The Mighty Dragon and the Fiery Wave

It is time for mankind to make time to listen and understand nature’s ailment.

After disappearing for so long from the world of sculpture art, Bambang Adi Pramono came back, displaying his latest sculpture masterworks.

This sculpture artist was born in Sidoarjo, East Java, July 7 1955. He graduated from ISI Jogjakarta in 1976. In 1981 he held a sole exhibition in ISI Jogjakarta that was then still located in Gampingan. This second sole exhibition is a process of his artistic rebirth by bringing more fulfilling masterpieces.

Bambang’s sculpture works are mostly based from wood and metal, ranging is sizes from 50 to 350 cm. For him, the media wood and metal are two natural elements with different characters, be it from the texture or processing technique aspects.

Both of the elements are combines into beautiful and unique work of art. His works talk of the contemplation of life, nature’s anguish, ecological damage, the set-aside animal kingdom, to the wonders of mythological creatures such as dragons.

In the series of sculptures with dragon theme, Bambang made an effort in upholding the philosophical values of the dragon legend. With his brilliance in formulating aesthetics, the dragons that appear in Bambang’s works are not a whole dragon, but displayed through certain elements of the dragon’s body. The said is shown, for example, on his works titled “Dragon’s Mouth”, “Dragon’s Hearth”, “Dragon’s Penishhh”, “Dragon Egg”. Bambang says that the dragon is a symbol of masculinity as well as beauty.

Some of his works also talk of the rage of nature. For instance, the work titled “The Wave: 5th Anniversary of Tsunami” tells a story of the tsunami disaster in Aceh that is so haunting. This wooden based sculpture takes on the shape of a gaping wave with terrifying sharp fangs.

In the work “Living Tree”, Bambang tells the story of a log of tree that survived in a draughty land, for the sake of sustaining life. This work also consist the critics on how mankind is getting more ignorant towards life of the trees. The wor “Kekayon II, Rhythm in Chaos” is a reflection on how nature in its hierarchy contains the beat of its own chaos, waiting for the time to explode. With that, it is time for mankind to take some time to listen and comprehend the ailment of nature.

The Process of Bakepang Wood

Bakepang wood processes into aesthetic craft with currency value. The showroom is a simple place, located in Saharjo Street No. 62 A in Tebet, South Jakarta. It is called Kayu Tangi Art. The name itself is taken from one of the district in Banjarmasin, South Kalimantan. It so happens that the owner, Firdaus, is a native and born Banjarmasin.

“Yes, that is just a name for the business, I took it off a place in Banjarmasin,” agreed Firdaus.

Beginning his trade approximately twenty years back, in 1990, Firdaus was an employee for a foreign company. When his work contract was due, he decided to start a self-management business. The wooden based crafts became his choice.

“I’ve had my share of working in Seismic Survey, also in a foreign company, in the mapping division. When my contract completed in around 1982, that was when I decide to do self-management business,” he told the story.

Starting the business with humbleness, in the beginning Kayu Tangi Art was pioneered by three workers alone. Those people were Firdaus, his wife, and an amployee. “It was fueled by guts alone,” he reminisced.

Wooden shades; room partitions; lamp holders; and floor mats, were his debut products. Kayu Tangi Art products then received quite good response from the market.

The best market condition as Firdaus remembers it is during the governess of the late Presiden Soeharto. Back then there plenty of exhibition events with economical selling-stand costs. Just like the crafts exhibition event of KIDI (Indonesia’s Crafts in Interiors). In that exhibition the independent small mid units (UMKM) were only charged with affordable selling-stand costs.

“However the selection was quite strict. What’s fun is, during the exhibition there were usually government officials that browse to then make their purchases. Other than that there were plenty of purchasers from Singapore that came. It seemed they were exclusively invited,” Firdaus recalled.

After twenty years of engaging in the wooden-based crafts business, nowadays Firdaus starts to attempt a breakthrough in the media used. Though still utilizing wood as the base material, this time the wood used has a pretty unique texture. It is bakepang wood.

Bakepang wood has a unique texture, because basically it is wood that has already been digested by worms. It is those parts that have been masticated by the worms that shape the special textures on the bakepang wood. Firdaus intentionally import the bakepang wood raw material from his hometown of Banjarmasin. According to him, bakepang wood is easily found in the Kalimantan region.

“There are many logging companies, and the hollowed woods are usually unused. Those discarded woods are left lying around by the rivers. It is then that they got eaten up by the worms,” he explained.

Firdaus is rather creative in recycling unused material as his raw material. The bakepang wood which is basically wood waste can be processed into crafts items of aesthetics with high profit value and its own enthusiast community.

Nowadays, using bakepang wood as the raw material, he manufactures partitions, picture frames, tables, chairs, and lamp stands. Aside from those he also makes ornaments such as the congklak game set, containers for cooking herbs, ashtrays, etc.

The retail prices of the products vary, from the pencil case of eight thousand rupiah to the living room table for five million rupiah. Firdaus wishes that the market keeps on recovering as it used to be, thus his business can develop more and sustain its existence.

Developing Chinese Painting

One of the rooms of Nelayan Restaurant in Ancol, Norther Jakarta, was busy. Most of the attendances are middle-aged ladies. There were only few men. Some were busy brushing paint on paper, and several other ladies were busy paying attention to a 15 meter length paper.

“This is the work of Qibaishi, the imitation of Guo Peng. But it is excellent, so much similarity,” praised one of the ladies, while keeping her eyes on the paper.

And those middle-aged ladies are Guo Peng’s pupils. They were learning to paint Chinese painting, for it is believed to bring peace to the mind, and each scrap is gentleness and patience.

Guo Peng. He is a man of Chinese origin whom was born in the City of Zhou Pi Jiangsu, on April 21, 1980. He is a tall man with slanted eyes, swift character who loves to give directions to his pupils. He is quite young. Even so, his talent of art had appeared since he was five years old. To sharpen his skills, at the age of 20 he enlisted in the Fine-Arts Faculty of Nan Jing University. In Nan Jing he has already hold two exhibitions, while in Jakarta he did one. His first ever painting is titled “Bamboo and Avian”.

He came from a less fortunate family. While attending college in Nan Jing, he lived poorly. Not even for food, to just get paper and ink Guo Peng had to buy them on credit. “All I ate everyday were only salted vegetables and bakpao,” he reminisced.

With troublesome condition, in year 2004 after graduating from college, Guo Peng explored Indonesia. He was accepted to teach Mandarin in one of the international schools in Jakarta. Ever since then live has been getting better for him. From his teaching earnings, he settled all his debts in Nan Jing.

During his stay In Indonesia, Guo Peng did plenty of observations to Indonesian artists. Avanti and Srihadi are amongst many Indonesian artists who he perceives to have the best masterworks. “I also wish to do my best in the line of art. I will never cease to create,” he claimed.

At the age of 30 he proposed to Yu Xia Fen. From their marriage they have a son who is now 3 years old, named Guo Hou Ze. Guo Peng paints with his own principle. He does not want to paint basing on other styles or comprehensions. He will keenly paint what he likes. He does not care what other people comments are. Those are the things that make his ideas flow.

Concerning Ling Nan Lung, Guo Peng states that the person is one of the best Chinese artists in Indonesia. Ling Nan Lung ideas came from Lin Feng Mian. Guo Peng is very fond of the modern and abstract works by ling Nan Lung. According to Guo Peng, Ling Nan Lung only does what is aspired. Painting with feelings.

“Ling lives at the inappropriate era and time, when the masterworks are of very high value,” said Guo Peng.

Creativity Through Paper

The joy of transforming a piece of paper into a toy. You are probably familiar with the art of paper folding that originates from the Sakura land of Japan, namely origami. In the origin country this paper folding art had entered several phases of development. One of which is the papertoy. In Indonesia self, papertoy has not been widely known and the enthusiasts are yet to expand.

Two amongst the enthusiasts of papertoy in Indonesia are Faizal Azad and Dadik Triadi whom coincidentally are also designers. So to them, papertoy is not just paper folding art. Faisal, for example, reveals the fact why he is so fascinated in this paper art. “I have been interested in papertoy since 2004, because I’m very fond of toys which are affordable. The Vinly toys displayed on toy stores are quite expensive, so I chose to play with papertoy,” he explained.

To his accord, the art of paper folding is divided into several types; the origami that is very well-known as the art of paper folding, without scissors nor adhesives; 3D papermodel or what is usually called papercraft, which is the replica of items or characters, formed as detailed as possible to resemble the sample shape; and automata, papercraft mobilized by using grid, lever, etc. And then there is the papertoy that was initially known as the urban papercraft, as the simplicity of the 3D papercraft with more attractive skin visualization add-ons.

The Japanese papertoy in its development had not always serves as a hobby. According to Dadik, in European countries, papertoy has become a rather serious matter, even expanded into a profession which is the paper engineer. This is due to its use as promotional facility or part of the art design that has its own position.

In papertoy, for the novice enthusiasts, what usually done is to form a papertoy sampling a design. This was also performed by Faisal and Didik at their early fascination towards papertoy. “I spent about six months forming papertoy characters samples which I downloaded off the internet. Afterwards I started to create characters from my own imagination,” explained Didik.

He added that papertoy is more stimulation of the imagination through created designs. Although there is no limitation of types or styles, paper toy works still appears attractive because each of the creators owns their own identity. “Every papertoy artist possesses uniqueness. From the characters, design, to forms.

I personally enjoy creating characters such as vampires, skulls and monsters,” the man who wears spectacles described.

Faisal himself claimed to enjoy creating papertoys with their own characters and stories. “I enjoy building up a background. So it is not just cutting, folding and gluing. I also produce the folktale characters of “wayang”, because I’m eager to let out information on Indonesian culture. I Also wish to make other people happy for receiving more knowledge,” said Faisal.

The development of papertoy in Indonesia is not as big as it is in Europe. “In Indonesia papertoy is still taken as a regular hobby, the enthusiasts are not that many,” the papertoy creators, whom were listed in the book of 25 papertoy artists from all continents, reveal.

As an art that uses paper as the main material, the paper should be the inkjet 120 gsm paper. To keep the color of the papertoy from fading, it is better when papertoy design printing uses laser printers. After formed into papertoy, it is suggested to keep it in a place away from direct sunlight and humidity.

Both also wishes that Indonesian papertoy enthusiasts could gather and hold an exhibition together. Papertoy is not just a time-killing hobby, rather it is very supportive for design creating process, also trains people into being more prudent and concentrating. With that, the creativity of the creator is facing a real test.

If you want to learn and see different types of papertoy, there’s nothing wrong to visit this site www.salazad.com and www.dikids.blogspot.com. Good luck!

Processing Leaves

Patience, diligence and prudence become the success key to a business. This is what’s believed by the family who owns the “9996 Leaves Crafts Garage”. This creative business started off from something very simple to then develop into a success. It has been done seriously since the year 1996.

According to Sri Retnanik, the “9996 Leaves Crafts Garage” took off from the creative routine of her late husband, Heri, whom everyday dealt with hundreds of kinds of leaves and document them as part of his assignments as an employee at the Agriculture Office. It was from there that Heri began to recognize various kinds and shapes of leaves to then creatively tried to arrange them into something more meaningful. For instance, when Heri patiently glued various kinds of leaves one at a time in a book to then give them their Latin names.

“The idea did come from my husband’s routines in gathering leaves to be documented; and from there, creative ideas began to emerge,” said Siti Retnanik as she was met by Arti at the 2010 Inacraft exhibition in Jakarta, in the middle of March. Her late husband, said Siti Retnanik, studied intently various characteristics and shapes of leaves. His diligence in conducting all sorts of experiments and processing leaves resulted in giving retail value for the item.

The perseverance of Heri and his family proved worthy. Heri then found the formula to strengthen and prolong the leaves without eliminating their stem structures. The outcome was rather unique, as the leaves that went through a series of cleansing phases and were soaked in an environment-friendly chemical substance came out looking transparent white.

“First the leaves were cleansed and then soaked in perox; after that rinsed and dried to then be ironed one by one. When it comes to chemicals, we use only environment-friendly substances, making it harmless to health,” explained Siti Retnanik.

Succeeded in creating uniquely characterized leaves, Siti Retnanik and her late husband, along with their three children then decided to start further processing various leave based craftworks. Their early products were tissue boxes, which then evolved to other products. The process is simple and just requires patience, because all there is to do is just gluing leaves those have gone through various process to any available media. “The seriousness of business commerce begin on 9 September 1996; that is why we name it the 9996 Leaves Crafts Garage, referring to the time when we first started the business,” Siti said.

Craftworks produced by the 9996 Leaves Crafts Garage amongst others are lampshades, tissue boxes, hand-fans, framed arranged leaves decorations, jewelry cases, etc. The retail prices range, from tens of thousands to millions rupiah. “Those that are rather costly are the framed arranged leaves decorations; which are up to around 7 million,” Siti Retnanik revealed. She also claimed, by producing unique craftworks, 9996 Crafts Garage now has its own market. Their products even penetrated international markets such as Germany, France, England, and several other countries.

Located in Ngagel Mulyo Village XV/23 A of Surabaya, East Java; now Siti Retnanik along with the workers at her 9996 Crafts Leaves Garage continues to innovate in order to improve their business. This of course, is done by praying that the trading climate of this country will be back on its feet, thus growing more of their creative works also.

Lama Sabakhtani

Humanizing theological meaning through real objects representation.

The theme of artists and his connection with his sacred entity is still dominant in the event of Indonesia’s fine-art. This can be observed also in the sole exhibition of Ay Tjoe Christine on artistic collaboration with Deden Sambas in the Lawangwangi Art and Science Estate, Bandung, titled; “Lama Sabakhtani Club”.

Ay Tjoe Christine presented a different concept with her previous sole exhibition; Symmetrical Sanctuary in SIGIArt Space, Jakarta, last January 2010. Now Christine is journeying through the interpretation of Jesus’s last remark on the cross, “Eloi, Eloi, lama sabakhtani” (Marcus 15:34 and Mathews 27:46). Christine’s intrigue towards this theological entity was showcased in Christine’s unique images, as the exhibition’s subject-matter.

What’s interesting was not only the two-dimensional production which was produced as a personal project, but also the three-dimensional works worked together with Deden Sambas as the implementer-artist, leading to the presentation of 4 eye-catching three-dimensional works. On the two-dimensional works, Hendro Wiyanto affirmed that the visual idea of Ay Tjoe Christine with the main elements such as the flaming cadmium red – red colors and piles of gloom black – ivory black colors were more dominant.

“The colors are produced from the sticks of oil-paints those are more freeing when nocked, creating a linier drawing and sense,” Hendro Wiyanto said. On the gigantic three-dimensional work titled ‘Lama Sabakhtani #1”, Christine displayed the object of a guillotine with three blades connected to light bulbs. Deden Sambas executed the three-dimensional work quite in a perfectionist manner by bringin the object to live in a 50 seconds cycle. The three blades go up and down in 50 seconds duration, resulting in a sound effect which Christine believed to echo the interpretation of the text ‘lama sabakhtani’.

The work can probably answer Christine’s problem in interpreting the intersubjective relation that almost always bounce back to her works. The exclamation ‘lama sabakhtani’ that is full of religious theological meaning, according to Hendro Wiyanto, was made more human by Christine through real objects representation.

Through this exhibition, Indonesia’s fine-art public get to again see the power of one Ay Tjoe Christine; as a young artist who chooses an eclectic way in reading the inter-relation issue of herself with the substance beyond her being.

The 2010 Inacraft Sparks

Visitors cramped amongst the enthusiasm of exhibition participants. Jakarta, 24 April 2010; the road heading to the Jakarta Convention Center Hall was jammed with vehicles.

Not only that, but pedestrians crowded the sides of the road. They had the same destination: to visit the grandest crafts exhibition that is only held once a year, which is the 2010 Inacraft. This is the 12th exhibition, and it has always been a success as the event to scout for unique craftworks with prices below the regular market retail. The displayed craftworks came from Bali, Kalimantan, Sumatera, and various other regions.

Such as the high enthusiasm of the visitors, the exhibition participants also seemed enthusiastic in promoting their craftworks. On average, the exhibition participants were not “new players”; such as Nanik, from the 9996 Leaves Crafts Garage from Surabaya who has been a participant for the Inacraft event for the third time.

“This is the third time, important for promotional function, Mas,” said nanik, “and we usually get big orders,” she continued.

Inacraft presents hundreds of participant stands. At the Mail Lobby alone; 170 more exhibition stands are located. Those syill not counting the stands those were set on other rooms such as in the Plenary Hall, Assembly Hall 1, Assembly Hall 2, and all the rest.

The offered products varied and unique. Starting from simple products such as tissue boxes to the complicated such as a bicycle decorative made from wood.

Inacraft deserves more attention from the government. It is through these kinds of events that middle-class commerce can promote their products.

Ceramics and Classic Furniture

Bargaining prices for the sake of high-valued antiquities.

Denindo Auction just held an auction for their ceramics and furniture collections. The works in bidding were Chinese and Japanese origin ceramics, wooden house furniture and also antique silver based ornaments.

The auction was divided into two sessions and was attended by ceramics enthusiasts and also antique items collectors. Since 11 am, the bidding participants were already present and socializing in the waiting room that also showcased the works in auction. Beforehand, Denindo Auction had been displaying those items since May 7th to 8th. This was done so the bidders can have a closer look at the articles printed in the catalogue.

According to the curator, that day, as many as 181 collections will be in auction with a variety of price ranges. On the first session that started at 12 to 2 pm, the items in auction were the Chinese and Japanese origin ceramics aging hundreds of years old.

The escalating bidding price in an auction of course plays as a certain attraction for the bidders and participants. Such as what happened as two ceramic based ginger compartments from the Qing dynasty was at bid.

It was opened at the price of R million rupiah. Two participants bid for several minutes, until the ceramic with imprinted dragon motive was finally sold for the price of 13 million rupiah. Musa explained that the entire collection of items in auction that day had high values and mostly brought in from Central and East Java.

“Of course, for the items in auction, the historical value had been researched. Generally, collectors also have particular interests on the items, such as the rarity, age, size, history, and form.”

For the second session, a furniture of Tionghoan settlers furniture that mostly made of wood were in auction along with the ornaments and accessories that is still within similar theme. A ‘Botekan’ (arranged cases with drawers and mirror on the top) became one of the attractions, for it was made from a rare Trembalu log (Cassia Causa Javanes-nis).

According to Danny F.J Pankey, the owner of the auction bureau, collectors’ interests are usually directed to the furniture, because they can still make use of the items. And this auction that takes place only once in every three months does not only offer Chinese and Settlers antiquities, but also European antique articles.

Betawi: a Picture of Global Culti-culturalist

Betawi is an integrated multi-culturist and pluralism; both through assimilation or acculturation process. In my opinion, Betawi is the outcome of a nationalizing process. Seen from various aspects, Betawi is not an ethnic, moreover a civilization based on multi-culturist characteristic.

In Betawi we find the mix and match harmony of Arabian, Chinese, European, Malayan, and other ethnics. Such was made possible by the openness of the Betawians in placing themselves in the middle of civilization flow. The matter is reflected from the varieties of growing and progressing arts, all the way to cultural products such as: customs, apparels, culinary, and inter-relations amongst men. From the religious aspect, Islam is considered as the strongest influential religious teachings, asides from Buddha, to others. Even so, the entirety of Betawian art and cultural products are still dominant to the Malayan culture.

At the city-central or metro-centrum, grows rapidly; the mix and match or harmony of Arab culture brought in by the Baalwi community (Alaydrus, Alatas, Assegaff, Shahab and others) and the Sheiks those propagated with the local communities (ahwal). It is in this zone that the samrah, zapin, rebana biang, marawis, and other arts of the same kind grew. The influence of the Baalwi community is so dominant, for the smooth civilization penetration-transformation; especially in spreading the religious traditions.

In this zone also, the strong interaction and transformation of Western culture and civilization grows, making various Western musical instruments to be so dominant. Keroncong Tugu is one of which that is still constantly preserved. On the formation variety of Europe-China, we can see from the Tanjidor. As also the domination of Chinese culture, which started off from Sepatan and Dadap, we get the Gambang Kromong.

The rest are products of local (domestic) acculturation and assimilation, which are demonstrated on the Masks – from the Banjet Mask to the Nyai Mask and Blantek Mask -, the Betawian Puppet, Lenong, and others. As for the other influences of Malayan cultures are the Pantun and other of the same sort. Arabian, European and Indian influences also visible on the Malayan Orchestra, which with time evolves to dangdut music.

From the apparel aspect we find similarity of the multi-ethnics; that besides being dominated by the arrangements of colors, also by the pattern and decorative varieties. And as in the various accessories, as can be seen on the ‘kembang goyang’. The same things are found on the Ondel-Ondel artform that is influenced by the Balinese tradition (Ogoh-ogoh).

From the combination of dancing art and sports we see silat that is so rich, visible from the beksi steps those are often performed in the palang-pintu sessions of a wedding ceremony. The richness of steps in beksi, are also formed from the combination between the Malayan style Kumango martial arts with those from – Minang, Cimande – Sunda, Tari Kolot – Banten.

Thus, Betawi can be called the miniature of Indonesia and the “Indonesianity”; the picture of pluralism and multi-culture. Ahead, it is clear that Betawi shall grow with millions of more global arts and culture variety.

OHD

This work created by deddy paw, with a tittle OHD

Wayan Dirha

This work will be auctioned in denindo art house

Justice for Water Paint

The emergence of memory sparks from dull and fragile material.

The unpopularity of water paint artworks turns for the best when a group of renowned painters produce in water paint. Nasirun and Entang Wiharso with their ever so expressive strikes presented unique figures. Nasirun in The Beach 1 and The Beach 2 seemed to very much enjoy the dissolving of water in the paint that gives out transparent effect. Nindityo Adipurnomo, whom lately is more known for his works in installations showcased the theme of identity and transculture issue in Mt Ancestor the Merchant; comprise of four panels. So was the provocative visualization of S Teddy D in Keep on Walk by History and Religiousity.

There was also Ugo Untoro, whom scratched The Very Straight Rainbow and The Black Was Born those conceptually brought up the subject of colors origin, also the naïve comical stylization Where is the Bali by Eddie Hara. And there were Putu Sutawijaya, Ivan Sagito, Agung Kurniawan, and Bunga Jeruk. It was so obvious that their spirit in the water paint artworks has not gone out. Their consistency even sparked new and interesting effects for water paint and oil paint have different characters.

This of course becomes a sort of battle chance for every painter. Even so, the challenge seemed to be faced through successfully and emerged the craftsmanship spirit of the artist. When the lasting, glossy and expensive oil paint has become a steady home, now memory sparks “come” with the dull and fragile water paint.

The display of numerous water paint artworks collection by Oei Hong Dijen has also become a whip for the present painters. In clarity the collection of Oei Hong Dijen affirmed that the water paint works by Affandi, Lee Man Fong, Wakidi, Rusli, Mochtar Apin, Sudjojono, to Antonio Blanco are terrific and must attain equal attention as their masterpieces.

Maybe the simple throw of the Syang Art Space owner Ridwan Muljosudarmo; that this exhibition is the attempt to “remind” is in fact true. Becuae no matter what, the art of water paint with all its limitations is a part of artworks that creation demands fulfillment on according aesthetic conditions. Justice for water paint, is our effort in making it last.

From Design to Pure Art

Reflecting a childhood of loss play time

Like most student at the Visual Communication Department of ISI Yogyakarta, Oky Rey Montha or better known as Kyre by his peers, done the work assign by his professor. He then submitted the work that he had made with all his heart and effort.

But what happened when he submitted the work to his professor? “You better put this outside. This work really doesn’t belong here. I think it will suits you better if you went to study there, said the professor while pointing to the Pure Art department,” said Kyre about his work while he was completing his studies.

And it’s not about that particular work that didn’t suit what he was studying. The young man born in January 3, 1986 have tried to work in the design world, by making illustrations and book covers for several publishers. But in Kyre’s opinion the relationship between a graphic designer and those with capital often ended up in a cliché: simply to fulfill an order.

For a while he was torn apart because he was in the design world while his heart was actually in the pure arts. This something that he realized and forced him to came up with a decision. Although up until now he was still studying in Visual Communications Design department, since the fourth semester he decided to not work with the typical pattern taught in the department. Instead he worked with the pure art style that gives a creator an infinite freedom.

The first step of Kyre’s decision can be seen in his work Personal Thinking #1 and Personal Thinking #2 both have the dimension of 180x170cm. In Personal Thinking #1 for example, he depicted himself strapped to a chair while a red carpet and slippers is in front of him, as though waiting for him. “What’s so hard about taking the first step,” he said about the painting. The funny thing was he was so driven to make paintings yet he didn’t have the money. The situation forced him to borrow canvases from his friends. “I’m lucky some of my friends were willing to lend me canvases,” said he.

The canvases became some sort of icon of history for Kyre, and he’s really eager to track down the two works. The thing is, when they were exhibited int “Expo Signs” an event held to commemorate the anniversary of ISI Yogyakarta, both of the work was bought by collectors. “I really want to buy them again because it marked the beginning of my journey, and it was a process full of mystery. Unfortunately, until this moment I haven’t have the chance to meet the collector,” said he.

For the young man who pioneered the visual community called Tempat Kecink (TK—literally means a place to piss) every work is his personal note. If he felt content to pour out whatever he was feeling and his ideas on canvas, one phase of process was completed. “ I never think what will become of my work, whether it will be sold or not. Maybe I disregard the market for a bit, but that’s just how it is, if I made something to comply to the market, then that means I am back to being a mere designer,” said he smiling.

Although he does not think too much about the market, it is really friendly to Kyre. In the beginning of April when he held an exhibition title “Evorah” (Evil of Rabbit Head) 13 of his work was sold out, bought by collectors.

“Maybe Kyre’s work was unique. With its imaginative characters, which was almost always represent him and his girlfriend, “Evorah” has shaped a fictional glamour world, with bright colors, but also give a mysterious allure, depression and gloom.

The work in “Evorah” become a reflection of Kyre’s childhood, at the time he was seldom had the time to play. The rigid rule of the family and his status as the first child in the family made his days filled with chores and to take care of his siblings, even when he was in junior high, cooking dishes had become his routine duty.

“It was in the past. I just want to take note of that world of mine. I also plan to hold a solo exhibition,” said he.

“Shampoo Ginger” from the East by Gede Gunada

Karangasem, the furthest east of Bali Island, is a district that is often times considered slow and is under the poverty level. Many of its natives settle in Denpasar or other regions for better living. However, not many people are aware that Karangasem holds an amazing nature landscape and a magnificently unique cultural art potential. Karangasem has also given birth to several painters those are still at national rank. To name a few, Nyoman Sukari, Wayan Redika, and Made Sukadana.

In Karangasem, blooms a fine-art group who name themselves “Lempuyang Fine-Arts Community”. Lempuyang is the name of one of the mountains in Karangasem that is considered sacred by the Balinese. The Lempuyang Community established in 1993 and has held numerous collective exhibitions, art camps, art discussions. Some of its members have even participated in the national and also international scaled events. For example, in 2007 they were involved in the “Earth Calling Bali” in the Global Warming & Climate Change Forum held in Nusa Dua, Bali.

Now, after a moment of vacuum from art activities, Lempuyang is back in action. To add more flare, Lempuyang invited several painters from outside of their community to showcase paint and sculpture artworks. Generally the exhibition shows how the members of the community are trying to show their latest artistic achievements. Such can be seen on the work “Pro Evolution Soccer” by Nyoman Sukari whom shifted from the theme of drunks to soccer fanatics, though still keeps the visual of his figures in his old style. On another side, Sukadana left the Barong theme, and is now busy sounding pluralism through his latest paintings.

The struggle of thematic exploration and expression style could also be seen on the works by Gede Gudana, Dalbo Suarimbawa, Ketut Tenang, Gede Sugiada, and Nyoman Triarta. Gunada, for example, on his work “Rabies”, processes the issue of rabies disease that was spread in Bali through his wild and imaginative brushes. Sugiada and Triarta criticize power and muscletalk through satire toned works. All wish to show that theLempuyang Community still has its artistic breath.

Fine-Art Brand, Space & Image

Tweet.. tweet.. tweeeett.. Standing with both arms wide opened Entang Wiharso continuously blows on his shistle. Meanwhile two beautiful ladies dressed in all white looked solemnly drips wax to both of Entang’s hands. Opening the Space & Image exhibition in the Ciputra World Building, through his performance art Entang Wiharso seemed to be giving criticism to involved elements in the art world. Representing the figure of an artist, Entang spread out his hands and had them dripped by wax, as if he wishes to scream how hard the life of an artist is.

The critic expressed by Entang was in harmony with the vision that Ciputra aspires to develop with his “artpreneurship. Combining art and entrepreneurship; Ciputra hopes to create a new brand for the Indonesian world of art and culture. The brand is hoped to be able to excel Indonesia’s art value, particularly financial wise. When the hope comes true, what will happen is that art will be able to provide welfare for the lives of art workers; and in all desire, to escalate the livelihood of the people of this country in general.

“Mine resources will someday run out, what can always be improved are art and culture,” Ciputra said during the press conference prior to the launching of the Space & Image exhibition.

Optimistic that the art world can be improved, that night Ciputra Group coordinated with Heri Permad Management and gathered 82 artists to be involved in the exhibition. Inevitably, the Ciputra World office building estate was swarmed with various artworks such as sculptures, installation, and also paintings.

“The available space is not a representative space for exhibitions, for this is an office building. But that is where the challenge lies, how to ‘subdue’ the space,” Suwarno Wisetrotomo said.

In the 1990’s many national fine-artists contributed in international biennales. But over the years the number of Indonesian fine-artists those were invited had become less and less. Hopefully the brand Ciputra was mentioning does not only excel the financial aspect only, but also improves Indonesia’s art on its quality.

Dance of Colors by I Wayan Sudarsana (Yansen)

The colors flowed so soft, spaces that they formed seemed to not be the end of the stream but more to the long journey that have yet to see its end; or even maybe without no end.

I Wayan Sudarsana or most known by his nickname Jansen, the artist from Bali with his sieving technique allowed that kind of visualization to manifest on his abstract works. Through the sieving technique, Jansen let the colors move free, making the visualization created on the canvas as colors that roam free in search of their medium.

“Here, Jansen is nothing more than a media. I’m even confused whether to sign my works or nor” Jansen said.

By sieving technique, the intensity of closeness between Jansen and his works seem to unite more. Holding the canvas with both hands while sieving makes him and his works have absolutely no distance. It may well be assumed as if the canvas space and body media had become one soul. In this matter, it looks as if Jansen avoids to “damage” his soul representation with a personal ego in form of a signature.

On one side, Jansen had also construct representation spaces of the soul, thought, and dreams in the macro-cosmos scope. The space he had constructed does not just tell on “personality”, but on his canvas Jansen constructs a “collective” space where the dream and thought represented could also be everybody’s dreams and thoughts. Isn’t the dream in freedom that leads to happiness is also everybody’s dream?

“If possible, try to take a picture of it at a very close range, and enjoy. It is very rare that you experience such freedom. And be assured that we weill meet in a dream,” Jansen elaborated.

So, should Jansen be selfish by “clustering” the dream that actually belongs to public through a signature? Jansen’s works that flow, freely, calmly, peacefully, and bring joy are the representation of every man’s dream, and Jansen is very much aware of it.

A thousand interpretation can be created as freely as the flow of colors. Jansen allowed the observer of his works with their own “readings”. Jansen “frees” his works from titles that may lead one to a certain thought. It was told that one day during a painting on the spot session, a shepperd approached Basuki Abdullah. “Nice,” said the shepperd. Basuki loved that; he loved his works to be enjoyed rather than to be “discussed” by all sorts of theory. The same thing goes for Jansen’s works. Just enjoy them.

Urban Reflection

Urban Reflection on Reality tried to identify two main problems faced by artists, as Indah Arsyad.

Firstly, on artists as a part of the fine-arts social field structural discourse, and secondly, on artists as a part of the urban society members; especially those residing in Jakarta.

In the exhibition the Jakartan artists view the artistic and urban aspects. According to Rikrik Kusmara, the 3-dimensional works mark the awareness of physical existence that is factual; in a space, concrete, and upclose manner. “The works in this exhibition is the form of honest affirmation, concrete existence of thoughts, and the expression of artists in an environment,” said Rikrik.

In a city like Jakarta, the highway –as one of the form of “space”- become the media of factual take-over and battles between the power of capitalism and human symbolizes by motorbikes, private vehicles, public transports, trucks, and other vehicles.

Wheels of vehicles chasing one another jamming the roads of Jakarta were nicely visualized by Indah Arsyad in ‘Racing Minds’. Geese feathered wheels seem to fly over all sorts of traffic jams. The sculpture indicated the worsen transportation problem in the big city such as Jakarta; that even the wheels imagine to be able to fly like a bird, when in fact, the actual birds that live in the big cities are nothing but a memory because the forest and trees as their habitat has turned into concrete ‘jungle’ and skyscrapers.

Another problem that Jakarta face is the number of population that continues to escalate with no way of pressing it down. This gives way to more crimes, the emergence of street vendors that take-over pedestrians way, the overflowing beggars, and crammed slums by the riverbanks and under the bridges.

Geoffrey Tjakra in the work ‘Over Population’ in form of head-cuts in various textures made from ceramic jammed in some kind of glass capsule represents the jammed and crammed Jakarta. Iwan P Simatupang in ‘Elpigi’, sculpture of a gas tube made of imitated leather formed to duplicate a real gas tube explained nicely that art as a part of the contemporary social system is divided into categories. In this work he showed the interpretation and perception on danger as the mixture of humor and irony. It is called humor because in reality every urban has actually “planted the potential” of danger in their own kitchens, and the irony is that in our era now, we cannot be departed from the gas tube.

New Life

Eternal Vow

Eternal Vow by Nani Sakri, 2011, ukuran 120x150cm, Acrylic on canvas.

Laksmi Shitaresmi's work

Wayan Kun Adnyana Work

This painting is created by wayan kun adnyana

Untittled by Ivan Sagito

Untittled by ivan sagito

Emotionalsign With Tnewspaper - Visiblecity # 5

IVAN HARYANTO, Emotionalsign With Tnewspaper - Visiblecity # 5

Untittled

This work created by Hardi, on famous indonesia artist

Alliance

Allince By Entang Wiharso. Finish at 2011, oil on canvas 120 X 170 CM

Astral Matrimonial

Astral Matrimonial by Bambang Wibawarta... an abstract painting

Romance de Amor

Add caption

Romance de Amor, this painting is worked by Acep Zamzam Noor, finishing at 2010, acrylic on canvas.