Sunday, March 15, 2009


artworks of Yadi Yuliansyah

artworks of erik pauh rizi

harry cahaya, element 2, 180X130cm, 2009

Bandung, known as Paris van Java is a trendsetter since the youth is of creative minds. This time a number of Bandung emerging artists present their artworks on a visual art exhibition entitled "Bandung Expanding".
Curated by I Wayan Seriyoga Partha,
it will be opened on Friday, April 17 2009
at Tonyraka Art Gallery,
Jln. Raya Mas no. 86 Mas-Ubud-Bali.

The exhibition will be able for viewing until May 7, 2009.

WIDODO, Flea Market @ Taman Budaya Yogyakarta

Flea Market Blitz..!

What is it what makes an artist? Is it his activities, his ideas or technical brilliance? Or his personality? Or just all of it? In the case of Widodo we are confronted with a very strong character who takes pride in his singularity.

For the sake of his art he is ready to sacrifice almost everything. An artist who does not want to depend from the market’s preferences or public opinion, strongly committed to his artistic journey and not willing to subject himself to any limitations. After all, when the market and everyone else has given up on somebody, things often get interesting. Certainly he does not make his artworks to please everyone. Widodo is indeed an artist with skills –especially his drawings are fine- and a creative spirit unable to refrain from creating new artworks.

(Anton Larenz)

Widodo's Flea Market

Taman Budaya Yogyakarta

Jl Sriwedari 1 Yogyakarta

March 17 - 26, 2009


Tujuh Bintang Art Space

Jl Sukonandi 7 Yogyakarta 55166

Phone. 62 274 545577

Fax. 62 274 583377



Friday, March 13, 2009

Englishmen in Jogja, Okatara V Bakara, 14 March 2009

che shoes, 130x260 cm, acrylic, pencil on canvas, 2008

black syncronize n black justice, 145x145 cm, acrylic, pencil on canvas, 2008

aubade, 145x145 cm, acrylic, pencil, colase on canvas, 2008

afterday creativito, recitation to lennon, 140x160 cm, acrylic, pencil on canvas, 2008

Pameran tunggal seniman muda bernama Oktara. V. Bakara, di Museum dan Tanah Liat, Desa Menayu Kulon No 55, Kasihan, Bantul - Yogyakarta , Indonesia
pameran ini sedianya akan dibuka oleh Bapak Jumaldi Alfi, seorang seniman kenaamaan.
pameran ini akan dibuka pada tanggal 14 Maret 2009, jam 19.30 wib.

Stefan Buana : WAKE UP !, VWFA Singapore, 27 March 2009

Stefan Buana, Bersama-sama dengan emas di kampungku I

Stefan Buana, bangkit

Stefan Buana, 4 tenaga kuda

at :
HT Contemporary Space 39 Keppel Road, Tanjong Pagar Distripark, #02-04*
Singapore, Singapore


VALENTINE WILLIE FINE ART and TEMBI CONTEMPORARY are pleased to present Stefan Buana's first solo exhibition in Singapore, 'WAKE UP!'. Stefan is one of Yogyakarta’s more distinctive and innovative contemporary artists.

Shunning the brash pop art of his younger artist friends, he makes no apologies for his distinctive somber symbolism. For Stefan, inspiration come from the very real problems of the many friends he has at home in West Sumatra who are less fortunate than him and have fallen on hard times.

While Stefan brims with confidence for the human spirit, as reflected in the strong line and dynamic spirit of his images, the paintings nevertheless betrays a healthy grip on reality. Many of the works reflect the current political climate as Indonesia's vibrant new democracy faces an election this year.

As well as people, Stefan is always conscious of symbols, drawing for the most part on the animal world for inspiration. The elephant, the horse, the majestic hammerhead shark, all reflect what Stefan describes as 'the context of my current existence'. He takes basic materials like rice, sawdust and string to bring relief to images that he conjures up in dark, shadowy forms with sparse use of colour.

Stefan’s paintings present Indonesia at crossroads, straddling between modernity and tradition. This diverse and strident commentary makes Stefan Buana one of the quintessential Indonesian painters of his times.


By Michael Vatikiotis

"It's time to wake up", Stefan Buana exclaims. "The world is in a mess and we need to come to our senses to do something about it. Now is the time to act."

Hard as it might be to imagine an artist's contribution to resolving global warming and the financial crisis, this earnest young artist from West Sumatra firmly believes in the power of his imagery. "In a situation like today, you need to be pure and strong," he explains his series of paintings depicting galloping wild horses. When it comes to the faces of almost long forgotten historical leaders like Sultan Hassanuddin and Gajah Mada: "I miss these kinds of heroes from the past," he says. The sorts of heroes we have today simply don't live up to his expectations.

Stefan Buana is one of Jogjakarta's more distinctive and innovative contemporary artists. He deploys a variety of styles and innovative techniques to produce works of such range and diversity you often wonder if more than one artist is at work.

Flipping through a catalogue from a recent exhibition of young Jogja artists, Stefan Buana makes no apologies for his distinctive somber symbolism. Stefan has shunned the brash pop art of his younger artist friends. He finds it extravagantly unreal for the times. For Stefan, inspiration comes from the very real problems of the many friends he has at home in West Sumatra who are less fortunate than him and have fallen on hard times.

The artist recounts the sad story of a couple of his friends from back home in Padang. Their business went bad and they turned to petty crime to makes ends meet. Now they are in prison. So the galloping horses are for them, to give them hope.

But whilst he brims with confidence for the human spirit, as reflected in the strong line and dynamic spirit of his images, Stefan nevertheless betrays a healthy grip on reality. Indonesia's vibrant new democracy will face an election this year, and to celebrate the new forces of populism he senses around him, he characterizes the politicians fishing for votes in the murky depths of the ocean. Using a creative combination of ink-stained string and sawdust, he conjures up the many faces of voters in a parody of communal unity, their variety presenting at once the impossibility of uniformity. That's democracy for you, he says.

As well as people, Stefan is always conscious of symbols, drawing for the most part on the animal world for inspiration. The elephant, the horse, the majestic hammerhead shark, all reflect what Stefan describes as "the context of my current existence." Then he takes basic materials like rice, sawdust and string to bring relief to images that he conjures up in dark, shadowy forms with sparse use of colour. Much like the seamy reality he seeks to portray.

Stefan's paintings present Indonesia at a crossroads, straddling modernity and tradition. This is amply reflected in the themes of this exhibition – the nostalgia reflected in paintings like "Rindu Bung Karno", and "Rindu Sultan Hassanuddin". Then there is the sharp modern commentary reflected in "Raja Samudra", "Pilkada Rakyat Bantul", and "Musim Pancing". This diverse and strident commentary makes Stefan Buana one of the quintessential Indonesian painters of his times




Born Padang Panjang, Sumatera Barat, February 27, 1971

Education Art Institute of Indonesia 1993-2003


2009 ‘Wake Up!, Valentine Willie Fine Art, Singapore

2008 Stefa Buana: Solo di Galnas, Galeri Nasional Indonesia, Jakarta
'Opening Exhibition', Tembi Contemporary, Bantul, Yogyakarta

2006 'Batik Gempa', Taman Budaya, Yogyakarta
'Kampuang Nan D'en Cinto', Hadiprana Gallery Jakarta

2004 Duta Fine Art Gallery, Jakarta

2002 Animal Farm', 678 Gallery, Jakarta


2003 Indofood Art Award 2003 Finalist Philip Morris Art Award Finalist

2002 Indofood Art Award Finalist

2001 Top Three Nokia Art Award 2001, Jakarta¬-Bangkok

1999 Indonesia Finalist in Windsor & Newton World Competition, Bandung

1998 Best Picture, Dies Natalis ISI XVI
Best Picture, 'Seni Refleksi Dunia', Benteng Vredeburg

1997 Philip Morris Art Award Finalist

1995 Yogyakarta Artist, Pekan Seni Mahasiswa Indonesia, Jakarta


Mengundang anda pada pembukaan pameran tunggal
Eko Nugroho | Hidden Violence

Pembukaan 17 Maret, 19.30
Pameran Berlangsung: 17 Maret – 18 April 2009

Rumah Seni Cemeti
Jl. D.I. Panjaitan 41, Yogyakarta 55143
09.00 - 17.00, Minggu & Senin tutup

Pameran ini adalah sebuah interpretasi tentang Wayang Jawa dalam kaitannya dengan bebayang. Dalam tradisi pertunjukan wayang di Jawa, yang biasa dimainkan dalam waktu semalam suntuk, oleh seorang dalang dan iringan gamelan, objek nyata berupa wayang hanya dinikmati sendiri oleh sang dalang. Kita, sebagai penonton, dihadapkan hanya pada bayangannya saja. Sang dalang mengikat keterlibatan penonton melalui bangunan cerita dan keterampilannya yang tinggi dalam memainkan wayang di hadapan pendar cahaya. Nama wayang sendiri, mempunyai arti bayang, sehingga dalam tradisi Jawa, juga Bali, yang menjadi esensi utama dari pertunjukan adalah representasi bebayang tersebut.

Wayang-wayang ini adalah transformasi dari figure-figur komikal yang telah lama diciptakan Eko Nugroho sebagai basis estetika yang utama dalam karya-karyanya. Sosok-sosok aneh seperti manusia berkepala batu, atau berhati berlian, bertangan capit, adalah imaji yang tak asing dalam karya lukis, drawing atau bentuk bordir yang ia ciptakan. Menggabungkan fantasi dan kehidupan sehari-hari adalah caranya untuk merepresentasikan sebuah pandang dunia tentang ambiguitas dan kontradiksi. Dalam wayang purwo, yang ceritanya bersumber pada epos Mahabarata dan Ramayana, kontradiksi adalah sesuatu yang terus menerus digarisbawahi. Bedanya, jika figur-figur pada wayang klasik ini sudah mempunyai karakter yang pasti, dengan ciri khas tertentu sebagai penanda, figur wayang eko didesain untuk bisa menjadi tokoh apa saja. Fleksibilitas ini merupakan salah satu yang didesain untuk membuat projek ini bisa dimainkan oleh siapa saja, dengan cerita apa saja.

Konsep visualisasi untuk pameran ini bersumber dari gagasan tentang pasar malam. Di satu sisi, bagi sebagian besar masyarakat Indonesia, terutama yang hidup di pelosok kampung atau di kota-kota kecil, pasar malam adalah sebuah momen untuk bergembira bersama, merayakan kehidupan. Di sisi yang lain, pasar malam juga menghamparkan gambaran menarik tentang bagaimana masyarakat ini menyerap berbagai kultur dan praktik kesenian dari berbagai budaya dan menempatkannya dalam konteks identitas mereka sendiri. Yang modern dan kini, dipertemukan dengan artifak-artifak masa lalu. Yang terasa baru dan gemerlap, disandingkan dengan sesuatu yang kuno dan berbau ‘murahan’.

Selain berangkat dari ide tentang pasar malam, spirit tentang bayangan dan cahaya dalam pertunjukan wayang tradisi itu, pada akhirnya mengikat pula Eko Nugroho dan anggota tim kolaboratornya untuk berpijak pada gagasan ini dalam mewujudkan imaji visual, baik untuk kepentingan pertunjukan maupun untuk karya-karya dalam pameran. Seluruh kontradiksi yang berserak dari ide bebayang tersebut, yakni tentang benda dan bayangan, tentang terang dan gelap, tentang yang nyata dan yang tidak nyata, tentang sesuatu yang tersembunyi dan ditampakkan, adalah sesuatu yang dibatasi oleh selembar kain yang biasa digunakan sebagai layar.

Cahaya adalah elemen utama untuk menciptakan bebayang. Pada seni pertunjukan tradisi, sumber utama dari cahaya berasal alat penerangan yang disebut sebagai blencong. Dengan mengandalkan api, wilayah yang menjadi teritori sang dalang menjadi benderang, dan, sebaliknya, tempat penonton biasanya dibiarkan tak padang. Pada pertunjukan wayang hari-hari ini, dengan keinginan yang besar untuk melakukan inovasi dan menampilkan kemungkinan-kemungkinan visual yang baru, sumber cahaya kemudian bisa beragam. Untuk instalasi-instalasi dalam pameran ini, sumber cahaya terutama memanfaatkan energi listrik dengan berbagai kemungkinannya.

Saya melihat kemungkinan unik dengan melibatkan Ignatius Sugiarto, aka Pak Clink, seorang seniman cahaya, yang terutama telah berpengalaman di panggung pertunjukan, untuk bekerja sama dengan Eko mewujudkan imaji visual yang lebih jauh dari wayang-wayang ini. Selama ini, Clink telah mencoba membuka berbagai kemungkinan atas sumber cahaya, dan karenanya, saya melihat kemampuan dan ketrampilannya dalam mengenali bayangan-bayangan dibentuk dari setiap sumber cahaya yang berbeda. Sebagaimana Eko, di atas panggung, Clink melukis pula imaji dari pendar lampu yang ia gunakan.

Hasil kolaborasi mereka terutama mewujud dalam karya-karya instalasi yang menampilkan lampu listrik penuh warna atau bentuk instalasi interaktif yang menunjukkan bentuk-bentuk komikal khas Eko Nugroho. Instalasi utama pada pameran ini, yakni permainan komidi putar dengan para tokoh wayang di atasnya, dengan segera menunjukkan suasana pasar malam yang biasa kita temui di pinggiran kota. Tokoh-tokoh ini menampilkan parade dari absurditas dan keganjilan-keganjilan peradaban, menyimpan senjata di masing-masing tangan, dengan hasrat kekerasan yang tersembunyi.

Alia Swastika

Rumah Seni Cemeti / Cemeti Art House
Jl. D. I. Panjaitan No. 41 Yogyakarta 55143 Indonesia
Telp/Fax. +62 (0)274 371015
Hp. +62 812 273 3564
Buka/Open: Tuesday - Saturday, 09.00 - 17.00

Thursday, March 5, 2009

Kow Leong Kiang : Jogja Constellation, Tembi Contemporary Yogyakarta

Rudi, 200 x 145 cm, Oil on Linen, 2009, Rp 70.000.000

Ugo, 200 x 145 cm, Oil on Linen, 2009, RESERVED

Alfi, 200 x 145 cm, Oil on Linen, 2009, RESERVED

The Exhibition will be open


Tuesday, March 24, 2009 at 7:30pm


Saturday, April 18, 2009 at 6:00pm

tembi contemporary
Jl. Parangtritis KM 8.5, Tembi, Timbulharjo, Sewon, Bantul
Phone : 02746881919
e-mail :

Kow Leong Kiang: Jogja Constellation

Tembi Contemporary is delighted to present Malaysian artist Kow Leong Kiang's first solo exhibition in Yogyakarta. Since winning the Grand Prize at the Philip Morris ASEAN Art Awards (1998) with his controversial painting, 'Mr. Foreign Speculator, Stop Damaging Our Country', the artist has gone on to create some of the most memorable images of rural Malaysia. He is best known for his masterful portraits of East Coast beauty, encapsulating its pathos and nostalgia.

Kow arrived in Yogyakarta sometime around June 2008 on a residency programme organised by Valentine Willie Fine Art. He has since taken to task the formidable project of capturing the lively and informal communal atmosphere of its art scene in a series of portraiture on seminal contemporary artists living in Yogyakarta.

Agus Suwage, Arahmaini, Jumaldi Alfi, Angki Purbandono, Eko Nugroho, Ugo Untoro, Handiwirman Saputra, Putu Sutawijaya and many other household names not only became fast friends but also iconic subjects under the virtuosity of Kow's brushwork.

Yogyakarta, called home by artists who come from all over Indonesia, is today recognised internationally as an artistic centre in the Southeast Asian region. These portraits collectively reveal an artistic community that is distinguished by the wit, intelligence, honesty and dedication of the colourful characters that constitute its creative capital, underlining the communal bonds within an artistic constellation, captured in its element.

By turns funny, poignant, michievious and lyrical, Jogja Constellation affirms Kow's inimitable status as Malaysia's foremost figurative painter.

Artist's Profile

Kow Leong Kiang (b. 1970, Malaysia) has garnered much attention and success since winning the Grand Prize at the Philip Morris ASEAN Art awards in 1998. His depictions of nostalgic rural scenes of the east coast Malaysia are captured through a masterful feather-light rendering. He has held three solo exhibitions at Valentine Willie Fine Art in Kuala Lumpur and has participated in group exhibitions in Malaysia, Indonesia, China and Vietnam. In 2004, he was an artist-in-residence at the Vermont Studio Centre in the USA.


Tembi Contemporary dengan bangga mempersembahkan pameran tunggal pertama seniman Malaysia Kow Leong Kiang di Yogyakarta. Sejak memenangkan Grand Prize di Philip Morris ASEAN Art Awards 1998 dengan lukisan kontroversialnya, “Bapak Spekulator Asing, Berhentilah Merusak Negeri Kami”, sang seniman telah menciptakan beberapa di antara citra-citra pedesaan Malaysia yang paling berkesan. Potret-potret piawainya akan keindahan pesisir timur Malaysia merangkul dan merangkum kesenduan dan nostalgia kampung halaman.

Kow tiba di Yogyakarta sekitar Juni 2008 dalam sebuah program residensi yang diatur Valentine Willie Fine Art. Sejak itu ia mulai mengerjakan proyek akbar yang berupaya menangkap suasana komunal informal hidup di kancah seni ini dalam serangkaian potret tokoh-tokoh seniman kontemporer yang tinggal di Yogyakarta.

Agus Suwage, Arahmaini, Jumaldi Alfi, Angki Purbandono, Eko Nugroho, Ugo Untoro, Handiwirman Saputra, Putu Sutawijaya dan seniman ternama lainnya bukan hanya menjadi teman baik, namun juga subyek-subyek ikonik berkat kepiawaian kibasan kuas Kow.

Yogyakarta, yang dipilih sebagai tempat menetap oleh seniman-seniman dari seluruh pelosok Indonesia, kini diakui secara internasional sebagai pusat budaya di kawasan Asia Tenggara. Potret-potret ini secara kolektif menampilkan sebuah masyarakat seni yang berani tampil beda berkat selera humor, kepandaian, kejujuran dan dedikasi para karakter unik yang bersama-sama menjadi bagian modal kreatif kota ini. Pameran ini menggarisbawahi pertalian komunal yang menghubungkan rasi bintang-bintang yang terdiri dari para seniman berpengaruh ini, yang terlukis dalam habitat berkiprah mereka.

Serta merta lucu, sendu, usil dan liris, Rasi Bintang Yogya mengukuhkan status Kow yang tak dapat ditiru sebagai pelukis figuratif utama Malaysia.

Profil Seniman

Kow Leong Kiang (lahir 1970, Malaysia) mulai dilirik pengamat seni dan kesuksesan sejak ia memenangkan Grand Prize di ASEAN Art Awards Philip Morris tahun 1998. Lukisannya tentang suasana pedesaan di pesisir timur Malaysia terekam melalui sentuhan-sentuhan kuas yang seringan kapas. Ia telah tiga kali berpameran tunggal di Valentine Willie Fine Art di Kuala Lumpur dan telah berpartisipasi di pameran-pameran bersama di Malaysia, Indonesia, Cina dan Vietnam. Pada tahun 2004, ia ikut program residensi Vermont Studio Centre di Amerika Serikat.

Monday, February 16, 2009

EXHIBITIONIST, 14 February 2009


Lenny Ratnasari, Women Can Play, Mixed Media, 2009

Ulrike Stolte, T14 kleiner Printzklus - serie 1, marker toner on paper, 23 x 17 cm, 2008

Lelyana,Celebration With Onanism, Acrylic, charcoal, pensil on paper, 30 cm x 42 cm, 2009

Diah yulianti, Soul of Eternity,160 x 140 cm,Mixed Media,2008

Hardiana, Pink Rose, 90 x 120, 2009

Ambarwati,new life, AOC,150 x 155 cm, 2009

Kersan Art Studio

Joko Gundul & Lenny Ratnasari Weichert

Lenny Ratnasari Weichert (owner)


Kersan Art Studio cordially invites you to attend

Artist :

Lenny Ratnasari | Ambarwati Sri Lestari | Franziska Fennert (German) | Yin Tao (German) | Ulrike Stolte (German) |
Threeda Mayrayanti | Dhyani H | Nana Tedja | Lashita Situmorang | Lelyana | Mayjenae Dwi Vita | Trien Afriza |
Andita Purnama | Theresia Agustina S | Nadiah T | Caroline Rika W | Irene Agrivine | Pingki Ayako | Pirie Mare Tramontane |
Diah yulianti | Hardiana | Juni Wulandari | Bonita Margaret

February 14 - 24, 2009

Opening Ceremony :
Saturday, February 14th 2009
at 7.30 pm
Kersan Art Studio
Dusun II Kersan No 154, Tirtonirmolo, Kasihan, Bantul

Opening by :

MC :

Performance by :

Eksibisionisme, Narsisisme, dan Estetika

Honest saja intinya pameran buat pamer lah?” kata anak saya pada suatu hari. Lebih lanjut ia berkata . I mean... yah pamer artwork lah , pamer tulisan lah atau ideas, pamer tempatnya, pamer face lah, pamer buku or katalok lah, pamer pictures bareng, ngak sampai situ tapi terus di pamerin lagi di internet lanjutnya dengan aksen aneh Singlish.

“Kesimpulannya mom.. yah pamer off lah..exhibitionist lah…“. Sambil pergi dengan wajah polos seriusnya.

Ku Cuma diam dalam gaung gema kalimat terakhirnya. Bisa jadi dia benar.

Tipis sekali batas antara exhibition (pameran, pertunjukan) dan exhibition(ist) (orang yang suka memperlihatkan kecakapan)pamer” secara mata perupa -Artist- Apalagi jika dihubungkan dengan istilah eksibisionis dalam kehidupan kita. Setiap orang butuh perhatian (dan ingin memperhatikan orang lain) kadang kala pamer berkonotasi negatif dan hubungannya menjadi narsisisme secara vulgar berlebihan. Dalam pendekatan penjelasan -Salah satu usaha dari tingkah laku untuk menarik perhatian dirinya- makna disini dalam bahasa senirupa, Eksibisionis itu seperti ‘’Gangguan jiwa’’ ketika sang seniman perupa mempertontonkan karyanya ke orang lain dan mendapatkan kepuasan dari melihat ekspresi wajah orang yang melihatnya. Perupa akan makin senang kalau pengunjung menunjukan ekspresi senang atau ketakutan dan memiliki rasa keterpesonaan melihat karya tersebut.

Tentu istilah diatas sangat jauh dari yang sebenarnya. Respon setiap orang dengan istilah kata tersebut akan berbeda sesuai dengan konteks kehidupannya. Biarkan saja, Sepanjang tak merugikan orang lain, lakukan istilah tersebut dengan nyaman.

Jadi intinya semua perupa adalah exhibionist dan narcist...

Salam ber -Exhibitionist J

Lenny Ratnasari Weichert

Regina Hill, Singapore 22. January 2009

Tuesday, January 20, 2009

KETIK REG MANJOER, 19 January 2009, Sangkring Art Space, Yogyakarta

Mengundang dalam Pembukaan Pameran Seni Rupa Realitas #3 Kelompok GREGET 95:



Aan Gunawan, Andi Sules, Azhar Horo, Alit Sembodo, Boby Purwo, Dedy Sufriadi, Devi Setiawan, Edo Pop, Febri Antoni, Gusmen, Guruh Ramdani, Hayattudin, Hasmar Daulat Art, Heri Sembodo, I Putu Wirantawan, I Nyoman Triarta (Jangkrik), Joni Antara, M. Rizky, Mujiat, M Yusup, Putut, Radite, Saftari, Sekar Jatiningrum, Seno Andrianto, Wayan Wirawan, Yarno


Senin, 19 Januari 2009, Jam 19.30 wib

Pameran akan di buka oleh:

Ade Tanesia

Pameran Berlangsung:

19 Januari 2009 - 29 Januari 2009


Sangkring Art Space
Nitiprayan, Rt 1/ Rw 20 Ngestiharjo, Kasihan Bantul, Yogyakarta 55182,
Telp.(0274) 381032,

E-mail: ;
Buka Hari Jumat - Rabu, Jam 10.00 - 20.00 wib

Senang-Senang, 17 Jan 2009, Tujuh Bintang Art Space

(S. Teddy D, Mengintip dunia luar, 96 x 68, pastel on paper, 2007)

(Nasirun, Tembok Sitok, 145 x 145 cm, oil on canvas, 2008)

(Samuel Indratma, Monogami, 350 x 130 cm, acrylic on canvas, 2008)

(Nanang Warsito, bersusah-susah menuju kegembiraan, 200 x 180 cm,
acrylic on canvas, 2008)

(M. Pramono IR, Ecofeminism, 240 x 140 cm, Oil on canvas, 2008)

(Joko Gundul, Dengan Senang Hati, 150 x 175 cm, Mixed Media on canvas, 2009)

(Heri Kris, The Day with shadow, 100 x 200 cm, 3 Panel
Mixed media on canvas, 2008)

(Agung Kurniawan, Play me hardly, 100 x 60 x 41 cm,
Fiberglass & Acrylic,2008)

"Senang- Senang"

Jan 17 – Feb 08, 2009

Opening : 17 January 2009

at 7.30 pm

Tujuh Bintang Art Space

Jl. Sukonandi No 7

Yogyakarta 55167

Artist :

Abdul Fattah | Ade Pasker | Agung Kurniawan | Ahmad Supono PR | AT. Sitompul | Choiruddin

Dadi Setiyadi | Daniel “TimbulCahya Krisna | Diah Yulianti | Djoko Pekik | Eko “Kota” Haryono

Fran Anggoman | Fransisco Panca Nugraha | Harun | Heri Kris | I Gede Arya Sucitra | Indiria Maharsi

Jemi Bilyanto | Joko Gundul | Klowor "Kucing" Waldiyono | Kurniawan Yudhistira | M. Lugas Syllabus

M. Pramono IR | Nanang Warsito | Nasirun | Nugroho Heri Cahyono | Nugroho Wijayatmo

Ong Hari Wahyu | Purwanto | Putra Eko Prasetyo | Samuel Indratma | Saptoadi Nugroho

Seiko Kajiura | S. Teddy D | Wahyu Geiyonk | Wara Anindyah | Yudi Sulistya

Joy as the Way

One afternoon, nearing the holiday when people return home, a man was riding a motorcycle along Yogyakarta’s ring road with his two children on the back. Judging from the hanging loads around the cycle, it was apparent that they were going on a long journey. Unfortunately, they got a flat tire just before the road starts to slope upward in the direction of the flyover above the train track. The prospect of having to push the motorcycle and still another task of finding a tire repair station must have contributed to the man’s gloomy face. On the contrary, the two children were cheerfully helping their father who was trying to move the heavily loaded vehicle. One of them shouted: “Yo, ayo, aku nyurung seko kene, kowe seko kono!” (Lets, I push from here, and you over there). They were having fun, and seemed to be able to use the “limited” time for stretching their bodies, or even ‘performing a play Pushing a Motorcycle’ in the real situation. It was possible that such job was an unprecedented chance for them. There was a new sensation: a situation full of surprises, a sudden specific situation, and there existed an experience of being out of the habitual box. Isn’t this the very same special sensation sought by members of specific clubs- moneyed or the-so-called-executives- who deliberately walked on a muddy track just to discover a different sense from the daily routines? Isn’t it an exact same sensation which a colleague also looked for when he cycled to Kaliurang from the Municipality of Yogyakarta, wearing a special raincoat with a specially designed light on his helmet on a rainy new year’s eve? To play. To have fun.

And so it is, in order to grasp an extraordinary sense and a unique insight full of character so that a creative process takes place, people must be courageous to be out their routines. To achieve novelty and freshness, people must initially be able to go out from the existing conceptual boxes, because these boxes tend to freeze and standardize any living things. Or, once and a while they have to break free from the ‘comfortable sanctuary of theories’ with which they would only tend to reduce and categorize anything moving under this or that term. Going out from standardized concepts and theories is similar with cutting the ties with the confines of past understanding. This act is necessary on the ground that people need to feel as if they go through the experience for the first time, or in order for them to think and see openly; just like a novice whose thought is unshackled by definitions; or a little child who let his imagination comes forth

which enables him or her to discover magic and possibilities from everything – everything which trembles, moves, changes, connects, and affects other things. From such state of hearts and minds great works can materialize. For that, Don Juan’s statement is more than fitting, i.e. that it is a grave mistake to think that life is not fun; in failure or success we cannot lose sight of the reality that the world is breathtaking, and we should welcome its challenge.

What if this conscience is connected to a creation of an artistic work? Creative art also needs open heart and mind. Coming up with an artistic work is very like creating a metaphor in a new and original way. That metaphor often comes before a linear understanding. Similarly, people need to courageously let their thought and imagination walk freely, unbounded, going across the existing artistic concept. They need to be willing to say no to esthetic ideologies, or to take stand against the existing artistic schools, because in reality all of this have created personal and communal egos and tend to compartmentalize art and artists. Openness is what is needed so that people can see and grasp fresh ideas from singular, living, flowing and interconnecting realities. The willingness to ‘bring the clutch of the mind to neutral position’ is needed so that people can jump inside and enjoy their activities fully. Through this state of mind, love of what is being done grows. Artists who can bring themselves forth into existence through interesting and high quality works are those who love their jobs, who treat their work with happiness, and avoid cantankerous theorizations. Thus, when they are faced with difficult and heavy problems, they can see them as a hurdle to be overcome. People who love their job often try new things in order to explore and experiment, to come up with new options. Usually they are willing to freely promote their works. On this a world-class thinker J. Krishnamurti has said that doing what you love has double benefits, i.e. that not only you will get an unusually higher-than-normal level of satisfaction, but that your enthusiasm ensure your success.

There exist a lot of examples from daily life which bring forth the mystery of the relationship between a work made with a great sense of love and the creator. When something is loved fully, it is as if it is imbued with a soul, and it will respond with something of a similar value, or even greater. Valentino Rossi always spends ample amount of time to silently ‘listen’ to his car before and after a race. In the process of creating an art work artists make known what is inexistent to take place, to give way for the inexistent to become present. When it is done, a high quality work will give the creator a worthwhile return

by finding ways for the creator to be known. There is a magical reciprocal relation. What is important though is that to love one’s work and to be creative in it does not need sophisticated verbalism or complex conceptual words. It doesn’t need extra intellectuality, since - borrowing Robert M. Pirsig’s words - too much intellectualism will only stiffen the person, deem the person unable to understand quality because for him or her nothing is real; he or she only see categories and definitions.

There are two illustration that I would like to present to clarify the above point. A few years ago there was a student of Seni Grafis Fakultas Seni Rupa (Graphic Art, The Department of Visual Art ) of ISI who often came to my office. He offered comics of his own creation which were photocopied and bundled. Drawing, pouring out his ideas freely, and arranging them into a narration of comics became his job. He just did it without anyone commanding him. What impressed me was that he proudly offered his works door-to-door, person-to-person. The money asked for was only as much as the cost of photocopying and binding. All of this he did with spirit and optimism. A few years after that this young artist started to appear in significant art forums, with his works arranged and presented uniquely; and now he has become one of the celebrated artists. A few decades back there was a friend, a soon-to-be- well known artist who always came to my boarding room, and always talked about creative ideas. He spoke of meeting academic and autodidact artists and absorbing various creative approaches from them. He came up with works, prepared materials and looked for creative ideas and concepts from various sources. Now this person is one of internationally known artists. About both of them, and many more, we may say that their superiority lies on the fact that they do not imitate various theories of arts, or copied other people’s recipe for success. The recipes are only triggers for their own unique ideas, according to their insights and dreams. One of the ways to capture and cheerfully come up with distinctiveness is by doing a deep observation on subjects which interest them, from which new ideas will arrive to be manifested.

Similar work pattern has been followed by many people who gained success because they are willing to see deeper than what is seen, and then love the works that they have chosen. Once again, for this no complex verbalism is needed, and not even lofty concepts. Just look at the people who came to talk shows like ‘Oprah Winfrey’ or ‘Kick Andy’. Once there was a guest who was a conservationist from Betawi by the name of Mang Udin. For years he had been replanting

barren places which trees were wiped out by rich and powerful people. He didn’t possess complex theories with complicated discourse, but was committed to planting and planting more. When people started noticing he is now ‘being helped’ by his job. Or, Pak Sugeng Siswoyudhono, a prosthetic leg maker from East Java who helped many impaired people according to their specific needs. His capital is his willingness to look at his clients’ cases, listen to their problems and needs, and realize the demands the best he can. He does it happily.

Having fun in looking at and presenting daily realities is deliberately brought forth as the theme of the present exhibition at Tujuh Bintang Art Space. It is meant to collect artworks whose making processes were not weighed down by complicated concepts and heavy artistic intellectualism. It leaves alone the tendency to philosophize in a linear fashion which is one of the ancient tradition of Greek philosophy. What is important here is the fact that to engage in a creative endeavor one does not need to do it with frowned eyebrows and all-serious state of the mind. To create artistically, one does not need to possess lofty and heavenly discourses. What artists need is to go through a creative transformative process, with a strong commitment to express through art, a conscience and a unique feeling after they observe interesting and living realities. And, one way to do this is by working to create a favorable atmosphere in which they can think and create joyfully. When this is done, it is already the lot.

M. Dwi Marianto

Yogyakarta, January 2009