new collectors. Although a platform for local artists had been created in 1968 with the Pameran Besar Seni Lukis painting festival, which morphed into the Jakarta Biennale in 1994, the Indonesian commercial art scene really took off in the ‘80s. The number of exhibitions and new commercial galleries, especially in Jakarta and then Yogyakarta – the location of one of the two most important art schools in Indonesia (the other being in Bandung) – mushroomed.

Art was no longer the exclusive realm of the art lover, as investors joined the game, mainly pursuing the acknowledged modern masters of Indonesian art, such as Affandi (1907-1990), Hendra Gunawan (1918-1983) and Sudjojono (1913-1986).

The art boom reflected the wider art market at a time when Japanese money pushed Impressionist and

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Post-Impressionist masterpieces at auction in the West into a new league; its ramifications also gave rise to greater attention being paid to up-and-coming artists who went on to have commercial success, such as Nasirun (b.1965), and Ivan Sagita (b.1957) – the latter of whom is represented in this exhibition with his latest sculpture Emptiness, 2012.

The 1990s was the decade in which Indonesian contemporary art came of age on the world stage.

Agung Hujatnika, in his article ‘Indonesian Contemporary Art in the International Arena’, argues that, although the ‘visibility’ of Indonesian artists can be traced back to the 1950s – when Affandi (1907-1990) became the first to exhibit at overseas biennales (Sao Paolo, 1953) – it was during the ‘nineties that their foreign exposure increased enormously.2

Emptiness, Ivan Sagita

This was particularly notable in the Asia-Pacific region, especially Australia and Japan, where state-funded institutional support by the Queensland Art Gallery and Fukuoka Asian Art Museum in particular was, and continues to be, instrumental in providing an international platform. The close links between the art worlds of these three nations reflected their trading relations in general and their links have become even closer over the intervening years (Indonesia is now Australia’s 12th largest trade partner). 3 Future Dialogue by Heri Dono (b.1960), one of the best-known Indonesian artists in the West, who came to prominence through multiple residencies and exhibitions, was produced in this era – in 1998, the year of the Reformasi. It reflects the huge anxiety felt by many Indonesians after fundamental political change on the back of 30 years of the Suharto regime.

Art in the 1990s was produced in an atmosphere of repression; it spawned subversive work on socio-political themes – marginisation, violence, inequalities of class and gender – which in turn was regarded as a defining characteristic of Indonesian contemporary art.

Hujatnika argues that ‘pseudo-political’ art as well as genuine protest took place at this period: overseas curators associated Indonesia with these themes, and artists could be found following a ‘strategy of expressing local political content as a way of gaining entry into international exhibitions.’4 However, the repression inflicted by the regime was real, and so were the uncertainties of the time. Heri Dono’s work raises concerns about the future – worldwide peace

(note the CND logo around the male figure’s neck), the prospects for our children – expressed through his characteristic adaptation of the wayang puppet figures used in the moralising storytelling traditions of Indonesia.

Since the millennium, as the post-reformation government has become more open with its own population and increased trade with overseas governments, artists have turned their attention to more personal or defined issues, following individual pathways more akin to the practice of contemporary artists in many countries. Institutions and galleries are promoting their work, offering another view of Asian art that not only offers a more affordable alternative to Chinese contemporary art, but also has distinct identity that has been formed through Indonesia’s own particular history.

One part of the art infrastructure that is working hard to catch up with increasing exposure of Indonesian art is academia. I anticipate that over the next five years scholarship will blossom in Indonesia, in wider Asia and in the West. Written art history and theoretical analysis is the third pillar necessary to support a stable platform for contemporary art. One East Asia is committed to support ongoing study through its activities in Jakarta, Singapore, Hong Kong and now in London.

Romancing Indonesia is one small show, from one art dealership, that is determined to bring Indonesian works to the art centres of the world. London has a history of taking up new ideas but the city has seen very little Indonesian contemporary art – in fact, 2011 was the first year in which dedicated exhibitions were mounted, with One East Asia’s own Indonesia’s Crouching Tigers exhibition, Heri Dono’s Madman Butterfly show at Rossi & Rossi, Mayfair, and Indonesian Eye at the Saatchi Galleries.

I hope that the revelations in Romancing Indonesia encourage all our visitors to get to know Indonesian art a little better, and to return for next year’s exhibition.

Hujatnika, Agung, ‘Indonesian Contemporary Art in the International Arena’, Global Art and the Museum (GAM), September 2010; http://globalartmuseum.de/site/guest_author/238 Stephen Elias and Clare Noone, ‘The Growth and Development of the Indonesian Economy’, Reserve Bank of Australia; http://www.rba.gov.au/publications/bulletin/2011/dec/pdf/bu-1211-4.pdf 4 Hujatnika, Agung, op. cit.

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Heri Dono Future Dialogue 1998 Acrylics and collage on paper 32 x 32 cm

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Copyright Š 2012 PT. Balai Lelang Larasati No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of Larasati

The Development of Modern and Contemporary Indonesian Art

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Gregorius Sidharta Freedom 1958 Bronze H 5 2 cm

The title of this sculpture refers to the freedom of expression in the ‘new’ Indonesia of the 1950s.

It carries with it the irony that, at this time, the general consensus was that higher education should not be a priority for women since their most important role was to look after their children. Sidharta went to study in Holland in 1953 (Jan Van Eijk Academie voor Beeldende Kunsten) and remained there until 1957.

Freedom was made a year after his return to Indonesia in 1958.

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Yunizar Untitled 2007 Signed a nd d ated Acrylic on canvas 180 x180 cm

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Yunizar, who was born in Sumatra but now lives and works in Yogyakarta, Java, often recalls his home town and family. This piece reflects memories of his childhood and village, Talawi, in West Sumatra.

Soni Irawan At the Backstage 2010 Acrylic, correction Marker, paint marker and spray paint on canvas 150 x150 cm

The artist’s first year of experience as a father is here compared to his feelings backstage before a performance with his band: scared, nervous, yet excited and happy.

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Yudi Sulistyo Making The Heart’s Wishes Come True 2012 Paper, PVC tubes, acrylic, wooden boxes, recycled material, paint 250 x 200 x120 cm

This flying motorcycle is a fantasy creation that represents the fundamental wish to fulfil the heart’s desires – what better than a motorbike that can fly? In order to be a proper illusion it must look like a real form, yet it is made from everyday, fragile materials.

The paradox is itself deeply satisfying to the artist.

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Dhanang Pambayun The Forest is Watching You 2012 Digital print on canvas 85 x 125 cm

In tribal society, the forest with its abundance of plants is a cosmos that requires special attention.

those needs are never satiated. We see the forest as a dead object that is silent and cannot fight back.

Tribal people understand that the forest needs to be taken care of and maintained wisely. It is as important as maintaining their relationships with other human beings. They try to live together side by side and in harmony with the forest.

However, without us knowing, from each tree that we cut down, from all the animals that have died, from the exhausted soil, there are ‘eyes’ that have been watching and recording everything.

But today the forest has become a resource that is continually exploited without thought to its continuing existence. Human needs are fulfiled at the expense of its survival yet

And when the time comes, when everything has gone beyond its limits, there will be ‘hands’ that are ready to rebalance everything.

A rebalancing process that we call disaster.

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Dita Gambiro Dear Eve 2011 Synthetic hair, brass 90 x 50cm

The corset, representing the entrapment of women that comes from blatantly sexualised femininity, is suspended from a hanger in the form of a snake. Although in Indonesia snakes often symbolise guardianship (sculptures of snakes guard temples), in Western understanding they are also symbolic of deceit. The title of this work alludes to the Biblical story of the Creation, in which the serpent persuades Eve to eat from the Tree of Knowledge against God’s will.

It marks the end of innocence.

Dita’s use of synthetic hair, which she braids herself, is her starting point for investigating themes from a feminine standpoint. She regards hair as the most precious body part, and in particular the essence of the female identity.

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Samsul Arifin Baton Brush 2010 Synthetic leather, transparent polyester, wood, steel 170 x 60 x 40 cm

This work depicts a doll, head down, his elongated arms holding a brush inscribed with the word ‘Estafet’ (meaning ‘the relay run’).

The exaggerated length of the doll’s arms is greater than that of his legs, illustrating the excessive weight of the brush. This work represents the responsibility of an artist to ‘hold’ his career: to be a good, thinking, relevant artist is a heavy burden.

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Ivan Sagita Emptiness 2012 Teak wood, stainless steel and copper 250 x 68 x 8 cm and 250 x 55 x 8cm

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Touch is a common everyday interaction. It is a simple, often casual, form of non-verbal communication.

The act of touching has social, cultural, psychological and sexual implications, yet it is arguably the lowest ranked of the five senses.

Different acts of touch express a gamut of feelings: shaking hands suggests openness and acceptance of others; caressing a baby gives comfort; inappropriate touch creates unease.

We all constantly touch ourselves both consciously and unconsciously, so touching also means being touched. This is also true when we touch each other (by, for example, greeting each other by kissing cheeks or shaking hands), yet the resulting contact does not have the same unity between body and soul as when we touch oursleves.

It is merely physical contact.

The work Emptiness is underpinned by this fundamental philosophy: touch has both a purely physical dimension and a spiritual one of the unity of body and soul.

In this work I am considering the hand of Adam, which almost touches that of God the Creator.

It is ironic in that the process of the creation of Man happened without touch – he was distant from his Creator. The lack of physical touch implies a lack of unity with the Soul. This is suggested by the empty space between them – this has become a eternal inheritance, a curse carried by human beings.

The emptiness of the space is the germinaton of the emptiness of the heart, of human loneliness. It is no surprise that so many people end their lives – or deny their own creation and existence – because of this emptiness of their hearts.

I am also exploring the issue of touch from the perspective of the relationship between one person and another. The birth of a baby is

always marked by a cry. The leaving of its mother’s womb and cutting of its umbilical cord marks the beginning of its physical autonomy.

The question I asked myself in making Emptiness was where to put the forefingers? The answer came in relation to the curtains.

Curtains are made of fabric and are used to divide spaces; to open a curtain means to see through to the other side. Conversely, in a performance, curtains open and close to reveal and hide the narrative taking place. In other words, curtains within a space create another space behind them, or another dimension.

Different fingers are attached to two different curtains, each with varying dimensions. They do not meet, they do not see what is in the space behind the curtains; they are on their own. And we can understand it all without opening those curtains.

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Indieguerrillas Coexisting in Multiple Stagnant Configurations 2012 Digital print on acrylic sheet, metal, wood, plastic 130 x 20 x 67 cm

Indieguerrillas is a collective and this work is an collection of questions about the purpose of collectiveness.

A ‘collective’ does not always mean a pool of individuals; it can also be viewed as a pool of thoughts, ideas and spirits. These abstracts come together – without the dialogue, communication and collaboration of each, artistic goals will not be achieved. Inventiveness would become stagnant and kill both change and opportunity.

The status quo is never desireable in art, only in politics.

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When I open my eyes for the first time…

Looking at you I learnt about the meaning of pure love From your womb I smell the world Reading life Singing about the transience of life How far the distance between you and me Your language, your thoughts, your feelings, your desire and tears that I don’t understand Your body is near me But your soul is far to reach Mother, would you like to reach out your hand to hold me?

So that you and I can whisper the love word Mother, would you…?

Maria Indriasari

Maria Indriasari Are You Pure?

2012 Cloth, thread, button, sponge, dacron, stainless Steel 180 x 90 x 16 cm

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Rudi Hendriatno Looking Through My Feet 2012 Hardwood 62 x 26 x 58 cm

Dikala mata kepala tak mampu menentukan arah ide dalam berkarya maka gunakanlah mata kaki untuk itu.

Translation: When the (eye of the) head can no longer be used to find ideas for a work, use the (eye of the) feet instead.

The concept behind the title of this surrealist work is based upon wordplay. In Malay, the term ‘mata kepala’ means ‘eyes’; the titular term ‘mata kaki’, repeated at the end of the accompanying statement, literally means ‘ankle’ but, when the two words are viewed separately ‘mata’ means ‘eye’ and ‘kaki’ means ‘foot’. Hence ‘eye of the foot’.

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Stefan Buana Dear My Country Leaders, Please Be Transparent!

2012 Acrylic-dipped threads on canvas 150 x 130 cm

This painting consists of portraits of political leaders in Indonesia, who often make loud but empty promises. While some are pragmatic, others are consumed by corruption and greed. Their main responsibility of serving the public is subsumed by their personal ambitions or their political parties’ wishes. As the title suggests, this painting is a critical comment that challenges politicians to be more transparent in their running of the country.

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Agus Suwage My Heart 2002 Oil on canvas 150 x 140 cm

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Suwage frequently uses his self-portrait as a means of expressing his views on the ironies and injustices in life.

This work is a tribute to Frida Kahlo’s artistic style, with Suwage presenting himself with the familiar joined eyebrows and characteristic full-frontal pose.

He uses a deep, blood red to express his outrage at what lies ahead for mankind in a world driven the consumerism that threatens to destroy the source of life itself, the forests.

Soeparto Cat 1992 Signed and dated Painted wood H 33 cm

The cat is painted in a kaleidoscope of colours reflecting the multiple ethnic groups that make up Indonesia: unity in diversity.

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Artists’ Biographies Samsul Arifin Born 1979, Malang, East Java, Indonesia Education Faculty of Fine Arts, Indonesia Institute of the Arts (ISI), Yogyakarta, Indonesia Solo Exhibitions 2010 The Maker, Ark Galerie, Jakarta, Indonesia

Stefan Buana 2010 Art Singapore, Gajah Gallery, Singapore ART|JOG|10, Indonesian Art Now: The Strategies of Being, Taman Budaya Yogyakarta, Indonesia Space and Image, Ciputra World Marketing Gallery, Jakarta, Indonesia Soccer Fever, Galeri Canna, Jakarta, Indonesia Awards

2008 Goni’s Journey #1, Semarang Gallery, Semarang, Indonesia

2003 Best 7th Nomination of Pratisara Affandi Adhikarya, Indonesia

Selected Group Exhibitions

2001 Best Glass, Indonesia Institute of the Arts (ISI), Yogyakarta, Indonesia Best Watercolor Painting, Indonesia Institute of the Arts (ISI), Yogyakarta Best Sketch, Indonesia Institute of the Arts (ISI), Yogyakarta, Indonesia

2012 ART|JOG|12, Looking East: A Gaze upon Indonesian Contemporary Art, Taman Budaya, Yogyakarta, Indonesia Legacy, Esa Sampoerna Art Museum, Surabaya, Indonesia Re.Claim: Indonesian Art World, Indonesia National Gallery, Jakarta 2011 Indonesia’s Crouching Tigers and Hidden Dragons: The Development of Modern and Contemporary Indonesian Art, Artspace Galleries, London, UK and One East Asia, Singapore.

ART|JOG|11, Taman Budaya Yogyakarta, Indonesia Scope Basel, Kaserne, Basel, Switzerland Indonesian Eye: Fantasies and Realities, Ciputra Marketing Gallery, Jakarta, Indonesia Closing the Gap, MiFA (Melbourne International Fine Art) Gallery, Australia 1001 Doors: Reinterpreting Traditions, Lawangwangi Art Sociates, Bandung, Indonesia

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Born 1971, Padang Panjang, West Sumatera, Indonesia Education Indonesian Art Institute, Jogjakarta, Indonesia Solo Exhibitions 2011 Memoir of Rice, International Culture Centre, Pandaan, Surabaya, Indonesia 2010 Mental Gerilya, Toni Raka Contemporary Gallery, Bali, Indonesia 2009 Wake Up, Valentine Willie, Singapore 2008 Fragmen, National Gallery, Jakarta, Indonesia 2006 Batik Gempa Parang Lindu, Taman Budaya Yogyakarta, Indonesia 2005 Kampuang Nan Den Cinto, Hadiprana Gallery, Kemang, Indonesia 2004 Ayat-ayat Stefan (Stefanic Versus), Duta Fine Art Gallery, Kemang, Jakarta, Indonesia 2002 Animal Farm, Gallery 678, Kemang, Jakarta, Indonesia

National Art Museum of China, Beijing SAKATO: Behind the Surface, One East Asia, Singapore Artist Museum Week, Batu Belah Art Space, Klungkung, Bali, Indonesia 50th Anniversary of Gallery Hadiprana, Jakarta, Indonesia Homo Ludens III, Emmitan Gallery, Surabaya, West Java, Indonesia Kembar Mayang, Widayat Museum, Magelang, Central Java, Indonesia Trans Visual, Tembi Gallery, Jogjakarta, Indonesia 2011 Documenting Now: Person to Person, Visual Art Exhibition by 12 Famous Indonesian Contemporary Artists, UPT Gallery, ISI Yogyakarta, Indonesia Preview, Tembi Gallery, Jogjakarta, Indonesia Bayang, Islamic Art Exhibition, National Gallery, Jakarta, Indonesia Homo Ludens II, Emmitan Galeri, Surabaya, Indonesia 2010 My World, Your World, Our World, Wendt Gallery, New York, USA BAKABA Sakato Art Community, Jogja National Museum, Jogjakarta, Indonesia Abstrak, Canna Gallery Anniversary, Jakarta, Indonesia Percakapan MASA, National Gallery, Jakarta, Indonesia Grand Carnival, Pacific Place, Ritz Carlton, Jakarta, Indonesia

Selected Group Exhibitions

2009 LESBUMI, Kali Opak Pesantren, Jogjakarta, Indonesia

2012 New York Biennale Art 2012-13, New York, USA Future and Reality, 5th Beijing International Art Biennale, China,

2008 Kaba Rang Rantau, Ego Gallery, Jakarta, Indonesia

Dita Gambiro 2007 EKSISTENSI, Yogya Galleri, Indonesia FETIS, Biasa Gallery, Bali, Indonesia 100 Years Affandi, Bentara Budaya Yogyakarta, Jogjakarta, Indonesia 2006 Paramitra, Mon Decor Gallery, Jakarta, Indonesia 2005 Art for Aceh, Taman Budaya Yogyakarta, Indonesia 2004 Understanding Language, Siena Gallery, Semarang, Indonesia 2003 Indofood Art Award Exhibition, Jakarta, Indonesia Indonesia Art Award Exhibition, Jakarta, Indonesia 2002 100 days Anniversary of H. Widayat, Museum Widayat, Magelang, Indonesia 2001 Six Bali Artists, Santi Gallery, Jakarta, Indonesia Sakato, Purna Budaya, Jogjakarta, Indonesia Awards 2011 Top 25 Artists of Bandung Contemporary Art Award, Indonesia 2010 Jakarta Art Award Finalist, Indonesia 2003 Finalist of Indofood Art Award Finalist of Philip Morris Art Award 2002 Finalist of Indofood Art Award

2001 Beppu Biennale, Japan Top 3, Nokia Art Award JakartaBangkok 1999 Indonesian Finalist in Windsor and Newton World Competition, Bandung, Indonesia 1998 Best Picture, Indonesian Art Institute Dies Natalis XVI, Jogjakarta, Indonesia Best Picture, Seni Refleksi Zaman, Benteng Vredenburg, Jogjakarta, Indonesia 1997 Finalist of Philip Morris Indonesia Art Award 1995 Best Artists from Jogjakarta at Students Art Weekend, Jakarta, Indonesia

Born 1986, Jakarta, Indonesia Dita Gambiro is known for her distinct choice of medium, synthetic hair, which she uses to represent and investigate issues that related to womanhood and personal identity.

Education Bachelor of Fine Arts (Sculpture), Bandung Institute of Technology Solo Exhibitions 2012 Art Stage Singapore: Project Stage, Galerie Michael Janssen (Berlin), Marina Bay Sands, Singapore 2011 White Lies, Inkubator Gallery at Forme Building, Jakarta, Indonesia Group Exhibitions 2012 REVISITED: Three decades of Surrealist tendencies in Indonesian art, One East Asia, Singapore Fountain of Lamneth, Gajah Gallery, Singapore Role Play: Parallab, Artsphere, Jakarta, Indonesia Re.Claim, Indonesian National Gallery, Jakarta ARTHK#12, Galerie Michael Janssen, Hong Kong FLOW, Galerie Michael Janssen, Berlin Prismatic Vibe, Fang Gallery, Jakarta, Indonesia Bazaar Art Jakarta 2012, Edwin’s Gallery, Jakarta, Indonesia 2011 1001 Doors: Reinterpreting the Tradition, Ciputra Marketing World, Jakarta, Indonesia Bandung Contemporary Art Award, Lawangwangi, Bandung, Indonesia

Fiber Face #3: Transformation, Taman Budaya Yogyakarta, Yogyakarta, Indonesia Contemporary Archaeology Chapter 3, Sigi Gallery, Jakarta, Indonesia Art & Motoring, Indonesian National Gallery, Jakarta Dysfashional #6, National Gallery, Jakarta, Indonesia Ekspansi, Indonesian National Gallery, Jakarta Bazaar Art Jakarta: Special Exhibitions, Ritz-Carlton, Jakarta, Indonesia Flight for Light: Indonesian Art and Religiosity, Mon Decor Gallery, Jakarta, Indonesia PMR Cube, Contemporary Culture Interplay, The Atrium, Sampoerna Strategic Square, Jakarta, Indonesia Beauty Case, Jakarta Art District, Grand Indonesia, Jakarta, Indonesia 2010 Art Festival, Plaza Indonesia, Jakarta, Indonesia Bandung New Emergence Vol.3, Selasar Sunaryo Art Space, Bandung, Indonesia Percakapan Masa, National Gallery, Jakarta, Indonesia The 25th Asian International Art Exhibition, Mongolia Tribute to Sudjojono: Sang Ahli Gambar dan Kawan-kawan, Titik Orange Gallery, Bandung, Indonesia Tapak Telu, Installation & Performance Art, collaboration with Sujana ‘Suklu’ and Ngurah Sudibya, ISI Denpasar, Bali, Indonesia 2009 BACK, Pasukan Bumi’s Project, Roommate, Yogyakarta, Indonesia Performance Art: The Walking Painting with Sally Texania & Wardrobe by Anggi Annisanazif and Julio Caesario”, Jl.Ganeca, Bandung, Indonesia

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Rudi Hendriatno On Going, Vanessa Art Link, Jakarta, Indonesia My Body, 43 Indonesian women artists, Andy Gallery, Grand Indonesia, Jakarta, Indonesia Artchieve, Pasukan Bumi’s project, Jogja Biennale X, Yogyakarta, Indonesia What You Know About Art is Wrong, Bale Tonggoh Selasar Sunaryo Art Space, Bandung, Indonesia Cross/Piece, 8th Anniversary of Canna Gallery, Jakarta, Indonesia 2008 Paint Us Freely, Performance Art with Sally Texania & Wardrobe by Anggi Annisanazif and Julio Caesario, Bandung, Indonesia Videosonic Art, Exhibition with Michael Sheridan, Soemardja Gallery, Bandung, Indonesia Invasi Objek Privat, Pasukan Bumi’s soft launching (IVAA), touring to several venues in Yogyakarta, Indonesia Ini Baru Ini, Vivi Yip Art Room, Jakarta, Indonesia Metaphoria, 15x15x15 Project vol.2, Soemardja Gallery, Bandung, Indonesia 2007 Us/Industry, Galeri Rumah Teh, Bandung, Indonesia Domestic Art Objects & Still Life, Jogja Gallery, Yogyakarta, Indonesia Performance Art: Blow Art with Sally Texania, Soemarja Gallery, Bandung, Indonesia OK Video ‘Militia’, Video Workshop and Exhibition, National Gallery, Jakarta, Indonesia Scale, 15x15x15 Project, Soemardja Gallery, Bandung, Indonesia Fictitious Reality, Photography Exhibition, Soemardja Gallery, Bandung, Indonesia Neo-Nation, Jogja Biennale IX, Taman Budaya Yogyakarta, Indonesia

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2006 Teknofutura Mengada-ada, New Media Art Exhibition, Bandung Institute of Technology, Bandung, Indonesia 2005 Satu, Faculty of Art and Design First Grade Program Exhibition, Bandung Institute of Technology, Indonesia Walking on the Painting, Mural Competition, Cihampelas Walk, Bandung, Indonesia 2004 Cerianya Duniaku, Koi Gallery, Kemang, Jakarta, Indonesia

Born 1980, Padang, West Sumatra, Indonesia Education Indonesian Art Institute, Yogyakarta, Indonesia Group Exhibitions 2012 Diantara Estetika dan Mekanika, Bazaar Art, Jakarta, Indonesia SAKATO: Behind the Surface, One East Asia, Singapore Mechan(aesthet)ics, Edwin’s Gallery, Art Stage Singapore 2012 2011 Intersection: Indonesian Contemporary Sculpture, Andi’s Gallery, Jakarta, Indonesia MOTION/ SENSASION, Edwin Gallery, Indonesia Jakarta Biennale 2011, Maximum City, National Gallery of Indonesia, Jakarta 2010 Bakaba, Sakato Art Community, Jogja National Museum, Yogyakarta, Indonesia Homage, Tujuh Bintang Art Space, Yogyakarta, Indonesia CONTEMPORANEITY, Biennale Indonesia Art Award, National Gallery of Indonesia, Jakarta 2009 Antara Nama Dan Nama, Jogja National Museum, Yogyakarta, Indonesia Bersama Dalam Ruang Komposisi, Joglo Art Societes, Yogyakarta, Indonesia THE DREAM, Tujuh Bintang Art Award, Jogja National Museum, Yogyakarta, Indonesia Minang Art Academic Exhibition, Taman Budaya, Padang, West Sumatra, Indonesia Cross/piece, Canna Gallery, Jakarta, Indonesia

2008 Live is Art, Art Is Live, Jogja Bike Rendezvous, Coaral Gallery, Yogyakarta, Indonesia 2007 Graduation Exhibition, Indonesian Art Institute, Yogyakarta, Indonesia 2006 JALIN BAPILIN, Minang Students of Indonesian Art Institute, Yogyakarta (FORMMISI), Benteng Vrederburg and Taman Budaya Yogyakarta, Yogyakarta, Indonesia 2004 Kelompok Jamur, Tom Silver, Magelang, Indonesia 2002 SA_AKA 99, Purna Budaya, Yogyakarta, Indonesia 2000 Embria 99, Craft Major, Fine Art Faculty, Indonesian Art Institute, Yogyakarta, Indonesia Awards 2010 Finalist of Indonesian Art Award 2010 2009 Seven Best Works at Tujuh Bintang Art Award, “THE DREAM”, Jogja National Museum, Indonesia

Indieguerillas Founded in 1999.

Indieguerillas is a duet of artist from Yogyakarta-Indonesia, Santi Ariestyowanti and Dyatmiko “Miko” Bawono. The former has the Visual Communication Design background and the latter trained in Interior Design. Both are alumni of The Faculty of Art at the Indonesian Institute of the Arts in Yogyakarta (ISI Yogyakarta). In addition to their being known for their interest in folklores, Indieguerillas are also recognised for their proficiency in visual effects and inter-media experimentation.

Santi Ariestyowanti Born 1977, Semarang, Central Java, Indonesia Miko Bawono Born 1975, Kudus, Central Java, Indonesia Solo Exhibitions 2010 HAPPY VICTIMS, VWFA, Singapore Indie what? Indie who?, Garis Art Space, Jakarta, Indonesia 2008 Fools’lore: Folklore Reload, Biasa Artspace, Bali, Indonesia Selected Group Exhibitions 2012 Gangster Nation, Bazaart Art Jakarta 2012 | Booth L8 | Ritz Carlton – Pacific Place, Jakarta, I ndonesia RE.CLAIM, Galeri Nasional Indonesia, Jakarta, Indonesia Tribute to Mentor, Tri Bakti, Magelang, Indonesia LEGACY: The Trace of Civilization, Esa Sampoerna Art Museum, Surabaya, Indonesia JANEFO #1, Jogja New Emerging Forces : The First Batch, Langgeng Art Foundation, Yogyakarta, Indonesia

Maria Indriasari Rupa Belanja, Rupa Kota, (Forms of Shopping, Forms of Our Cities), Galeri Salihara, Jakarta, Indonesia 2011 Ethnicity Now, Galeri Nasional Indonesia, Jakarta, Indonesia

Residencies 2010 GASTRONAUT : LOOKING FOOD, with HEDEN and Kosmopolis Den Haag, Den Haag, The Netherlands Public Collections

2010 The Fantastic Garden, Changwon Asian Art Festival, Sungsan Art Hall, Korea Biennials/Triennials 2011 4th Guangzhou Triennial, Art Domain Migration, ASEAN & China, 10+1 Art Tactic Independent Art Project, Guangdong Museum of Art, Guangzhou City, China, collateral event of the 54th International Art Exhibition - La Biennale: Future Pass – From Asia to the World, Palazzo MangilliValmarana, Venice, Italy 2009 Biennale Jogja X: Jogja Jamming, JNM Yogyakarta, Indonesia Animamix Biennial : Visual Attrack & Attack, Museum of Contemporary Art Taipei, Taiwan 2007 Biennale Jogja, Neo Nation, Jogja National Museum, Yogyakarta, Indonesia 2005 Biennale Jogja, Di Sini & Kini, Sagan Area, Yogyakarta, Indonesia 2005 CP Biennale 2005, Urban/Culture, Museum Bank Indonesia, Jakarta, Indonesia

Dr. Oei Hong Djien Museum, Magelang, Indonesia Singapore Art Museum, Singapore Guangdong Museum of Art, Guangzhou City, China

Born 1976, Yogyakarta, Central Java, Indonesia Education Indonesian Art Institute, Yogyakarta, Indonesia (Faculty of Media Recording Arts, Film Major, specializing in Artistic Direction) Solo Exhibitions 2012 Un/Happy Motherhood: Narasi Aku dan Ibu, Lawangwangi Art and Science Estate, Bandung, Indonesia Group Exhibitions 2012 Membatalkan Keperempuanan, Sangkring Art Project, Yogyakarta, Indonesia Domestic Stuff, Salihara Gallery, Jakarta, and Cemeti Art House, Yogyakarta, Indonesia 2011 Talking Textiles, a duo exhibition with December Pang, One East Asia, Singapore Indonesia’s Crouching Tigers and Hidden Dragons: The Development of Modern and Contemporary Indonesian Art, Artspace Galleries, London, UK Expansion: Indonesian Contemporary Sculpture, National Gallery, Jakarta, Indonesia Homo Ludens II, Emmitan Contemporary Art Gallery, Surabaya, Indonesia Contemporary Archaeology Chapter Two, Sigi Arts, Jakarta, Indonesia Exhibition of selected contemporary art works from Bandung Contemporary Art Award competition (BaCAA), Lawangwangi Art & Science Estate, Bandung, Indonesia

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Soni Irawan 1001 Doors: Reinterpreting Tradition, Ciputra World Marketing Gallery, Jakarta, Indonesia Closing The Gap: Indonesian Contemporary Art, MIFA (Melbourne International Fine Art), Melbourne, Australia 2010 Arts Liberation Front #2: Tanah Jawa, Taman Budaya, Yogyakarta, Indonesia Melepas Seragam, Ars Longa Gallery, Yogyakarta, Indonesia ART|JOG|10, Indonesian Art Now: The Strategies of Being, Taman Budaya, Yogyakarta, Indonesia 10th Anniversary Exhibition of One Galeri, Jakarta, Indonesia Arts Liberation Front #1, Biasa Gallery, Yogyakarta, Indonesia 2009 Rang Rawa Project, Bayem river, Yogyakarta, Indonesia BIENNALE JOGJA X, Sanggarbambu, Yogyakarta National Museum, Yogyakarta, Indonesia Gebrak Guru Gambar, Beber Seni XII, Taman Budaya, Yogyakarta, Indonesia 2008 Dinamika Estetika: 45 years of SMSR Yogyakarta, Taman Budaya, Yogyakarta, Indonesia 2007 Fine Arts Exhibition, Sanggarbambu, Tembi Gallery, Yogyakarta, Indonesia Gema Wanita - BEBER SENI IX Yogyakarta, Benteng Vredeburg, Yogyakarta, Indonesia 2006 Ekspresi-Ekspresi Perempuan, Tembi Gallery, Yogyakarta, Indonesia

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Awards & Commissions 2011 Top 25 artists selected for Bandung Contemporary Art Award Competition (BaCAA), Lawangwangi Art & Science Estate, Bandung, Indonesia

Born 1975, Yogyakarta, Central Java, Indonesia Education Visual Art majoring in printmaking, Indonesian Art Institute, Yogyakarta, Indonesia Solo Exhibitions

1982-1995 Winner of 86 regional, national and international drawing competitions.

2012 Mellow Yellow, Kendra Gallery, Bali, Indonesia 2011 You and Me and Everyone We Know, Vivi Yip Art Room, Jakarta, Indonesia

2010 Spacing Contemporary, ARTJOG, Taman Budaya Yogya, Yogyakarta, Indonesia Being Artpreneurship, Ciputra Art Center, Jakarta, Indonesia 2009 Jogja Jamming, Biennale Jogja, Taman Budaya Yogyakarta, Yogyakarta, Indonesia Malaysia Art Expo, Kuala Lumpur, Malaysia Bazaar Art Fair, Ritz Carlton, Jakarta, Indonesia ogja Art Fair #2, Taman Budaya Yogyakarta, Yogyakarta, Indonesia

2010 Ode to Permata Unguku, Semarang Gallery, Grand Indonesia, Jakarta, Indonesia

2008 Jogja Art Fair (JAF), Taman Budaya Yogyakarta, Yogyakarta, Indonesia

Selected Group Exhibitions

Awards

2012 La La Land, One East Asia, Singapore Jogja Agropop, Langgeng Gallery, Taman Budaya Yogyakarta, Yogyakarta, Indonesia Homo Ludens III, Emmitan CA Gallery, Surabaya, East Java, Indonesia

2001 Phillip Morris ASEAN Art Award finalist Best Five Phillip Morris Indonesian Art Award

2011 Indonesia’s Crouching Tigers and Hidden Dragon: The Development of Modern and Contemporary Indonesian Art, Artspace Galleries, Mayfair, London, UK Humanimal, Drawing Exhibition, Sangam House, Yogyakarta, Indonesia Locality and Universality, MAPKL and Chandan Gallery, Kuala Lumpur, Malaysia ArtJog XI, Taman Budaya Yogyakarta, Yogyakarta, Indonesia Wallworks Inaguration, Wallworks Gallery, Paris, France Closing The Gap, MIFA Gallery, Melbourne, Australia

Commissions 2008 Urban Art Fest Mural Project, Kompas Newspaper Anniversary, Jakarta, Indonesia 2004 Mural exhibition, Duke Distro & Clothing, Bali, Indonesia

Dhanang Pambayun Ivan Sagita Born 1978, Tuban, East Java, Indonesia Having trained in art and graphic design, Dhanang is both an artist and designer based in Yogyakarta.

He specializes in working with Adobe Illustrator CS4 software, generating digital illustrations for corporate brands, agencies and magazines. He cites his biggest inspirations as film director Tim Burton, Indonesian poet and writer Ranggawarsita (1802-1873) and Islamic mystic Raden Sahid.

Born 1957, Malang, East Java Education Fine Art (Painting), Faculty of Art and Design, Indonesian Art Institute, Yogyakarta, Indonesia Residencies 2012 Merging Metaphors, Asean Artist Residency, India 2003 Fellowship Artist in Residence, Vermont Studio Centre, USA

Education Art Awards & Commissions AKSERI (Indonesian Fine Art Academy), Yogyakarta Selected Group Exhibitions 2012 ART|JOG|12, Looking East: A Gaze upon Indonesian Contemporary Art, Taman Budaya, Yogyakarta, Indonesia A Tribute to a Mentor, Gedung Tri Bakti, Magelang, Indonesia 2011 Money Culture, Garis Art Space, Jakarta, Indonesia Honey, Poison, & My Country, Vector Art Exhibition, Salihara Gallery, Indonesia 2010 NINH Autumn/Winter, Fashion & Art Exhibition, West Village, NY, USA Dance!, Gallery Art Cafe, Moscow

1998 Mainichi Broadcasting System Prize, The Osaka Sculpture Triennial, Osaka, Japan 1996 Silver Medal, The Osaka Triennial 1996, Osaka, Japan 1989 Painting Biennial Award, Jakarta, Indonesia 1987 Painting Biennial Award, Jakarta, Indonesia Selected Solo Exhibitions 2011 Final Silence, Pulchri studio, Den Haag, the Netherlands 2005 Hidup Bermuatan Mati, CP Artspace, Jakarta, Indonesia 2003 Red Mills Gallery, Vermont, USA

2000 Drawing Exhibition: Freezing the Time, Northern Territory University, Darwin Gallery, Australia Selected Group Exhibitions 2012 REVISITED: Three decades of Surrealist tendencies in Indonesian Art, One East Asia, Singapore Legacy: The Trace of Civilization, Esa Sampoerna Art Museum, Surabaya, Indonesia Kembar Mayang, Widayat Museum, Magelang, Indonesia ARTJOG 2012, “A Gaze of Indonesian Contemporary Art”, Yogyakarta, Indonesia 2011 Art Stage Singapore, Flight for Light: Indonesian Art and Religiosity, Grand Opening of Art1 Museum and Artspace, Jakarta, Indonesia Indonesia’s Crouching Tigers and Hidden Dragons: The Development of Modern and Contemporary Indonesian Art, Artspace Galleries, London, UK and One East Asia, Singapore 2010 Ratu Kidul dan Dunia Mitos Kita, Balai Soedjatmoko, Solo, Indonesia Crossing and Blurring the Boundaries, Indonesian National Gallery, Jakarta Apa Itu Khethok?, Canna Gallery, Indonesia 2009 Friendship Code, Syang Artspace, Magelang, Indonesia Milestone, Vanessa Art Link Gallery, Jakarta, Indonesia Poli(chromatic), V-art Gallery, Bentara Budaya Yogyakarta, Indonesia Indonesia Contemporary Drawing, National Gallery, Jakarta, Indonesia

Next Nature, National Gallery, Jakarta, Indonesia Living Legends, Edwin Gallery, National Gallery, Jakarta, Indonesia Exposigns, Indonesian Art Institute 25th Anniversary, Yogyakarta, Indonesia Biennale X, Yogyakarta, Indonesia 2008 Pameran Drawing Wong Liya, Bentara Budaya Yogyakarta, Indonesia Manifesto, National Gallery, Jakarta, Indonesia Us and Them: Recent art from Indonesia, Art Asia, Miami, USA The Highlight: dari medium ke transmedia, Indonesian Art Institute, Jogja National Museum, Indonesia Art with an Accent, Art in contemporary culture, Guangzhou, China 2007 Beautiful Death, Bentara Budaya Yogyakarta, Indonesia Gendakan, Bentara Budaya Yogyakarta, Indonesia 100 Tahun Pelukis Besar Affandi, Taman Budaya, Yogyakarta, Indonesia Conscience Celebrate, Edwin’s Gallery, Jakarta, Indonesia Transgenerasi, National Gallery, Manado, Indonesia Titian Masa, The Collection of National Gallery of Indonesia, Malaysia Shanghai Art Fair 2007, Shanghai, China Biennale Jogja IX – 2007, Neo-Nation, Yogyakarta, Indonesia 2006 Time & Signs, Vanessa Art Link, Jakarta, Indonesia Biennale Jakarta XII, Beyond: The Limits and Its Challenges, Jakarta, Indonesia China International Gallery Exposition”, Beijing, China

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Common Link, Vanessa Art Link, Beijing, China Icon Retrospective, Jogja Galery, Yogyakarta, Indonesia 2005 CP Biennale, Urban/Culture, Jakarta, Indonesia The Second Beijing International Art Biennale, China 2004 Membaca Dunia Widayat, Museum Widayat, Magelang, Indonesia Wings of Words Wings of Color, Langgeng Gallery, Magelang, Indonesia Singapore Art Fair, All is in our head, Singapore Perception in Vibration, Edwin’s Gallery, Jakarta, Indonesia 4 Sehat Mo-limo Sempurna, Bentara Budaya Yogyakarta, Indonesia 2003 Lintas Batas, Andi Gallery, Jakarta, Indonesia Canna Gallery, Jakarta, Indonesia Gajah Mada Gallery, Semarang, Indonesia CP Open Biennale 2003, Jakarta, Indonesia Air kata-kata – Sindhunata, Bentara Budaya Yogyakarta, Indonesia Infatuated, Sunjin Gallery, Singapore 2002 Anniversary Exhibition, Canna Gallery, Jakarta, Indonesia Mata Hati Demokrasi, Taman Budaya, Jakarta, Indonesia Dimensi Raden Saleh, Semarang Gallery, Semarang, Indonesia Saksi Mata, Nadi Gallery, Jakarta, Indonesia Intercosmolimagination, Studio Budaya Langgeng, Magelang, Indonesia 2001 Membaca Frida Kahlo, Nadi Gallery, Jakarta, Indonesia

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Osaka Triennale 2001, Japan Not just the political, Museum II, Widayat, Mungkid, Magelang, Indonesia Melik Nggendhong Lali, Anniversary Basis 50, Bentara Budaya Yogyakarta, Indonesia Pembacaan lewat simbol-simbol, Embun Gallery, Yogyakarta, Indonesia 2000 Gambar Ajal dan Kegirangan Baru, Eddie Hara & Ivan Sagita, Santi Gallery, Jakarta, Indonesia 1999 Soul Ties: Art from Indonesia, Singapore Art Museum, Singapore 1998 – 2000 Under Cover, The Pretoria Art Museum and Ipopeng Project, Pretoria, Sandton Civic Gallery, Johannesburg, South Africa

Gregorius Sidharta

Soeparto

(Yogyakarta, Indonesia, 1932-2006)

(Yogyakarta, Indonesia, 1929 Jakarta, Indonesia, 2001)

Sidharta studied at ASRI (Indonesian Academy of Fine Arts), Yogyakarta (1953) and continued his studies at the Jan van Eyck Academy, The Netherlands (1957).

He taught at ASRI Yogyakarta from 1958-64, then moved to Bandung where he taught in the Fine Arts Department of ITB (Bandung Institute of Technology) from 196597. From 1970-73 he also taught at IKJ (Jakarta Institute of Arts).

Seoparto studied painting at ITB/ Bandung Institute of Technology in 1944. He later moved to Solo in 1947, where he joined SIM (Seniman Indonesia Muda / Young Indonesian Artists association).

His paintings and sculptures have a strong oriental mood. In 1971, he participated in the Second Biennial Exhibition in India and received a Cultural Award from the Minister of Education and Culture as one of Indonesia’s most gifted young artists. His works are represented in the collection of former Indonesian Vice-President Adam Malik.

He had solo exhibitions in Jakarta, Bandung, Yogyakarta and Magelang, and also participated in numerous group exhibitions in Indonesia, Singapore, Thailand, Japan, India, Poland and Norway.

Awards received include Best Painting by the Badan Musyawarah Kebudayaan Nasional in 1952; Indonesian Government Art Award in 1980; winner of the Tanjung Priok Harbour Monument competition in 1980; Best Sculpture awarded by DKJ (Jakarta Arts Council) in 1986; and ASEAN Cultural Award in 1990.

Sidharta created numerous public monuments and sculptures in Indonesia, Korea, the Philippines and Japan. He retired from teaching at ITB in 1997, and was the chairman of API (Indonesian Association of Sculptors) from 2000-2003.

Agus Suwage

Yudi Sulistyo

Born 1959, Purworejo, C. Java, Indonesia

Born 1972, Yogyakarta, Central Java, Indonesia

Studied graphic design at ITB / Bandung Institute of Technology from 1979 to 1986. Upon graduation, he worked as a freelance illustrator in Jakarta. In 1996, his work was selected as one of the Top Ten winners of the Indonesian Art Awards, and was included in the ASEAN Art Awards in Bangkok, Thailand. He has had solo exhibitions in Jakarta, Bandung, Yogyakarta, Koshigaya City, Saitama (Japan) and Brisbane (Australia), and has participated in group exhibitions in Indonesia, Japan, Korea, Thailand, Cuba, Malaysia, India, Singapore, The Netherlands, Germany, Mexico and Australia.

Yudi’s fascination with metal objects and heavy equipment are in complete contrast to his choice of paper for his artworks – a material that is lightweight and warm to the touch. His superb technique lies in his ability to express the exact look and sensation of steel objects, sometimes lifesized, the hyperreality of which deceive the eye.

His meticulous attention to detail not only shows his great skill but also conveys how the mind perceives certain objects.

The viewer thus experiences reality in a disorientating way.

Education Visual Communication Design, Indonesian Art Institute, Yogyakarta Selected Group Exhibitions 2012 Art Jogja, Looking East: A Gaze Upon Indonesia Contemporary Art, Taman Budaya Yogyakarta, Yogyakarta, Indonesia A Tribute To a Mentor, Gedung Tribakti, Magelang, Central Java, Indonesia Art Stage Singapore 2012, Mon Décor Gallery, Singapore 2011 Biennale Jakarta #14, National Gallery, Jakarta, Indonesia Flight for Light: Indonesian Art and Religiosity, Art:1, Jakarta, Indonesia Bazaar Art Jakarta, Mon Décor Gallery, Jakarta, Indonesia Art Jogja, Taman Budaya Yogyakarta, Yogyakarta, Indonesia Art Stage Singapore 2011, Singapore

Yunizar Closing the Gap: Contemporary Indonesian Art, Melbourne International Fine Art, Australia 2010 Ethnicity Now, Garis Art Space, National Gallery Jakarta, Indonesia Korea International Art Fair, Mon Décor Gallery, Seoul, Korea Bazaar Art Jakarta, Mon Décor Gallery, Pacific Place, Jakarta, Indonesia Art Jogja, Indonesia Art NOW (IAN), Taman Budaya Yogyakarta, Yogyakarta, Indonesia 2009 Biennale Sastra, Salihara Gallery, Jakarta, Indonesia HEROISME, Mon Décor Gallery, Jakarta, Indonesia Biennale X, Jogja Jamming, Yogyakarta, Indonesia 2008 Jogja Neo-Nation, Jogja Museum, Yogyakarta, Indonesia Manifesto, National Gallery, Jakarta, Indonesia Utopia Negativa, Gallery Langgeng, Magelang, Indonesia Homo Homini Lupus, Mon Décor Gallery, Jakarta, Indonesia 2007 1001 Cover Concept, Plaza Senayan, Jakarta, Indonesia Tribute to Young Artist, Sangkring Art Space, Yogyakarta, Indonesia Insert Character, Kedai Kebun Forum, Yogyakarta, Indonesia Awards 2007 Kosasih Award 2003 Finalist, Indofood Jakarta, Indonesia

Born 1971, Talawi, West Sumatra, Indonesia Education Indonesian Art Institute, Yogyakarta, Indonesia Selected Solo Exhibitions 2010 Jogja Psychedelia Flower From Yunizar, Gajah Gallery, Singapore; Galeri Soemardja, Bandung, Indonesia; Sangkring Art Space, Yogyakarta, Indonesia 2007 Coretan: Recent Works by Yunizar, National University of Singapore Museum, Singapore 2006 Biasa Aja, Gajah Gallery, Singapore Coretan Rasa, Emmitan Contemporary Art Gallery, Singapore Petualang dalam Rasa, Sin Sin Gallery, Hong Kong Alam Garis, Andara, Jakarta, Indonesia Selected Group Exhibitions 2012 Paperworks - group exhibition with S. Teddy D and Anusapati, Gajah Gallery, Singapore Art India, New Delhi, India 2011 Art Stage, Singapore Indonesia’s Crouching Tigers and Hidden Dragons: The Development of Modern and Contemporary Indonesian Art, Artspace Galleries, London, UK and One East Asia, Singapore ART|JOG|11, Taman Budaya, Yogyakarta, Indonesia 1001 Doors: Reinterpreting Traditions, Ciputra World Marketing Gallery, Jakarta, Indonesia

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2010 Space & Image, Ciputra World Gallery, Jakarta, Indonesia Art Paris + Guests, Grand Palais, Paris, France Bakaba, Sakato Art Community, Jogja National Museum (JNM), Yogyakarta, Indonesia 2009 A Play of the Ordinary, JENDELA Group exhibition, NUS Museum, Singapore Biennale Jogja X, Jogja Jamming: Gerakan Arsip Seni Rupa Indonesia, Yogyakarta, Indonesia Reach for the Heart, Sin Sin Fine Art, Hong Kong 2008 Expose #1 – a presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi Gallery, Four Seasons Hotel, Jakarta, Indonesia Manifesto, National Gallery of Indonesia, Jakarta, Indonesia Tribes, Sin Sin Fine Art, Hong Kong Indonesian Invasion, Sin Sin Fine Art, Hong Kong 2007 Indonesian Contemporary Art Now, Nadi Gallery, Jakarta, Indonesia Keindahan dibalik karya garis, Jogja Gallery, Yogyakarta, Indonesia Cilukba, Valentine Willie Fine Art, Kuala Lumpur, Malaysia 40 Plus, 40 Minus, Sin Sin Fine Art, Hong Kong 2006 Angkor- The Djin Within, Gajah Gallery, Singapore 2005 Indonesian Contemporary, iPreciation, Singapore The Ordinary – KSRJ (Kelompok Seni Rupa Jendela), Nadi Gallery, Jakarta, Indonesia

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2004 Merahnya Merah (How Red is Red), Nadi Gallery, Jakarta, Indonesia Object(ify), Nadi Gallery, Jakarta, Indonesia 2003 Interpellation – CP Open Biennale, National Gallery, Jakarta, Indonesia EPIC, Gajah Gallery, Singapore Borobudur International Festival, H.Widayat Museum, Mungkid, Magelang, Indonesia 2002 Alfi – Yunizar – Mantofani, Chouinard Gallery, Hong Kong ECSTATICUS MUNDI – KSRJ (Kelompok Seni Rupa Jendela), JENDELA Group exhibition, Selasar Sunaryo Art Space, Bandung & AIR Art House, Jakarta, Indonesia 2001 Not Just the Political, H.Widayat Museum, Mungkid, Magelang, Indonesia Ias Batas, Edwin Gallery, Jakarta, Indonesia New Sensation, Gajah Gallery, Singapore 2000 Indonesia Expression, Singapore Exhibition of Contemporary Arts, Bali, Indonesia 1998 Refleksi Zaman, Yogyakarta 1997 Jendela – inaugural exhibition of KSRJ (Kelompok Seni Rupa Jendela), Purna Budaya,Yogyakarta, Indonesia Festival Kesenian Yogyakarta IX, Museum Benteng Vredeburg, Yogyakarta, Indonesia Philip Morris Indonesian Art Awards exhibition, Agung Rai Museum of Art, Bali & Braha Lukisan TMII, Jakarta, Indonesia

1996 Dialog Dua Kota I Exhibition, Yogyakarta Gelegar 10 Exhibition, Yogyakarta Dialog Dua Kota II Exhibition, Yogyakarta 1995 Eksplorasi Hitam Putih Exhibition, Yogyakarta Dies Natalis Exhibition, ISI, Yogyakarta 1994 Prashida ’93, Yogyakarta

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Editor Viv Lawes Design Keith Salvidge keith@salvidge.co.uk

15 Scotts Road #05-08/09 Thong Teck Building Singapore 228218 Tel +65 6737 1819 Fax +65 6737 1859 Email info@oneeastasia.org Website www.oneeastasia.org Editor Viv Lawes Design Keith Salvidge keithsalvidge@o2.co.uk

ROMANCING INDONESIA

www.oneeastasia.org