In the history of writings, a French feminist, Helene Cixou, once considered that women had no history when compared to men. Women were silenced as only men were acknowledged to have their stories. Only men were deemed worthy to write. It was a notion that was then played by her followers that the discipline of the past, which clearly in English is stated as ‘history’, refers only to the stories of the men (his)-story. There were no (her)-story.
Philo Art Space is having its 10th anniversary. Still at a tender age, and it has not done many important things yet. But it has been a joy for us to live the years as our self-expression.
We never expected the experience to be this long. We had faced many obstacles and challenges, most importantly to keep the exhibiting creativity alive. There was no sure answer to do this, apart from the fact that we were constantly being supported by the art community itself, especially the artists.
An art gallery would not be running without the close relations it has with the artists. We keep our relations alive by warm engagement with them and by constantly having discussion with them in persons or through media. It is this warm relation that keeps our spirits up on most days.
The glitz of urban culture has become our main focus. Fashion, mall ambience, café, night clubs, traffic jam, figures moving with speed as if they are in a race with time, and many others – those are the phenomenon that attract artists to work on. They may see them with affirmative, critical, or rejecting stance.
In short, we do not limit ourselves in presenting only a certain styles or genres though we are being swept away with the strong current of contemporary arts. As the name that the gallery bears ‘philo’ means ‘love’, we strive to always be able to offer warmth and joy to all those involved in our works, especially in every opening of an exhibition.
For our 10th anniversary, we were honored by painters offering their works to exhibit. Those are Doel AB, Paul Hendro, Erizal AS, Saepul Bahri, Herianto Maidil and Edward Bonaparte. Apart from Edward, all the artists have exhibited their works in Philo Art Space once or more times, as part of solo or group exhibitions.
Unlike the usual exhibitions, the anniversary exhibition does not present a certain theme. All works from the painters are of their own choosing to express. Hence, we do not see the necessity for us to inform on how the works are related to each other as an explanation of a predefined theme. Audiences are free to interpret the works, and we hope that you enjoy the works presented here.
In the history of “aesthetic theory”, the concept of disinterested is considered as a very important theme and as a foundation of our recognition of the creative process. This concept has undergone development, and in certain period of time, theorists and thinkers considered that this concept no longer had meaning enough to be defended. The concept that refers to the subjectivity of human would lose its meaning when we move into the institutional domain in arts.
It was a German philosopher, named Immanuel Kant, that made the concept of disinterested popular in understanding how an artworks is presented, in how an artist find that their experience with an object propels them to create an artwork. It cannot be avoided that to understand an artwork means to understand who the creator is as an anthropocentric matter that puts forward individuality dimension or the worship of the human subject.
For Immanuel Kant, the highest potential in human is in their ratio which is able to create a level of truth that is universal, objective and positivistic. But even so, the emotional aspect of human must not be dismissed. Emotion indeed affects greatly how a human identify an object by putting forward their senses. Emotion and senses are two inseparable aspects. Our emotions usually emerge as a result of our dependence to our senses when we are facing or feeling an experience. These would then create what we recognize as interest. When we store our interest as a psychological symptom in our most secret and personal mind, here emerges the self-interest.
A creator or an artist, in their interactions with the world they are in, cannot escape from the issue of interest, no matter how. Personal interest which showcases their individuality has a very prominent role. But for Immanuel Kant, an artwork must not be valued at its self-interest but more at their objective and universality dimension which is a rational genius works. How do we explain that?
Philo Art Space exhibition today presents the above important theme: DISINTERESTED, as presented by painters Patrick C. Wowor, Soni Irawan and Tjokorda Bagus Wiratmaja (Coky). Patrick Wowor is an alumnus of Fine Arts Faculty of the Jakarta Institute of Arts (IKJ), Soni Irawan and Coky are both alumni of Indonesia Institute of Fine Arts (ISI) Jogjakarta. All three artists may be considered as novices in the realm of Indonesian painting arts, and they still have a long way ahead of them. Their paintings come from their different interest of their unique experiences.
Naturally, each creative process is battle of individual self. Most of the times, only the artists understand what are happening within themselves when they are at work with their creative process. This kind of psychological issue is not impenetrable nor is it beyond claim as, at their center, artist wants to be understood; they want to communicate through their arts. Artists do not keep silent and cover their arts with their own self-interest.
What about the opinion that a work of art is simply a reflection or a critique of life’s condition of an artist’s time? That an artist cannot detach themselves from space-time bound of their own life? Would that make their art works a mere works based on their self-interest?
Those questions have moved arts theorists and philosopher to try to explain that an art work cannot be separated from the issue of self-interest and disinterest. Immanuel Kant was certain that an art work, in the very beginning of their process, already enters a tense situation between self-interest and disinterest, between the intuitive stimuli of the senses and the disinterest of the rational reason category. Self-interest is a psychological turmoil that is archaic, spontaneous, and absolute to the point of egoistic; while the reason is cold, distanced, and classificative. A creative process must always go through this tense and very well dichotomistic meeting. For Kant, disinterest is a tool for the reason to lure self-interest entering the domain of awareness by trying to reconsider things that may be elusive of unrepresented within. The artistic process, the creative of creating, strongly shows the shadow of rumination within a reasoning awareness.
Art works, in essence, are a result of communicative process that we can take in using our apparatus of reasoning. All aspects, be it perspective, skill, technique, illusion, ambition, dreams, etc. can be seen in an artworks. Thinkers of art theorists like Immanuel Kant, understanding this point, are very optimistic that an art work has a communicative aspect in it, no matter where it is put, no matter how it is being seen by any person, and therefore, universal.
The paintings of Patrick Wowor, Soni Irawan, and Coky are only a small samples of communicative paintings stated above. It is very possible that they experienced a creative process that just did not instinctively boast their self-interest, but keep it within the awareness and meditative domain. Most of prominent artists begin their creative process with the personal battle of what is to be created and whether their interest can be communicated to those who see their arts. Isn’t this the beginning of where the interest and disinterest emerge? Isn’t this an awareness of the mind?
Patrick Wowor shows his interest in the human relations; the me and you and all the background of such relations: the social problems, the black and white of sex and religiousness. He sees things from the perspective of an urbanite that sees such things as shallow compared to the breadth and depth of the meaning of live. It is similar to the works of Soni Irawan. To him, the world is an energetic connection of human and their activities and in rooms that are made to be as comfortable as possible. Coky, not to be the least subdued, serving us with the spirit of live in the race humans are in, in their endeavor to fulfill their needs, to the urbanites fashion performance. We should be focused on and be interested in the vastness of life energy itself, but instead we imprison our won energy into the limits of our own interests or needs.
The issue of self-interest and disinterest in the creative process should be clear. But there is also a different perspective that questions and that seems to demand the issue to be dissected with the questions: are the concept of self-interest and disinterest in a creative process worth to be used as a firm foundation? Are the two concepts fulfill the requirements in showing that human possesses the ‘subject essentiality’ (pure human subject) that makes them a complete entity called human that distinctively differ them from the non-human?
Are artists pure humans? If we see the dychotomic concept between self-interest and disinterest, then the answer might be so. It means that artists are able to find a solution to their problems without intervention and without the awareness of them being the entity formed by other humans, moreover by entities and things that are non-human.
Humans are never alone and will be never be fully independent as long as they are still humans. Artists would never live for their own as in the essence they do not have the essence as a human individual (complete-entire). Artists, as with other humans, are the creation of their peers. Humans are a relational category of fellow humans and of hon-humans.
In creative art, a thinker name George Dickie, the founder of ‘institutional arts’ theory, has the belief that there is no independent arts – in the sense that all artists have their own self-interest. An art creation cannot be separated from the institutional interest of where the art community, critics, galleries, collectors, traders, the press and so on form a social institutional network that define whether a creation is worth to be considered as an art or not. The discourse of self-interest and disinterest has no significance.
Meanwhile, a France philosopher, Jacques Derrida, questioned the concept of disinterested as an unworthy category of anthropocentric but deemed it not to be disregarded or entirely dismissed in understanding the creative process. Disinterest does not need to be constantly conflicted with self-interest, but it can be seen that the ‘dis’ in the ‘disinterested’ does not refer to a certain interest nor on one interest only, and it does not fall into the reasoning category. The ‘dis’ refers to multiple interests, plural. The ‘dis’ is a language category that arbitrarily emerges as the interest is presented as a socially formed language. So, when an artist is interested in an object, their interest is not entirely their own, but it is a part of a social interest that affect them as mentioned above.
Who is this subject (I)? I am the other person, personal or non-personal. I am the traces of my parents, of my teachers, of my friends, of things that I love, of the moral tradition, of the moral religion, of the science equations, of ideology, of love, and so on. All of these affect me and intertwined in forming the “I” (subject). I am the artist while I am also the non-artist, you, all of you, and them.
Self-interest is plural category that shows how a person seems to be independent but essentially they are the creation of socio-cultural forming. Artists create because there are conditions that make them so. Their interest is a plural interest and therefore their creations naturally have the nuance of pluralistic social interests.
In understanding the works of Patrick Wowor, Soni Irawan, and Coky (and of other artists), it would be much more open to see their arts as a socio-cultural turmoil within themselves. In their arts, there are the traces of us as those who savor the arts. To savor arts is a relation of inter-traces, or as Derrida’s called it, ‘intertextual’.
A creation of art is an ‘intertextual’ creation, where the meaning of ‘disinterest’ becomes a tools for a more open analysis. Why? Because there is no creation that can come from a single room from a single being that is a totally independent artist.
Happy exhibiting, and let’s enjoy!
Tommy F Awuy
Dalam sejarah “teori estetika”, konsep disinterested dianggap sebagai tema yang sangat penting dan sebagai dasar bagi pengenalan kita akan proses kreatif. Konsep ini mengalami perkembangan dan dalam masa tertentu beberapa teoritikus atau pemikir bahkan menganggap konsep ini tak punya kekuatan makna lagi untuk dipertahankan. Konsep yang mengacu pada kesubjektivasan manusia ini misalnya tak berarti jika kita bergerak masuk ke wilayah institusional dalam seni.
Adalah filsuf Jerman bernama Immanuel Kant yang mempopulerkan konsep disinterested untuk memahami bagaimana sebuah karya seni itu hadir. Bagaimana seorang seniman mengolah sebuah pengalaman dengan objek tertentu yang didapatinya hingga tercipta sebuah karya seni. Tak bisa terhindarkan di sini bahwa mengenal sebuah karya seni berarti mengenal siapa penciptanya sebagai persoalan antroposentris, yakni mengutamakan dimensi individualitas atau pengagungan subjek manusia.
Bagi Immanuel Kant, potensi tertinggi manusia adalah pada rasio yang mampu menghasilkan tingkat kebenaran yang universal, objektif dan positivistik. Kendatipun demikian, aspek emosi manusia tak bisa diabaikan begitu saja. Emosi tentu saja memiliki tingkat pengaruh yang besar sekali dalam mengenali sebuah objek darimana indra tampil terdepan. Emosi dan indra merupakan dua aspek yang tak terpisahkan. Emosi kita biasanya muncul dari ketergantungan indra saat menghadapi atau merasakan sesuatu. Gejala ini yang kemudian menghasilkan apa yang kita sebut sebagai minat atau interest. Ketika minat ini kita simpan sebagai gejala psikologis ke dalam benak yang sangat pribadi maka di sinilah muncul apa yang disebut sebagai self-interest.
Seorang kreator atau seniman dalam berinteraksi dengan dunianya tak akan luput dari soal interes di mana dan bagaimanapun caranya. Minat pribadi, yang menunjukkan keindividualitasnya senantiasa berperan sangat menonjol di sini. Namun bagi Immanuel Kant, sebuah karya seni bukanlah nampak pada self-interest, namun lebih pada dimensi objektif dan keuniversalannya yang nota-bene merupakan karya jenius yang rasional. Bagaimana hal ini harus dijelaskan?
Pada pameran lukisan Philo Art Space kali ini mengusung tema penting di atas, DISINTERESTED, diikuti oleh seniman lukis Patrick Wowor, Soni Irawan dan Tjokorda Bagus Wiratmaja (Coky). Patrick Wowor alumnus Fakultas Seni Rupa Institut Kesenian Jakarta (IKJ), Soni Irawan dan Coky sama-sama alumnus dari Institut Seni Rupa Indonesia (ISI) Jogjakarta. Ketiga seniman ini bisa dibilang mulai menancapkan jejaknya dalam kancah sejarah seni lukis Indonesia dan tentu saja masih sangat panjang jalan yang harus mereka tempuh. Mereka melukis jelas berangkat dari minat masing-masing atas pengalaman yang digelutinya.
Selayaknya proses berkarya merupakan pergolakan batin individual. Tersering hanya seniman itu sendirilah yang sangat tahu apa sebenarnya yang terjadi dalam dirinya selama bekerja. Persoalan psikologis ini sesungguhnya bukannya tak bisa digugat atau tembusi karena di satu hal yang lain, sang seniman ingin dipahami, sang seniman ingin berkomunikasi lewat karyanya. Sang seniman tak semata berdiam diri dan menutupi karyanya dengan self-interestnya.
Bagaimana dengan pengandaian bahwa sebuah karya seni pada hematnya merupakan refleksi maupun kritik atas kondisi hidup jamannya? Bahwa sang seniman tidak pernah terlepas dari ruang dan waktu di mana dia hidup? Lalu apakah karya seninya semata merupakan karya berdasarkan self-interestnya?
Dari pertanyaan-pertanyaan di atas itulah para teoritikus seni dan filsuf mencoba menjelaskan bahwa sebuah karya seni tak jauh-jauh dari persoalan self-interest dan disinterest. Immanuel Kant yakin bahwa sebuah karya seni pada awal prosesnya sudah langsung masuk dalam situasi tegang antara self-interest dengan disinterest, antara rangsangan indrawiah yang intuitif dengan kategori akal yang bersifat disinterest. Self-interest merupakan gejolak psikologis yang arkaik, spontan, dan semena-mena bahkan mungkin begitu egoistik. Sedangkan akal bersifat dingin, berjarak, dan klasifikatif. Proses kreativitas senantiasa melewati pertemuan yang menegangkan dan sangat mungkin dikotomistik ini. Bagi Kant, disinterest merupakan alat akal untuk mengajak self-interest memasuki wilayah kesadaran dengan mencoba merenungkan kembali hal-hal yang kemungkinannya ilusif dan tak terkomunikasikan di dalamnya. Proses berkesenian, berkarya, senantiasa kuat menunjukkan nuansa membatin dalam kesadaran akal.
Karya seni merupakan hasil komunikatif yang pada akhirnya bisa kita nikmati dengan seperangkat kesadaran akal kita. Semua unsur di dalamnya, apakah itu sudut pandang, skill, teknik, ilusi-ilusi, ambisi, impian, dan lain-lain sebagainya bisa terbaca dalam sebuah karya seni. Pemikir atau teoritikus seni seperti Immanuel Kant dari sini sangat optimis bahwa karya seni memiliki aspek komunikatif di manapun itu berada, dilihat atau dinikmati oleh siapa pun, universal.
Karya seni lukis dari Patrick Wowor, Soni Irawan, dan Coky, hanyalah sebagian kecil dari contoh karya seni lukis yang komunikatif seperti di atas. Sangatlah mungkin mereka mengalami proses berkarya yang tidak mengumbar begitu saja self-interestnya namun menjaganya dalam wilayah kesadaran dan meditatif. Sebagian besar seniman mengawali proses berkarya dengan pergolakan batin apakah yang harus saya buat dan minat saya bisa dikomunikasikan dengan masyarakat penikmat seni? Bukankah hal ini sudah merupakan titik awal darimana minat dan disinterest itu muncul? Bukankah hal ini merupakan kesadaran akal?
Patrick Wowor menampakkan minatnya pada relasi kemanusiaan, aku dan kamu dengan hal-hal yang melatarbelakanginya seperti problem sosial yang hitam-putih antara seks dengan relijiusitas. Dia memandangnya dari kacamata seorang urban yang pada hematnya merupakan hal yang sepele diukur dengan dalam dan luasnya makna kehidupan. Demikian pula jika kita melihat karya Soni Irawan. Baginya, dunia merupakan sebuah pertalian energik manusia dengan segala kegiatannya dan di dalam ruang-ruang yang dibuatnya senyaman mungkin. Coky tak kalah menyoloknya menyodorkan semangat hidup yang berpacu dengan segala kebutuhan manusia hingga pada performan fesyen manusia urban. Kita seharusnya berfokus dan meminati enerji kehidupan itu seluas mungkin namun kenyataannya manusia suka juga memenjarakan enerjinya ke dalam minat atau keinginan dan kepentingannya sendiri.
Seharusnya soal self-interest dan disinterest dalam proses kreativitas (berkesenian) ini jelas. Namun ada lagi sudut pandang yang berbeda yang bersifat mempertanyakan dan terkesan menggugat untuk membongkar persoalan dengan pertanyaan, apakah konsep self-interest dan disinterest dalam berkarya itu layak menjadi pegangan yang meyakinkan? Apakah dengan kedua konsep itu memenuhi syarat untuk menunjukkan bahwa manusia memiliki “hakekat subjek” (pure human being) yang menjadikannya makhluk yang utuh bernama manusia lalu dengan demikian jelas membedakannya dengan yang non-manusia?
Apakah seniman adalah manusia utuh? Jika kita melihat konsep dikotomik antara self-interest dengan disinterest di atas maka jawabannya sangat mungkin demikian. Artinya seniman mampu menyelesaikan problem dirinya tanpa intervensi dan tanpa kesadaran bahwa dia adalah sosok yang dibentuk oleh manusia lain apalagi oleh mahluk dan benda-benda yang non-manusia.
Manusia tak pernah sendiri dan tak akan mandiri sepenuhnya selama dia disebut manusia. Seniman tak pernah dan tak mungkin hidup bagi dirinya karena pada hakekatnya ia tak punya hakekat sebagai manusia individu (untuh-lengkap). Seniman juga sebagaimana manusia yang lain merupakan bentukan sesama. Manusia merupakan kategori relasional antar manusia dan dengan yang non-manusia.
Dalam berkesenian, seorang pemikir bernama George Dickie, penemu teori “seni institusional”, berkeyakinan bahwa tak ada seni mandiri dengan napas bahwa seniman memiliki self-interestnya. Sebuah karya seni tak lepas dari minat institusional di mana masyarakat peminat seni, kritikus, galeri, kolektor, pedagang, pers, dan sebagainya merupakan sebuah jaringan institusional (sosial) yang menentukan apakah sebuah karya layak atau tidak disebut sebagai karya seni. Wacana self-interest dan disinterest itu tak bermakna alias omong kosong saja.
Sementara filsuf Prancis, Jacques Derrida, mempersoalkan konsep disinterested itu sebagai kategori antroposentris yang tak layak namun tak harus dihancurkan atau dimatikan dalam memahami proses berkesenian. Disinterest tak harus dipertentangkan dengan self-interest namun artinya makna kata “dis” di sini tidaklah mengacu pada interest tertentu atau pada satu interest dan dia bukan pula merupakan kategori akal. Kata “dis” mengacu pada beberapa atau banyak interest, plural. Kata “dis” merupakan kategori bahasa yang muncul secara ‘mana suka’ (arbitrar) sebagaimana kata interest itu hadir sebagai bahasa menurut bentukan sosial. Jadi, ketika seorang seniman meminati sebuah objek, minatnya itu sendiri bukanlah minat pribadinya namun minat itu tak lain merupakan jejak dari berbagai minat sosial yang mempengaruhinya sebagaimana sudah disinggung di atas.
Siapa subjek (aku)? Aku adalah orang-orang lain, personal maupun non-personal. Aku adalah jejak orang tuaku, jejak guruku, jejak temanku, jejak dari benda-benda yang kusukai, jejak moral tradisi, jejak moral agama, jejak rumus-rumus ilmu pengetahuan, jejak ideologi, jejak percintaan, dan sebagainya. Semua itu mempengaruhiku dan merajut membentuk “aku” (subjek). Aku seniman sekaligus aku yang bukan seniman, anda, anda, kalian dan mereka.
Minat pribadi (self interest) merupakan kategori plural yang menunjukkan bahwa seseorang bagaimanapun kelihatannya mandiri namun pada hematnya dia merupakan bentukan sosio-kultural. Seniman berkarya karena ada kondisi yang membangunnya demikian. Interestnya merupakan interest yang plural maka karyanya pun selayaknya bernuansa minat sosial pluralistik.
Membaca karya Patrick Wowor, Soni Irawan, dan Coky (juga karya-karya seniman lainnya) seni lukis mereka sekiranya lebih terbuka apabila dipahami sebagai gejolak sosio-kultural dalam diri mereka masing-masing. Dalam karya mereka pun ada jejak-jejak kita sebagai penikmat. Menikmati sebuah karya seni merupakan relasi antar-jejak atau seperti apa yang disebut Derrida sebagai “intertekstual”.
Sebuah karya seni merupakan karya “intertekstual” darimana arti “disinterest” itu menjadi sebuah alat analisa yang lebih terbuka. Kenapa? Karena tidak ada sebuah karya yang berasal dari sebuah ruang tunggal dari sosok yang disebut sebagai seniman mandiri total.
Objects are scattered, cluttered, lying around, in various forms and presentations, right before our eyes. All are seemingly awaiting reaction. Beckoning. Flirting. There is a sight distance. It is indeed the uniqueness of human, to create distance. Creating certain relations. Here emerge space and time, objectively or psychologically. Human approaches, enters, and plays within them. Such reaction becomes an emotional relation, aesthetic even.
The relations amongst human, object, space and time then become a world with special meaning.
Photography is the interpretation of the world above. The result of observation that sometimes requires ample time for reflect, but sometimes in a spontaneous, surprising instance. Photography is directly related to the issue and mastering of technology that also represents the existence of eyes beyond the sight distance. As part of the senses, they eyes have visibility limit – especially in recording objects, while the very awareness of this limit propels human to try to overcome it. This effort would then create a photo technology where the eyes are able to overcome their visibility limit specifically in recording or preserving that ability.
Philo Art Space, about to celebrate its 10th anniversary, is holding a photography exhibition by two photographers: Samy Zimah and Sutrisno Jambul. The interest shown for these two photographers are relatively new. Both aim at and create unique objects; create their own language. They enter into and reveal the relation amongst human, objects, space and time. They awaken the challenge on how to preserve the passion to perception.
Samy Zimah and Sutrisno Jambul both capture the focus on the objects that are their daily interest. Objects that are in general not attractive to the public. They are not starting their works from what are represented by the urban cacophony. They break the mainstream by overlooking the glitzy and massive urban objects. But that does not mean that they dismiss the temptation to question what lies beyond the reality of such objects. (more…)
Intentionality: A Group Exhibition
Creativity is a part of existential struggle that cannot be separated from the human daily experiences. Creativity, to be exact, is a result from an internalization of a very personal experience. Experience brings to human the awareness of a being that is impacted directly by the limits of life, especially in space and time. Experience awakens them as a being ensnared by time’s reckoning which pushes them to look back, at present, and the future and traps them as a ‘historized’ being. Creativity is directly connected to how human wrote their history and left their trails, which we then call human civilization. History is none other than trails of creativity.
Creativity and personal experience may be explained through the ‘intentionality principal’. No one is spared from their external world, their surroundings; things and human itself. This certainty makes human and their world a relational building that we call ‘the living world’. And such certainty is the result of human being a possessor of a set of potentials that enables them to create. Such potentials are called ‘intentionality’ (the awareness of the mind towards something).
‘Intentionality’ is a mind awareness that is different from the intellect mind that tends to be abstractive, mathematics, or one which is within or bound by the world of form. Intentionality is the ability of the mind to project outside oneself, the mind that touches and ‘plays’ with concrete objects. With intentionality, human is showing their sympathy and their empathy for the external world. They try to know and to understand their external world from which they acquire their experiences and their impressions of the world. People being able to make creations are because of their expressive responses to their impressions of the external world. Intentionality is the awareness of the concerted works of the mind, senses, and potential.
The Painting Exhibition at Philo Art Space at present are showcasing the works by three painters: Dedy Sufriadi, Agus ‘Baqul’ Purnomo, and Ibrahim under the same theme of INTENTIONALITY. They show how their creativity are the results of the processes of specific impressions that they have from their personal relations with their own external world. Each of them has different intentionality as of course, they have their own different internalization. Empathy, simpathy and the impression one takes when their attention is focused on something (intention) cannot be similarly measured even however similar they are in their creation or technical manipulation
Dedy Sufriadi is focused on plying objects or whatever. Every object is an aesthetic object. It is as if every object surrenders themself to be manipulated. Dedy’s experiences with the objects and in showing their unique intentionality do not make them manifested fully so that they are distanced from their own as experiencing subjects but make those objects as parts of their subjectivity just because the objects are not transparent.
Dedy constitutionalised objects by not placing them in the ever-calculated boundary order so that they show a regulated composition as an aesthetic achievement. His aspiration is none other than having those objects to be related closely to his technical manner, be it by dots, lines, colors, or words, that they represent a pretty complex relation modus phenomenon.
On the other side, Agus Baqul explored lines which are showing inter-related expressions, which are rain, gold, and numbers. Lines in the forms of numbers are the unique choice of Agus’ aesthetic-technique though they do not always materialised. Agus is a painter that seem to be immensely enjoying the composition for the fact that there are potentials to overcome their boundaries. Mathematically, numbers are not more than the base of sistemic composition formation but for Agus, they are also imaginary lines that can be contextualized according to his will of the heart.
We live in the phenomenon of the ever-intertwined various aspects which we are forced to accept for a long time with confiction that all aspects of live must be definite, including the relation of people and their nature. Rain, gold, and even numbers are parts of nature and in essence, humans are also part of nature. In this sense, Agus would like to show that the intentional relation is in essence is a modus of life’s richness.
The intentionality of Ibrahim is very challenging, infiltrating and becoming an internalization of being with nature. There is almost no visible line between the me-nature. Subjects are no more than lanscape where consciousness are manifested in the borderlines of the still and escotheric space-time. We are brought to the situation of relation between interiority and exteriority that shed their selfness and material gown.
Ibrahim’s paintings starkly represent the world of impression. Human in its selfness is melting and objects are no longer within touch like wall that creates the distance between me-object into a spiritually collective conscious mind. This does not signal the end of the journey but instead the more it shifts as is shown by the fibrant display of lines and colors.
The three painters have a similar aesthetic line etching technique in abstracting the impressions of their experiences. It has been three years since the first idea of combining them into one exhibition took form. Now here they are. They come from different cultural backgrounds: Dedy Sufriadi comes from Palembang, Agus Baqul from Java, while Ibrahim is from Padang. They happened to meet in the same art institution in Jogjakarta (Institut Seni Indonesia). Their own struggle with their distinct theme resulted in the similar nearness with intentionality of their own experience with their external world. Their intentionality are their own spiritual richness that they chose to share through their paintings in order to have the chance to be acquintanced with their viewer.
Bagaimana kita mengenal tanda dalam kehidupan sehari-hari dan atas tujuan serta intensi apa kita membutuhkan penandaan? Hashtag merupakan variabel baru dalam bahasa, sebagai sebuah turunan atau pengembangan cara berkomunikasi. Sebuah penandaan untuk berkomunikasi yang memuat atensi, jembatan sosial, serta kebutuhan akan afirmasi diri. Hashtag pun juga merupakan tanda bagi kekurangan akan perhatian dan kepedulian yang lebih besar terhadap diri untuk diperhatikan sebagai pusat, sehingga hashtag menandakan kebutuhan berlebih sang pengguna atas dirinya sendiri, hingga kemungkinan untuk berdialog dalam sebuah komunikasi dapat dipertanyakan kembali.
Keharusan pengembangan kode (kodifikasi) dari komputerisasi dan kemajuan teknologi informasi atau kemudahan bagi tanda sebagai fasilitas cultural global bertemu dalam subjektivitas pengguna hashtag. Adaptasi manusia terhadap teknologi yang dilihat dari sistematika yang mekanis antara manusia yang melihat nilai guna hashtag sebagai nilai tukar efektivitas dari kemudahan manusia mengakses informasi (hashtag sebagai tanda efisiensi dan pengerucutan data secara lebih tepat) atau pemberian jarak terhadap penggunaan teknologi tersebut di dalam nilai tanda. Hashtag hadir sebagai nilai simbolik atas kepuasan semu untuk mendapatkan atensi.
Kondisi kaum urban dewasa ini menunjukkan dengan sangat gamblang akan kebutuhan mereka atas atensi dan afirmasi diri. Melalui sarana berbagai media sosial hashtag digunakan sebagai semacam jalan pintas untuk memperkenalkan diri. Bahasa baru dalam ranah simbolik ini pun kemudian memunculkan fenomena oposisinya, bahwa ketika telah mencapai afirmasi publik yang dirasa cukup maka anti untuk menggunakan hashtag, hasrat akan kekurangan diri tadi seolah tercukupi. Negasi akan hadirnya hashtag ini pun kemudian justru semakin memperkuat kehadiran hashtag di ranah simbolik.
Kami berusaha untuk merespon sebuah fenomena aktual yang muncul dalam kehidupan kaum urban. Sebuah kodifikasi atau metode bahasa baru kaum urban untuk saling menunjukkan eksistensinya. Hasrat baru kaum urban untuk mempertegas dan seolah ingin merapikan berbagai hal yang berserakkan dalam kehidupan urban yang chaos. Gejala dan keresahan ini kami rasakan sangat perlu untuk dituangkan dalam bentuk karya visual yang komunikatif. Sehingga mampu mengajak pengapresiasi untuk membuka diskursus tentang sesuatu yang sesungguhnya tidak asing bagi kita, dengan balutan gaya visual yang segar dan muda dari kami.
(Arswandaru Cahyo, Andhika Wicaksono, Edgar Degas, Kahfi Eska Yusac, Okta Samid, Ryan Ady Putra) Catalog: #Hashtag
Titarubi is working on a history! She reveals a chain of period that is the initial and considered most important in the discourse of Indonesia’s history, which a lot of people are so fond of calling it as a part of a major program of ‘becoming Indonesia’.
Events of the past are now turning and become significant because of the thirst coming from different perspectives. Interestingly, to give meaning to history seems to be reserved for those who are involved in it through a specific, scientific method, and it would surprise us when there is someone who is giving meaning to history in a less common ways, especially the ways done by artists.
What drew Titarubi into history in her solo exhibition in Philo Art Space? Anything can be an object of interest for an artist. An event in history if of course just one of those objects, and there must be a certain, more specific object in that history that an artist wants to present. Spices are the object that is given Titarubi’s focus – how the peculiarity of that object emerges in different dimensions or concepts which are important to put forward.
An artist is also a person that works with a particular method of research, and that in their seriousness in doing so, they are not so different from other researchers going through theirs. The difference in presenting the result of the research as written documents or books and in a visual representation is an interpretation phenomenon that each has its own attractiveness.
There are at least two serious matters that Titarubi has to face in her endeavor to produce ‘the history of spices’: the availability of data relevant to the representation of the visual dimension of the objects she is working with, and how to create an iconistic visual aesthetic as a result of her ‘reading’ of the data.
It needed a tremendous spartan discipline or pure recklessness in working with such historic reality! It is the impression of Titarubi’s initial spirit to ensure that the theme comes true. It was fully understood that it would not be easy to prepare the materials needed to ensure the atmosphere of such historic event would be represented satisfactorily in both the affective and cognitive aspects. To collect thousands of nutmegs needed, for instance, Tita had to directly go to areas that produce them and had to accurately and diligently calculate the timing to work with them. Tita’s spirit reached its peak to fulfill the ‘technical-aesthetic demand’ of making those thousands of nutmegs into golden balls to be strung as cloak to be worn by a figure that is considered as the source of inspiration for the historic event.
To work with history is to read into the formation of the inter-woven events that in one part is explicitly shown while in other part only vaguely so, and even in other part is hidden; and therefore challenge oneself to be absorbed into their interpretation. Here is when the events of history become a ‘story’ which is open to be retold from various perspectives.
Titarubi intention is to make a narration of her focus on the history of spices. As we understand it, a narration is a way to connect one aspect into the others and create a relevance that turns those aspects into a flowing and complete story.
Different pieces combined into a complete element of the spices story that Tita wove are transport, episteme represented by written language or books, expression of faces expressed, and symbolical figure from which the spirit for mission and exploration emerges. For Tita, it is the inter-woven of these elements that has drained her of her creative process stamina, that her effort was like banging here head on something extremely hard and tangible, but yet unclear. But for whatever reason, it needs to be liquefied.
Transport represents the creation of the map and also the conquest of certain areas, or if it’s not too difficult to admit, the conquest of all territories on the face of the earth. Authority, knowledge, and civilization may only be spread if they are supported by adequate transport technology. Titarubi is boldly pointing to the ship bringing the fleet in to the conquest. In this context, transport also tells us the era’s creativity on how technology was created by brilliant designer putting the functions of spaces along with their aesthetic accessories.
Creativity depends on knowledge and all of its aesthetic representations. Knowledge gives the fundamental for legitimation of the practical condition for the establishment of certain position for those who control it. Knowledge and authority (or power), as we can see in the history of civilization, are two very different things but yet are supporting each other regardless of where they are utilized or whom are utilizing them. It is generally understood that knowledge and power are expressing metaphysic slogans such as ‘justice’, ‘equality’, ‘freedom’, and the likes.
Titarubi points out that knowledge, power and transport-technology have become choice of perspective that is explicitly shown in the history that she works with. In short, it is these concepts that propel Titarubi to express her aesthetic map into a daring visual narration of the spices history. And eventually, that narration can always be brought back to its major player, human, as the subject, witness and mainly as its victim: those human faces!
May the understanding of history through visual representation as Tita offers in her solo exhibition becomes a knowledge adequate enough to fulfill the basic curiosity that we have, though this may only be a piece of a vast stories of the past with the same theme. The review by DR. A. Setyo Wibowo would help us in understanding and to delve into the base concept of Titarubi aesthetic. Truly and impressive writing!
Happy exhibiting – and enjoy!
Titarubi born in Bandung, Indonesia, in 1968. Studied ceramic from the Department of Fine Art, Faculty of Art and Design, Bandung Institute of Technology. Her career as an artist started since 1988. She is now lives and works in Yogyakarta, Indonesia.
Titarubi worked with various mediums and her works takes in many forms – sculpture, installation, performance art, happening art, painting, graphics, etc. She also collaborated several times with musician, theater artist, dancer and filmmaker. The issues that attracted her attentions are about body, identity, gender, memory and colonialism.
Her works has been collected and exhibited in Asia and Europe, including Singapore Biennale, ZKM Center for Art and Media (Karlsruhe, Germany), Museum and Art Gallery of the Northern Territory (Darwin, Australia), Busan Biennale Sculpture Project, MACRO (Museo d’Arte Contemporanea in Rome), and Singapore Art Museum.
Outside her art activities, Titarubi was also active in the movement of releasing and improving the welfare of political prisoners in New Order Indonesia, as well as disaster response activities in Indonesia by setting up the Studio Biru in 2006, when Yogyakarta suffered the earthquake, and the anti-censorship movement. She became the founding member and actively involve inIndonesian Contemporary Art Network (iCAN) – an organization that promote public education and multi-disciplinary work in art and, recently, Forum Rempah – a forum focusing on the history of spice and its culture in Indonesian archipelago.
• “Discourse of the Past”. Philo Art Space, Jakarta, Indonesia
• “Surrounding David”. a commission work of the National Museum of Singapore, Singapore
• “Herstory”. Bentara Budaya Jakarta, Jakarta, Indonesia
• “Kisah Tanpa Narasi”. Cemeti Art House, Yogyakarta, Indonesia
• “Benih”. Via-Via Cafe, Yogyakarta, Indonesia
• “Bayang-bayang Maha Kecil”. Kedai Kebun Forum, Yogyakarta, Indonesia
• “Bayang-bayang Maha Kecil Puri”. Art Gallery, Malang, Indonesia
• “Bayang-bayang Maha Kecil”. Cemara 6 Gallery, Jakarta, Indonesia
• “Se[Tubuh] Benda”. Art Space, Yogyakarta, Indonesia
• “Yang Kelak Retak” (Will be Going Crack). Infant-Shelter Promotion for Tangerang, West Java, Manufacturing’s Labors Exhibition], Senandika Perempuan Women NGO, Pondok Indah Mall, Jakarta, Indonesia
• “Yang Kelak Retak”. Stage Cafe, Ratu Plaza, Jakarta, Indonesia
Selected Group Exhibitions
• “Suspended Histories”, Museum Van Loon, Amsterdam, the Netherlands
• Indonesia National Pavilion at the 55th International Art Exhibition of La Biennale di Venezia, Venice, Italy
• “Welcome to the Jungle: Contemporary Art in Southeast Asia from the Collection of Singapore Art Museum”, Yokohama Museum of Art, Yokohama, Japan
• “Pharmacide Arts: Fake medicine: The Disease of Greed”. Langgeng Art Foundation, Yogyakarta, Indonesia
• “FLOW-Indonesian Contemporary Art”. Galerie Michael Janssen, Berlin, Germany
• “Faux médicaments”. Espace et université de pharmacie de Hanoi, Hanoi, Vietnam
• “Faux médicaments”. Idecaf, Ho Chi Minh, Vietnam
• “Faux médicaments”. Université de pharmacie de Vientiane, Laos, Vietnam
• “Re.Claim”. National Gallery, Jakarta, Indonesia
• “Beyond the East: A Gaze on Indonesian Contemporary Art”. International cultural biennale Vie della seta (Silk Roads), Rome, Italy
• “Biennale Jogja XI”. Yogyakarta, Indonesia
• “Negotiating Home, History and Nation”. Singapore Art Museum, Singapore
• “1001 Doors: Re-inventing Traditions”. Ciputra Marketing Gallery, Jakarta, Indonesia
• “Rainbow Asia”. Hangaram Art Museum, Seoul Art Center, Seoul, South Korea • “Faith by Chen Hui-Chiao & Titarubi”, Sakshi Gallery Taipei, Taipei, Taiwan
• “The Anniversary of ARTI Magazine”. Podomoro Park, Jakarta, Indonesia
• “Space & Images”. Ciputra World. Jakarta, Indonesia
• “Oasis To Be”. Maha Art Gallery. Sanur, Bali, Indonesia
• “Masih Ada Gus Dur”. Langgeng Gallery, Magelang, Indonesia
• “Jakarta Contemporary Ceramic Biennale #1”. North Art Space, Ancol, Jakarta, Indonesia
• “Deer Andry”. Mess 56, Jogjakarta, Indonesia
• “My Body”. Grand Indonesia, Jakarta, Indonesia
• “China International Gallery Exposition (CIGE) Art Fair”. Vanessa Art Link, 798 District Beijing, China
• “Busan Biennale 2008 Sculpture Project”. APEC Naru Park, Busan, South Korea
• “Manifesto. Pameran Besar Seni Rupa Indonesia”. Galeri Nasional, Jakarta, Indonesia
• “The Arafura Craft Exchange : Trajectory of Memories Tradition and Modernity in Ceramics”. Museum and Art Gallery of The Nortern Territory (MAGNT), Darwin, Australia
• “Biennale Jogja IX 2007: Neo-Nation”. Jogja National Museum, Yogyakarta, Indonesia
• “Asian International Art Exhibition 22nd: Imagining Asia. Selasar Sunaryo Art Space, Bandung, Indonesia
• “Indonesian Women Artists: The Curtain Opens”. National Gallery of Indonesia, Jakarta, Indonesia
• “Thermocline of Art: New Asian Waves”. ZKM, Kalsruhe, Germany
• “China International Gallery Exposition”. Vanessa Art Link, Beijing, China
• “World Social Forum” Kasarani, MOI International Sport Center, Nairobi, Kenya
• “Common Link”. Vanessa Art Link, Chao Yang District Beijing, China
• “Singapore Biennale 2006”. Singapore
• “Masa dan Tanda-Tanda”. Vanessa Art Link, Jakarta, Indonesia
• “Biennale Jogja VIII: Di Sini & Kini”. Taman Budaya Yogyakarta, Yogyakarta, Indonesia
• “Summit Event Bali Biennale: Space and Scape”. Bali, Indonesia
• “Urban/Culture: CP International Biennale 2005”. Museum Bank Indonesia, Jakarta, Indonesia
• “Transindonesia: Scoping Culture in Contemporary Indonesia Art”. The Govett-Brewster Art Gallery, New Zeland
• “Barcode”. Gedung Societet Taman Budaya, Yogyakarta, Indonesia
• “Good Morning Meneer!” Pekan Budaya Hindie Kedai Kebun Forum, Yogyakarta, Indonesia
• “Objecthood”. Gedung Societet, Taman Budaya Yogyakarta, Yogyakarta, Indonesia
• “Pameran Seni Keramik Muda Indonesia”. National Gallery of Indonesia, Jakarta
• “Menimbang ‘Dunia’ Perempuan”. Gedung Societet, Taman Budaya Yogyakarta, Indonesia
• “All You Need is Love”. Nadi Gallery, Jakarta, Indonesia
• “Girl Talk” Edwin’s Gallery, Jakarta, Indonesia
• “Modernization & Urbanization Maronnier”. Art Center, Seoul, South Korea
• “Fusion Strength” Langgeng Gallery, Magelang, Indonesia
• “Women Exhibition”. Jakarta Art Festival, Bentara Budaya Jakarta, Indonesia
• “Jejak Tanah dan Api: The 3000th Years Terracotta in Indonesia”. National Museum, Jakarta, Indonesia
• “Flying Trough the Wall: Palu Art Forum”. Palu, Sulawesi, Indonesia
• “Media dalam Media”. National Gallery of Indonesia, Jakarta, Indonesia
• “A Million Bodies”. Makassar Art Forum, Sulawesi Selatan, Indonesia
• “Plastic (& Other Waste)”. Chulangkorn University, Bangkok, Thailand
• “Missing and Silent”. Lontar Art Gallery, Indonesia Alliance for Better Earth and Human Life Jakarta, Indonesia
• “Ceramic Exhibition”. Times Gallery, Bandung, Indonesia
• “Seni Keramik dan Grafis”. Gedung YPK, Bandung, Indonesia
• “Ceramic c\Craft Exhibition”. Bandung, Indonesia
• Plaza Education and Culture Departement Building, Jakarta, Indonesia
• “Ekspresi”. The Japan Foundation, Jakarta, Indonesia
• Nikko Art Gallery, Bandung, Indonesia
Selected Other Art Projects
• Collaborator and installation works for “Selamat Datang dari Bawah”, a dance performance coreographed by Fitri Setyaningsih. iCAN Art Space, Yogyakarta, Indonesia.
• Artistic director of “The History of Chidren Movement”, an exhibition on the 30th years of children movement in Indonesia. Jogja National Museum, Yogyakarta, Indonesia
• Installation works for “Shakuntala”, a theater directed by Naomi Srikandi. French Cultural Center of Yogyakarta, Indonesia.
• “A Million Bodies”, a performance. Jogja National Museum, Yogyakarta, Indonesia
• Installation works and assistant artistic director for Garin Nugroho’s film “Opera Java”
• “A Million Bodies”, a performance. Makassar Art Forum, Makassar, Indonesia
HIGHEST by Nyoman Sujana Kenyem
The Ultimate High Nyoman Sujana Kenyem – one of Bali emerging painters that holds a resilience of his own in dealing with the change of time. He does not inertly reside in the traditional space, but neither dose he merge himself totally into the ‘spirit of his era’. For Kenyem, creativity is not a rigid option for a complete and ultimate identity of a creation! He is flowing in the track that he tries to create which is evident in the uniqueness of his paintings.
This solo exhibition coincides with the 8th anniversary of Philo Art Space on 9th September 2013. It is such a delightful unison. To hold an exhibition is a convergent of ideas, vision, and imagination. Philo Art Space, that focuses on urban culture issues, is warmly welcomed by Kenyem, though he at first seemed to be a bit timid as he considered himself not a person that is not totally drenched in such culture.
Practically, Kenyem indeed does not touch the issues daily, but he is not that far away. As a figure that lives and was raised in Ubud – Bali, Kenyem is experiencing a unique cultural ambiance. Ubud represents a condition that is ‘everything there is’: traditional, modern, super-modern, quiet, calm, glittering, brown, yellow, white, black, et cetera. Ubud is a cultural condition that is beyond definition. In his exhibited paintings, Kenyem expresses the threshold phenomenon between the urban world icons such as building jutting at the skies and big, tall trees as icon of the ‘noble savage’ (the awe-inspiring wild cosmos), between city and village, between progression and calmness, and the likes.
The uniqueness of Kenyem icons are themselves like active figures: small flower, sun, moon, hill, mountain, street from which we can sense the presence of nature. Specifically, these icons take us to the realm of ‘subconscious’ as they are confronted with the construction of modern consciousness that is presented as order of high-rise building to illustrate the urban people superego.
In his paintings, Kenyem expresses his admiration for the urban phenomenon while also inserting subtle criticism. Kenyem aesthetic can be seen from the obsession of urban people with ‘height’ which actually is a part of life realm mystery: the moon, sun, mountain, et cetera. Such obsession is obviously the depiction of urban people ambition to flaunt ‘height’ as daily issues that may be considered as ‘the power’ to control life as a whole.
Height as obsession or superego of urban people? How can we explain this? Urban people are perhaps no longer care about origins as they can easily break a problem link as they are threatened by the complexity of such problem that appears in front of them. From tender age they are faced with a variety of properties to own, and it was not easy to own them without having to pass certain struggle.
However, height is a concept that refers to the competition to achieve ‘the ultimate high’. Modernity is triggering such competition though a narration of human history which eventually will end at the perfection point where they find ‘the absolute self’. ‘Absolute self’ may only materialize in a relation amongst other selves that form a society, whether based on location or not. City becomes a representation of social relation where their citizens come from various places and with their own hopes. And it is the place where all those hopes converge into an obsession to reach the highest place driven by superego, that we then call ‘city’ of the urban people.
Some of Kenyem’s paintings display the un-avoided urbanization: how the awe of a city with its high-rises represents a part of our own psychology that beckons us. But perhaps, it is a part of our potential self that accuses us of being an underdeveloped person unless we pursue our dream in the city.
City is made of a variety of existences that do not touch each other, as with the movement of particle without door (monad), but on the other hand, the city is presenting strong communities which to Kenyem, these communities are the place to hang hopes from the remains of the spirit of solidarity to reach the highest. Thus the spirit of solidarity that is generally considered irrelevant in urban setting as it is seen as a typical rural spirit is presented here boldly, and indeed it is worth to be noticed.
Kenyem seems to be optimistic that the glam of a city indeed offers promises that may very well channel our potentials to reach the ultimate high, but we must be also aware that, our own subconscious realm which holds the wild nature that is astonishing as well, is a condition that attaches to us and become a part of our existence, be it urban or rural people. Remember, the concrete jungle of a city is only an extension of a jungle with its trees. The most important thing is to have the self awareness that the spearing superego has the subconscious as its base. Happy exhibiting, Kenyem!
NYOMAN SUJANA KENYEM
Born 9 September 1972 in Sayan, Ubud, Gianyar Bali
Studied at STSI Denpasar (1998)
G13 Gallery, Kelana Jaya, Selangor, Malaysia
The Bicycle Diaries, Komaneka Art Gallery, Ubud, Bali
Embracing Nature’s Poem, Ganesha Gallery, Four Seasons Resort Bali at Jimbaran Bay
The Bridges of Nature, D’Peak Art Space, Singapore
Symphony of Life, Kemang Village, Jakarta
Fulmoon in Bali, Sawah Art Gallery, Singapore
Heading for the Heart’s Way, Gaya Fusion of Senses, Ubud, Bali
The Art of Nyoman Sujana ‘Kenyem’, Montiq Art Gallery, Jakarta
Dance of Life, Conrad Bali Resort & Spa, Nusa Dua, Bali
The Abstraction of Leaves, Jenggala Gallery, Jimbaran Bali
Leafscape, Danes Art Veranda, Denpasar, Bali
Moving with in the Shadow, Ganesha Gallery, Four Seasons Resort Bali at Jimbaran Bay
Galeri Nakita Stockholm, Swedia
The Arts Island Festival, BatuBelah ArtSpace, Klungkung, Bali
Sprites Art Project, Kintamani, Bali
The Straight Contour, Kupu-kupu Artspace, Jimbaran Corner, Bali
MahaArt Gallery, Denpasar
Gallery 7Adam, Singapore
Bersyukur Kita Tunggal Ika, Hadiprana Gallery, Jakarta
Sudamala: An Artistic Journey, Sudakara ArtSpace, Sudamala Suies & Villas, Sanur, Bali
Artists Museum Weeks, BatuBelah Art Space, Klungkung
On Going Echoes#3, Myanmar-Indonesia Art Exchange, Cemara 6 Gallery, Jakarta
Dialogue II, Gaya Art Space, Ubud, Bali
Dialogue, G13 Gallery, Kelana Jaya, Selangor, Malaysia
Bertiga, Ambiente, Jakarta
Abstract Moment, Galeri Elcanna, Jakarta
On Going Echoes#2, Myanmar-Indonesia Art Exchange, Tanah Tho Gallery, Ubud, Bali
Bali Making Choices, Mondecor, Jakarta
Nusantara di Atas Kanvas, Bank Mandiri Denpasar & Jakarta
Solitude of the Earth II, Bentara Budaya Bali
MindScape, Galeri Nasional Indonesia, Jakarta
Solitude of the Earth, Bentara Budaya Yogyakarta
Beijing International Art Biennale, Beijing, China
Integritas Jiwa Tampak, Bentara Budaya Bali
On Going Echoes#1, Myanmar-Indonesia Art Exchange, New Zero Art Space, Yangon, Myanmar
Return to the Abstraction, Toniraka Art Gallery, Ubud Bali
Apa Ini Apa Itu, Djagad Art House, Lepang, Klungkung, Bali
Ar(t)iculations, Hanna Art Space, Ubud, Bali
Bentara Budaya Bali
Gallery M, Daegu, Korea
Sampoerna Strategic Square, Jakarta
Borderless World, Srisasanti Gallery, Yogyakarta
Silent Celebration, Toniraka Gallery, Ubud, Bali
Ahimsa, Bentara Budaya Jakarta
Bali Art Now, Jogja Gallery, Yogyakarta
Pada Sebuah Pesta, V-Gallery, Yogyakarta
Entitas Nurani, Art Center, Denpasar, Bali
Green, Sanur Village Festival, Denpasar, Bali
Ar[t]mosphere, Sanur Village Festival, Denpasar, Bali
Global Warming Kunstkamera, GWK, Jimbaran, Bali
Reconsculture, ARMA Museum, Ubud, Bali
Change Seasons, Komaneka Art Gallery, Ubud, Bali
Pre-Bali Biennale, Raka Gallery, Ubud, Bali
Bali Biennale, Danes Art Veranda, Denpasar, Bali
Art Singapore 2005
Tree of Life, Sembilan Gallery, Ubud, Bali
Dasa Muka, ARMA Museum, Ubud, Bali
TAI-Black, STSI Denpasar
Canna Gallery, Jakarta
Puri Lukisan Museum, Ubud, Bali
Kuta News, Titik Dua Building, Denpasar, Bali
Jenggala Ceramic, Jimbaran, Bali
Sembilan Gallery, Ubud, Bali
Bali Art Contemporary, Bentara Budaya, Jakarta
Plawa Bali Resto, Sanur
Face from the Mount, Sidik Jari Museum, Denpasar
Reflection II, Darga Gallery, Sanur, Bali
Five Painters, Ina Gallery, Jakarta
Tiga Nam Gallery, Ubud, Bali
Mandala of Life III, Purnabudaya, Yogyakarta
7 Painters Bali, Cipta II Gallery, TIM, Jakarta
Three Painters, Komaneka Gallery, Ubud, Bali
Duo Sujana, Novotel, Tanjung Benoa, Bali
Bali Hyatt, Sanur, Bali
Mandala of Life II, Art Centre, Denpasar, Bali
Abstract Festival, Duta Fine Art, Jakarta
Reflection I, Darga Gallery, Sanur, Bali
Bali Art Festival XIX, Bali Art Centre, Denpasar, Bali
Mandala of Life I, Sika Art Gallery, Ubud, Bali
Three City, Monas, Jakarta
Expo 95, Jakarta
Nyoman Gunarsa Fine Art Museum, Klungkung, Bali
TATA Ubud, Bali
Peksiminas III, Jakarta
Sidik Jari Museum, Denpasar, Bali
Bali Art Festival XVI, Bali Art Centre, Denpasar, Bali
Peksiminas II, STSI Denpasar, Bali
Art Centre, Denpasar, Bali
The Best Artwork Tugas Akhir STSI Denpasar
The Best Painting Kamasra Prize, STSI Denpasar
CITY – a representation of hard work, harsh competition, a place where human expose and exploit and being exploited – with all its potentials.
City people live in a time machine. Their movement from one point to the other is measured and defined. There are moments of stillness but alas, it is not for meditation or reflection but merely for rest.
Welcome to the Time Machine!
Sugihartono and Purwanto SPA recorded the urban people phenomenon in their own perspective on canvas, as they are indeed painters who are dealing daily with the urban time, in an exhibition titled TIME MACHINE in Philo Article Space, June 22nd to July 6th.
In essence, time machine is a part of human life. Its significance is made different by those who are bound to it and those who are not, whether consciously or not consciously. Urban people in their routine cannot betray their own being in the time machine. Work as a process is not more valuable than the end or objective. The time machine pushes and shoves people to forget their existence as life’s subject of narration who should have been able to avoid the push and look for their own meaning of being.
Time machine produces effectiveness and efficiency, by optimizing the human self apparatus: their mind and moreover, their senses. Human may be awed by their own creations of science, technology, structure of society, institution, and work system which are so transparently apparent in front of them, but they lost their ability to look inside their being. The time machine rigidly points human to the direction straight ahead with only one aim: the maximum result!
Sugihartono vividly describes how the time machine painstakingly reaches its objective in every single person of urban people. The building, road, skateboard, stilt, and everything else are just representations that can be read as sign, while it is clear that behind it, it is the time machine that enables people to be there – moving without its individual subject.
It is revealed to us clearly each day that life at its face value can be seen on the street, at work, in malls, cafés, which present people merely as moving figures. Sugihartono unmasks the exteriority and the interiority of the time machine; the urban life and the time machine itself, where people are going to and fro without regards to each others, which in itself is a repetitive problem that gives raise to the classic question: what is the meaning of life?
Time machine concludes the meaning where human is now free of its being (ontologically). Therefore the issue of human dualism of body and soul melts into the time narration that demands such work maximization! Without doubt, all Sugihartono work offer us with implication that we are now inside the mechanistic repetition of time; carried away in the time movement that spies on the direction we are heading every time we take a step. Nothing is left?
Time is the only witness that could testify that we or our live was there and it amuses us to search for the source of that life. Generally, we already understand this concept of time that we call ‘nostalgia’. It is most probable that to Sugihartono we are still in possession of such memories of the past and it raises the question of whether time machine can totally obliterate the individual person significance.
In this regards Sugihartono tickles us on the ‘modification’ modus that signify whether nostalgia is a hidden energy that would reveal itself and present us with human creativity in overtaking the mechanistic time machine? That work is purely for the sake of work without giving any new meaning to it? That human work for a reason but then abandons the reson itself because of time constraint in their work. Ironic!
Meanwhile, Purwanto SPA has the perspective on city exteriority which he sees only as the representation of the past in its semiotic nostalgia. Lest we forget that a city has its own time of abundance but that it has been uprooted from its mythical time to be replaced by time machine.
There’s sarcasm in Purwanto SPA’s point of view, in which that at its core, urban people are still pretty much mentally ‘backward’! People who initially so ready to overcome time but in the end are rendered helpless by their own apparatus failure to be ready. But city to Purwanto SPA is an aesthetic exterior due to the contrast of those very ‘slickness’ and ‘backwardness’. Moreover, city is seen as a significance of the merge of traditional icon and global capitalism icon just like wayang personage on dollar stage.
Urban people establish the kingdom of pleasure on behalf of sport, leveling down woods to make room for hitting on small balls while socializing, and yet still have the need for those science-fiction (or mythical?) amusement from crop circle to represent the unexpected stage of previous life?
Purwanto SPA’s critic stabs right at the heart of the issue of the heart of the city and the heart of the urban people are in their own ambiguity within the threshold of city-village, anxiously wishing whether in such ambiguity there is still hope of overcoming the mechanistic time machine that will enable us to party with individual creativity?
Welcome to time machine.
Tommy F Awuy
It is born out of sign. Human creations, whatever those may be, never materialized from vacuum. Arts are creations resulted from a relational connection between passion and stimulants. This connection is usually called as signifying process and this process runs at a very internal level, in the aesthetic battle of the creator.
Philo Article Space is presenting paintings and sculpture in the theme of Urban Signs. The space and time or condition that we call ‘urban’ is certainly an internal process of specific signs of all the parties involved in it, whether they are aware of it or not.
An artist has an ideal picture or concept of the art world in their mind (signified) and with all the sensory talent that they have, they capture the external signs (usually called signifier). It is this concept and the sensory talent that form the foundation of the knowledge (the signifying process) as a creation. Put simply, a creation is none other than a ‘system of signs’, not a mere idea or material.
A product, which in this context is an art work, as a ‘system of signs’ may only be understood through language. But we shall not see language in its narrow sense as a means to communicate, but to see it as a signifying (signifier – signified) process occurring in a self. To observe a creation of art is comparable to trying to read or interpreting the language of the creation, and in this effort to understand itself we are going through the signifying process, as we put meaning to the language of the creation. Our interpretation may arrive at the same meaning the creator invented, but it may as well be entirely different.
The exhibition under the theme Urban Signs is presenting the works of five artists, sculptors and painters. Painters are Priyaris Munandar, Joko ‘Gundul’ Sulistiono, Sujarwo, Deny Bojong, sculptor is Lenny Ratnasari Weichert. Each brings their own ‘language’ but all are united in their intention to convey their ‘readings’ of the phenomenon occurring in their daily life: the urban phenomenon.
The paintings of Priyaris Munandar show groups of human beings with erect objects in certain measurement. These groups do not form a random configuration, but they are in a formation that looks as if they are faced with a serious condition and that they are acutely aware of their own position. It is a realistic representation which reminds us that we are at all times in an alert-ready situation and that we may be at any times under threat. But the groups do not constantly explicitly separated, but mingle when it is obvious it is not possible to avoid it. Urban space is basically a competitive relational spirit!
The paintings of Joko ‘Gundul’ Sulistiono bring forward festivity that we often see in city murals. People are constantly moving forward, their mind focused on the way ahead, trapped in their own choices and surrounded by the products of modern technology, information, transportation, and many things. But by replacing the modern human with the archaic characters of the Punakawan, we are then perturbed by the question: are we mentally capable of dealing with such sophisticated environment?
The above question may find its answer in the creations of Sujarwo which are presenting the optimism of today and the tomorrow. Our daily life is indeed a labyrinth, we trod without the assurance of finding a way out. It is in our urban disposition to strive to move forward, even upward reaching the sky, with the ambition of building our castle in heaven just as it was in the story of the ancient Babel tower.
But this optimism does not free us from the fact that humans, no matter how hard they try, are still walking with their feet on the ground. Their wing constructions are too fragile to enable them to fly to the sky as they are not yet settled their problem with the land they step on.
Lenny’s sculptures show figures of women still having trouble with their own existence. This is a phenomenon that cannot be freed from the history of women, especially on sexual relations. The long history of sexual relations or gender discrimination has provided its shares of women’s depression in ‘women’s fate’ related to their body. It is the body of women that gives life to life, but it is also the body that has been subjected to abuse and subjugation throughout history.
In contrast, Denny Bojong presents the idea that urban space is split into the marginal and the other. And in this marginal space there are male bodies that are hopeless, feeble, resigned, and complacent for the fate that would decent to their bodies. What causes this space divide? Of what victim is this? Returning to the beginning of our curatorial, looking at the optimism that Priyaris Munandar is infusing in his works, perhaps we find the answer that no matter what, competition would not end! There are many signs that propel the competition, but it seems that the urban space is concentrated and divided by the capitalist interest, as seen by the merriment and glimmer of its content.
This is the second of Dedy Sufriadi solo exhibition in Philo Art Space, under the theme ‘The World of Words’. It is a big theme with reference to the understanding of a world which is full of meaning. It’s been ages the Ancient Greeks called the world with the word ‘logos’, which may also be taken for ‘word’ or ‘saying’, or in a broader sense, as ‘system’, ‘order’, ‘orderly principal’ or similar notes. With this understanding, we came to the awareness that the emergence of knowledge depends heavily on the ‘logos’, which in Aristotle’s philosophy is shaped into a weave of sentences that is called ‘logics’.
To Dedy Sufriadi, logos is visualized as the line that founded the emergence of facade. Logos, at its base, is abstract, a world of forms, that may be approached only through communication, to see how logos shows itself. The universe, all matters that we see through as a form as a concept, are basically logos.
Logos, as is language, is a manner in which we express our intention, our objectives, or our desire. Numbers and letters are a part that is visual from logos, one that enables us to convey or to understand something.
Dedy Sufriadi chooses logos in its representation as letter and sometimes numbers to show that the world of arts is a world of flexible discipline, that lines can be formed into whatever we wish it. With letters he is free to rewrite the historic text, text of Descartes, Nietzsche, and the others, as an achievement of form that is not merely drawing lines.
“A world of words” is a world full of variety, and we should take it away from the limitation of language that imprisons the meaning. As is the understanding of meaning should not be merely comes from objects and must return to the objects, as if the words here are only medium – descriptive. Words create their own meaning and, when confronted with abstract words, the meaning goes beyond the reality itself. Words lost their referential, unless we pursue the meaning by the words that relate to them.
“A world of words” is an imaginary form with layers of meanings that multiply itself as we read or try to interpret it. Dedy Sufriadi paintings blatantly present the imaginary layers and create a textual reality whose daily presence is available to be read continuously.
In his first solo exhibition in Philo Art Space, under the theme ‘Hypertext Discrepancy’, Dedy has shown his understanding how we are living in a world where the meaning of text is so elusive and hard to define. This may make us feel ambiguous towards the reality, but an optimistic respond to ‘world of words’ would offer us the passion to give meaning to our own life, which is no different than vast textual spread rich in meaning.
‘A world of words’ as an ‘imaginary form’ reminds us of the creative condition when our minds wander to all corners of time and geographical places. To create is no other than producing new meaning to words, while also adding to and enrich the previous textual layer. With this concept, we are free of the burden of assumption of truth that goes beyond time and space that we should take care of.
To create and to be always within the world of words, but also challenging it to give rise to new meanings. Words can be a reality that dictate our selfness if we use it just to represent the reality, but not if we understand them as an imaginary form with which we change meaning if we desire so.
With “a world of words” Dedy Sufriadi is inviting us to not just stand in front of reality, but to copulate with it to produce newness that we all yearn but only if we yearn so. To create with logos! Within words we deconstruct words and create new meanings!
2012 Finalis UOB ART AWARD
2009 Finalis Tujuh Bintang Art Award 2009, Yogyakarta
2008 Lima karya terbaik Kompetisi Seni Visual “Setelah 20 Mei”, Jogja Galery
2006 Juara III Lomba Graffiti di Yogyakarta
2004 Juara III Lomba Graffiti di AMPTA Yogyakarta
2000 Finalis Philip Morris-Indonesia Art Award
1999 Finalis Nokia Art Award
1998 Finalis Winsor And Newton Art Competition
1997 Karya Seni Lukis Terbaik Feksiminas IV Yogyakarta
1996 Karya Sketsa Terbaik Fakultas Seni Rupa ISI Yogyakarta
Karya Seni Lukis Cat Air & Akrilik Terbaik Minat Utama Seni Lukis, Fakultas Seni Rupa ISI Yogyakarta
Selected Solo Exhibition(s)
2012 “The World of Words” Philo Art Space, Jakarta
2011 “The Body Of Text” Shyang Art Space Magelang
2010 “Hypertext Discrepancy”. Philo Art space Jakarta
2009 “Hypertext” tembi contemporary Yogyakarta
2007 “Re-READING”, Melia Purosani Hotel Yogyakarta
2007 “UN-Logical”, Jamaican Bar Yogyakarta
2003 “EKSISTENSIALISME”, FSR ISI Yogyakarta
2012 ECO STROKE ART CAMP. Marari Beach Kerala India
Selected Group Exhibition(s)
Pameran “ THE SPEAKING HOUSE” Durbar Hall Gallery, India
Pameran “Live Inn Harmony” warung YAYA ARTSPACE sanur Bali
Pameran “ [s]mallseries” I AM artspace yogyakarta
Pameran “Tanda Mata” Bentara Budaya Yogyakarta
Pameran “Silaturahmi” Bentara Budaya Yogyakarta
Pameran “Isyarat Langit” di GO ARTSPACE Surabaya
Pameran ARTJOG12. Taman Budaya Yogyakarta.
Pameran UOB ART AWARD #2. Jakarta
Pameran “Free kick” Royal Plaza Surabaya
Pameran “Tanah air pusaka” bentara budaya Yogyakarta
Pameran “The cock still fighting” syhang art space magelang
Pameran “UOB art award” Gedung UOB jakarta
Pameran “Magelang Young Collectors” RAC Magelang
Pameran “ Kembar Mayang”, Museum Widayat Magelang.
Pameran “Ruang Yang Sama” Museum H.Widayat Magelang
Pameran “Magelang Young Collectors” RAC Magelang
Pameran “ Kembar Mayang”, Museum Widayat Magelang.
Pameran “Ruang Yang Sama” Museum H.Widayat Magelang
Pameran “Meeting Point” Taxsu Art Galery Bali 2012
Pameran Food And Paper, RAC Magelang
Pameran Soulscape, The treasure Of Spiritual Art, Galeri Nasional
Pameran Soulscape, The treasure Of Spiritual Art, Sangkring
Art Space Yogyakarta
Pameran ARTJOG 11, Taman Budaya Yogyakarta
Pameran MY SPACE, philo art Space Jakarta
Pameran Intelectus Sindicate. AJBS Galeri Surabaya
Pameran Mandiri Prioritas Jakarta
Pameran Dies Natalis ISI Yogyakarta XXVII. Gallery ISI Yogyakarta
Pameran “Unity: The Return to Art” at Wendt Gallery new york. USA
Pameran “Tramendum “philo gallery. Gallery nasional jakarta
Pameran “lets fly an arrow,” tujuh bintang gallery yogyakarta
Pameran “soulscape, treasure spiritual in art” Toni raka Gallery Bali
Pameran “ke-Bersamaan” Galery Biasa Yogyakarta
Pameran “Soulscape”, Taman Budaya Yogyakarta
Pameran “Gerakan Seni Abstrak Indonesia” Taman Budaya Yogyakarta
Pameran “Diorama kedamaian”hotel melia purosani yogyakarta
Pameran “Hiperlink” Tujuh Bintang Art Space Yogyakarta
Pameran “The Dream”, Tujuh Bintang Art Award, Jogja National Museum. Yogyakarta
Pameran “Subject Ekpose(s)”. Pure Art Space, Jakarta
Pameran “Cogito” Philo art space Jakarta
Pameran “Selayang Pandang Bumi Sriwijaya II. Yogyakarta
Pameran “Guruh Umar Bakri”, Jogja Gallery Jogjakarta
Pameran “Halo-Halo 1”, Manila Contemporary, Manila Philippina
Pameran “Fresh 4 U”. Jogja Galery Jogjakarta
Pameran “Realitas #3”, Ketik Reg Manjoer. Sangkring art space yogyakarta
Pameran “HEADLIGHTS 2009”. VWFA Kuala Lumpur Malaysia
Pameran “Golden Box #2”, jogja gallery Jogjakarta
Pameran “All I Want For Xmas” Manila Contemporary Manila Philippina
Pameran “Versus”, Galeri 678 Jakarta
Pameran “Grand Opening Red Sea Gallery”, Australia
Pameran “Too Much Painting Will Kill You” di Tujuh Bintang Art Space Yogyakarta
Pameran “Perjalanan Seni Lukis Abstrak # 8”, Taman Budaya Yogyakarta
Pameran Rumah Damawangsa Jakarta
Pameran “Setelah 20 Mei”, Jogja Gallery Jogjakarta
Pameran “Fragmentasi”, Philo Art Space Jakarta
Pameran “Perjalanan Seni Lukis Abstrak Indonesia # 5”, Semar
Pameran “Optimis #2”, Galeri Biasa Yogyakarta.
Pameran Bersama, Melia Purosani Hotel Yogyakarta
Pameran “Seni lukis Abstrak #4”, Galery Nasional jakarta
Pameran Lukisan “Abstrak” di Melia Purosani Yogyakarta
Pameran “Through The Limit”, Koa’s Café and Dining Yogyakarta
Pameran Bersama, Hotel Melia Purosani Yogyakarta
Pameran Seni Rupa “Vice Versa”, Taman Budaya Yogyakarta
Pameran di Four Season Hotel Jakarta
Pameran di Melia Purosani Hotel Yogyakarta
Pameran di Museum Ulen Sentalu Yogyakarta
Pameran lukis dan patung di Jogja Ekspo Center Yogyakarta
Pameran di Jogja Village Inn Yogyakarta
Pameran Grand Opening Rumah Seni Muara
Pameran Kelompok 8 di Benteng Vredeburg Sanggar Bidar
Pameran #2 Issue di Rumah Seni Muara Yogyakarta
Pameran Membaca Ruang-Ruang di Rumah Seni MuaraPameran
Pratisara Afandi Adi Karya 2003
Pameran Launching Jurnal Seni Rupa SIDI
Pameran lima pelukis Yogyakarta, Gallery Proklamasi Jakarta
Pameran “Fathomless 7”, Mien Gallery Yogyakarta
Pameran di Etnik Kafe Yogyakarta
Pameran Seni Lukis “Kelompok 8 Sanggar Bidar Sriwijaya”, Benteng Vredeburg Yogyakarta
Pameran Seni Lukis “Imajinasi dan Warna“, Bizete Gallery Jakarta
Pameran Seni Lukis Bertiga di Dirix Art Gallery
Pameran Dialog Multi Rupa Sanggar Bidar Sriwijaya di Palembang
Pameran “Realitas II” Kelompok Greget, Purna Budaya Yogyakarta
Pameran Art Festival Bizette Gallery Jakarta
Pameran Total Indonesia Art Award di Jakarta
Pameran Seni Rupa Perupa Muda Yogyakarta
Pameran Bersama, Dirix Art Gallery Yogyakarta
Pameran “Kelompok Solusi 4”, Melia Purosani Hotel Yogyakarta
Pameran Seni Rupa Gelar Seni Pertunjukan Rakyat, ISI Yogyakarta
Pameran FKY Yogyakarta
Pameran Seni Rupa Islami KMI ISI Yogyakarta, Masjid Istiqlal Jakarta.
Pameran Seni Lukis Philip Moris Indonesian Art Award di
Gallery Nasional Jakarta.
Pameran Seni Lukis “Art Festival”, Bizete Gallery Jakarta Pameran
Seni Rupa “Campur Sari”, Gallery ISI Yogyakarta
Pameran Seni Lukis Winsor And Newton Art Competition Bandung
Pameran Pekan Kesenian Indonesia, Yogyakarta
Pameran Dies Natalis di ISI Yogyakarta
Pameran “Dialog Multi Rupa” Sanggar Bidar Sriwijaya,
Purnabudaya YogyakartaPameran Kelompok Solusi 4, Dirix Art Gallery Yogyakarta
Pameran Seni Lukis Bizette Gallery Bali
Pameran Seni Lukis, LIPPO BANK Jakarta
Pameran Seni Lukis Nokia Art Award 1999, Jakarta
Pameran “Introspeksi”, Sanggar Driya Manunggal Yogyakarta
Pameran Tujuh Pelukis Muda, Hotel Radison Yogyakarta
Pameran “Bercermin”, Sanggar Suwung Yogyakarta
Pameran Seni Lukis Mall Pondok Indah Jakarta
Pameran “Refleksi Zaman”, Benteng Vredeburg Yogyakarta
Pameran Peksiminas IV, ITB Bandung
Pameran “Realitas” Kelompok Greget`95, Purna Budaya Yogyakarta
Pameran Seni Lukis, Pandean Gallery Yogyakarta
Pameran Seni Lukis, Gallery Kencana Yogyakarta
Pameran Seni Lukis, Gallery Djuruk Yogyakarta
Pameran Sketsa di Sasana Ajiyasa FSR ISI Yogyakarta
Pameran Kelompok Greget, Sasana Ajiyasa FSR ISI Yogyakarta
Pameran “Dialog Dua Kota II ISI-IKJ”, Purna Budaya Yogyakarta
Proyek Seni Publik
Lukis Dinding Di Taman Parkir Serangan Yogyakarta
Lukis Relief Di AMPTA Yogyakarta
Lukis Dinding Di IKIP Yogyakarta
Lukis Dinding “ Kareda” Yogyakarta
Lukis Dinding Di AMPTA Yogyakarta
PhiloArt Space is celebrating its seventh anniversary in September 9, 2012. The years have been a meaningful period for us in our journey walking through the world of Indonesia’s arts, especially in the path of contemporary arts history. PhiloArt Space does not play in vast areas such as other galleries. We focus on only the contemporary arts specializing in urban themes and issues.
The spotlight on ‘urban culture’ is for contextual reason only. Urban issues or themes have given artists a lot of events, cases and issues that are challenging to be responded to; it is a general understanding that the changes in the society and the changes in the whole nations are coming from the changes in the urban space. Artists are challenged to take a stance about all the changes: either they have to go with the sweep of the flow or they gather their resolve and stand against it no matter how impossible it may seem.
Urban culture is a representation of many faces of expressions. Differences become the logical base for relation and movement extension. Every time we are offered a myriad of displays; presented in various motives, intentions, methods and other habits of people with different education and cultural background; displays which make urban space so elusive to define.
However, it is from this complexity of the urban faces that we all came to the acknowledgement that those expressions are phenomenologically driven by the desire to fulfill people’s ‘well being’, and therefore the intentions, dreams, identities, strategies, communicative relations, competencies, and all other things cannot be taken in half focus.
The very abundance of urban faces makes it seemingly without expression. Seemingly – as we are at any time may be presented with unexpected possibilities; events that happen without notice which force the emergence of something that we call self-identity or the culture of self representation at that moment – in the events of violence, either physically or symbolically. But we would soon be back at our initial realization that the urban complexities are something that cannot be avoided and that we do not need to bathe them with too much attention. As if they are not serious enough to fight for.symbolically. But we would soon be back at our initial realization that the urban complexities are something that cannot be avoided and that we do not need to bathe them with too much attention. As if they are not serious enough to fight for.
For seven years PhiloArt Space has been actively representing various urban themes: time and space, humanity, relationship, and many others. We have been very happy with the enthusiasm and the great appreciation that the society has paid to the artists – artists who are quite new in the arts life; those who we have represented in single or group exhibitions.
For our seventh anniversary we intentionally do not carry special theme. We would just call our theme ‘Anniversary Expressions’. Some of the artists have had their works exhibited in PhiloArt Space, but some are new names; all with their own unique styles. Our thanks to Cubung Wahono Putra, Doel AB, Tri Pandrong, Sardono W Kusumo, Edo Pop, Bambang Wibawarta, Nurmilisani, Samy Zimah, Farid Shikumbang.
Tommy F Awuy
Sardono W Kusumo, Doel AB, Samy Zimah, Nur Milisani, Edo Pop, Cubung WP, Farid Shikumbang, Tri Pandrong, Bambang Wibawarta
9 – 24 september, 2013
Rhythm of Art – Erizal As
Rhythm is omnipotent in our life; it is there in our heartbeat, in every breath we take, in our emotions, and in our perceptions; it’s there in the chirpings of the birds, in the ocean’s waves, in the sound of water falling; in almost everything that surround us. It is inherent in sound, movement, lines, and colors. It is rhythm that gives meaning to life. In the conscience of the ancient Greeks, cosmology was none other than the presence of a unified interplanetary rhythm, and they built it as a musical conception in philosophy-mathematical form.
Where our feet lead us, where we look, where we hide, where we play, and all other places are none other than rhythm! Such awareness evokes people to organize rhythm using their unique abilities and to make it a string of narrations presenting something that to one’s perception is kept hidden and shrouded. What is the meaning of this? Not all understand what one says, does, thinks or whether it is purposely kept as secret, and that’s the reality – rhythmic reality.
Rhythm is a choice of challenge that young painter Erizal AS taken for his second solo exhibition in Philo Artspace. To present this theme does not come naturally; it needs a close and serious look at his paintings to see that the characteristics are ripe with rhythmic nuance.
In the timeline of Indonesian art history, Erizal AS is still considered as a young painter. But he has made a name in the exuberant contemporary paintings scene in the past five years. His avidity in his active participation in many exhibitions and painting competitions locally and internationally is a sign of a promising serious creativity and productivity. It would be right to say that Erizal is a painter that has established his distinctive character and language.
In this exhibition, Erizal AS would like to convey rhythm that is present in his daily life, in a subjective way, of course, and without the technical reason to modify rhythm and putting it into what we call music. What is interesting to note is his effort to create relations of meaning amongst the musical instruments, human figures, and nature. The significance of the three elements is evidence in the expressive conspicuous strokes of his paintings – as if they are catharsis intent on giving nothing to spare.
The meaning shaped by the relations of rhythm, human, and nature in Erizal’s paintings visibly shows a life narration that strongly represents figures which are dynamic, emotive, and clearly open. His choice of musical instruments such as the piano, guitar, saxophone and violin is merely to show that there are differences when it comes to individualistic expressions.
And what meaning could we expect from the narration of live by rhythm, or in this case, from music? In music rhythm we can find different breath of life narrations: tragedy, comedy, and irony.
People in general would desire to have life esthetically managed, as to find harmony. What are the prerequisite for such harmony? It is none other than the ability to align the tragic, the comic, and the ironic elements! But that would not be the final answer, as we would then be faced with another question: where do tragedy, comedy, and irony come from? The question was indeed the biggest challenge for ancient Greeks thinkers, which eventually gave birth to the discipline of thoughts that we now know as philosophy!
Reality is born out of rhythm! It comes from the human efforts to manage rhythm into various elements and domains of life. Without rhythm, all we have is chaos! Cosmology is believed to be a harmonious orders of strings of rhythm, from which human sees the meaning of life. When Pythagoras interpreted rhythm that he believed to be present in every planet through mathematics, as was written in the early paragraph of this writing, human endeavor to find harmony was believed to have reached a huge success! Music represents logos. The very principal of reality, order, structure and the harmony itself!
The importance of music that represents logos is seen as the foundation of Western civilization, culminating with Friedrich Nietzsche thinking in his book “The Birth of Tragedy”. Nietzsche reexamined the harmonic problem that was identified with the character Apollo and chaos with Dionysius. The problem there lies in how the characters are triggered, with the very thing that we have mentioned over and over, rhythm – music!
It seems to be such a simple matter, how we interact or relate to rhythm – though this matter is hardly the exclusive concern of only few people. Erizal is only one of many painters that happen to be ready to interact with rhythm using painted media. He expresses that rhythm is spontaneous, energetic, hyphenated while at the same going in paradoxical circle. We wonder where in life’s narrative those expressive rhythms bring us. We may be brought to tragedy, irony, or comedy through whatever rhythm we interact with. It is impossible to define the rhythm of life permanently. Rhythm will let us float, crawl, submerged, planted, or whatever.
Erizal seems incline to present that it would be possible for the rhythm of life to adjust to our own experiences, and how we put our own meaning to them. We can see that in how as a painter he has so freely chosen the musical instruments that conform to his aesthetic feeling.
Rhythm is our very own life!
Let’s enjoy the exhibition.
Tommy F Awuy
Curator Catalog: Rhythem of Art
Padang Panjang, 3 februari 1979
High School of Fine Arts in Padang 1994-1997, Faculty of Fine Art, Indonesian Institute Of Art, Yogyakarta.
– 10 Finalists, Lomba Keterampilan Siswa Tingkat Nasional, Jakarta
– Painting Contest, Lomba Lukis Wajah pahlawan, museum Aditiawarman, Barat.
– Finalists Philip Morris Art Awards V.
– Best Work at Dies Natalies XVI ISI Yogyakarta.
– Nominated as one of 10 Best at the painting contest Selekda PEKSIMINAS VI.
– CP Open BIENNALE 2003
– Finalists Indonesian Asean Art Awards.
– Finalists Indofood Art Awards.
– Finalists Jakarta Art Awards, 2006
– As 20 nominees of visual art competition of The Thousand Mysteries of Borobudur
2012 Rhythm of art, philo art space, jakarta
– Solo Exhibition ‘lines Project’ Koong Gallery, Jakarta
– Painting Exhibition, FREEKICK, Convention Hall Royal Square, Surabaya
– Islamic Visual Art Exhibition “BAYANG” National Gallery, Jakarta
– Painting Exhibition Homoludens # 2, Emmitan CA Gallery, Surabaya.
– Painting Exhibition ‘My Space’, Philo Art Space, Jakarta
– Painting Exhibition ‘Intip’ Jakarta Art Distric, Jakarta
– Painting Exhibition ‘ City of west, Green Art Space, Jakarta
– Painting Exhibition, Nusantara diatas kanvas, Sampoerna Strategic Center, Jakarta
– Group Exhibition ‘Bakaba, Sakato Art Comunity, Jogja Nasional Museum, Yogyakarta
– Group Exhibition Citra Ekspresi Jogja 2.Hotel Shultan, Jakarta
– TRAMENDUM’ Philo Art Space 5th Anniversary, National Gallery, Jakarta
– Painting Exhibition ’ TRAP(ESIUM)’ Edwins Gallery, Jakarta
– Painting Exhibition ’Charity for Yayasan AIDS Indonesia, Linggar Gallery, Jakarta
– Painting Exhibition “ Borderless World’ Second Unniversary of Srisasanti Gallery, Yogyakarta
– Painting Exhibition ‘Exposign’ Jogja Expo Center, Yogyakarta
– Painting Exhibition ‘Celebrating The Differences, Elegance Art Space, Jakarta
– Painting Exhibition ‘Biasa Gila’ Biasa Gallery, yogyakarta-
– Painting Exhibition ‘ Survey’ Edwin’s gallery, Jakarta
-”Boys|Girls” Contemporary Art, Youth life and culture in two part, Edwin’s Gallery, Jakarta
– Painting Exhibition ‘Hulu Fantasi’ One Gallery, Jakarta
– Painting Exhibition ‘ SENSI ” Philo Art Space, Jakarta
– “ Manifesto” National Gallery, Jakarta
– Painting Exhibition ‘ Sin Sign’ Gracia Art Gallery, Surabaya
– Painting Exhibition ‘ Texture dalam Lukisan’ Jogja Gallery
– Painting Exhibition ‘Jogja Art fair’ Taman Budaya Societed Yogyakarta
– Painting Exhibition ‘Kuala Lumpur Art Fair’ Malaysia
– Painting Exhibition “kembali ke Gampingan”, ex FSR ISI yogyakarta
– Painting Exhibition “Exsisten” jogja Gallery
– Visual Art Exhibition “The Thaousand Mysteries of Borobudur”, Jogja Gallery
– funrrissing “ BOOKAID” IVAA, Nadi Gallery
-The Eleven Painters, El Canna Gallery, Jakarta
– Visual Art exhibition, utan kayu, INTERNATIONAL LITERARY BIENNALE 2007, LanggengGallery, Magelang
– 100 years of Affandi,’ Bung ayo Bung’ Affandi Museum, Yogyakarta
– 1st Anniversary of Jogja Gallery, Visual Art Exhibition, Yogyakarta
– “BUMI’, Mondecor Galeri, Jakarta
– Inspiring Indonesian Contemporary Art,Shanghai Art Fair, Shanghai
– Painting Exhibition ‘Behind The Horizon’ Sri Sashanti Gallery, Yogyakarta
– Visual Art “Jalin Bapilin” Benteng Verdeburg Yogyakarta
– Charity Art For Jogja, Gedung Taman Budaya Societed Yogyakarta
– Painting Competition ‘Jakarta Art Awards’ Pasar Seni Ancol, Jakarta
– Painting Exhibition “Indonesian Traffi” Mondecor Gallery, Jakarta
– Charity for Aceh, TAKSU Jakarta.
– Painting Exhibition, ” TAKSU Jakarta 2nd Anniversary Celebration.
– Painting Exhibition “ DRAMA’ Mon Décor Gallery, jakarta
– Group Exhibition ”SAKATO”, Re-reading ” LANDSCHAP” Nadi Gallery,Jakarta.
– “DIES NATALIS ISI YOGYAKARTA KE XXI & NYOMAN GUNARSA PRIZE Fine Arts, ISI Yogyakarta.
– Painting Exhibition “Nasi Campur” Taksu Gallery, Jakarta.
– Painting Exhibition “ANTHOLOGY”, Mondecor Gallery,Jakarta
– Painting Exhibition “OBJECT(ify)” NADI Gallery, Jakarta.
– Painting Exhibition “Mempertimbangkan Tradisi” Minang Kabau Artists of Indonesian, National Gallery, Jakarta.
– “Funrising” di Kedai Kebun,Yogyakarta.
– Painting Exhibition FKY XVI “BARCODE’ Gedung Taman Budaya Societed Yogyakarta.
– Painting Exhibition “New Works” TAKSU Gallery, Jakarta.
– TAKSU 10nd Anniversary, Celebrating 10 year of fine art in Kuala Lumpur,Malaysia.
– Painting Exhibition “LUSTRUM IV ISI” Yogyakarta.
– Painting Exhibition “REPLY” FKY XV,Gedung Societed,Yogyakarta
– Group Exhibition “SAKATO”, Langgeng Gallery. Yogyakarta.
– Painting Competition “PRATISARA AFFANDI ADHI KARYA”, ISI Yogyakarta.
– Cp Open BIENNALE “Interpelation” National Gallery, Jakarta
– Finalists of the “INDONESIAN ASEAN ART AWARDS”, Gedung ASEAN Jakarta & Medan.
– Finalists of the “INDOFOOD ART AWARDS II”, National Gallery, Jakarta
– Painting Exhibition “ Diversity in Harmony” Gedung societed, yogyakarta
– Nomimated Painting Exhibition “PEKSIMINAS”,UKDW, Yogyakarta.
– Painting Group Exhibition “LENTERA Group”,Purna Budaya Yogyakarta.
– Painting Exhibition “ Untuk Semua Umur” Air Rumah Seni, Jakarta.
– Painting Exhibition “20 West Sumatera Artist” Ciputra Hotel Jakarta
– Painting Exhibition “ Manusia Dalam Perangkap Semu” Embun Gallery Yogyakarta.
– Painting Exhibition “Gerakan Seni Pertunjukan Rakyat ” ISI Yogyakarta
– Painting Exhibition “SAKATO”,di TIM Jakarta.
– Dies Natalis XVI ISI Yogyakarta.
– LUSTRUM III ISI, Yogyakarta.
– Painting Competition “PRTISARA” Affandi Adi Karya” ISI Yogyakarta
– Alumni Exhibition “ASRI/ISI”, Garuda Hotel Yogyakarta.
– Group Exhibition “SAKATO III”, Purna Budaya Yogyakarta
Hidup itu meruang, sudah dimulai sebelum munculnya kesadaran dan terutama ketika kita “terlempar” ke dunia. Manusia merasakan bahwa dia benar-benar ada dan hadir karena dia diselimuti oleh ruang, dan ketika pikirannya berinteraksi dengan ruang muncullah kemudiaan ruang yang satu lagi, ruang simbolik atau ruang pengetahuan.
Setiap manusia dalam perkiraan optimis, merindukan ruang khusus, ruang pribadi yang menambah kenyamanan gerak hidupnya dan siapa pun memiliki peluang untuk menciptakan ruang simbolik darimana eksistensinya tampil. Ketika lahir manusia seperti terjebak dalam ruang kongkrit, ruang yang mendeterminir tubuhnya untuk sekian lama. Dalam ruang ini, anak manusia benar-benar tak berdaya, butuh perhatian atau penjagaan ekstra ketat dari orang tua hingga tubuhnya tumbuh kuat dan pikirannya mampu bermain-main dengan ruang abstrak seperti norma-norma dan rumus-rumus ilmu pengetahuan.
Karya seni muncul ketika manusia sanggup bermain-main dengan ruang abstrak, ketika seniman mengekspos ruang-ruang sesuai dengan sudut pandangnya. Setiap karya seni merupakan tampilan dari sudut pandang subjektif dari sang seniman sendiri karena tak terlepas dari minat dan pergumulannya atas ruang-ruang tertentu.
Pada pameran di Philo Art Space kali ini, kita berhadapan dengan ruang-ruang menurut pandangan atau pergumulan subjektif para seniman itu dan barangkali saja kita merasa terwakili dan terlibat dalam pergumulan yang sama. Menariknya, bahwa ruang-ruang subjektif yang tampil di manapun dan khususnya pada pameran ini senantiasa menyadarkan kita bahwa kita sudah tentunya hidup dalam ruang plural. Ruang subjektif mengandaikan ruang plural bahwa kita masing-masing memiliki pandangan yang berbeda tentang gerak, kesempatan, dan harapan hidup.
Ade Pasker, menampilkan ruang darimana kehidupan pribadinya ada di sana, ruang keramaian jalan. Ruang di mana kita bisa berinteraksi dengan siapa pun, sahabat dan orang asing, dalam waktu relatif lama maupun singkat, menunggu atau melepas waktu dengan percuma. Keramaian jalan merupakan salah satu simbol dari keseharian hidup manusia urban.
Sedang Feri Eka Candra membidik sebuah ruang yang diam, meditatif, steril, ruang perpustakaan darimana produk pengetahuan abstrak kita muncul dari sana. Ruang perpustakaan kemungkinan sebuah ruang yang dengan sendirinya mengambil garis batas yang tegas dan hampir tak bisa berkompromi dengan ruang keseharian manusia pada umumnya.
Perhatian Deskhairi berbeda lagi, pada ruang yang lebih luas namun cukup memprihatinkan sebagai sebuah ekosistem yang sedang terancam punah. Manusia seharusnya bagian dari alam namun penciptaan ruang abstraknya yakni pengetahuan tak terbantahkan lagi memampukannya mengambil posisi otonom di luar alam lalu mengendalikan bahkan sanggup menghancurkan
alam itu sendiri.
Nyaris sama dengan ruang yang ditampilkan Nyoman Sujana Kenyem, masih ada harapan bagaimana manusia dengan alam berinteraksi secara harmonis, masih menyisakan kegembiraan dan merayakan kehidupan. Bahkan dari sana manusia masih memiliki kesadaran bagaimana mengarahkan tapaknya menuju ke ruang khusus dan di sana kita menemukan enerji kehidupan
Ruang bagi Sujarwo khas representasi dari sosok-sosok urban yang kadang membutuhkan kesendirian alias sepi dari keramaian namun masih tetap bagian dari keramaian itu. Sering kesendirian merupakan momen atau dijadikan kesempatan introspeksif bahkan menyusun strategi kerja agar tetap survive.
Bagi Dedy Supriadi ruang tak lain adalah garis yang mewujud teks. Tak ada ruang hampa termasuk diri manusia itu sendiri. Di manamana adalah teks dan setiap ruang dipenuhi jejak-jejak teks. Ke mana lagi akan kita arahkan langkah kita dalam ruang tekstual? Tak lain marilah kita terus-menerus belajar membaca kehidupan.
Pada Erizal AS, kita menemukan hamparan ruang yang luas sebagai dunia kehidupan manusia. Ada kaitannya dengan relasi antara aku dan kamu yang berada dalam suasana hati tertentu. Kegembiraan menjadikan ruang bisa tak terbatas dan kita menari-nari menikmati hidup di sana.
Lain lagi dengan Rinaldi yang merepresentasikan ruang bawah sadar yang cukup dramatis. Mimpi bisa dibaca sebagai puisi ataupun prosa kehidupan ketika kesadaran tak sanggup menampung keinginan atau harapan kita. Bahkan mimpi mungkin merupakan cerita traumatis yang demikian jujur bahwa kita masih menyisakan waktu untuk berbuat sesuatu.
Tri Pamuji Wikanto A.K.A PANDRONG
Born in Blora, December 22 1979. Indonesia Institute of
Art (ISI) Yogyakarta
Finalis UOB Painting Competition #2 2012 Jakarta
The World’s Best Photos of cuteteen – Flickr Hive Mind
“The Best Funny Pic” Random Mural Fighter at Rumah
Eyang Yogyakarta by Kamar Jahat Community 2009
Finalist Jakarta Art Awards 2008
Perform Winner “Free Your Voice” by A mild Live Soundrenaline
Mural for Education ABA YIPK Yogyakarta
Mural Kridosono 2004
“Me < = > Masterpiece” at Philo Art Space Kemang
“Skateboard dan Kondisi Sosiokultural” at 1st floor
Fine Art Building, FSR ISI Yogyakarta
“Being Extreme” at 2nd floor Fine Art Building FSR ISI
Selected Group Exhibitions
Anniversary Expressions, Philo Art Space 7th Anniversary,
Sequoia Tees – Pop-Up Exhibition Shops at Amsterdam
The 2nd UOB Indonesia painting Competition at UOB
“Mata-mata Kecil” at Angsa Cafe Sewon Yogyakarta
“Nagari Ngayogyakarta Hadiningrat” at Jogja National
Photography “Posthink in the wall” at Lentur Gallery
Photography “Urban Pop Jogja” at Tri Manunggal
“Street Art Jogja Slowly Asia” at Roemah Pelantjong
Photography “Motret minus 45” at Karta Pustaka Yogyakarta
Q+ “Lebaran Corner” at Pacific Place Jakarta
Q+ Ant “The City of Slow” Roemah Plantjong at Lentur
Q+ Water World Day at Malioboro Yogyakarta
“Simpan 1 Rupiah” at Bentara Budaya Jakarta
“Imaji Ornamen” at Indonesia National Gallery Jakarta
“Nusantara di Atas Kanvas” at Sampoerna Strategic
“Simpan 1 Rupiah” at Benteng Vredeburg Yogyakarta
Jogja Art Share “Jogja Gumregah” at Jogja National
FKY #22 “Jogja Art Scene” at Vredeburg Yogyakarta
Photo & Music“Musicography” at UKDW Yogyakarta
Group exhibition Barbarados “The Rakus Of Something
Wrong” at Taman Budaya Yogyakarta
Group exhibition Wasesa at GPD Salatiga
“Festival Air Seni “ at Ruang Rawa (kelompok Otasa)
Indonesian Visual Art “Exposign” at Jogja Expo Center
Dies Natalis KPB ke 51 at Sanggar Saraswati Yogyakarta
“Sangkar Burung” at secretariat TUK Salatiga
OTASA group“Raba Rasa” at Jogja National Museum
“Landing Soon #11” at Studio Cemeti Art House Yogyakarta
FKY XXI “How Art Lives” at Vredeburg castle Yogyakarta
“Urban Magnet” at Philo Art Space Kemang Jakarta
TK community (with Q+ and Otasa) “Magic” at Vredeburg
Indienesia, Art, and Youth Festival “Exibhition Room”
Q+ comunity at JEC Yogyakarta
“Hoping Siang Ho” at Biasa Gallery Yogyakarta
Academic Art Award #2 “Dedication To The Future”
at Jogja Gallery Yogayakarta
T-Shirt 4 city “100%” Cotton at UNS Solo
Q+ Community “Jamane jaman Wagu” at V Art Gallery
Dies Natalies ISI XXIV “The Emergence of Artists” at
Gallery ISI Yogyakarta
“Warna-warni Jakarta” Jakarta Art Awards at Ancol
“Sensi” at Phillo Art Space Kemang Jakarta
“Kotabaru Dalam Kenangan” at 1st floor Fine Art
Building FSR ISI Yogyakarta
“Satan Festival” at Rumah Eyang Galeri Prawirotaman
Openning Cakruk Art House and Photography at
“Musim Panas Fantasi”at Gallery Biasa Yogyakarta
Pekan Komik Indonesia (Comic Art Fair) Malang, at
Universitas Negeri Malang
“Pesta Instalasi” at area ISI Yogyakarta
Dies Natalis XXIII at Galeri ISI Yogayakarta
Q+ community “Dunia Dalam Berita Dunia Dalam
Derita” at Balai Rupa Tembi Yogyakarta
Dialog 2 city (ISI, UNJ dan IKJ) “Have Fun” at Taman
“Tribute Rodney Mullen” at 1st floor Fine Art Building
FSR ISI Yogyakarta
Fine Art and Photography Rumah Pohon Comunity
“Sabar…..bersabarlah” at Via-via Kafe Yogyakarta
TUK comunity “Air Untuk Kehidupan” at Senjoyo
Fine Art and Photography“Kecap dan Saos” at Kafe
Mutung Babarsari Yogyakarta
Paralel Art Show Semur at Bandung
“Art for Jogja” at Taman Budaya Yogyakarta
“Pengadilan Rakyat” at Gallery ISI Yogyakarta
Kart_ini “Perempuan dan Perempuan” (ISI, Akseri,
UNY, ITB, IKJ) at UNJ Jakarta
“Sepatu Gila” at Museum SLKI Nyoman Gunarsa
“Skedios Extempore” at Taman Budaya Solo
Q+ community “ME Instant” at Museum SLKI Nyoman
FSR, FSP, FSMR “ARTploration” at Taman Budaya Yogyakarta
Sketch Jogja 267 “Hitam Putih Jogja” at Gramedia
Group sel041 “Between After Before” at Vredeburg
Sketch ISI04 dan ASDI “Wajah dua Kota” at Griya
T-shirt design “Sewindu Rindu Dagadu” at UGM Yogyakarta
Articles and review
Art Magazine Visual Art Febuary-March 2010
Newspaper The Jakarta Globe 30 January 2010
Art Magazine Arti December 2009
Newspaper Suara Pembaruan 23 December 2009
Newspaper Radar Jogja 26 July 2009
Newspaper Kompas December 2008
Art Magazine Arti July 2008