Bridges: Span of Culture

Bridges in the context of human civilization; is not only a technology construction work that connects humans from one place to another. Bridges are understood as a human cultural creativity product that connect one era to the other; putting together one time dimension with the other.

During its time, bridges were understood as a structure of horizontal construction supported by strong pillars, made to go across gaps and obstacles, be it valleys, rivers, canal, and so on. As technology evolves, bridges those connect two lands were then known. With time, bridges also go across straits.

Bridges were built, at first, so that humans may overcome obstructions. Bridges were built to allow pedestrians, automobiles and trains to cross without any obstacles. Along with the development of modern human civilization, the dimension of bridges becomes wider. It changes and alters the function of various connecting facilities between the locations of human’s residence with the facilities those are more effective and efficient.

Boats and ferries those were at first the interisland human connecting facilities; are then replaced by bridges. At least, that is how we see it all over the world, be it in Europe, America, and even then in Asia. Indonesia alone that is an isles and maritime country, develops the tendency and passion to make bridges as the main facility for inter-island connector, in replacement of other facilities.

What we witness by the existence of Suramadu Bridge that connects Surabaya (Java Island) and Bangkalan (Madura Island) is a reality before our eyes. What is still within the planning imaginary description is the Sunda Straits Bridge that is perceived to be connecting Banten (Java Island) with Lampung (Sumatera). Soon, bridges will not only facilitate the dynamics of human mobility in conducting migration, but far beyond that, it may also allow the escalation of acculturation and human freedom of their geographical boundaries.

From the construct design dimension, bridges also went through progress. There are simple bridges those only rely on the power of “supporting” weight such as the Bailey Bridge; there are also bridges those are made taller than necessary in order to attain certain effect and reflection, namely the Moon Bridge. The last one includes specific bridges those are build to only serve the importance of palace emperors, such as the one in the Forbidden City of Puyi Dynasty, Beijing, China.

From the construction’s row material, bridges follow through technology progress as part of human cultural and civilization progress. In time when humans were still very much influenced by agriculture; relying on simplicity and the wisdom of customs, bridges were made of wood planks. This is the type we recognize as the Log Bridge. The type is quite simple, for it is made by knocking down timber, to then put it in horizontal position just like that.

When the element of metal started to be used as certain span material; we then started to get familiar with various types of bridges. Starting rom the suspended bridge that combines plates of iron with planks of wood, to the bailey bridge that combines the elements of iron, stones, sand, cement, limestone, and asphalt. As for the train track bridge, it combines the length of steel rail with wood cushions, supported by iron and cement.

Lately, as the thought of artistic and aesthetic harmony with the power of artificial engineering begins to evolve, we start to recognize various bridges emerging as installation works. Those are amongst what we see on the bridges of the Nil River, Sheine River, Reine River, Golden Bridge, and others. This includes the bridge’s architectural pattern that we find on the Bridges of Penang, Suramadu, and others. For however, bridges will eventually be the span of human culture and civilization.

Popularizing Indonesian Comic

Fighting in the midst of Japanese and American comic boom.

Sketched stories or known more as “comic” has always been a favorite for the enthusiasts. The comic that is identical to childhood turn to have enthusiasts of various ages, old and young. Comic itself is included in the form of artwork that combines elements of drawing, story, and completed with texts.

Speaking of comics, we cannot escape the presence of foreign comics; such as the Japanese comics called “manga” or American published comics, Marvel, with his legendary superhero icons. So then, where does Indonesian local comic stands? Rizqi Rinaldy M, the Head of Indonesian comic Community explained that for now the local comics are still making their best effort to attract local readers.

“For now Indonesian comics already have an industry, but not local comics. How can our comics improve when we are already beaten from the quantity aspect? With that, not many people realize the existence of local comics, and turning that around requires promotion that is hard to do,” he said as met in his comic studio.

It’s not that Indonesian comic has disappeared or does not exist. The sketched story that is categorized to strip comic and comic book has already been in Indonesia since the time of colonialism, proven by the finding of a sketched story on a Holland media; that opened the birth of several national comics with their works published on paper. Looking back, Ecky admitted that ten years ago the local comic was arose by the “Carok” comic, and it was from that moment that the Indonesian Comic Community (MKI) was established. Carok seemed to resurrect the comic lovers that eventually put together the National Comic Week.

“MKI stood from the ideas of Indonesian University students that pioneered National Comic Week in 1997. The event had agendas such as exhibitions, competitions, and workshops. After successful in holding the event, they agreed to make it periodically through MKI. One of the founders of MKI who is still active to date is Wahyu Sugianto,” explained the man who loves drawing since his early age.

He also added that comics do not rely only on the power of sketches, but should be supported with a good story. Even though people’s first impression as they open a comic is the drawing, but what keep the readers reading is the story. And one of the weaknesses that Indonesian comics have is that there is yet any good story span. Sometimes there are those with good concept, but when applied, it only lasted for one edition.

Sustaining comic artists and keeping them stable in producing their works can be a hard thing to realize, remembering there are still those who perceive making comics as just a hobby and a private work, when it is time that comics be done by studio or team concept. Even in foreign countries, comics are no longer private property, but to be done in a group or in mass.

But Ecky remains big-hearted to keep on introducing comics in a more expansive way. The exhibitions that MKI often hold become one of the ways to invite and gather comic enthusiasts from various regions. “As the name is, MKI does belong to every comic lovers of Indonesia, and we have the goal that MKI be in all the regions, though it is still not realized to date. For now we have a project to produce comics by involving 33 comic artists from every province and lift Indonesian culture in the production,” aspired the man that has philosophy educational background.

To share a story, the emergence of pop comics such as Benny & Mice gives a breath of fresh air to the Indonesian comic world. Started off from newspaper comic or as it is called strip comic, Benny & Mice was then made a comic book and was successful in getting people’s attention. According to Ecky, strip comic often times plays the role of pioneering for the improvement of the comic industry, doe it uses the media of newspaper that many people in various region have access to. The producing process is also faster, making plenty of big stories those are born from strip comics.

Widi, one of the members of MKI then explained that comics in Indonesia do exist though not in the spotlight. His involvement in the organization is based with the hope to meet fellow comic enthusiasts and through the workshops and exhibition, he became more confident.

“MKI always asks its member to produce works and be responsible for it. This is because exhibitions become the evaluation event for comic artists, how their work be appreciated by exhibition visitors,” said the man who is a teacher for comic extra curricular program in Lab School Rawamangun.

Discovering Revelation from Collation

The dialectic of imagery attached to the canvas with roams of imagination.

Amongst artists, the word “revelation” becomes so familiar. Revelation is defined as none other than inspiration, idea, brainwave.

Many artists are successful in creating their masterpieces for being guided and assisted by supernatural hands of revelation. Many artists are also dumbfounded for the hassle of finding revelations. This is because revelations are often present without any invitations, and leave without saying goodbyes.

I Made Palguna is not a painter who gives up easily in hunting for revelations. This is proven from his latest works in display those are very far different from previous works that the public has already known to have a unique character. After one decade of his career as a painter, he is now making an effort to experiment with a new technique. He makes use of paper cuts with interesting images for his creative exploration stepping point.

With the collation technique, on every canvas he would randomly attach the image cuts from newspaper or magazines. Then with the guidance from his intuition and imagination he would respond and paint on those attachments with brushes of colors and streaks of lines, thus shapes or certain figures are formed. There is dialectic between the images those are attached to the canvas; with the roams of his imagination.

As an example, observe the painting “Beauty Pose”. The cubism nuanced painting displays the figure of a semi-nude lady sitting on a red chair. The face of the lady is from an image adopted from a photo cut in a magazine. Such was also with the painting titled “Luna”, the face of the female figure is a photo cut responded artistically.

Palguna’s latest paintings show various imagery layers overlapping each other. It stumbles one upon another with the brushes and spread of brightly dominant colors those seem to shape a certain composition. It makes his paintings look unique and soothing for the eyes, as can be seen on the painting titled “Gembala” (Shepherd) that is full of distortion figure imageries with cubism nuance.

Magdalena’s Statues

Deconstruction over the myth of female beauty standards.

Maria Magdalena, 20 years old, at the time is studying the Crafts Major in the Fine-Arts Faculty of ISI Jogjakarta. “Body Message” was her debut sole exhibition. She is enlisted in the “Artist in Residence” program held by the Tembi Rumah Budaya, Jogjakarta.

Maria Magdalena, 20 years old, at the time is studying the Crafts Major in the Fine-Arts Faculty of ISI Jogjakarta. “Body Message” was her debut sole exhibition. She is enlisted in the “Artist in Residence” program held by the Tembi Rumah Budaya, Jogjakarta.

In this exhibition Magdalena tried to highlight over the myth of female beauty standards. It was quite a challenging creative work, moreover with the narrow three months time she sad to prepare her works with the media she has not been concentrating for too long, which is clay (ceramic).

In “Psychodoll 2”, 4 femme statues were displayed, in the size of a Barbie doll. The four statues were then divided into two wooden frames. They are visualized to be in a huddling position, their faces buried in between their thighs.

There is the impression of “pain” and also the ambiance of loneliness that Magdalena was trying to build. To add in to the idea, accessories ornaments in forms of disarrayed wig and also rags wrapped the works. She explored in adding another media to strengthen the theme, though she was still rather “saggy” in building the character, feel, and impression.

In the work “Sick”, visualized a figurine with broken neck in the mid part. There is the impression of obvious pain that is trying to be built there, but unfortunately the facial figure there showcased without expression. No pain is shown there.

Maria still needs the “aide” of accessories so the delivered message can get through. In this matter, it is obvious that Maria is yet to be in-whole in building the souls of her works.

However, Magdalena can’t be named a failure. Such as seen in the work “Lonely”, Maria Magdalena was able to build the impression she wanted to come through rather superb. Strangely, this is achieved as Magdalena was not all too focused on the form of her statue. It is an abstract, though the figure she wishes to visualize can still be seen. In this work, the impression of loneliness is successfully achieved.

Her so-to-say short experience, the limits of preparation time -18 statues in display done in only three months time- seemed to make Maria Magdalena’s work unable to “speak” much. And one more thing; to make statues with the media of clay (ceramic), is something altogether new for her.

Bearing all these in minds, Maria Magdalena deserves lift of the hats for her spirit and courage!.

Contemplating on Bali as the Island of Paradise

Problems of acculturation and cultural tense occurring in Bali become an inspiration.

Bali has gone through many changes, be it from the aspects of religion, social, culture, and also economy. The matter can’t be separated from the outcome of tourism, as there has been tension between traditional importance and the strong current of the global capitalism.

Various problems of acculturation and cultural tension that occurs in Bali inspired I Ketut Teler to create works those criticize Bali in the most part. The exhibition that displayed 19 paintings and one installation art seemed to be sending out a big question of : Is Bali still worthy to be named the Island of Paradise?

Teler’s crititcal attitude, can be observed in his painting “Coca in Bali”, which portrayes the shift of value and practical characteristic of Balinese relating to the use of profane items for sacred necessities. The bottle of Coca Cola, an American produce soft drink, used as the container for the tirta, holy water used in Hindu-Bali rituals. The painting proofs one form of the acculturation between global culture (Coca Cola) with local culture (tirta) that takes place in Bali.

Teler’s concern for the rituals phenomenon is reflected on his installation art titled “Welcome toParadise”. Teler focused that many of the ritual (piodalan) activities in the temples, are often carried out with various human practicality importance; starting from economical, social, cultural, political, even cockfights (tajen).

On some of his works, Teler shows icons of Buddha, be it as the face of Buddha, or the mudra pose. He also jolt down on his painting, the relief imagery from the bottom part of Borobudur Temple, Maha Karma Vibhangga, that demonstrates the bond of earthy desires. On the other hand, Teler also presents himself as themodel of a painting by wearing a cloak in various poses. The cloak becomes the symbol and sarcasm for the religious leaders those put on their religious outfits just to shield off the acts those are deviated from the teachings of their religion.

The painter who was born in Tembuku, Bangli, 24 October 1971 studied fine-art in ISI Denpasar. In year 1995, he enlisted in the Artist Residence in Boston, U.S.A. In the same year he was also granted the “Kamasra” Award from ISI Denpasar. In year 2009 he held his sole exhibition in Hanna Artspace Ubud titled “Tolerism Terrorance”.

Stepping on the Left Side

Presenting how they are, without the pretense of following other works done by other “in-trend” artists.

Left” is open assumed negative, not good, abnormal, taboo, and such, Through this exhibition, I Made Somadita and I Ketut Jaya (Kaprus) wish to respond the public view on that “left”. In the midst of stronger market hegemony, they probably feel that their works are often times considered “leftish” by some; considered “not good”, not reflecting market demand, or lack of trend. Through their contemporary works, these two young painters wish to proof that “left” does not always have bad connotations.

In this exhibition, Somadita displays works with the subject matter of animals those have been deformed and distorted somehow to deviate from their true form. For instance, there are animals resembling a zebra with unclear head form, mule with multi horns, elephant with eyebrows such as humans, boar with seven legs, and so on. Those animals give the impressions of abnormality, absurdness, fantasticality, such as monsters from a fairytale land.

Meanwhile, Kaprus displayed abstract works with the power of lines scratching and brushes of spontaneous colors, those at times form certain shapes. The streaks of lines and coloring were mostly inspired by the arrangements of banten sarad (special offerings) color plays, used in various grand ceremonies in Bali.

Somadita and Kaprus have been friends since a while back. They own the similarity of views in going through the artistic process. They both put forth the freedom of expression. And this exhibition was meant to serve as the space for expression and togetherness. Their works presented hoe they are, without the pretense of satisfying any market demand, or following the works of other “in-trend” artists.

Their foundation is only the sincerity of just sharing creative expressions those they have been concentrating on for years. They are stepping on the left side. Whether their works be considered “good” or “bad”, “of value” or “not of value”; is solemnly the rights of the appreciators and viewers to judge, of

course, with their sincere heart.

Building Our Planet

Indonesian cartoonist became the champion in the international cartoon contest.

Different from the Kyoto Protocol that comprise of the clauses and mitigations to relieve th earth from climate change, the 9th Kyoto International Cartoon Exhibition wished to look for the best way to build our planet. How? Through cartoon. Yes, through cartoon; drawings with comical and sometimes satire display, in relation to the daily problems of life.

The theme “best way to build the earth” becomes the reference for 267 cartoonists from 55 countries those enlisted their works in this international event. Overall there are 716 works and those that went through the initial phase of selection were only 187 cartoons; works from 95 cartoonists from 33 countries. From that number, 18 cartoonists were from Indonesia. It is that last said number that was in display at the Bentara Budaya Jakarta. What brought pride was that many Indonesian cartoonists were in the nomination.

The champion for the gold prize was Jitet Koestana, cartoonist from Kompas newspaper that portrayed the tank; usually engaged in wars. The missile launcher points up, and on this steel covered vehicle, a soldier is seen harnessing his weapon. The soldier is visualized screaming while a dove (symbol of peace) is seen approaching his wide open mouth. What’s interesting is, the entire picture (ram and tank) are all colored natural green.

Aside from the interesting idea, Yasuo Yoshitomi, Chairman of Selection Committee and also Head of the Kyoto International Cartoonist Congress, claimed that Jitet did not only posses incredible drawing technique, but also a sharp view as a journalist. “He is such a joyful young man with a bright future,” Yasuo complimented.

The runner up (silver prize) is Pawel Kuczynski from Poland who drew a man in solitaire, playing a strum instrument with the media of a living tree. The flourishing tree is assumed as the substitute for a cello. He seems to be playing music in the middle of a draught field. His loneliness is shown from this drawing.

Both works, GM Sudharta, one of the Kyoto International Cartoonist Congress commented; were at it head to head. This is because both resemble painting and both send out strong messages. After a long argument, seven judges decided to present Jitet’s work with the best value. “Besides using high technique, the work also has strong satire and is also more cartoon-like,” Sudharta explained.

Water Drop Imagination

Artistic enlightenment of raindrops crashing to the pool’s surface.

The photograph works that contain high artistic values started off from a simple coincidence. It was a hot afternoon, but not long after, rain poured ever so heavily. After venturing through the corners of Bali on his rented motorbike, photographer Stephan Max Reinhold arrived at his hotel soaking wet. He didn’t go directly to his room, instead he dove himself straight to the swimming pool. Might as well, Max thought.

It was during his joyful time at the pool that Max witnessed nature’s “wonder”. An event mostly taken for granted. Just like Newton who discovered the law of gravity as he contemplated on the fallen apple, Max encountered enlightenment as he witnessed drops of rain crashing to the pool’s surface.

The raindrops fully caught his attention. His imagination roamed free. The raindrops seemed to form pearls or ornaments, sometimes forming shining crystal tiaras. Refused to lose the magnificent moment, Max immediately took his digital camera and captured the sparkles of water on the pool’s surface.

The results are fantastic, magical, and very fascinating photos. Max then went on to his next experiment. He tried putting various items and colors that makes biased reflections on the surface of liquid, to attain certain effects of water sparkles or drops. He experimented with different sorts of liquid, such as plain water, milk, food colorings, paint, oil, and even soap. And then, with the photoshop program, he tidied up his shoots results, without altering or manipulating the already formed imageries.

The photos are printed on canvas with large format printer using special ink. When observed, on the photo titled “Purple Haze”; shown three drops of water those form crystal pearls on the surface of a reddish purple liquid. The surface of the liquid forms the texture and circular or luminescent linings.

For another example, the photo “Ozone Waves” presents sparkles of red blood water that forms sharp pointed stacks. Four water drops the likes of drops of blood floating above it. On the bottom; greenish liquid surface that centralizes on the red blood circle becomes the base for the sharp tip.

And so it was. Max’s works showcase very imaginative imageries and landscapes. Rhythms of linings, colors, and textures combine and forming abstracts those are able to lead the appreciators’ imaginations to the world of fairytale.

Max claims that his works are combination of art, science, and technology, that also reminds all of how important water is to existence.

Imagination and Drawing Art

Free streaks of lines, resulting in unsuspected shapes.

In the world of fine-arts, drawing has been considered as the second class art. Many perceive drawing as nothing more than just scrapes to practice on flexibility of the hands as creating lines. However, such is not the case with I Ketut Sugantika alias Lekung. Feeling jaded with painting art, he goes back to pencil and creates drawing art on paper and canvas.

His drawing creations posses their own uniqueness those are quite imaginative. The streaks of lines are done freely, flowing with the rhythm of his imagination. The result is unsuspected shapes, such as the form of animals or humans those are distorted and absurd.

Take for example, his work titled “Object 15 (the Power of Indonesian Women)”; that presents the figure of an afro haired woman standing on a steel covered vehicle. The hand of the figure forms a crouch, while on her shoulder a string of rope ties around a missile. On the right lower part the head of a man with a Mohawk styled hair emerges.

Then on his work “Object 11 (Thousand Hand)”; the figure of a woman whore shoulder are overgrown with hands can be seen, almost making a form of a propeller. While as in his work ”Touring”, he shows the naïve characterized figures those remind us of children’s drawing around the house walls. However, in the other hand, some of his works present figures of naked women sitting with their legs spread apart.

Through this exhibition, Lekung tries to raise the dignity of drawing art. Besides 20 drawing works, there were also two sculpture works. The sculpture works are formulated from found metals and items, such as used mufflers and motorcycle parts, gas tube, and so on. A large size sculpture and the found items take shape of an alien vehicle, such can be seen on the sculpture titled “Object 24 (UFO)”.

I Ketut sugantika was born in Singapadu, Gianyar, 17 August 1975. Finished his study at the ISI Denpasar, since year 1994 he has been active in various collective exhibitions. In 1995 he was awarded by the Embassy of Peru. In 1999 one of his works was a finalist for the Winsor & Newton Award, and in 2003 he had his debut sole exhibition at the Cultural Park of Bali.

Petter Dittmar’s Window of Colors

Combining the Western painting technique concept with the Eastern philosophy.

Petter Dittmar does his works on surfaces layered with some sort of paper made of burnt rice straw (merang). The surfaces are shaped by referring to ancient symbols, such as full circles, squares, and rectangles; those present a window with a certain nuance of color. To image the empty space, he hollowed the center of the surface with circular shapes.

On those merang layered surfaces, Dittmar created color brushes of light brown, grey, blue, red, and a mix of grey with golden yellow as the background. The basic coloring was then sealed off with a special tool, emitting the track of textured and varied lines, such as the curve, wave, and straight line. The entire details can be seen on the painting titled “Color Window” that presents tracks of curved linings on the base of red color, which then centralized on the square surface posing a cloe colored window.

On some of his works, above the basic color he would create a variety of surface by the spreading of certain colors that expose the impression of transparency and sometimes show the accentuation of bright red, black, and golden yellow surfaces. On some of his other works, he arranges the composition of spontaneous lines and the sparks of colors that shape into calligraphy, such can be seen on his work titled “Small Color Window”.

Peter Dittmar made the effort of combining the Western painting technique concept with Eastern philosophy. The portraying of surface and colors refer to the concept and philosophy of mandala (mystical surfaces), making it a whole combination in his works that give spiritual impressions.

Peter Dittmar was born in Munich, Germany, in year 1945. From 1983 through 1984 he lectured on fine-arts subject at the Jakarta Art Institute (IKJ). He has been holding numerous collective and sole exhibitions at the major cities of the world. Since 1982 he resides in Bali, and in year 2002 he opened his own studio in Sydney.

The Mall; Urban Society’s Pond

The growth of cities from agropolis to metropolis, to then evolve to megapolis –with interstated zones- is considered the growth of human civilization. In any city evolution, cultural development should follow. Moreover, city evolution does not stop on the functional development demographically and geographically.

The city as human’s habitat zone does not only need centers of economy and business. The city does not only need centers of cultures. For instance, in the forms of cultural centers, covering the development of art, creativity, and technology.

Viewing the growth of the city as the center of culture and civilization development, various city facility, especially the shopping centers or the malls, must be looked at and positioned as the centers of culture and civilization. With this kind of thought, we place the mall as part of the human enlightenment central. Thus, the mall, aside from being a trade center and strategic part of the economic growth, can also be viewed as the pond of cultures.

The part as pond of cultures becomes ever so strategic. Especially in developing city facility as the community center, playing the part of social understressed reduction. At least, as the urban cultural center, malls need to be designed in such a way that it gives sufficient space for the longevity of the humanity recovery process. Moreover, the tendency of city growth with all its complexity, tend to degrade human interaction space.

Referring to the thought, the mall as the cultural center of the urban society, in many ways have given large benefits. Be it in pushing the urban society’s creative process, and also in creating human’s harmonious atmosphere. Particularly in fulfilling human’s needs and desires in achieving social harmony.

Imagine, wouldn’t it be great if every mall manager prepare a room for urban society interaction with the dimensions of aesthetic, artistic, and ethic those are offered by the cultural products; starting from the quality art products with high economy value, all the way to handicrafts. Surely the urban society will regain their in depth spirituality dimension, as they fulfill their economical consumption needs.

Subsequently, the awareness in making the mall as urban society’s cultural center, will push the growth of a new awareness in public of the essence in harmonizing spiritual and physical needs. And the mall as the community center will grow into one of the enlightenment center with positive impact.


Imagine, wouldn’t it be great if every mall manager prepare a room for urban society interaction with the dimensions of aesthetic, artistic, and ethic those are offered by the cultural products; starting from the quality art products with high economy value, all the way to handicrafts.


In the midst of urban society’s complexity and dynamic which are easily absorbed by various under pressure situations, the existence of malls as the uptown cultural pond will become more catharsis. The benefit will manifest in the growing public mental health that in many ways may reduce violence. This includes reducing city crimes and violence.

We will say, whoever runs the mall that is capable of making the mall cultural center or cultural pond for the urban society, will benefit much economically, culturally, and also morally. Moreover when in the future, from their part as the cultural pond, mall may grow as the new civilization space for the visionary urban society. In the hands of developers and mall owners that care for humanity, mall will evolve into the city civilization ride.

The Power of Water Paint Exploration

Rusli’s exhibition inspired his career path as an artist

A man told of his childhood, “Back then the nature was still flourished, trees galore. Aside from playing ball, climbing trees and fruit picking were the fun activities to do. The today children no longer have those moments. That childhood then was as living in paradise. Now, all has change.."


Spoiled by the beauty of nature, the child grew to be someone who is so in depth and sensitive towards his surroundings. His contemplation becomes expressed even more as his father gave him water paint as a present one day. With the water paint he starts to brush lines of nature on grass-made papers. Before, he did it with pencil on the walls of their house. But now, as water paint becomes his favorite, he frequently asks his father to buy him the tool.

“I remember the brand of that water paint, “Guitar”, just ordinary water paint. From then I started to be fond of drawings. Since father has always bought me water paint, I grew accustomed to it.”

Spending his time more often by brushing nature’s lines and colors by water paint, as he grew up he then established himself as a painter, by self-learning. For even as he loved to paint since such a young age, the world of fine-arts is just a passing through comprehension; it never crossed his mind to concentrate more to it through formal education.

His awareness and steadiness to focus in the world of art becomes entirely solid as he observed Rusli’s exhibition in the Ismail Marzuki Park back in 1975. The exhibition had really inspired his following career path.

Agus Budiyanto, is the name of the artist who is so fascinated by nature and the effects of water paint. He was born in Jakarta in 1960. His closeness to nature since a child has brought him to consistency in focusing with the same theme and media.

Consistent. The word in Agus’ mind does not contain the short meaning of no exploration. On the contrary, Agus continuously explores in his works, technique, media, and also theme wise.

Agus always tries to explore the newest possibility he can reach through the characteristics of water paint and paper. For the me-dia, by using the best quality paper he tries to break the perception that water paint painting done on paper will not last long. While as for the theme, such as the infinite universe, such is Agus’ exploration on his works. He works on various objects, though nature still dominates his themes.

“I’ve tried painting with oil paint, but the results came as dissatisfactory. With no disregards intended to other media users than water paint, but it is only by water paint that my passion for art can really be expressed,” he explained.

The characteristic of water paint that can only be brushed once with measured precision, for Agus, keeps him “honest” in working. Of course, different with the oil paint painting that is arranged per layer, the water paint media has the “one shoot one kill” characteristics. So, such as a sniper, the painter has to have precise accuracy in moving his brush. Just one miss would mean damage, because it would be irreversible.

By continuous exploration, Agus’ works is as the nature with its rhythmic movement. From only transporting objects to his works, his feel sensitivity keeps on being sharpened and has brought him to the point of image power. “I capture sound not by ears, but more by the feel,” that is what Agus always emphasis on his current works.

Agus no longer chases the description of shapes, but more to the built feel issue. He captures the moment and filters nature’s energy from surroundings. To date there are still Agus’ works that is in abstract style.

“This has something to do with my habit of listening to New Age music. The rhythm of music plays a rather big role in influencing me working.”

Agus Budiyanto, has spent more than 30 years in focusing the world of fine-arts. The title “The Best Artist of South Jakarta” in 1980 and “The Best Artist of Jakarta” in 1982 were held by this man. Besides being active in collective and sole exhibitions domestically, he frequently holds exhibitions abroad. Amongst others are the Biennale Internazionale Dell’Arte Contemporena in Florence, Italy, and The Asia Pasific Watercolors in Jeju Island, South Korea.

However, from his early days of learning to paint to date, Agus’ loyalty to the water paint media can never be replaced. That is why he held the AquarEvolution exhibition at the National Gallery from July 8th-18th 2010. This is as prove that water paint paintings have so much to say in the world of fine-arts.

“Don’t discredit the power of water paint.”

Learning to be Human

Deep within each human there is the nature of wilderness, and vise-versa.

Suwarno Wisetratomo was looking for the ground point of two God-made living creatures. Through the art exhibition titled “Beyond Animal”, he took on sculpture artist Noor Ibrahim; who displayed his works with animal as the object. There was also a painter by the name of Ben Wong; who showcased the object of human’s self-portrait painting.

Various self-portraits that Ben Wong chose were famous figures from a variety of generations. Say one (series about) Frida Cahlo, a painter figure from Argentina who throughout her life (1907-1954) was known to have a rather controversial image. In another work, Ben Wong showcased the series on sacred people by reliving the religious figures from various parts of the world, namely the Dalai Lama, Mother Theresa, and Carol Wojtyla (Pope Paulus).

Ben Wong also made the series on the German native dictator, Adolf Hitler. While as the local figures from Indonesia who were made objects were thelegendary painter Affandi, and Chairil Anwar the poet. The entire self-portraits of those figures were each displayed their characters by oil paint. “It is through those figures that I present the choice of life. It is up to ourselves what we would like to become,” Ben Wong said.

Noor Ibrahim gave out a comparison on human behaviors that Ben Wong had already displayed by numbers of sculpture works with animal objects.

Amongst others they are the dog, ant, scorpion, bat, elephant, giraffe, donkey, horse, cow, chicken, and many more. They were all done by the palo technique that he has been known for. This is in the detail sense that the surfaces of those animal sculptures those are made of iron and stainless steel are dented die to the processing method which is grounding them with a sledge hammer.

Ibrahim admitted to having some life lessons or interesting learning from the animals. Like the time when he was a student of the ISI Jogjakarta, he once slept on the campus area floor and was stung by a scorpion. He never blamed the scorpion that stung him, rather himself for sleeping carelessly, making the scorpion felt disturbed.

Aside from that, when the earthquake was about to strike Jogjakarta in 2006, his pet dog, that for the sake of “kosherness” was given the name Jackfruit (the fruit), kept on barking for hours as if wanted to tell of what is about to happen.

“There are actually many lessons to be taken from animals. One other example, for instance, the animals only eat what they need. Compare that to us (humans), who often times over-eat ourselves,” explained the large-sized sculpture artist.

The Festivity of Bazaar Art

The jammed program makes The Ritz Carlton and Pacific Place Mall seemed to be overflowing with artworks.

Kite-like structures in the shape of angels complete with both wings were there. Made in various sizes, those “angels” were suspended from the ceiling down to the mid and centre of the Pacific Place Mall space. Comprised in the 2010 Jakarta Bazaar Art festival program, the work of Heri Dono titled “Going to the Angel’s Tree” is a thing of phenomenon.

Taking the base idea of angelic figurine as the savior and balance of nature’s already damaged wisdom; the work of Heri Dono came about as an awakening media for the mall visitors to pay more respect and love to nature. Artworks with aesthetic value wrapping are sometimes a much more effective and also entertaining communication media compared to pamphlets with slogans.

Taking place at The Ritz Carlton, Pacific Place; celebrating their 10th anniversary; the Indonesian Harper’s Bazaar Magazine held the 2010 Jakarta Bazaar Art – Indonesian Art Fair event. This is the second time the Indonesian Bazaar Magazine has been holding such event.

Various programs were summarized in this grand event. Aside from the exhibition festival participated by more than 30 galleries, there are also other programs such as the Talk Art, Kids Art, and Mall Art. In this event also, a special exhibition divided into several areas took place. Such as in the private collection area of DKI Jakarta’s reigning Governor Fauzi Bowo, the Women Art Collectors area, the Old Master area, Islamic Art area, Fashion Art area, Bazaar Art Project area, and also Bazaar Art Cinema area.

The tightness of the program at the Bazaar Art event made The Ritz Carlton and Pacific Place Mall seemed to be overflowing with artworks. Moreover, the Mall Art exhibition showcased the works in the public space of Pacific Place Mall. By strategically spread at the corners of the mall, the interaction between the works with public became more entwined.

Taking the theme of Green Carnival, the Mall Art exhibition stood on the basic concept to trigger public awareness towards nature’s condition. Nature as the most significant element of human life is supposed to be preserved. However, often times mankind overlook the matter by conducting damages. The awareness on the significance to preserve nature is what the Green Carnival exhibition was trying to build.

The Green Carnival exhibition was supported by more than 60 artists that displayed various artworks. The contributing artists amongst others are Deddy PAW, Yani M Sastranegara, Yudi Sulistio, Ade Arti, Afdhal, and Dicky Chandra.

Morale Decadence

When socio-economy-politic decadence has gone so bad, cleansing is required to take place.

Two figures of giants; one male and the other female. The male giant is known by Lelepah whilst the female is called by Aluamah. Both giants are known to be greedy and self-indulged; they will eat anything in sight. “Just like most of our running officials, greedy, anything is edible to them, regardless of the people’s hardships,” claimed Sri Warso Wahono, one of the artists involved in the exhibition.

In his work “Rampogan 2010: elepah Aluamah”, Sri Warso Wahono tried to illustrate the characteristics of some officials. When a tax official “loots” the tax payment that was supposed to go to development; the law enforcements can only step on the weak; and when the elites only think of themselves and their importance without ever considering the needs of the people. That is called morale decadence.

What to do? “Detergent” may well be the answer. The exhibition theme pioneered by the Jakarta Board of Art is rather unique. The title is very populist; making it easy to digest. In daily routines detergent is known as the soap regularly used to cleanse dirty laundry. When the word “detergent” comes into the frame of art and is used as the theme for an exhibition, it’s easy to understand that what is meant is not an issue of dirty laundry, but more to do with the dirty heart and soul.

“Detergent” became the answer for the nation’s condition highlighted by Sri Warso Wahono and other artists in this exhibition. Artists as part of the society, should pay attention to what is happening to the environment. As the idealist figures with free spirits, it is just right that artists have the capability to be some sort of mirror to reflect reality.

As many as 27 artists took place. The reside around Jakarta, Bogor, Bekasi, Depok, and Tangerang. The carried out theme “Detergent” is of course nothing new. Similar kinds of themes were also carried out, often times even. In this matter, in the midst of the world of fine-arts that is more market oriented, the presence of “Detergent” becomes a significant alternative.

Another side to stress out, “Detergent” is a learning; and not haring; criticism. The critic is the sign of care by artists, in order to build a better socio-economy-politic living. This is especially for this country, right now.

Digging into Hidden Potentials

Young artists deserve support and have their works collected.

The painting potential and proficiency of Indonesian children is magnificent. Without any formal education on the subject, they are able to produce beautiful and characterized works. Just observe the 150 painting works by Indonesian children from 21 provinces and numbers of works from art studios in various cities in Indonesia at the walls of Indonesian National Gallery exhibition spot of Jakarta. Most of them are the product of art studios in each region.

Exhibition curators Indra C Noerhadi and Kuss Indarto did not limit the media and techniques used. They were free to use crayons, water paint, oil paint, conte, collate, and other materials in their works. This exhibition is a celebration to place children of ages 6-12 that received awards in various painting competitions locally, nationally, regionally, and even internationally.

In accordance to the theme, most of them take on the cultures of various regions in Indonesia. Traditional outfits, houses, cultural arts, dance, and various other artistic forms were painted. Priska Ivena of Bandung that received a gold medal from a drawing competition in Egypt, silver medal in Japan and Egypt, Bangladeshm Slovenia, Poland, and a number of other countries; presented the drawing of Wayang Togog. The Javanese traditional artistic icon was arranged with a rather detailed color and line composition. Each of the body parts were brushed with different colors, maing the drawing comes to life. Togog was portrayed short figured, big bellied, and comic characterized.

Chel’en Christevelyn Dewi from Jambi displayed the painting of Chinese Lunar Year Celebration in Jambi. The work imaged a boy and girl celebrating the event, both happy and joyous. On their hands a red cloth with Chinese script was placed. The colors red and yellow dominated the canvas. This work wishes to celebrate the new Indonsia that has place Chinese tradition as part of its wealth. The iron hands those discriminated Chinese culture has know melted.

In the end, the exhibition will have a rather significant meaning for the Indonesian fine-art history, should the Jakarta Indonesian National Gallery be willing to collect the works of these children from various provinces. Because, all these times, there has not been any special large collection that stores the works of children those are worthy to be references in the progress of Indonesian children fine-art history. Should this be done, the Indonesian National Gallery will be noted down in the history of Indonesian fine-art history as one of the institution that is willing and capable of documenting children fine-art masterpieces.

The Sheen of Pearls in Alila

World-class jewelry designer Nicole Moja showcased her latest creations.

Since the old age to date, in various cultures of the world; the sheen of gemstones has been captivating men. For instance, in many ancient ruins beads, simple jewelries embedded with gemstones are often found, usually as the carry in grave. The kings’ crowns are also decorated by gemstones such as diamonds, onyx, sapphire, and ruby. The Indians even used turquoise to decorate their weaponries. The jadestone was one even used as the arrow’s head.

Now, due to the beauty, gemstones are more often used as jewelry, be it as necklaces, lockets, rings, bracelets, earrings, ear-wears, brooch, and others. They all can be enjoyed at the “Treasures and Gifts of Nature” exhibition. World-class jewelry designer Nicole Moja, showcased her newest creations, in forms of various jewelry from all kinds of gemstones combined with gold and silver.

For instance, gemstones lovers can observe the beauty of necklace from crystal type rocks and quartz with lockets from turquoise stones. There are also necklaces from the arrangements of “tiger eyes” gemstones combined with various other stones. You can also observe the beauty of the ring collections with topaz stones, aquamarine, and others. All of them are designed in custom to Nicole’s creations.

Nicole was born in Paris. For 20 years she resided in Hong Kong, and in 1998 she decided to stay in Bali. To design the various beautiful and unique jewelries, she took in lots of inspirations from the many varieties of cultures she learned. Her creations have been awarded by the “Hong Kong International Jewellery Designer Association (HKIJDA)”.

LING NAN LUNG

The most important and The greatest 20th century of indonesian traditional chinese brush painter

Ling Nan Lung was best known as a painter and sculptor. He was born in Bangka Island and grew up from rich family as a Landlord and timah trader.Ling Nan Lung study at singapore high school he was an intelligent,smart and genius in his school. he got scholarship in his school and when he grow up he decide he want to become as an artist as a painters and sculptor. art for art shake and was born as an artist that time . ling become an young talented sculptor and be one of the best winner in china and learned to paint and met his mentor whose well known famous painters in china as QI BAI SHI, LIN FENG MIAN,HUANG BIN HONG,PAN TIAN SHOU, etc. he was exhibition together with Qi Bai Shi,Linfengmian,huangbin hong,wuGuanZhong,WangXueTao,etc on beijing 1950. when Ling become more well known and sought after he met one of the founder walt disney andd cooperate together for 2 years time in holland and New york.

he travel and visiting famous scenic spots in china,Indonesia, and europe and continue make an innovation on his arts. unfortunately when he came back from China to indonesia during 1965 the political situation not really good that time which alot of his paintings,sculptore,many chinesse traditional art works,culture being destroyed that time.

he is perhaps the most noted contemporary chineesse painter for the whimsical, often colourful,playful,and have strong character of his chineese classical brush paintings. the subject of his paintings include almost everythings we see in ordinary life: commonly animals, scenery, figures,toys, vegetables and flowers,opera, bamboos,insects,fish and abstracts he theorized that good paintings will live more than 1000 years and chineesse paintings prefer more feeling and expression from heart than a likeness. also an artist need have his own character,style,and becoming a pioneer,creator, and inventor ,whose not just cheat from other painters idea.

Ling Nan Lung art works was noticed and praised from alot curator and museums, one of museum is beijing art museum, Ml de boer museum, hangzhou arts museum. alot of professor,chinesse curator said Ling Nan Lung art works was the greatest and the most beautiful art works from indonesia they said LING NAN LUNG was the most important indonesian chineese painters on 20 century art. his art work was noticable because of his talent, own character paintings and sculptors, and all of his personal influences expreesed on and threw this work. and he represent indonesia to make indonesia proud that indonesia also have a great painters like QI BAI SHI, HUANG BING HONG, LINFENGMIAN,CHANG DA ZIAN,Wu Guan Zhong,etc Ling Nan Lung died at 84 years old (1915-1999) but his art will live long more in our world of art . His art just founded at 2009 on the old storage at palmerah. we search his paintings fpr making the book and his museum.

City of Jakarta on Canvas

The chaos of traffic, social imbalance, city volume, and consumerism.

The Capital is going to be moved to Kalimantan? That’s going to be difficult. This country hasn’t the money for it, making it hard to be realized even in the next 9 or 10 years,” said reigning Governor Fauzi Bowo in an informal chat on the capital city’s chaotic condition at the North Art Space (NAS) Gallery in Ancol.

The mentioned current condition of Jakarta was what was reflected by most participants of the 2010 Jakarta Art Award competition, with the theme “Reflection of Megacities”, with the city of Jakarta as the subjecy matter. The chaos of traffic, social imbalance, city volume, consumerism, to the ignorant characteristic of Jakartans; all showed in various dynamics.

Held since 2006, the Jakarta Art Award is a two-yearly painting art competition. The competition is the subsequence of the Golden Palette Award competition pioneered by the ancol Art Market and the Provincial Government of DKI Jakarta; limited by participants from Jakarta, Bogor, Depok, Tangerang, and Bekasi. Fauzi Bowo was still in the Vice Governor position at the first event.

In order to widespread the competition, the Golden Palette Award transformed to the Jakarta Art Award with participations opened for nation-wide painters. Lately the 2010 Jakarta Wart Award has been sounded to international level, by involving many participants from various foreign countries.

Kim So-young, Lee Min- Ju, Halley Cheng, Victor Angelo, are a line of international participant names that contributed in the 2010 Jakarta Art Award. And if it is true what was said by Budi Karya Sumadi, the Chief Director of PT Pembangunan Jaya Ancol, that this event is the first ever international competition that is held in Indonesia, this comes as quite a pride to us.

Came as the 2010 Jakarta Art Award winner is Putu Wirantawan at first place, with his work “The Wandering Soul III”. Next is Agung “Tato” Suryanto with his work “City of Tomorrow”, and Imam Abdillah with “Dimensi Perburuan” (The Hunting Dimension) at second, and Aditya Novali with “(My) Comfort Zone” and Angga Sukma Permana with “Lie of Life” at third.

Most of the works displayed at the NAS Gallery criticized the current condition of Jakarta. Hopefully they can all be aspired as inputs to build a much more organized Jakarta.