E catalogue perjalanan senyap orbital dago

INAUGURAL EXHIBITION

PERJALANAN

SENYAP M A Y 7 - J U L Y 11 , 2 0 1 7

presenting works by

Aliansyah Caniago Dita Gambiro Eddi Prabandono Erika Ernawan Michael Binuko Muhammad Villhamy Patricia Untario Richard Streitmatter-Tran Wiyoga Muhardanto Yogie Achmad Ginanjar Yudi Noor Yuli Prayitno Zico Albaiquni

M A Y 7 - J U L Y 11 , 2 0 1 7 O P E N I N G H O U R S : T U E S D A Y - S U N D A Y / 9. 30 AM - 7.30 PM MONDAY : BY APPOINTMENT

LOCATION

JL. RANCA KENDAL LUHUR NO. 7 BANDUNG 40191,WEST JAVA INDONESIA Shortlink to Location

This catalog was published as a supplement to Orbital Dago Inaugural Exhibition PERJALANAN SENYAP TEXT CONTRIBUTOR Rifky Effendy GRAPHIC DESIGN Nadya Aurora ENGLISH TRANSLATOR Henny Rolan IMAGES OF WORKS Courtesy of Artists P U B L I S H E D A N D D I S T R I B U T E D BY Orbital Dago

All right reserved. No part of this catalog may be reproduced, stored in a retrieval system, or transmitted in any way form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder. ©ORBITALDAGO

INAUGURAL EXHIBITION

PERJALANAN

SENYAP M A Y 7 - J U L Y 11 , 2 0 1 7

CONTENTS PREFACE Pengantar oleh Rifky Effendy

CONTENTS CURATORIAL “PERJALANAN SENYAP” oleh Rifky Effendy “A QUIET JOURNEY” by Rifky Effendy

PARTICIPATING ARTIST Biografi Biography

WORKS BY ARTIST CURRICULUM VITAE INSIDE EXHIBITION

ABOUT US

PERJALANAN SENYAP KURATOR Rifky Effendy

Dari tahun 1976 hingga 1988, Marina Abramovic (lahir pada tahun 1946 di Beograd) dan Ulay (lahir tahun 1943 di Solingen sebagai Frank Uwe Laysiepen) adalah sepasang kekasih, pasangan seniman yang tinggal dan bekerja bersama-sama. Kolaborasi ini menarik, bukan saja karena didasarkan pada prinsip kesetaraan mutlak antara dua seniman, sehingga mengatasi motif jenius dan perenungan mereka yang berjalan melalui sejarah seni, tetapi juga karena membuka dan membagi antara seni dan kehidupan , privat dan publik, menempatkan mereka untuk re-negosiasi. Karya performans mereka sebagai pasangan, banyak diteliti pada berbagai tingkat estetika dan sosial-politik kemungkinan dari hubungan interpersonal. Nightsea Crossing adalah serangkaian dua puluh dua pertunjukan yang berlangsung antara tahun 1981 dan 1987 di lokasi yang sangat berbeda di seluruh dunia. Dengan setting (sering didalam museum, kadang-kadang diarea terbuka), tanggal, dan warna pakaian mereka bervariasi, tetapi mereka selalu menggunakan meja kayu mahoni yang sama dan dua kursi yang sama. Mereka menggambarkan performansnya sebagai berikut: "Nightsea Crossing adalah sebuah epik 90 hari di mana menjadi periode dengan melakukan puasa dan diam , sebelum dan selama performans yang aktual. Performans itu terdiri dari tujuh jam sehari, berkonsentrasi sambil duduk diam tak bergerak dalam keadaan hening�.

Abramovic dan Ulay duduk dikursi dikedua ujung meja, saling berhadapan, dengan tubuh mereka berhadapan. Mereka menggunakan keheningan dan aspek kehidupan untuk memfokuskan perhatian pada kenyataan bahwa kesadaran terus berfungsi di dalam, sementara di luar tubuh tampaknya menjadi bagian dari arsitektur. Menurut Abramovic, performans ini adalah bentuk still life, suatu"kehidupan yang senyap", meskipun Ulay mencatat bahwa fokus utama mereka adalah dalam proses diam itu.

Berbagai performan Marina Abramovic ditandai dengan keterlibatan ďŹ sik radikal sang seniman. Seringkali, bereksperimen diri secara ekstrim yang menyebabkan situasi yang mengancam jiwanya. Dalam terminologi sejarah seni, karya-karya ini memberikan kontribusi yang kuat untuk mengganti istilah performatif dalam seni rupa. Performance art, yang muncul pada tahun 1960, dimaksudkan sebagai model counter untuk lembaga mapan seperti teater dan museum. Programnya adalah untuk menghapus semua batas-batas: perbedaan antara seniman dan karyanya, pemain dan karakternya, aktor dan penonton, serta antara seni dan kehidupan. Didalam merayakan saat beraksi , tubuh para seniman performans menjadi situs untuk negosiasi politik identitas, relasi gender, dan norma-norma sosial.

Hari – hari ini, berbagai pertunjukan mereka ini hanya dapat diakses melalui dokumentasi foto-foto, rekaman video, atau berbagai tulisan laporan. Bahwa representasi fotografi jauh lebih pas untuk Abramovic dan Ulay daripada dokumentasi belaka , penampilan mereka menjadi sangat jelas dalam pameran di Galerie Michael Jannsen, di Berlin beberapa waktu lalu. Karena snapshot, rekaman gambar dapat membuat bentuk-bentuk khusus dari sinerji mereka.

Aspek gambar menjadi pusarannya terutama untuk karya-karya setelah tahun 1980. Di sini, konstelasi hubungan di eksplorasi dan dinegosiasikan melalui tindakan dengan gerakan minimal, tetapi juga melalui serangkaian simbol/tablo serta karya-karya fotografi dan patung. Karya-karya ini secara kritikal menginterogasi gambar dan model hubungan manusia, dan mereka semakin mendapatkan tingkat alegoris dan simbolik makna. proses hubungan material dan eksperimen dalam simbiosis spiritual menjadi semakin penting.

Pameran Perjalanan Sunyi yang diterjemahkan secara bebas dari teks karya Nightsea Crossing mengundang para seniman diluar konteks sejarah dan budaya asalinya untuk menafsirkan secara terbuka kepada performans Marina dan Ulay. Untuk mengembangkan makna – makna dan nilai sejarah suatu karya tersebut kedalam ungkapan visual para seniman sekarang, yang dikepung oleh derasnya produksi dan pusaran citraan. Juga mengaitkannya dengan persoalan otoritas dan identitas seniman yang individual seperti yang diyakini jaman Modern klasik yang kemudian dipahami ke dalam dalam era seni rupa sekarang.

Since the great changes in art during the 1965, artistic identity has not been a straightforward given. It has been selected in good and bad faith, out of duplicity, or from acts of speaking for someone else. The categories of artistic collaboration and constructed, manipulated—as opposed to "natural" or individual—authorial identities overlap but are not the same. (Charles Green: 2001) Menurut Charles Green , dalam bukunya THE THIRD HAND : collaboration in art from conceptualism to postmodernism , seri performans Marina dan Ulay menarik- jauh meregangkan batasan representasional. Seperti pada kolaborasi Gilbert & George, yang menciptakan kembali dirinya sebagai identitas ketiga, tetapi Abramovic dan Ulay , memperluas tema-tema pertapaan (asketik), meritualkan ke-tuna wisma-an dan perpindahan dengan cara yang jauh lebih ekstrim dari Gilbert & George; kerja sama tim kolaboratif mereka adalah bagian dari suatu definisi ulang batas-batas diri. Diri atau self ini akan tersedia untuk para seniman hanya melalui proses, yang sekali lagi, penghilangan dan menggoda ketertutupan, keterisolasian, yang kemudian diceritakan oleh Abramovic , "Ketika Anda berfokus dalam situasi di sini dan sekarang, orang mendapatkan kesan bahwa anda tidak ada."

Menurut Green, karya-karya relasional yang dibuat pada awal kolaborasi mereka, melibatkan berbagai bentuk, gaya yang terlupakan. Selama tahun 1979, meskipun, Abramovic dan Ulay mulai sistematis memperbaiki tindakan-tindakan dramatis ke dalam skenario ‘”diam” dan kembali kepada sesuatu yang benar-benar beku.

Performans ; dari Aksi ke Objek Dalam perkembangan seni rupa performans di Eropa dan Amerika Utara , sejak dekade 1990-an telah terjadi gejala materialisasi-nya. Kelembagaan seni modern telah mengembangkan sistem kerja, “ kolaborasi” untuk menghasilkan produk artistik. Karena bagaimanapun, performans merupakan aksi tubuh yang sangat bergantung pada konteks ruang dan waktu. Pendokumentasian, produksi artefak performans , kemudian menjadi penting dan telah berlangsung sejak - mulai dari kelompok Dada, Bauhaus, Fluxus, atau Yves Klein, Manzoni, Beuys, Jim Dine, hingga Gilbert and George.

Memang pada perkembangan lanjut, sepertinya terjadi ke-ironis-an, dimana pada awalnya performans juga ada nilai pemberontakan; digunakan para seniman untuk melawan komersialisasi, dan galeri, maupun kemapanan museum. Seniman awal performans, berusaha mendudukan kembali gagasan sebagai suatu yang paling tinggi, sebagai pengejewantahan dari eksistensi seniman modern, sebagai gerakan kaum kiri, dan ekstensi dari gerakan seni rupa konseptual. Tetapi pada akhirnya, dalam kenyataan perkembangan teori dan kelembagaan seni rupa modern, mengharuskan karya-karya performans didokumentasi secara baik. Terutama banyak lembaga museum dan akademi pendidikan, maupun pameran-pameran, serta publikasi membutuhkan materi, atau dokumentasi fisik untuk kepentingan arsip maupun presentasi.

Dokumentasi performans, berupa fotografi, rekaman film dan video, atau kertas-kertas kerja para seniman dikumpulkan, di kemas dalam sebuah pameran maupun materi publikasi. Bahkan dalam perkembangannya kemudian, beberapa museum dan kolektor mengoleksi arsip-arsip dengan harga tinggi.

Para seniman konseptual juga performans seperti Gilbert and George, Marina Abramovich dan Ulay, diawal tahun 70-an, mungkin yang mengawali dalam memanfaatkan medium fotografi, grafis dan video sebagai ekstensi, atau cara presentasi dari aksi yang mereka lakukan.

Sebagai kemungkinan bentuk “dokumentasi” untuk diperdagangkan galeri dan dimiliki oleh para kolektor. Hal ini juga mengawali suatu gejala dimana, mitos bahwa seniman modern bekerja secara individual, unik, self-center akhirnya tidak menjadi absolut, banyak lubang di batas-batasannya. Produksi seni rupa kontemporer termasuk performans, menurut kritikus Kristine Stiles, dalam ulasannya tentang Performance (Nelson & Shiff, 2003: 88) mengemukakan, bahwa didekade 1980-an, istilah “performance” mulai menyajikan karya beragam dengan bentuk estetik, dari produksi hingga presentasi,serta penafsirannya. Performans menjadi sebagai suatu kategori dalam visual display, hal ini memberi hal baru bagi aspek komersial seni rupa.

Dengan munculnya teknologi reproduksi citraan, seperti kamera dijital, video, rekayasa computer, berbagai aplikasi berbasis internet. Banyak juga seniman performans mengembangkan konsep aksi tubuh dengan unsur teknologi.

Sterlac, seniman performans ternama asal Australia, dan Yasumasa Morimura dari Jepang, bahkan telah mengembangkan konsep tubuh kedalam konstruksi rekayasa teknologi, termasuk Melati Suryodarmo.

Begitupun penggunaan strategi presentasinya , mereka mencoba dan bereksperimen dengan mendomestifikasi tubuhnya melalui ruang-ruang virtual, yang bisa diakses oleh internet, game, maupun dalam bentuk rekaman dalam kepingan DVD. Pada pameran ini, 13 seniman diundang untuk mendekati teks dan visual atau kebetulan mempunyai kesamaan konsep maupun aspek tafsiran visual dengan karya Nightsea Crossing –nya Marina dan Ulay. Menafsirkan sisi-sisi yang mungkin mempunyai nilai berbeda yang kemudian bisa dimaknai kembali oleh para seniman sehingga muncul karya dengan konteks dan bentuk yang berbeda bahkan mungkin nilai dan makna baru. Juktaposisi karya Marina dan Ulay dengan karya-karya seniman lain ini disajikan dalam pameran inagurasi ini mengundang para seniman yang tentunya berbeda secara generasi, cara pandang, sikap maupun dalam konteks sosial budayanya. Tentunya akan berbeda pula cara pandang mereka melihat / membaca tanda-tanda. Beberapa karya seniman tidak direncanakan untuk merespon karya Marina dan Ulay, tetapi mempunyai beberapa aspek nilai yang berhubungan dengan “teks”.

Pemaknaan pada Karya - Karya Aliansyah Caniago, (lahir di Bandung 1987 , tinggal dan bekerja di Bandung). menafsirkan karya performans Marina dan Ulay pada persoalan hubungan, daya tahan (endurance), kepercayaan (trust) dengan yang dicintainya dalam hidup.

Dengan menghadirkan karya dari tempelan kayu-kayu limbah dan pabrik pensil yang dibentuk persegi, berjudul: Silence Conversation After The Years; Ciburuy (2017). Karya ini menghubungkannya dengan proyek performans yang dilakukannya di danau (situ) Ciburuy dua tahun lalu, disana ia melakukan interaksi bersama para nelayan disana. Maka bagi Alin aksi – aksi Marina dan Ulay mengingatkan kepada para nelayan di situ Ciburuy. “Saya ngeliat manusia disana kayak ngelakuin long durational performance juga, setelah adanya banyak pilihan hidup mereka tetap bertahan hidup dengan air. Pilihan hidup tuh bisa jadi juga soal endurance”. Aliansyah mendekati dengan mengalegorikan kepada durasi dan daya tahan kegiatan suatu masyarakat. Hari-hari ini, seni performans banyak dilakukan oleh para seniman diluar ruang – ruang seni dengan kehidupan nyata.

Mengaktualisasi ekspresi dengan terjun dengan masyarakat, baik sebagai aktivisme sosial, lingkungan hidup maupun mengartikulasikan bentuk-bentuk seni relasional.

Karya Dita Gambiro (Lahir Jakarta 1986), berjudul You In Me (2017), memaknai “ hubungan dua manusia” dengan menghadirkan pakaian (baju) dengan materi kain transparan (Jute). Salah satu lengan pakaian masing-masing terpotong. Ketidak-sempurnaan pola pakaian itu disusun berdampingan sehingga saling memberikan “kesatuan” dari bentuk pakaian tersebut. Karya-karya Dita Gambiro banyak menampilkan nilai berbeda dari tubuh feminine, cenderung menyentuh dengan ironi-ironi. Menyejajarkan simbol-simbol barat-timur dalam menjelajah materi.

Seniman Eddi Prabandono , (Lahir di Pati , 1964, tinggal dan bekerja di Yogyakarta). menghadirkan karya objek hibrid sepeda yang diatasnya diletakan objek lukisan karya Piet Mondriaan. Karya berjudul , Fiets Mondriaan (2016), ini bisa dimaknai sebagai gejala bahasa pelesetan dari dua suku kata “Fiets” yang dalam bahasa Belanda artinya sepeda. Sehingga ketika disatukan berbunyi seperti nama sang maestro seni modern Belanda tersebut. Pelesetan kata dan logika assemblage yang dihadirkan oleh Eddi yang menyejajarkan dua objek yang tak nyambung : antara obyek sejarah seni yang ikonik dan sepeda. Tapi juga sepeda adalah kendaran ikonik dan umum di negeri Belanda. Maka konteks sosial dan budaya juga menjadi nilai yang dipertimbangkan.

Erika Ernawan (lahir di Bandung 1986), seniman yang biasanya menggunakan elemen tubuhnya (atau performans) dan juga instalasi dan media lainnya didalam karyanya. Kadang pendekatan performansnya cenderung menyentuh batas pemahaman nilai-nilai yang mapan yang diyakini masyarakat secara moral. Kali ini Erika menguaskan cat diatas image print yang ditempel diatas medium Perspex. Karya berjudul :Motionless (2016-17) muncul dari persoalan waktu dalam performans yang melibatkan aspek “diam”, yang sering dimunculkan dalam performance Marina dan Ulay.

Dengan menghadirkan proses pembekuan cat , diam itu dimaterialisasi, seperti juga dalam proses melukis Jackson Pollock. Tetapi pada karya Erika muncul metafor tentang wacana tubuh dan diri.

Drawing Michael Binuko atau Koko (lahir di Biak, 1987. Tinggal dan bekerja di Bandung) menghadirkan citra patung ibu dan anak berjudul : Fiat Mihi Secundum Verbum Tuum (2017). Ia mengatakan bahwa poin utama karya kolaborasi Marina dan Ulay yang ditangkap itu terkait dengan nilai kepercayaan dirinya. Maka ia memutuskan untuk menggunakan figur Maria dan bayi Yesus, suatu hubungan yang magis dan ikonik. Image atau citra yang sakral tapi sekaligus juga menjadi profane atau sekuler. Pada drawingnya Koko membuat kerusakan yang disengaja, menurutnya , Faktor "rusaknya" sendiri sebagai gambaran karya kolaborasi mereka yang sering terlihat destruktif dan menantang . Maka citra tersebut tidak lagi ada upaya ‘glorifikasi’ , tetapi membuatnya lebih menjadi fana, menjadi manusia yang tak sempurna.

Muhammad Vilhamy (Lahir di Surabaya, 1990, tinggal dan bekerja di Bandung) menghadirkan instalasi deretan lukisan cat air , berjudul : “Maaf Sold Out!” (2017) dengan elemen teks dan objek, seperti dalam sebuah toko pakaian. Karyanya menjadi sarkasme kepada gejala pasar seni rupa kontemporer saat ini. Baginya ; “empat komponen karya instalasi yang ditawarkan menjadi bentuk karya seni yang merepresentasikan pola atau sikap “dingin” dan leisure dari masyarakat kelas menengah, serta juga

sebagai bentuk respon apropriasi praktik dalam medan seni rupa kontemporer Indonesia”. Walaupun beberapa elemen karya tersebut muncul dari ruang pribadi. Ia menjadi seniman yang memainkan tanda dengan ironi dan sarkasme dalam praktek seni hari-hari ini.

Karya Patricia Untario , (Lahir di Jakarta 1984, tinggal dan bekerja di Bandung) berjudul Fasting (2017) , membuat elemen dalam bentuk miniatur dari logam dari elemen performans Marina dan Ulay. Kursi-kursi itu masing-masing ditutupi oleh silinder kaca atau gelas. Patricia dikenal sebagai seniman yang mengeksplorasi teknik pembuatan kaca , kebanyakan dengan teknik cetak. Ia banyak menggarap bentuk lampu gantung atau chandlier maupun benda-benda domestik seperti ceret, cangkir dan lain sebagainya, yang dieksplor menjadi karya bernarasi yang khas sekitar hubungan-hubungan domestik manusia dan kenangan. Kursi dalam gelas menandai suatu ruang yang dibatasi oleh sekat yang transparan. Bisa saling menatap tapi tubuh terkurung dan tak bisa saling menyentuh. Menjadi suatu ironi manusia sekarang.

Richard Streitmatter-Tran (lahir di Bien Hoa1972, tinggal dan bekerja di Ho Chi Min, Vietnam ) , menggambarkan hubungan dengan menghadirkan objek dua bola dari tanah liat, seperti kepala dengan rambut dari sabut kelapa yang dikepang dan menyambung kerambut lainnya. Gestur objek berjudul Bound (2016) ini mengingatkan kepada salah satu citra ikonik dari performans yang dilakukan Marina dan Ulay yang ikonik, di Italia berjudul Relation in Time (1977). Performans tersebut aslinya dilakukan selama 17 Jam dengan kedua rambut kepang bagian belakang yang terikat satu sama lain.

Karya Richard ini menjadi semacam tribute untuk Marina dan Ulay dengan menghadirkan nilai suatu hubungan yang tak abadi, lewat material yang lebih berumur terbatas dan rentan seperti tanah liat dan serabut kelapa.

Wiyoga Muhardanto (Lahir di Jakarta 1984 , tinggal dan bekerja di Bandung) secara khas melalui karya patungnya selalu melibatkan permainan tanda dan unsur sinisme, sindiran atau olok-olok, apakah melalui bentuk maupun pengolahan materinya. Ia menampilkan karya berjudul What If (Figur No: 3, Football Fans) 2016, berupa patung figur pemain bola (penjaga gawang) yang sedang menangkap seorang fansnya , mengenakan seragam klub bola terkenal Liga Inggris. Sosok fans bola itu berperawakan gempal dan mengepalkan tinjunya keatas. Karya ini seperti mewakili kegilaan dan obsesi masyarakat global kepada sepak bola. Karya Wiyoga seperti bertolak belakang dengan nilai dalam citraan performance Marina dan Ulay. Namun dengan hakikat tujuan yang sama ; melihat kembali nilai-nilai didalam budaya masyarakat urban era-informasi dimana muncul penetrasi ikon-ikon global dan obsesi kuat untuk menjadi bagian dari komunitas global-internasional.

Yogie Achmad Ginanjar (Lahir di Bandung 1981, Tinggal dan bekerja di Bandung) memaknai karya Marina dan Ulay tersebut dengan menghadirkan deretan lukisannya , Me and You and a Cycle of Impossible Truth (2017). 22 lukisannya menjadi tribute kepada 22 performans Marina dan Ulay. Bagi Yogie , Night Sea Crossing menceritakan siklus kehidupan, metamorphosis, perjalanan dan menghubungkan antara tubuh ke pikiran, psikis ke metafisik yang direpresentsikan oleh upaya mereka berimplikasi kepada tradisi disiplin-fisik pada jangka periode waktu yang panjang untuk mencapai kesadaran metafisik. Yogie menantang keterbatasan fisikal itu dengan

membuat lukisan sekuen pertumbuhan bunga Dandelion sebagai metafor siklus hidup. Sapuan-sapuan menggambarkan suatu efek “kesalahan/ meleset” (Glitch) , untuk menunjukan kegagalan komunikasi, mirip yang apa ia rasakan dalam proses membaca karya Marina dan Ulay. Ia juga mengadaptasi melukis dengan cara dan efek maestro Jerman, Gerhard Richter untuk menghasilkan visualnya.

Karya-karya kolase atau asemblage Yudi Noor (lahir di Bandung, 1971.

Tinggal dan bekerja di Berlin) memberikan ruang kepada pemaknaan ulang atas materi , benda-benda temuan arsitektural yang dielaborasikan melalui sensibilitas estetiknya. Sehingga menyajikan suatu narasi yang mistis maupun filosofis dari elemen, materi yang wataknya berbeda-beda. Menyatukan yang nyambung dan tidak nyambung, menjadi harmoni yang formal walaupun penyusanannya dilakukan intuitif.

Pematung Yuli Prayitno (Lahir di Bandung 1974 , tinggal dan bekerja di Yogyakarta) menghadirkan kembali objek Gunting tetapi membuatnya menjadi berbeda fungsi asalinya. Gunting tersebut ia potong bagian pisaunya dan dijadikan pegangan dengan ditempa. Sehingga bisa dipegang dua orang di kedua sisinya. Garapan –garapan karya objek Yuli memang khas , karena selalu mempermainkan persepsi umum antara benda-benda, watak materi serta fungsinya. Karya gunting berhandle ganda ini menciptakan simbol untuk memparodikan performans yang radikal dari Marina dan Ulay yang biasanya menyerempet dan melibatkan berbagai objek berbahaya.

Sebaliknya Yuli menghadirkan simbol-simbol yang lebih lunak , lebih bersahabat (friendly).

Karya lukisan Zico Albaiquni (lahir di Bandung 1987, tinggal dan bekerja di Bandung) berjudul: The next Sentence is True, the Previous Sentence is False (2017) menggambarkan satu komunikasi dengan mendekati kehidupan keseharian, tetapi melalui garapan lukisan yang bercorak agak impresionistik, “Saya mengambil snapshot dua orang yang sedang duduk tanpa tendensi apa-apa….namun posisi duduk menjadi memiliki tendensi ketika berada dalam form atau performa seni “, ujarnya. Zico memilih merekam gestur manusia yang natural tetapi kemudian disejajarkan ke dalam konteks sejarah seni (modern barat), pemaknaanya menjadi sangat berbeda, bahkan jauh diluar kendali sang seniman. Dramatisasi muncul dari bagaimana gambar dihadirkan dan dengan sendirinya sudah termaknai oleh sejarahnya. Zico banyak menggali ulang konsep-konsep lukisan di era modern dan berupaya menemukan nilai dalam konteks kekinian.

Rifky Effendy, Kurator.

Sumber Bacaan: 1.

Green, Charles. THE THIRD HAND : collaboration in art from conceptuaism to postmodernism. Published by the University of Minnesota Press. 2001

2.

Wawancara Seniman. Maret-April 2017.

3.

Press Relase Michael Janssen Gallery, Berlin. 2016

PERJALANAN SENYAP CURATOR Rifky Effendy

From 1976 to 1988, Marina Abramovic (born 1946 in Beograd) and Ulay (born Frank Uwe Laysiepen, 1943 in Solingen) were lovers, and a pair of artists living and working together. Their collaboration was and still is an interesting study, not only because of the absolute equality shared between them—transcending their personal genius and contemplation through the history of art—but also because they opened up and shared between art and life, private and public; it allowed renegotiation. Their collaborative works have always been fertile grounds for study and scholarship, with regards to aesthetics, and the socio-political possibilities of an interpersonal relationship.

Nightsea Crossing is a series of twenty-two performances held between 1981 and 1987 in diverse locations around the world. Although they had a variety of settings (often inside museums, but sometimes out in the open), dates, and colors of clothing, they always used the same mahogany table and the same two chairs. The artists described their performance thusly: “Nightsea Crossing is an epic 90 days work in which a period of fasting and silence is involved, prior to and during the actual performance. The performance consists of seven daily hours of concentration while sitting motionless in a state of tranquility.”

Abramovic and Ulay sits on either end of the table, facing each other, body angled toward each other. They use stillness and aspects of life to focus the attention on a reality where awareness continues to flow beneath the surface, even as their exteriors become part of the architecture. Abramovic likened the performance to a still life, where “life is still (or quiet)”, while Ulay considered that their main focus is the process of being still.

Many of Marina Abramovic’s performance art pieces are notable for the artist’s radical physical involvement. Often times, she would engage herself in extreme and life-threatening self-experimentation. Within the context of art history, her works have made strong contributions to help transform how we understand performance in art. Performance art came about in 1960, as a counter model to established intuitions like theaters and museums. They aspired to break down all boundaries: the delineation between the artists and their works, the actors and their characters, the actors and their audience, art and life. In the celebrations of their acts, the bodies of performance artists became sites of negotiation regarding identity politics, gender relations, and social norms.

These days, historic performance artworks are accessible only through documentational objects like photos, video recordings, or written reports. Photographic representations suit Abramovic and Ulay more than any other documentational forms; their performances were clearly conveyed at an exhibition at

Galerie Michael Janssen in Berlin some time ago. Through snapshots, the images communicated the special forms of their synergy.

Images converge; this is especially true for works created after 1980. Here, the constellations of relationships are explored and negotiated through the act of minimal movement, as well as through a series of symbols/tableau augmented by photography and sculptures. These works critically interrogate the images and models of human relationships, reaching an even higher level of allegory and symbolic meaning. It further drives the importance of the process that connects materiality and experimentation within a spiritual symbiosis.

The exhibition Perjalanan Sunyi—the title of which is a freeform translation of the text to Nightsea Crossing—invites artists who exist outside of the immediate historical and cultural context of the source material to openly interpret Marina and Ulay’s performance. Meanings and historical values have been developed into visual expressions by artists who today exist under the barrage of production and vortex of imagery. It is also connected to the issue of authority and identity of artists as individuals, as advocated by Modern Classicism which continues to this day.

Since the great changes in art during the 1960s, artistic identity has not been a straightforward given. It has been selected in good and bad faith, out of duplicity, or from acts of speaking for someone else. The categories of artistic collaboration and [sic] constructed, manipulated—as opposed to "natural" or individual—authorial identities overlap but are not the same. (Charles Green, 2001, p. xiii) According to Charles Green in his book The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, Marina and Ulay’s performance pushes representational boundaries.

Like Gilbert & George, this artist team re-created itself as a third identity, but Abramovic and Ulay extended the themes of ascetic, ritualized homelessness and displacement in a far more extreme manner than Gilbert & George; their collaborative teamwork was part of a radical redefinition of the edges of the self. This self would be available to the artists only through a process, once again, of disappearance and seductive invisibility; as Abramovic recalled, “When you are focused on the here and now, people get the impression that you are absent.” (p. 157) According to Green, Relation Works (1976-80), created near the beginning of their collaboration, “involved stylized forms of obliviousness”.

Then, in 1979, “Abramovic and Ulay began systematically refining these dramatic actions into scenarios of immobility and completely frozen withdrawal.” (p. 157)

Performance ; from Action to Object In the development of performance art in Europe and North America since the 1990s, we are now able to see the facts of its materialization. The modern art institution developed a working system, a “collaboration” aiming to create artistic products. At the end of the day, performance is the act of a body very much bound to the context of space and time. Documentation activities and artifact production connected to a performance became very important; this flurry of activity began with the Dadaists, Bauhaus, Fluxus, or Yves Klein, Manzoni, Beuys, Jim Dine, to Gilbert & George.

Certainly, in subsequent developments there seemed to be an ironic quality where performances had rebellious values; artists utilized performance art to fight commercialization and galleries, even established museums. In the beginning, artists tried to reposition concept as the pinnacle, or as a manifestation of the modern artist’s existence, as a leftist movement, and as a manifestation of the existence of the conceptual art movement. In the end, within the context of the development of the modern art institution and theory, performance art must be well-documented. Museums and education institutions, as well as exhibitions and publication outlets require materials and physical documentation for archival or presentation purposes.

Documentation of performance art pieces, in the form of photography, film and video recording, papers or concept documents created by the artists, are often collected and packaged into exhibitions or publications. In some instances, museums and collectors even put a high price on these archives. We could perhaps say that conceptual- and performance-artists like Gilbert & George, Marina Abramovic and Ulay helped pioneer in the early 1970s the utilization of photography, graphics and videos as an extension, or a presentation medium, of their acts.

There is every possibility for these documentational forms to be sold and bought by galleries and owned or coveted by collectors. This possibility helps break the myth that modern artists work alone, singularly, or self-centeredly; it is no longer an absolute, because there are many conditions applied along the edges.

The production of contemporary art in the 1980s—including performance art— according to critic Kristine Stiles in her review on Performance (Nelson & Shiff, 2003, p. 88) was able to introduce diverse works with diverse aesthetic forms, from production to presentation and even interpretation. Performance art thus became a category of visual display, infusing new vigor into the commercial aspect of art (visual art).

With the introduction of image reproduction technology—digital cameras, video cameras, computer editing, and various internet-based applications—many performance artists have developed the concept of body action infused with technological elements. Renowned Australian-based artist Sterlac, and Yasumasa Morimura from Japan, have even cultivated the concept of body within a technological construction, such as can also be found in efforts by Melati Suryodarmo. Similarly, in their presentation strategy, they experiment through domesticating their bodies in virtual space that can be accessed via the internet, game environments, or DVD recordings.

For the current exhibition, 13 artists have been invited to textually and visually approach, or discover the happy coincidences of concept or visual interpretation with, Marina and Ulay’s Nightsea Crossing. They have been invited to interpret aspects that perhaps occupy different values, aspects that can be reinterpreted by these artists into works of different contexts and forms, or even of new values and meanings. Marina and Ulay’s work is juxtaposed against those of the artists present at this inaugural exhibition; the artists here certainly come from a different generation, with different ways of looking at things, and even exist in different socio-cultural contexts. They certainly differ in how they see or read symbols or signs. Some works seen here might not begin as direct responses to Marina and Ulay’s work, but they still maintain values that connect them to the ‘text’.

Meaning in Artworks Aliansyah Caniago, (born in Bandung 1987, lives and works in Bandung) interprets Marina and Ulay’s performance art piece within the framework of relationship, endurance, and trust shared with a loved one. Squares created using scrap wood from a pencil factory form Silence Conversation After The Years; Ciburuy (2017). This connects him with his own performance art project conducted at Situ (Lake) Ciburuy two years ago, where he interacted with fishermen he met. For Alin, Marina and Ulay’s actions remind him of the fishermen at Situ Ciburuy. “I saw that the people there were doing a long-durational performance of sorts, as well, because in the face of many life’s choices they have stuck with life on water. Life’s choices can be extrapolated as endurance too.” Aliansyah approaches the subject matter with an allegorical nod to the duration and endurance needed to perform an activity within a social sphere. These days, performance art pieces are often conducted outside of traditional art spaces, in real life. Artists actualize their expressions by mingling with society, in the form of social activism, environmental activism, or by articulating relational art forms.

Dita Gambiro (born in Jakarta 1986), has created You In Me (2017) using jute dresses [in her attempt] to understand the “relationship between two people”.

Each dress has a sleeve cut off. These ‘imperfect’ clothes are put next to one another to give a sense of “unity” between them. Dita Gambiro’s works highlight the different values attached to the feminine body that tend to brush against ironies. She puts western-eastern symbols side-by-side as she explores her subject matter or materials.

The artist Eddi Prabandono (born in Pati 1964, lives and works in Yogyakarta) presents a hybrid object in the form of a bicycle and a Piet Mondriaan [reproduction] painting above it. Fiets Mondriaan (2016) can be seen as word play that marries the word Fiets (meaning bicycle in Dutch) and Mondriaan (the Dutch modern art maestro). Word play and the logic of assemblage, as presented by Eddi, have brought together two seemingly unrelated objects—an iconic artwork and a bicycle. And yet, the bicycle is also iconic and very common in the Netherlands. This work seems to take socio-cultural context as a something of value to be considered.

Erika Ernawan (born in Bandung 1986), is an artist who often uses her physical state (body), installation work, and other media as elements of her work. Her performance approach tends to push against the edges of morally-established meaning or understanding in society. This time Erika brushes paint over printed image adhered to Perspex. Motionless (2016-17) was born from the issue of time [spent] within a performance art piece that is dominated by “stillness”, such as what we often see in Marina’s and Ulay’s performances. By ‘freezing’ paint, the stillness is materialized, reminding us of Jackson Pollock’s process of creating his paintings. However, we find in Erika’s works a metaphor discoursing the body and the self.

Michael Binuko or Koko (born in Biak, 1987, lives and works in Bandung) presents Fiat Mihi Secundum Verbum Tuum (2017), a drawing depicting a mother-child sculpture. He said that, to him, the main point in Marina and Ulay’s collaborative work relates to personal faith. Therefore, he has decided upon the figure of Mary and the baby Jesus, a magic and iconic relationship. This sacred image has become simultaneously profane and secular. By his own admission, he has deliberately ‘destroyed’ his own drawing. The “destruction” itself tries to convey a sense of how Marina and Ulay’s collaborative works can come across as somewhat destructive and defiant. It also removes any notion of an attempt at “glorification”, thereby conveying his idea in a more finite manner, a more imperfect and human manner.

Muhammad Vilhamy (born in Surabaya, 1990, lives and works in Bandung) presents an installation titled Maaf Sold Out! (2017), a set of watercolors with elements of texts and objects, arranged in a row reminiscent of a clothing store.

His work is a sarcastic take on the contemporary art market. To him, his “installation work serves to represent the “cold” and “leisurely” attitude or pattern shown by the middle class of today; it is also an appropriative response to the practice found in Indonesia’s contemporary art scene.” Several elements in the work grew out of a personal space. He has become an artist who plays symbols alongside irony and sarcasm.

Patricia Untario (born in 1984, lives and works in Bandung) presents Fasting (2017), miniature metal objects derived from elements found in Marina and Ulay’s performance art piece. Every chair is put under a glass cylinder. Patricia is known as an artist who explores glass-making techniques, especially pressing. She creates hanging lamps or chandeliers, as well as domestic objects like kettles, cups, etc; she infuses them with a sense of exploration that turn them into works with unique narratives of the domestic connections between person and memory. Chair under glass stands for a space enclosed by transparent boundaries. It is possible to look at one another but the bodies remain isolated, unable to touch one another—an irony of today’s lives.

Richard Streitmatter-Tran (born in Bien Hoa 1972, lives and works in Ho Chi Min, Vietnam) describes a connection shared between two spherical clay objects, like a head of coconut hair braided and connected to another head of coconut fiber. The gestures in the object Bound (2016) reminds us of an iconic image from Marina and Ulay’s 17-hour long performance in Italy, Relation in Time (1977), where the artist-couple sit back to back with their hair braided together, binding them to each other. Richard’s work can be seen as a tribute to Marina and Ulay, by presenting an interpretation of the value that can be found in impermanent connections, in materials that are fragile and finite like clay and coconut fiber.

Wiyoga Muhardanto (born in Jakarta 1984, lives and works in Bandung) uniquely, through his sculptures, creates involvements of symbolisms, cynicisms and satire through either form or materials. This time, he presents What If (Figur No: 3, Football Fans) (2016), a sculpture of a goalkeeper catching a fan wearing the uniform of a well-known English Premier League club. The football fan is ‘chunky’ and has his fists up in the air. This work is a commentary of the crazed obsession that the global community has for football. Wiyoga’s work seems to be the opposite of the idea behind Marina and Ulay’s performance work. However, the essence is the same: to reexamine the values found in urban societies in the Information Age, where penetration of global icons and a strong sense of obsession help define a global-international community.

Yogie Achmad Ginanjar (born in Bandung 1981, lives and works in Bandung) interprets Marina and Ulay’s work through a series of paintings, Me and You and a Cycle of Impossible Truth (2017). These twenty-two paintings are a tribute to Marina and Ulay’s twenty-two Nightsea Crossing performances. To Yogie, Nightsea Crossing is a story about life, metamorphosis, journey, and a connection between the body and the mind, between the psyche and the metaphysics, as represented by Marina’s and Ulay’s efforts, which impacted upon the physical-discipline tradition, and which had been executed across a long period of time in order to arrive at a metaphysical awareness. Yogie challenges physical limitations through paintings that narrate the sequence of a dandelion flower’s life, as a metaphor of life cycle itself. His brushstrokes communicate a glitch effect, a communication failure, which is almost similar to what he felt when ‘reading’ Marina and Ulay’s work. These paintings have been created in the style and effect of the German maestro Gerhard Richter.

The collages or assemblages of Yudi Noor (born in Bandung, 1971, lives and works in Berlin) create spaces to reinterpret materials and architectural found-objects that are then elaborated according to his aesthetic sensibilities. They provide a mystical or philosophical narration of elements and materials of differing characteristics. His artworks bring together the connected and the unconnected, and create a formal harmony despite their intuitive arrangements.

The sculptor Yuli Prayitno (born in Bandung 1974, lives and works in Yogyakarta) re-presents the scissors as something quite removed from its original function. Removing the sharp part of the scissors and fashioning both blades into the shape of handles, this re-imagination allows the scissors to be held by two people on each side. Yuli always has a unique approach to objects; he engages common perceptions about an object, and challenges the characters of materials and their functions. This double-handled pair of scissors is a symbol or parody of Marina and Ulay's radical performance artworks that often brush against or involve dangerous elements. On the other hand, Yuli presents his symbols in a softer, friendlier way.

Zico Albaiquni (born in Bandung 1987, lives and works in Bandung) presents a painting titled The next Sentence is True, the Previous Sentence is False (2017), describing one way of communication by approaching daily reality with a rather impressionistic style of painting. "I took a snapshot of two people sitting without any tendencies (intentions)... But their sitting position acquires a tendency when it enters form or an art performance," he said. Because Zico has chosen to record a natural human gesture, and then to align it along an art history context (particularly Western Modern), his work acquires a dierent understanding/ interpretation, even one that is so far out of the artist's control. Drama(tization) emerges from the way the image is presented, and it automatically acquires its his torical meaning. Zico extensively revisits painting concepts as found in the modern era, in an eort to discover value within a contemporary context.

Rifky Eendy, Curator.

Bibliography 1.

Green, Charles. The Third Hand: collaboration in art from conceptualism to postmodernism. Published by the University of Minnesota Press. 2001.

2.

Interview with the artist. March-April 2017.

3.

Press Relase Michael Janssen Gallery, Berlin. 2016.

1

ALIANSYAH CANIAGO

b. 1987

Silence Conversation After The Years : Ciburuy, 2017 Wood. 249 x 273 cm

2

DITA

GAMBIRO

You in Me, 2017 Tulle Fabric. Dimension Variable

b. 1986

3

EDDI PRABANDONO Fiets Mondrian, 2016 Painting and Bicycle. 225 x 200 x 30 cm

b. 1964

4

ERIKA ERNAWAN

b. 1986

Motionless?, 2017 Digital Print, Acrylic on Perspex. 160 x 100 cm

5

MICHAEL BINUKO (KOKO) Fiat Mihi Secundum Verbum Tuum, 2017 Brush Pen & Pigment Ink on Paper. 72 x 53 cm

b. 1987

6

MUHAMMAD

VILHAMY

b. 1990

Sedia Karya Seni Kontemporer : “Maaf Sold Out!”, 2017 Installation - Paint on paper, Lamination, Hanger, Wooden clip, Mannequin, Fabric, Shelf. 400 x 200 x 80 cm

7

PATRICIA UNTARIO

b. 1984

Fasting, 2017 Brass, Mahogany, Glass. 24.5 x 17.5 x 10 cm

8

R I C H A R D S T R E I T M A T T E R - T R A Nb. 1972 Bound, 2016 Clay, Coir (Coconut Fibre). Dimension Variable

9

WIYOGA MUHARDANTO

b. 1984

What If? (Figure No. 3, football fans), 2016 Plastic Scale model, Epoxy putty, Acrylic & Automotive Paint.

32 x 18 x 11.5 cm

10 Y O G I E

ACHMAD GINANJAR

Me and You and a Cycle of Impossible Truth, 2017 Oil on Canvas. 22 pieces, 25 x 25 cm each.

b. 1981

11 Y U D I N O O R

b. 1971

Could Well Be In, 2009 Inkjet print on transparent ďŹ lm, adhesive tape, plywood, vinyl, glass, artist frame 42 x 32 x 5 cm

12 Y U D I N O O R

b. 1971

Apollo Waldemar, 2010 Sticky tape, foil, sand paper, inkjet print on paper, embroidery, frame 42 x 32 x 5 cm

13 Y U D I N O O R

b. 1971

Nostalgia, 2012 Photo, glass, hologram, sticky tape, inkjet print on transparent paper, cardboard, permanent marker, embroidery on linen, newsprint, frame.

42 x 32 x 5 cm

14 Y U D I N O O R

b. 1971

Conference, 2012 HDF, wood, ornament, glass, rayon thread on paper, embroidery on denim, frame 42 x 32 x 5 cm

15 Y U D I N O O R

b. 1971

Reaching in the End, 2012 Hologram sticky tape, cardboard, ornament glass, rayon thread on paper, silver paper, embroidery on linen, frame 42 x 32 x 5 cm

16 Y U D I N O O R

b. 1971

From Before, 2012 Glass, hologram sticky tape, inkjet print on transparent paper, cardboard, rayon thread on paper, silver paper, embroidery on linen, frame 42 x 32 x 5 cm

17 Y U L I P R A Y I T N O Untitled, 2017 Iron, Scissors. 3 x 10 x 24 cm

b. 1974

18 Z I C O A L B A I Q U N I

b. 1987

The next Sentence is True, the Previous Sentence is False, 2017 Oil on Canvas. 124 x 201 cm

CURRICULUM VITAE

ALIANSYAH CANIAGO 2006 - 2011

b. 1987

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Painting), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2016

“Art Fair Philliphines”, represented by Michael Janssen Berlin, Philliphines “South East Asia Forum; Sensing the City - Artist as a Seismograph”, Artstage Singapore.

“Con(tra)septual Art; Paintings” Michael Janssen Gallery, Singapore

2015

“The New Digital Art Bienalle; Wrong Bienalle, renegade0ff” Indonesia Pavillion, ID “Kuns und Umwelt; Air, Water, and Land”, Education and Culture Centre Bandung 46 Finalist Indonesian Art Award 2015, National Gallery Indonesia 15 Finalist Bandung Contemporary Art Award #4, Lawangwangi Creative Space, Bandung “Point of Return; Spiritual Capital - Pak Ujang’s Boat”, West Java, Indonesia Performance Art - Situ Ciburuy Lake, West Java Indonesia Exhibition “South East Asia Forum”, Artstage Singapore Titik Balik

DITA GAMBIRO

b. 1986

SELECTED EXHIBITIONS AND PROJECTS 2016

Constituent Concreteness, Mizuma Gallery, Singapore Artmosphere, Galeries Lafayette, Jakarta South East Asia Plus (SEA+) Triennale, National Gallery of Indonesia, Jakarta

2015

(Un)usual by Wang Lei & Dita Gambiro, Redbase Gallery, Jakarta Bazaar Art, Redbase Gallery, Jakarta Fashion TV: F Party; Jakarta Sequence, Nu Art Sculpture Park, Bandung

2014

Versi : Triennale Patung Kontemporer Indonesia, National Gallery of Indonesia, Jakarta Symbol, Spirit, Culture (To Communicate in Art Making Today), Edwin’s Gallery, Jakarta

EDDI PRABANDONO

b. 1964

SELECTED EXHIBITIONS AND PROJECTS 2016

The 4th Jakarta Contemporary Ceramics Biennale (JCCB#4)

2008

Contemplation Performance: Made Surya Darma, Eddi Prabandono, Wilman Syahnur (Bienalle Yogyakarta IX Side Event) – Sangkring Art Space, Yogyakarta, Indonesia

2007

T-shirt from March– Bentara Budaya Yogyakarta, Indonesia Ride the Lighting – Parkir Space, Yogyakarta, Indonesia IVAA BookAID – Nadi Gallery, Jakarta, Indonesia Boeng Ajo Boeng, 100 Tahun Affandi – Taman Budaya Yogyakarta,Yogyakarta, Indonesia Bienalle Yogyakarta IX – Sangkring Art Space, Yogyakarta, Indonesia

PUBLIC COLLECTION Awaji City, Hyogo, Japan Center for the Science of Human Endeavor, Tokyo, Japan Raugheryet Gallery, Okinawa, Japan Akane Animal Hospital, Okinawa, Japan Okinawa Art Museum, Okinawa, Japan

ERIKA ERNAWAN 2003 - 2007

b. 1986

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Painting), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2017

Beyond Boundaries- Globalisierung and Identity, Liectenstein Landes Museum, Vanduz, Germany Mashup Syndicate, Gudang Sarinah Ekosistem, Jakarta Perjalanan Senyap, Orbital Dago, Bandung

2016

Art for Education, Artdept, Jakarta Singapore Contemporary, Artsphere, Singapore Waiting for it to Happen, Nadi Galleri, Platform3, Jakarta The Artists’s Storage, Duet with Erik Pauhrizi, Platform3, Bandung Artstage, D-Galleri, Jakarta Bazzar Art, Jakarta

2012

“Ruhe in Frieden”, Lawangwangi Art & Science Estate, Bandung,

2011

Indonesia

“Der Spiegel: Her Space (subvert) His Gaze”, Viviyip Art Room Jakarta Indonesia

MICHAEL BINUKO (KOKO) 2006 - 2011

b. 1987

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Printmaking), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2010

Un Segmented", Galeri Kita, Bandung.

Pameran Tugas Akhir Seni Grafis "Contrast", Galeri Soemardja, Bandung.

2009

Trienal Seni Grafis Indonesia III", Bentara Budaya Jakarta, Bentara Budaya.

Pameran Fotografi: “A Landscape Called Bandung”, Galeria Alkovi, Helsinki.

ARTproprietor", Galeri C.M.N.K,

Bandung.

Pameran Fotografi: “From Hailuoto to Punclut”, Galeri Soemardja, Bandung.

Survey #2", Edwin’s Gallery, Jakarta.

Pameran "Caritakeun Bandung Anjeun", Gedung Indonesia Menggugat, Bandung.

Pameran Bersama Studio Grafis Kode 4: "SR 4003", Galeri Soemardja, ITB, Bandung.

Pameran Kelompok Kampiun: "Mesin Tempur", Auditorium & Galeri Esp’ Art, CCF, Bandung.

Finalis "Trienal Seni Grafis Indonesia III", .

MUHAMMAD VILHAMY 2009 - 2014

b. 1990

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Printmaking), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2017

Turbulence , Edwin's Gallery with Martell Indonesia, Jakarta, Indonesia Nightsea Crossing, Orbital Dago, Bandung, Indonesia Gajah Gallery, Singapore Fluid, Altira Gallery, Jakarta, Indonesia

2016

World Art Design Festival 2016, Guri, South Korea SIPS 2016 Davidson Gallery, Seattle, Washington, USA Fendi Bag Auction , Ashley Hotel Jakarta, Indonesia Pindai/Senarai , Nuart Gallery (Nuart Sculpturepark) , Bandung , Indonesia Universe Behind The Door, Artotel Jakarta, Jakarta, Indonesia

2015

Bandung Contemporary Art Award #4 , Lawangwangi Creative Artspace , Bandung Indonesia GGIAA , Indonesia Art Award , National Gallery , Jakarta , Indonesia

PATRICIA UNTARIO

b. 1984

2009 - 2011

Vetroricerca Glas & Modern, Bolzano, Italy

2006

Tittot Glass Museum Summer Camp, Taipei, Taiwan

2003 - 2008

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Sculpture), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2016

Art Stage Jakarta, Gandaria City, Jakarta, Indonesia Art for Education, Plaza Indonesia 26th Anniversary, Plaza Indonesia, Jakarta, Indonesia Janji Kang Jait, APA Space, Plaza Indonesia, Jakarta, Indonesia

2015

Bazaar Art Jakarta 2015, Ritz-Carlton, Pacific Place, Jakarta, Indonesia UGLY “Palmistry”, The Goods, Jakarta, Indonesia Sovereign Asian Art Prize, Hong Kong

2014

Versi, Trienal Seni Patung Indonesia, Jakarta, Indonesia Bazaar Art Jakarta 2014, Ritz-Carlton, Pacific Place, Jakarta, Indonesia

2013

Nothing Happens, Equator Art Project, Gilman Barrack Singapore

RICHARD STREITMATTER-TRAN 2009

b. 1972

Royal Melbourne Institute of Technology. Graduate Certificate of Tertiary Teaching

2003

BFA, Studio for Interrelated Media (SIM), Graduation with Distinction.

Massachusetts. College of Art. Boston. United States

SELECTED EXHIBITIONS AND PROJECTS 2016

The 4th Jakarta Contemporary Ceramics Biennale (JCCB#4)

2015

DIA Projects. HCMC, Vietnam (2015), A Material History of Man and Animal, Installation, Sculpture and Drawing Palais de Tokyo, Paris, France.

“Secret Archipelago”. Curated by Khai Hori 2ND Nanjing International Art Festival. China “A Beautiful New World”. Curated by Eleonora Battiston.

Art Stage Singapore “Eagles Fly, Sheeps Flock: Biographical Imprints - Artistic Practices in Southeast Asia”. curated by Khim Ong

2013

Art Space Hue. Paju, Korea (June 2013) Material Turn. Sculpture and Drawing.

MAM Projects - Womens Art Museum. Hanoi Vietnam “Doubt and Believe” Exhibition of Nguyen Son and R. Streitmatter-tran

WIYOGA MUHARDANTO

b. 1984

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Sculpture), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2017

3-IN-1, Roh Project Jakarta Getok Tular#2 : Spacing out, Omni Space bandung

2016

What If, Art Basel Hongkong 2016 - Discoveries Section, Hongkong Convention & Exhibition Center All In (ROH Project Booth), Art Stage Jakarta, Sheraton Hotel Ballroom Bazaar Art Jakarta Charity Section, Ritz Carlton Ballroom

2015

Dangling Durians, Langgeng Art Foundation, Yogyakarta, Indonesia Jakarta Biennale 2015 : “Neither Forward Nor Back”, Curated

by Charles Esche, Sarinah Warehouse, Indonesia

2014

Ada Perlu Sebentar (There Should be a moment), Platform 3 Artspace, Bandung, West Java Indonesia

2013

Nothing Happens, Equator Art Project, Gilman Barrack Singapore

YOGIE ACHMAD GINANJAR 2006 - 2011

b. 1981

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Painting), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2017

The 2017 Sovereign Asian Art Prize - Public Vote Prize Winner. Exhibition Opening, The Rotunda Exchange Square, 8 Connaught Place, Central Hong kong Spiritualitas dalam Seni Rupa, Lawangwangi Creative Space, Bandung, Indonesia Contemporary Art and Social Turbulence, Edwin’s Gallery Jakarta - Indonesia

2016

Bazaar Art Jakarta, the Ritz Carlton Pacific Place, Jakarta, Indonesia ZONA#1, Versi-Resepsi. Thee Huis Gallery, Bandung Indonesia

2013

South East Asia (SEA)+ Triennale, Galeri Nasional, Indonesia “VERISIMILITUDE”, Valentine Willie Fine Arts, Kuala Lumpur- Malaysia

2012

“Neo-Chiaroscuro”, Valentine Willie Fine Arts, Kuala Lumpur-Malaysia

YUDI NOOR

b. 1971

SELECTED EXHIBITIONS AND PROJECTS 2017

Skulpturen-Triennale Bingen 2017 - NAH UND FERN, Skulpturen am Rheinkilometer 529 Gerda & Kuno Pieroth Stiftung.

2015/6

Topo ing rame, BMW Stiftung Herbert Quandt, Berlin

2014

Haunted Thresholds - Spirituality in Contemporary Southeast Asia, Kunstverein Göttingen, Altes Rathaus Reflections on Psychedelia, CAN - Christina Androulidaki Gallery, Athena NEON – Vom Leuchten der Kunst, Stadtgalerie Saarbrücken

2013

Artist in Residence Program Air Dubai, Delfina Foundation, Dubai Culture, Art Dubai, Taskkeel, Dubai, UAE Artist in Residence Program, Al Riwaq Art Space, Manama, Goethe-Institut Gulf Region, Bahrain RECOGNIZE SET IN FREE EDGE, Marisa Favretto - Yudi Noor, Galerie Christian Ehrentraut, Berlin KHALAS, and then..., Al Riwaq Art Space, Manama

YULI PRAYITNO 1993 - 2001

b. 1974

Indonesian Institute of Arts (ISI) Yogyakarta, Indonesia.

SELECTED EXHIBITIONS AND PROJECTS 2017

ArtJog2017 : Changing Perspective, Jogja National Museum, Indonesia

2014

The 3rd Jakarta Contemporary Ceramics Biennale 2014 ‘Unity in Diversity: Archaeologic Excavation of the Peranakan Tionghua’, Equator Art Projects – Singapore ‘Art Stage Singapore 2014’, Nadi Gallery, Marina Bay Sands Expo and Convention Centre – Singapore

2013

‘Art Basel Hong Kong 2013’, Nadi Gallery, Hong Kong Convention and Exhibition Centre – Hong Kong ‘Art Stage Singapore 2013’, Nadi Gallery, Marina Bay Sands Expo and Convention Centre – Singapore ‘ART|JOG’, Yogyakarta – Indonesia ‘Dermawan Untuk Darmawan’, Nadi Gallery, Jakarta – Indonesia

ZICO ALBAIQUNI

b. 1987

BFA, Faculty of Art and Design, Bandung Institute of Technology (Majoring in Painting), Indonesia

SELECTED EXHIBITIONS AND PROJECTS 2012

“Bandung New Emergence”, Selasar Sunaryo Art Space Bandung “Bandung Contemporary Art Award”, Lawangwangi Bandung “What Images Want”, Art1 Mondecor Jakarta “Prismatic Vibe”, Feng Gallery, Jakarta “Re-interpretating Tradition ” , Ber.seni Project, Jakarta “Bazaar Art Fair: Islamic Art”, Pacific Place, Jakarta “Papered Experimental", Gedung Indonesia Menggugat Bandung

2011

“Jakarta Biennale: Maximum City”, Galeri Nasional Jakarta “Rite of Now”, Galeri AJBS Surabaya “Artist Studio”, Paris Van Java, Bandung

2010

“Holocaust”, Umahseni Jakarta “Truly Bagus Project”, FALVA, University of Western Australia “Depiction Object”, Galeri Padi, Bandung “For Foreigner”, Austria Embassy, AoC Bandung.

“Meniru”, Campus Centre ITB

INSIDE THE EXHIBITION