Open PO Omnispace at Art Jakarta 2019 Catalog

FOREWORD

4

5

After receiving a positive feedback in its the last year debut, Omnispace again presents OPEN PO project at the Art Jakarta 2019. OPEN PO is an alternative model for artworks selling, adapting e-commerce platform in selling t-shirts and other goods.

Open PO requires a collector to pay an advance fee to the artist before the artwork is produced.

In this project prospective buyers or collectors are given the freedom to transact with selected artists and express their special requests related to the work to be collected. This project keep off the conventional artworks production-consumption which is usually present through an exhibition mechanism, where the finished artwork is exhibited before the transaction is carried out. The transactions also condition the artists to negotiate with these collectors with the determined time and production costs without compromising their idealism.

In short, this project seeks to find the most efficient way of selling works, as well as to benefit artists and collectors. Artists do not need to spend large money to produce works. Collectors can interact and negotiate with artists to get the desired artworks.

In another perspective, this project wants to show and examine to the extent to which the idea of creation by artists survives and negotiates in the midst of the circulation of knowledge and interests in the contemporary art world.

E-commerce platform also inspires us, that every transaction process has the opportunity to bring about equal dialogue between producers and consumers, sellers and buyers. We think it is also possible to apply to present that kind of dialogue in selling artworks. Thus, we create transaction platform that allows as many as possible discussions about meaningful work ideas and execution of works which involving technical matters between artists and prospective collectors. We see this as a new possibility for art appreciation, especially in Indonesia. Â Omnispace invited a number of artists who are based in Bandung, Jakarta and Bali to make a design or sketch work that will be offered to prospective collectors. After going through the negotiation and transaction stages, the design will be transformed into a work that will be collected.

Omnispace will continue to explore new possibilities in the development of OPEN PO, in the context of creation-appreciation and production-consumption intervention of contemporary art.

THE ARTIST

6

7

8

AGUGN b. 1985

Agung Prabowo, better known for his moniker, AGUGN, born in Bandung, West Java, Indonesia, 1985. Studied printmaking in FSRD ITB (2005-2010). His works explore fear – something we experience as human beings in various aspects of our life. Fear, which reigns within our psyche, he believe has always played a very important role in the development of human civilization. Although many consider fear as something negative that should be killed or tamed, it has to be acknowledged that fear has been the main motive for many necessities, inventions, destructions, expressions, and creations. Visually, he often present in my artworks forms found in the nature as well as human/ anthropomorphic figures in various gestures.

Graphic art, for him, is a mean of contemplation that helps him to find solace, a state of calm, a moment of freedom from the storm of fear. In arts, he can be submerged in a repetitive pattern of artistic work (which feels spiritual, almost like a mantra) as well as an intense use of hand skills (which feels self-releasing and actualizing).

PROFILE

9

This work is a continuation of my deep exploration on the ego that arises from within. The goal is to tame the ego to be more effective. Based on my personal experience, sometimes a wild ego can endanger myself and those who are closest to me.

I & I THE EGOCENTRIC NO.2 Linocut print on handmade recycled paper (16 sheets, each sheet 60x84 cm) 336 x 240cm (1/3 edisi) 2019

This “pool of hope” shows an isometric view which presents two human shaped pools that intersecting each other. These pools are inspired by a sacred pool in Pura Tirta Empul, Bali. For thousands of years, this pool is believed to be able to purify the people’s soul who bathe there. The body and soul purification has become a local culture until now.

This water-related process, in my opinion, provides an instant refreshment for people’s spiritual who live and believe it. For me, this process becomes important for the aftermath, making people more focused on undergoing daily challenges.

POOL OF HOPE Linocut print on handmade recycled paper (12 sheets, each sheet 58x65 cm) 200 x 235 cm (1/3 edisi) 2019

10

For me, rooms of peace must always be within us.

Their role is very important for us when making decisions relating to conflicts that occur within.

With the maintenance of these rooms, I can think more objectively and grateful if I were exposed to intense emotional conflicts.

I describe one of these rooms through an interior that is filled with a variety of imaginative and absurd objects, activities, and ornaments, but still prevalent in its place. They are not interrupting each other.

All of them are placed side by side, though strange, remains natural.

ARTWORK

MAKE ROOM FOR PEACE Linocut print on handmade recycled paper (16 sheets, each sheet 30x40 cm) 120 x 160 cm (1/3 edisi) 2019

11

‘Me Time’ is a word that is often said by entities who are facing big responsibilities, such as: having small children, taking care of sick parents, jobs that require more attention, and other conditions that require someone to do it with intensity. With ‘me time’, someone can step back or take a short break to see all situations more clearly, with the hope of reducing the level of stress and failure in carrying out various responsibilities.

For us, a conditioned ‘me time’ is a self-reflection, evaluation through a quick relaxing moment; doing yoga, being alone in the studio, smoking alone, or even coming to parties without having to worry about hurrying home.

This work illustrates the analogy of ‘me time’ through the figure of a woman who is lying down and naked relaxedly. She is surrounded

by Agugn typical figures who act around her. From her loose hair, the shape of a creature came out simultaneously around and passed through the woman’s body.

Quilt are often found in home bedrooms. The impression that nurtures in rest like a bedroom at home is our approach in making this work.

PURE RELAX (Sekarputi & Agugn collaboration) Quilt, embroidery, hand printed on fabric 200 x 230 cm 2019

12

> Previous artwork On the wall from left to right Kundika 5, Brace Yourself, We’re Going in, Self heal, Horngry

ARTWORK

13

14

AUMDAYU b. 1984

Arum Tresnaningtyas Dayuputri was born and raised in Solo. She started her career as a photojournalist in Kompas Daily and took her Photojournalism Diploma at Ateneo de Manila University 2012. She has big interest in photography, involved in several exhibition, workshop and art residency in Indonesia and abroad. ​ he initiated a learning space called “Kami Punya Cerita” at Tobucil and Klabs, Bandung where S anyone who has interest and passion in photography shares their ideas and experience. Now she and some of her friends run Omnispace, an alternative space in Bandung. She also has music project with Meicy Sitorus named Tetangga Pak Gesang.

PROFILE

15

PASAR BARU I want to develop my on going work series called “Pasar Baru”. This body of work respond Moslem “clothing” style used by many women in the Middle East and Southeast Asia, especially in Indonesia. Hijab rests on sharia rules which require women to cover their bodies from head to toe. At a glance the hijab eliminates the wearer’s identity.

However, the hijab actually became a trend and be in demand commodity in the market. There are many variations of this kind of limitation. This series of work shows how the subjects behind the veil (hijab) can show their existence. I will develop this series of works by responding to other fashion trends, not just the hijab.

PASAR BARU Photo printed on alumunium dibond 100 x150 cm (1/5edisi) 2019

16

ARTWORK

17

18

CECEP M TAUFIK b. 1986

Born in Bandung, September 17th, 1986, graduated with honor(Cum Laude) from the Faculty of Fine Art and Design (2008), Bandung Institute of Technology, majoring in painting. Currently A Lecturer in Telkom University, Bandung. A youngest artist on the book of MODERN INDONESIAN ART From Raden Saleh to the Present Day (2008). He is also a winner in Bukalapak Advertisement Festival (2016) and finalist in Gudang Garam Indonesia Art Award (2015).

PROFILE

19

IMPERFECTION Painting is an art medium that has a rich history and has passed through a variety of styles, ideas, media, and though. However, essentially, painting is a work of art that is conventionally created by applying paint/color using a brush to the surface of a two-dimensional media such as paper, boards, or most commonly canvas.

The painting will be created perfectly when the creation process has met the every stages conventionally.

But when a foreign object appears in a painting, the story becomes different. In this work I will “present� a foreign object that interfere the perfection of the painting. Through this work I try to depict imperfections in the most perfect way. In all aspects of life perfection is a mirage, even when everything is well prepared.

Imperfections will always be present, inevitable.

MIXED MEDIA ON CANVAS #3 Oil On Canvas 100 x 100 cm 2019

20

MIXED MEDIA ON CANVAS #4 Oil On Canvas 100 x 100 cm 2019

MIXED MEDIA ON CANVAS #5 Oil On Canvas 100 x 100 cm 2019

ARTWORK

21

22

CUT & RESCUE b. 2011

Cut and Rescue works across mediums, from a collage of images and text, sound and video pieces, as well as experimental and performative action. The name of the group that can be simply defined as a cut and save, Cut and Rescue retrieve, copy, and save cultural artifacts intertwined around the community, which had been considered banal and low, such as newspapers headlines. In the context of art, Cut and Rescue has participated in several art activities such as: Jakarta 32�C 2012 (5 Best Work), Jakarta Biennale 2013, and appeared in several music festivals. Cut And Rescue are: Angga Cipta, Gelar Soemantri, M. Zelani, Syaiful Ardianto, and were: Aditya Fachrizal Hafiz, Mario Julius, Rafsan Yuono.

PROFILE

23

PEMERIKSAAN BERKALA (SERIES) Life with high tension in Jakarta indirectly affects the blood pressure of its population. ‘Periodic examination’ is a representation of fear and prevention of several illness symptoms that arise from stress and anxiety. We use glass painting technique as a representation of the Age of Enlightenment, which often uses images and symbols of illumination to decorate buildings facades. We substitute them with new images of events that should be our concern of the present.

PEMERIKSAAN BERKALA Enamel paint on glass 120x90 cm 2019

MASA BERSIAP Enamel paint on glass 120x50 cm 2019

LINGKARAN PIJAT Enamel paint on glass 100 x 100 cm 2019

24

ARTWORK

25

26

ERWIN WINDU PRANATA b. 1981

Erwin Windu Pranata (b.1981) is a multi-disciplinary artist based in Bandung, Indonesia, interested in methods of working and finding a connection between art and everyday life. For me art is a manifestation of everyday experience. He specializes in various mediums, especially 3D medium, using found object material, ready made while utilizing popular cultures as subjects. He is an active member of the music group, Pemandangan (The view), a progressive folk genre and A stone A , a Noise Rock genre band. Erwin is also the founder and director of an alternative independent space and collective, Omnispace, in Bandung.

PROFILE

27

This artwork is a commission in the form of a collection of scribbles/doodles and signatures from members of a family. This work then will be placed in the family home area.

FAMILY TOTEM NO.1 110 x 50 x 185 cm Polyurethane paint on steel sheet 2018

28

ARTWORK

29

SEEK AND DEFORM In this work, I try to use a particular method of searching, collecting, interpreting and presenting something ordinary, abandoned and invaluable into an artwork. I am interested in the lines of graffiti by anonyms found on the walls of public places, as well as scribble on the paper while trying the pen in a stationery shop. The scribbles that were made without any intention from the maker look like abstract works for me. Then I transform (or deform) those found lines and scribbles into threedimensional form, composed it in such a way as to become an artwork. Through these works, I try to make sense of things that are even meaningless and neglected.

^ Image of scribbles from stationery store, as the basic sketch for the artwork.

30

^

^

ARTWORK NO. 4

(top to bottom)

Steel sheet, polyurethane paint

Random scribbles from stationery store.

120 x 6 x 125 cm

Edited version of scribbles as the main form

2019

of the artworks.

Image of scribbles from stationery store.

ARTWORK

31

32

GABRIEL ARIES SETIADI b. 1984

Gabriel Aries Setiadi (b. 1984) completed his studies at the sculpture studio in Art and Design Faculty, Bandung Institute of Technology (ITB). He then completed his master’s degree in Fine Art, Bandung Institute of Technology in 2012. Gabriel focuses on exploring new material in his artistic practice, which was previously concentrated on stone carvings. The inclusion of polyresin material and acrylic sheets allows him to discuss the contradictions and oppositions, as well as the possibility to build balance and harmony from two contradictory entities. Gabriel has participated in several exhibitions both national and international. He also participated in the artist residency program at Sungai Segget Public Art Program, Johor Bahru, Malaysia (2017). In 2018 he held two consecutive solo exhibitions, Kontras Materi (Orbital Dago, Bandung), and Sela Sawala (CG Art Space, Jakarta).

In the same year, he also did a commissioned work for the Salihara International Performing Arts Festival.

PROFILE

33

SELA SAWALA (SERIES) For OPEN PO, I will continue my work series, Sela Sawala. In this series I adapt architectural approaches to discuss about “negotiation�.

By embracing the form of house or building structure, I conduct a negotiation process by composing several materials, each of which has an opposite character. Through interlocking technique which is commonly used in building structures, I negotiate each of these materials so that they can be connected and give strength to one another.

UNTITLED Stone, Resin, Metal 45 x 55 x 180 cm 2019

34

UNTITLED Stone, Resin, Metal 45 x 25 x 50 cm 2019

ARTWORK

35

UNTITLED Stone, Resin, Metal 55 x 35 x 45 cm 2019

36

MUHAMMAD AKBAR b. 1984

Muhammad Akbar (b. 1984) completed his studies at the Department of French Language Education, Indonesian University of Education (UPI). He then completed his master degree at the Visual Arts Department, Bandung Institute of Technology. Akbar has participated in several national and international new media art exhibitions. He has also participated in artist residency programs at the Intermondes Center, La Rochelle, France (2014), Monsoon Platform, Cobalt Works & Europalia Indonesia, Vooruit, Ghent, Belgium (2017). He was the second winner of 2013 Bandung Contemporary Art Award by Lawangwangi Creative Artspace. Akbar is the vocalist of a noise rock band A STONE A and also a member of Wayang Cyber performance group.

PROFILE

37

FROG EYE ON UNTITLED SERIES When looking out on monuments and public sculptures, we will see them in frog eye viewpoint.

This viewpoint will make our heads point toward the sky. Our eyes will be dazzled by sunlight. The sunlight is also blocked by the monument we are seeing, producing shadows from the object and blocking our eyes to see it clearly.

In this work I am interested in objects (which look like) modern, sturdy and rigid monuments.

Their form is visually appealing but has no relation to my memory or the community’s.

The blue color produced by blacklight on the surface of white paper reminds me of the blue screen on digital media production and computer monitors with no signal. Both represent the absence of values. This is for me is the stage of decluttering the memory from norms input that come from social environment. The blacklight is not visible to the human eye, but can bring up other colors when it illuminate an mundane blank sheet of white paper.

Video link from previous work preview https://bit.ly/2KTvJQQ

^ Installation view from the previous artwork in the series.

< Detailed view previous artwork in the series.

38

FROG EYE ON UNTITLED SERIES (SKETCH #1) Papers, needles, Blacklight, wooden frame 100 x 100 x 18 cm 2019

FROG EYE ON UNTITLED SERIES (SKETCH #2) Papers, needles, Blacklight, wooden frame 100 x 100 x 18 cm 2019

ARTWORK

39

FROG EYE ON UNTITLED SERIES (SKETCH #3) Papers, needles, Blacklight, wooden frame 100 x 100 x 18 cm 2019

40

MAHARANI MANCANAGARA b. 1990

Maharani Mancanagara is an Indonesian artist who lives and works in Bandung, Indonesia. Graduated from Institut Teknologi Bandung, Faculty of Art and Design, majoring in printmaking studio. Primarly working in the mediums of drawing, mixed media and installation. Her works explores Indonesiaâ&#x20AC;&#x2122;s history, ancient time to present, based on her personal and family experiences.

Ideas occur within our natural consciousness on present happenings, while history then derived as a media, connecting different times through historiography of past occurrences. Aided by a mandatory causal relationships, history is coherent based solely on the writer of the record. This subject is the drive for Maharani to enunciate stories from the outer realm of popular documented history, transforming those to reconstructed monuments. In the last five years, Maharani honed this tendency of devising interruptions as a fragment outside of historyâ&#x20AC;&#x2122;s known continuity that affects incidents in the past.

Taking her personal background, Maharani grew her interest upon visualizing the long history of education in Indonesia and for the past 2 years continued to the topic about exile of political prisoners in Indonesia--a part of history left on artifacts from her late grandfatherâ&#x20AC;&#x2122;s possessions. Based on the aforementioned perspective, Maharani then aimed to express these belongings to a work of art, a path she took in identifying herself which she hopes could provide recognition for a larger sphere of people with similar background.

PROFILE

41

Wayang is a traditional puppet show from Indonesia which emerged and developed rapidly at Java and Bali. Wayang was often used as an effective medium for the spread of Hinduism, Christianity and Islam.

There are many types of wayang puppets based on specific materials such as buffalo hide, wood, or grass. Made from flat wood, wayang klithik or wayang krucil tell stories of Serat Panji and Darmawulan in the Majapahit era.

The artwork idea for Open PO is to record a valuable moment into a meaningful story in the form of playable puppets (wayang). By adapting the form of wayang klithik, the artist offer a collaboration to prospective puppeteers (collectors) to tell their personal stories.

WAYANG KLITHIK SERIES (SKETCH #1) Drawing on teakwood (front & back side) 6 - 10 doll, 30 x 10 cm (each) Wayang box 100 x 15 x 15 cm 2019

42

^ WAYANG KLITHIK SERIES (SKETCH #2) Drawing on teakwood (front & back side) 6 - 10 doll, 30 x 10 cm (each) Wayang box 100 x 15 x 15 cm 2019

< WAYANG KLITHIK SERIES (SKETCH #3) Drawing on teakwood (front & back side) 6 - 10 doll, 30 x 10 cm (each) Wayang box 100 x 15 x 15 cm 2019

ARTWORK

43

^ Previous artwork from â&#x20AC;&#x2DC;Parodi Partikelirâ&#x20AC;&#x2122; series.

From top to bottom: Ethical Allegory #1 - Irrigation, Ethical Allegory #2 - Migration, Ethical Allegory #3 - Education

44

MUFTI PRIYANKA b. 1980

Mufti ‘Amenk’ Priyanka (b. 1980), completed his study at the Department of Art Education (Painting studio), Indonesian University of Education, Bandung. He is a visual artist, a freelance illustrator- designer, and a lecturer at Telkom University, School of Creative Industries, Bandung.

He is currently pursuing his MFA at the Indonesian Institute of Arts & Culture, Bandung. He is an active member of the collective artist A STONE A, focuses on the exploration of visual arts, performing arts, multimedia arts, and empowering lo-fi Noise Rock music genre since 2003 to present (www.myspace.com/astonea). He is also a member of Pemandangan collective artist, which is oriented towards puisi “mbeling” (mischievous poetry) language style through music and visual approach. Amenk was an Artistic Coordinator of Wayang Cyber (2002 - 2005), Program Manager at Djiwo Tentrem Studio, and one of the co-founders of OMNISPACE.

PROFILE

45

PAPA DEMO, MAMA, DAN SI ADE MASAK DIRUMAH (SERIES) This work is a response to the 21st and 22nd May 2019 riots in Jakarta. The event was related to the public protest on the voting result of Indonesia presidential election.

As of the night of May 21st, 2019, clashes between mass and the authorities accompanied by riots occurred in several locations in Jakarta.

The illustration presented in this artwork is a reflection of the antithesis of the riot, which illustrates a form of peace.

46

ARTWORK

47

^ Previous artwork from AA Haus series (top and far left)

48

PATRICIA UNTARIO b. 1984

Patricia Untario (b. 1984) completed her undergraduate studies at Sculpture Studio, Faculty of Arts and Design, Bandung Institute of Technology (2008). She also took a glass course at Vetroricerca Glas & Modern, Bolzano, Italy (2011).

Patriciaâ&#x20AC;&#x2122;s three-dimensional works are often designed and presented in a certain atmosphere through glass, stone, and metal exploration. She creates hanging lamps or chandeliers, as well as domestic objects like kettles, cups, etc. She infuses them with a sense of exploration that turns them into works with unique narratives of the domestic connections between person and memory. She was a finalist at the 2018 Sovereign Asian Art Prize, Hong Kong.

PROFILE

49

This work was first made in 2008, to criticize the understanding of many people in Indonesia who consider sex education as a taboo. The understanding in my opinion has not changed until now, even declined.

This work will be made from glass tube and shaped resembles a condom, hung and composed circularly on the iron and brass. In this metal frame, there are also electrical light points as source of lighting.

CHANDELIER SERIES - LUST CAUTION #5 Glass, iron, and copper Ă&#x2DC; 60 cm 2019

Stained glass is categorized as applied art, though in the medieval era was considered as high art. In the modern era, especially in Frank Lloyd Wrightâ&#x20AC;&#x2122;s works, stained glass opened barriers between art, crafts, design, and architecture.

This artwork is an attempt to deconstruct the stained glass conception. A pattern of stained glass will be stripped down into glass pieces, vertically composed and mounted on a lights illuminated wall.

Artificial light will refract colors to the wall and form particular patterns, which remind us of the grandness of stained glass as a work of high art in the past.

For the new works, I will use the same technique with a different pattern. The glass will be placed on two flat areas which will be put on the wall. Two pieces of 50 x 120 cm board will be placed side by side, with the composition of patterns and colors as shown on the left.

< NIGHT WITH FRANK L. WRIGHT #2 Stained glass 50 x 120 cm (2 pcs) 2019

ARTWORK

50

51

Glass is a material that can be recycled 100%, therefore this material is present in human civilization since 3500 BC. This work started from my unrest on glass waste from my artworks production. As an example, for example when I need some round glass by some existing round glass. The leftover pieces of the glass cutting will become a lot of waste.

I will cast the glass on the Ancol Beach sand, an artificial beach in northern Jakarta. As an artificial beach, Ancol got its sand from other beaches, one of which is Bangka Beach. This beach has highquality white sand with high quartz content. The abundance of content of quartz makes this area as a supplier of materials for the glass making industry and the property industry. I still have clear memories of several visits to Bangka, my fatherâ&#x20AC;&#x2122;s hometown. I saw how large ships anchored on the beach, dredge the sand and leave damage afterward.

This work is my exploration and research on sand in its shape changes and migration as material, local and abroad. The artwork will be molded on the sand, shaped like a toy beach shovel mixed with glass powder from the previous artworks waste.

UNTITLED Recycled glass Tinggi 30 cm, Ă&#x2DC; 15 cm 2019

52

RUTH MARBUN b. 1985

Ruth Marbun studied fashion design in U.K and Singapore. She once worked as a designer in Singapore before starting her visual art practice in Jakarta. She is interested in exploring imperfections to discuss about perseverance and adaptation as human beings. She tends to visualize and deconstruct figures through the her use of paint, layers of fabric and unapologetic sewing. She has exhibited her work through exhibitions in Indonesia, Australia and Japan. â&#x20AC;&#x153;Termasukâ&#x20AC;? at Darren Knight Gallery, Australia and her solo exhibition in Jog ja Contemporary and Art Jakarta together with Clear Gallery, Tokyo are a few of her notable exhibitions. She is now based in Jakarta, Indonesia

PROFILE

53

KARYABUTA #1 2 dimensional artwork Acrylic on canvas, mixed media, textile (medium option) 110 x 110 cm 2019

Sketchbooks are the most personal items from my process record as an artist. Although my way of working is impulsive and spontaneous, I have a particular process for forming memories, gestures and momentum. Usually, I see sketches and art works as two different entities. This time I want to experiment by uniting the two, namely implementing a sketch or doodle directly from my sketchbook into an artwork.

The process of selecting a short sentences, figurative doodles, daily notes or fad lines from my sketchbook will be carried out with prospective collectors. Each page piece that contains the sketch will also be owned by the collector.

Through this procedure I want to challenge myself to open the process that usually occurs in a quiet and private space. I want to witness the reaction and judgment of someone who is accustomed to measuring the quality of the work based on the final result. Furthermore, they will be involved from the initial process and become an important part of the work execution. I will offer paintings (acrylic on canvas) and textiles (soft-sculpture or textile pieces) as a medium that can be chosen by the collectors.

Notes: As an artist, I will open my sketchbook for the potential collector. Prospective collectors are open to choose certain pages in the sketchbook that relevant to them, be it a sketch, writing, etc.

We will discuss the most appropriate approach to produce a final work. The images/sketches in here will be the reference, but the process will be fluid.

54

KARYABUTA #2 2 soft sculpture Textile, embroidery, dacron 50 x 100 cm (each) 2019

KARYABUTA #3 2 dimensional artwork Acrylic on canvas, mixed media, textile (medium option) 175 x 175 cm 2019

ARTWORK

55

^ Previous artwork A Soldier Nevertheless Fabric, Acrylic paint, Watercolor, Ink, Marker, Cotton Thread 289 x 178 cm 2018

56

SALEH HUSEIN b. 1982

Saleh Husein, (b. 1982, Jeddah) studied painting in the Jakarta Art Institute. By using an evergrowing archive of found documents to create autonomous artworks, Husein absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation. His drawings are an investigation into authenticity and objectivity.

He uses an encyclopedic approach and quasi-scientific precision by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. By contesting the division between the realm of memory and the realm of experience, he reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question of whether anecdotes ‘fictionalize’ history. Husein’s first solo show The History of Merchant was in 2012 at RURU Gallery. His work has been included in the Jakarta Biennial 2009 and 2013, the 25th year anniversary exhibition of Cemeti Art House, Roppongi Art Night, Museum of Contemporary Art Tokyo, The National Museum of Art, Osaka, Singapore Art Museum and Manifesto: a collaborative exhibition with two artist From Darwin, Australia. In addition to being an artist, Husein is widely known as a guitarist for the bands White Shoes & The Couples Company and The Adams. He is currently lives and works in Jakarta.

PROFILE

57

GENETIC MARKER Everything begins from small steps. That was the first thing that came through History of Merchant, a solo exhibition of Huseinâ&#x20AC;&#x2122;s work in 2012. A small-intimate approach to his family journeys, from Hadramaut, in Middle East to South East in Indonesia. By collecting, archiving, and listening to the elders stories, the work started to build a strong foundation that led him to one project and then another project. Since that, he started to further seek and question Arabic descendants in Indonesia. The ideas go across the border between art, politics, economy, and also science. What did they do? Why are they doing that? How do they live and adapt? How they see themselves now? As Arabic-Indonesian or Indonesian-Arabic? These questions about identity, adaptation, survival, daily life culture, and also originality are evoked.

GENETIC MARKER

BOND

Installation on wall

Charcoal on wall

2012

2012

58

SPREAD Charcoal on paper 27,5 x 18 cm (each) 2012

ARTWORK

59

60

SEKAR PUTRI â&#x20AC;&#x2DC;PUTIâ&#x20AC;&#x2122; SIDHIAWATI b. 1986

Sekarputi Sidhiawati, born in Jakarta 1986 and has worked with ceramic media for more than 10 years. Taking formal education at the Faculty of Art and Design ITB - Ceramic Art Studio. She is now known as the founder of the studio Derrau, while consistently working in the art world. After working in Bandung, in 2018 she moved to Bali to enlarge her ceramic studio business. With women related issues, Sekar Puti had been a finalist of several fine art awards such as the Soemardja Art Award (2010) and the Bandung Contemporary Art Award 2013. She had join several prestigious exhibition include Jakarta Contemporary Ceramic Biennale, National Gallery of Indonesia (2014); Temperature Affect, Museum of Fine Arts and Ceramic Jakarta (2017); Manifesto, National Gallery of Indonesia (2017); Termasuk, Darren Knight Gallery Australia (2018); Southern Constellations: The Poetics of the Non-Aligned, Museum of Contemporary Art Metelkova, Ljublana-Slovenia (2019).

PROFILE

61

This 100 pieces of ceramic books are wall mounted and its depict a fragmen of a woman around the books. The woman seems want to choose what she want to read. Basically this work inspired by empowered feelings I felt once I get out of my comfort zone. I am unlearning what I have been studied before (formally & habitually), and itâ&#x20AC;&#x2122;s good to be free. To find my own self, which is it is a binary statement since we all grow with reference and there is nothing pure out there. You know the facts are still unfair and sometimes we encounter unpleasant experience during our contribution in our social community.

If we educate ourself, we as a woman, educate our society, our family, and our next generation.

LETS CALLED IT THE SAFE PLAN Ceramics (stoneware, engobe, glaze, gold luster 22k), wire 100 x 200 cm 2019

62

PEACE IN BETWEEN / BRAVERY Ceramics (stoneware, engobe, glaze, gold luster 22k), wire 100 x 200 cm 2019

ARTWORK

63

^ Previous artwork A Recovery Stoneware, glaze, engobe, cone 7, 22k gold lustre, wire Variable dimension of 51 pcs ceramics 2019

64

WIYOGA MUHARDANTO b. 1984

Wiyoga Muhardanto (b. 1984) graduated from Sculpture studio, Art & Design Faculty, Bandung Institute of Technology. Wiyogaâ&#x20AC;&#x2122;s three-dimensional works are often present as a replication of objects or spaces on a 1: 1 scale and combine original objects with replicas to shows parody and irony about the issues of consumerism in urban society. He has held several solo exhibitions and participated in many group exhibitions on a national and international scale. Wiyoga has undergone art residency programs: Camden Arts Center & the Slade School of Fine Art, London (2015), AIR 3331, 3331 Arts Chiyoda, Tokyo (2011) and Landing Soon # 11, Cemeti Art House, Yogyakarta (2009). Wiyoga also established and managed the Olah Karya Area, an art organization that focuses on the practice and discourse of three-dimensional works and their links to public space.

PROFILE

65 GOT characters miniature: Jon Snow & Daenerys Targaryen

Stilasi (abstraction) motor tank

Alien is a sculpture featuring two miniature pieces Jon Snow and Daenerys Targaryen, two characters from Game of Thrones popular series. Both are put on a stylation shape that resembles a motor tank.

ALIEN Painted MDF, plastic figurine, epoxy clay, automotive paint, acrylic paint, plywood, enamel paint 27 x 100 x 70 cm 2019

The work was inspired by urban middle-class enthusiasm in consuming popular series from the US and Europe; usually broadcasted on television or online platform. In daily life, the series became a popular topic for the urban middle class in any situation and occasion. The popular serial’s content becomes a new ‘reality’ for them. It is an escape from daily jobs, traffic, and competitive lifestyle.

66

women singer miniature fully dressed with hijab

cap replica made from resin with pigment

hat replica made from resin with pigment

turntable replica made from plywood, resin, acrylic sheet, and automotive paint

This work consists of two replicas of turntables, made of wooden boards flanking a female singer miniature, standing on a pedestal. As an important element of a turntable, vinyl is replaced by a replica of two hats that is commonly used by men. This artwork is a representation of what most women living in urban areas fight for; voicing about equality, recognition, honor, and other rights that are worthy for them.

ARTWORK

UNTITLED Painted plywood, automotive paint, plastic figurine, acrylic paint, and pigmented resin 25 x 110 x 35 cm 2019

67

wedding couples miniature, fully dressed.

parts of water dispenser, made from resin and automotive paint

This work consists of two miniature wedding couples which placed on a white pedestal. At the bottom of the pedestal, there is a piece of water dispenser that has no practical function. Inspired by a sacred marriage, the following question arises: how is a relationship (husband and wife) is measured through the availability or limitations of a domestic object? A water dispenser speaks about the situation that occurs in a household.

UNTITLED Painted plywood, automotive paint, resin, fiberglass, plastic figurine, acrylic paint, styrene sheet, epoxy clay.

120 x 35 x 35 cm 2019

68

> Previous artwork What If? Pigmented resin, plastic model kit, fabric, epoxy clay, readymade object, acrylic & automotive paint Variable dimension 2016

ARTWORK

69

70

YOSEFA AULIA b. 1991

Yosefa Aulia, known as Ocipa, lives, and works in Bandung graduated in 2014 from Sculpture Studio in Art & Design Faculty, Bandung Institute of Technology. Ocipa actively participates in exhibitions and competitions since college, among them are an annual exhibition of 15x15x15, Soemardja Gallery (2010), finalist of Bandung Contemporary Art Award #3 (2013). She was an active member of a Bandung collective artist Pemuda Setempat in 2010-2016.

Since 2017 sheâ&#x20AC;&#x2122;s a working solo artist and has participated in numerous art exhibitions and residencies.

Yosefaâ&#x20AC;&#x2122;s installation works invite the audience to participate and become part of it, such as Smashing Cocks! in Cemeti Institute of Art and Society (2017), Souvenirs in Lorong Gallery (2018). She is also the curator for Masa Subur Awewe, residency program for female artists initiated by Omnispace (2017).

In her works, Yosefa always invites the audience to question how small narratives and subjectivity can form meaningful interactions, either the relationship between subjects, as well as subjects and objects. Daily life themes, gestures, and everyday objects were chosen by her as a representation which illustrates the pattern of interaction. Often presented in the juxtaposition of found objects, ceramics, photos, to birthday cakes.

PROFILE

71

SHRINE The shrine functions as a worshipping place to respect the ancestors or families who have gone before us. On this day the young generation makes celebrities, fashion brands and fictional figures as objects of worship. This work is a form of shrine containing objects that represent our visual, references, texts, culture and religion consumption. In this work series, as a consumer of visual culture—that is also not free from ‘worship’ activities—, I want to present intuitive drawings with some highlights from neon flex LEDs that follow the outline of several drawing, or new images that overlap with some drawings behind. This work is a manifestation of the image and text reference deposits that have accumulated into my collective memory and maybe for others’ in my generation.

SHRINED ON PAPER Acrylic paint and neon flex on Arches paper 59,4 x 42 cm 2019

72

NO MORE FLOWERS LED Neon flex, mixed media on paper 59.4 x 84.1 cm 2019

SONG OF ORPHEUS Wood, glass, acrylic paint, and LED neon flex on transparent acrylic 100 x 50 x 30 cm 2019

ARTWORK

73

^ Previous artwork Summary LED Neon Flex, wood, mixed media on paper 50 x 20 x 40 cm 2019

74

ZAENAL ABIDIN b. 1985

I was born in Bandung, in a densely populated environment near a printing industry area. Growing up with local traditions, my teenage years were very close to pop culture, from MTV to the 90â&#x20AC;&#x2122;s motorcycle gang lifestyle. In college, I found a new interest, exploring nature with my friends. I then put in this experience into my work method, which is to redefine a journey into a spiritual experience.

I have been doing printmaking since I was a teenager. Printmaking process give a great influence for my creative process.

PROFILE

75

THE ASCETIC The concept of this body of work gain inspiration from three books: “Tiga Pesona Sunda Kuna”, “Perjalanan Bujangga Manik Menyusuri Tanah Jawa”, “The Work of Art In The Age of Mechanical Reproduction”. This series is about visual interpretations of a character from the 16th-century Sundanese folktale, named Bujangga Manik. He searched and marked every place and mountains, from Java to Bali. This is a story about the spiritual journey to reach Moksha (Enlightenment).

Through this artwork, I offered a meditative and contemplative image with a consideration of the zen space.

Holographic on canvas Invisible image (etching on glass / engraving plexiglass) Front layer plexiglass Teak wood frame LED lamp Wire lamp

^ Detailed view of the artwork

< ASCETIC POSE 1 UV Laser Hologram Flatbed Print, plexiglass, LED Lamp 80 x 100 cm Edition 1/3 2019

76

ASCETIC POSE 2 UV Laser Hologram Flatbed Print, plexiglass, LED Lamp 100 x 75 cm Edition 1/3 2019

ARTWORK

77

ASCETIC POSE 3 UV Laser Hologram Flatbed Print, plexiglass, LED Lamp 100 x 75 cm Edition 1/3 2019

OPEN PO #2 In cooperation with Yayasan AB Concept: Omnispace Project Officer: Erwin Windu Pranata Administration: Arum Tresnaningtyas Content Writer and Editor: Chabib Duta Hapsoro Publication Coordinator: Meicy Sitorus Finance: Nasrul Akbar Field Coordinator: Resatio Adiputra Documentation: Ferry Gelluny CATALOG Editor: Chabib Duta Hapsoro Writer: Agugn, Arum Tresnaningtyas, Cecep M. Taufik, Cut & Rescue, Erwin Windu Pranata, Gabriel Aries Setiadi, Muhammad Akbar, Maharani Mancanagara, Mufti “Amenk” Priyanka, Patricia Untario, Ruth Marbun, Saleh Husein, Wiyoga Muhardanto, Yosefa Pratiwi Aulia, Zaenal Abidin English Translator: Chabib Duta Hapsoro, Meicy Sitorus Graphic Designer: Meicy Sitorus Mockup Designer: Erwin Windu Pranata, Resatio Adi Putra Photography: Agugn, Arum Tresnaningtyas, Cecep M. Taufik, Cut & Rescue, Erwin Windu Pranata, Gabriel Aries Setiadi, Muhammad Akbar, Maharani Mancanagara, Mufti “Amenk” Priyanka, Patricia Untario, Ruth Marbun, Saleh Husein, Wiyoga Muhardanto, Yosefa Pratiwi Aulia, Zaenal Abidin ACKNOWLEDGEMENT Yayasan AB, ArtSociates, Art Jakarta

SUPPORTED BY

FOR ORDER & INQUIRIES PLEASE CONTACT 0821-1532-6198 (NASRUL AKBAR)