'2nd World of Pandemonium'

THE VIRTUAL SECOND WORLD

Introduction to Isa Panic Monsta’s Solo Drawing Exhibition

Tirana Artspace, Yogyakarta | 15 September - 10 October 2012

Tirana Artspace, Yogyakarta has invited again a young talented artist Mohammad Isa Indra Permana to exhibit his best works. Among his friends he is better known as Isa Panic Monsta. He was born in Surakarta in March 14^th, 1989. In 2010 he finished his study in Visual Communication Design Department, University of Sebelas Maret, Surakarta. At present he works an illustrator, bringing the name Isa Panic Monsta as his personal brand identity. For him, it is his first exhibition because previously he focused more on working in the field of graphic design. In the field of illustration, he has made good reputation both for his individual and collaborative works, including for the works he makes for sale. He has made collaborations with, among others, Sleep Party People, Sarasvati, Letter of Memories, Nudist Island, BRANDNA Magazine, Artmedium Concept Store, The Continuing Enigma, TOMCAT Playmate, and Zeec Lable.

Enjoying Isa Indra Permana’s works is like going into a children book of fairy tale, a book that is not wordy but rich of illustrations on each page.  The tales told through his works are so symbolic, classic and surrealistic pop in style. They show his perfectionism; the details of the lines are made precisely.  Based on three drawing exhibitions held in Tirana Artspace from April to September, actually we can take some unique things. Through the works exhibited we can find out the character or personality or even style of certain artist. Just observe these twelve works of Isa, they show that he is an artist who matters so much with details, mechanism and discipline. He was indeed raised in a family with such character. Despite his calmness, he is a very strong-willed and creative person.  He is interested on fashion world, novel and music.  These three things are very influential to his creativity and working.  In addition, he learns in depth psychological terms and things related to symbols.

His twelve drawing works are able to tell much about the theme of “2^nd World of Pandemonium” exhibition. He indeed belongs to the global era, as other young people who are so familiar with many types of gadget, social networking and virtual world. He calls virtual world as a second world. The first one is the real world we go through every day, where we really live and socialize. His works represent this global modern phenomenon. He tries to visualize and discuss the hustle and bustle of the virtual world-based social networking onto his works. For him, this life is becoming more and more complex with too many complaints, twitters, and confusions as seen in the virtual world. We can feel the complexity as seeing his drawings with mechanic pencil on papers. 

Let us take a look at the work titled “My Mind is A Cage”; it describes a person with a symptom of “fear-drive”. According to psychology, “fear-drive” is a psychological symptom in which a person creates his/her own fear and tries to keep away from the fear. A person with this symptom is afraid of being cheated in the real world, so that he/she opts to live in virtual world. It is symbolized with the drawing of a golden cage, a safe place for one who is afraid of going to die if he/she steps out of it.

While the work titled “Don’t Trust Anyone” describes a person who becomes skeptical due to his/her distrust in his/her surrounding neighborhood. It is symbolized in the drawing with a body language of crossing arms. It shows an attitude of dismissal or introversion. The skeptical attitude especially is due to news from electronic media (symbolized by a mouth-headed bird) that often obscure the facts.  Individual with skeptical mind may become subject to brainwashing and propaganda other people make using media. Hence, he/she determines not to trust anyone in virtual world but God.     

The visualization of the work titled “Sign Out” more or less tells about the fury of person who has been tired and bored of the hustle and bustle of the virtual world and he is trying to get out of the situation. For him, virtual world is just a world that looks so real with rooms full of artificial pleasure only.

When asked what the difference between manual drawing and digital drawing/painting is, Isa explained that drawing manually is a way of training sensibility to and mastery of the media being used. It is considered the basic technique. Manual drawing also has bigger challenge compared to digital drawing that makes possible repetitions following mistakes.  In digital painting, it is easier to visualize ideas, because there are many supporting tools provided for us.  Drawing as mother of arts in his works is able to appear and prove itself as an essential and independent form of art. Accordingly, the works being exhibited have successfully expressed the wholeness of the artist’s statements.  

Nunuk Ambarwati

DUNIA KEDUA YANG MAYA

Tulisan Pengantar Pameran Tunggal Drawing karya Isa Panic Monsta

Tirana Artspace, Yogyakarta | 15 September – 10 Oktober 2012

Tirana Artspace, Yogyakarta kembali mengundang seorang yang muda dan bertalenta, Mohammad Isa Indra Permana untuk menggelar karya-karya terbaiknya. Bagi teman-temannya M. Isa Indra Permana lebih dikenal dengan panggilan Isa Panic Monsta.  Laki-laki kelahiran Surakarta tepatnya 14 Maret 1989. Tahun 2010, Isa menyelesaikan studi Diplomanya di jurusan Desain Komunikasi Visual, Universitas Sebelas Maret, Surakarta. Saat ini Isa lebih dikenal sebagai seorang illustrator; Isa Panic Monsta pun menjadi brand identity untuk karya-karya ilustrasinya selama ini. Bagi Isa, pameran kali ini merupakan pameran perdananya, karena selama ini Isa lebih banyak malang melintang di dunia desain grafis. Di ranah ilustrasi, Isa cukup banyak menorehkan catatan baik karya komersial, individual maupun kolaborasinya dengan beberapa rekan seperti Sleep Party People, Sarasvati, Letter of Memories, Nudist Island, BRANDNA Magazine, Artmedium Concept Store, The Continuing Enigma, TOMCAT Playmate, & Zeec Lable.

Menikmati karya Isa Indra Permana seperti masuk ke sebuah buku dongeng. Buku dongeng yang minim kata tapi kaya dengan ilustrasi fantasi lembar demi lembarnya. Dongeng yang penuh simbol, vintage dan beraliran pop surelias.  Hasil karyanya rapi, tebal tipisnya garis ia perhatikan dengan detail. Dari ketiga pameran drawing yang pernah dipamerkan di Tirana Artspace sepanjang April-September ini, sebenarnya kita bisa mengambil hal unik dari sana. Melalui karya-karya mereka tersebut, kita bisa mengetahui karakter atau kepribadian bahkan relevan dengan style atau penampilan seseorang. Perhatikan saja kedua belas karya Isa ini, menunjukkan bahwa ia adalah seorang yang memperhatikan hal-hal yang rinci, mekanisme dan disiplin. Demikianlah Isa dilahirkan dalam sebuah  latar belakang lingkungan keluarga yang demikian. Meski terkesan sebagai pribadi yang kalem, namun dibalik itu, Isa juga seorang yang sangat bergejolak dan kreatif . Ia sangat tertarik dengan dunia fashion, buku atau novel dan juga musik. Ketiga hal ini sangat mempengaruhi dalam proses kreatif mau pun proses berkaryanya. Disamping itu, Isa juga menekuni kosakata psikologi dan hal-hal yang berkaitan dengan pembacaan simbol-simbol.

Keduabelas karya drawingnya mampu bercerita banyak tentang tema pameran ‘2^nd World of Pandemonium’. Isa memang dilahirkan pada era global, sebagaimana anak-anak muda sekarang sangat familiar dengan gadget, jejaring sosial dan perilaku di dunia maya. Isa menyebutkan dunia maya itu sebagai dunia kedua. Dunia pertama adalah dunia nyata yang kita alami bersama sehari-hari, dimana kita sebenarnya hidup dan bersosialiasi.  Melalui karya-karyanya ini, Isa mencermati hal tersebut. Baginya, hiruk pikuk dan berbagai gesekan di jejaring sosial sangat banyak pembahasan untuk dia visualisasikan dalam karya-karyanya ini. Terlalu banyak keluhan, kicauan, kekacauan yang sesak; menurut Isa, bukannya menjadi lebih baik tapi semakin kompleks. Kompleksitas itu bisa kita rasakan dengan apik pada goresan-goresan pensil mekanik Isa di atas kertas.

Mari kita cermati karya yang bertajuk 'My Mind is A Cage',  yang menggambarkan seseorang dengan gejala 'fear-drive' . Dalam istilah psikologi, ‘fear drive’ adalah gejala psikis dimana individu menciptakan ketakutannya sendiri di dalam pikirannya dan berusaha menjaga diri dari rasa takut  tersebut. Bentuknya bisa bermacam-macam, mungkin dia takut dibohongi atau takut dicurangi ketika dia berada di dunia nyata, kemudian dunia maya adalah pilihan sebagai tempat tinggalnya. Hal ini disimbolkan dengan gambar sangkar emas pada karya Isa. Sangkar emas itu dia ciptakan sebagai ruang aman bagi dirinya dan sebaik mungkin jangan pernah berpikir untuk sekali-sekali melangkah keluar dari zona aman itu atau dia akan mati oleh rasa takutnya.

Sementara pada karya 'Don’t Trust Anyone' menggambarkan tentang individu yang memiliki sikap skeptis yang terbentuk karena rasa ketidakpercayaan akan lingkungan sekitar. Sikap ini digambarkan dengan bahasa tubuh seperti menyilangkan tangan dan memasukan tangan lainnya ke dalam. Hal ini memiliki kesan sebuah penolakan atau kesan tertutup. Sikap skeptis terutama oleh berita dari media elektronik (disimbolkan burung dengan mulut sebagai kepalanya) yang kini kadang mengaburkan fakta sebenarnya. Di dalam pikiran skeptik si sosok tersebut "mungkin segolongan tertentu bisa saja menggunakan media untuk mencuci otak ribuan publik dengan propaganda dan kata-kata mereka" . Dia lebih mengambil sikap untuk tidak percaya siapapun di dunia maya terkecuali Tuhan.

Visualisasi karya yang berjudul ' Sign Out' kurang lebih menceritakan gejolak seorang individu yang  sudah penat dan bosan dengan hiruk pikuk dunia maya dan ia mencoba keluar dari situasi tersebut. Baginya dunia maya hanyalah tempat semu yang tampak begitu nyata dan deretan ruang sebagai tempat untuk  mencari kesenangan fana saja.

Ketika ditanya apa yang membuat berbeda ketika menggambar media manual dengan media digital, Isa menjelaskan ketika menggambar manual sama halnya melatih kepekaan dan penguasaan terhadap media yang sedang digambar sebagai teknik dasar. Menggambar media manual juga memiliki tantangan yang lebih besar dibanding digital painting yang memungkinkan pengulangan bila terjadi kesalahan sewaktu eksekusi karya. Di samping itu  digital painting dengan berbagai macam piranti bantu yang tersedia lebih memudahkan untuk memvisualkan gagasan. Drawing sebagai mother of arts  (dasar bagi segala hal dalam seni rupa) pada karya-karya Isa mampu hadir dan membuktikan dirinya sebagai karya seni yang utuh dan berdiri sendiri. Pada fungsi ini karya-karya Isa Panic Monsta ini telah memperlihatkan kelengkapan pernyataan seniman.

Nunuk Ambarwati

 

  

The Way of Grace | Roby Dwi Antono

INTRODUCTION TEXT

Roby Dwi Antono

Event Bazaar Art, Jakarta, 27-30 July 2012

You are new to the Roby Dwi Antono's work? For me, Roby is an extraordinary talented young man. Comes from Ambarawa, Central Java, and he is only 22 years old (born in1990), but Roby can display his maximum ability on drawing techniques. In his daily lives, Roby is busy with his profession as an illustrator and graphic designer in Yogyakarta. Roby do not have an educational background in academy level or even in the art college. His painting skills come naturally since he was a child. Then he deepened during his study in SMK (Sekolah Menengah Kejuruan) Negeri Grafika (Central Java), majoring in Graphic Design. He also learns a lot and observes anyone's works which later inspired him. One of them is Mark Ryden (American artist known from his pop surrealism style) who still become his favorite artist till now; also drawings by Rachel Goodyear which are simple but meaningful, according to Roby. Roby still do not have a great exhibition track record in  his curriculum vitae. However, recently his works are able to penetrate the Elle Magazine and online media sites Juxtapoz Magazine.

At this time presentation, Roby brought us into imagination world more deeply. His last solo exhibition in Tirana Artspace, New York (April 2012) entitled 'Imajinasi', has made him more mature in working. Feedback which is obtained in his first solo exhibition, makes him think again and encourage him to learn more intensively. Roby deliberately wants to deepen his technical concept for the presentation at this time. We can enjoy the techniques from 5 acrylic works which are worked on canvas and 7 works on paper drawing. He works everything on more or less in the last 2 months. Professional background made ​​him discipline in doing his works, so no doubt that Roby can produce much deeper concept works. He is also very adaptable to response other forms of collaboration in the work. So, many Roby's illustrations works using digital techniques can be found in cyberspace; such as its relationship with fashion or music.

Concerning to the concept of canvas work, he is still struggling with his wild imagination. This time, Roby takes the theme of human life; start from birth, babies, grow up, until death. We can see and read his five canvas works that will be a series of the journey of human life . More or less, his drawing works will also describe the same theme. Roby wants to re-question what is the purpose of human is created? At this time, how is human function as the guardian to the universe? And what we should do as human to seek the straight path toward the eventual goal, which is heaven.

This time, new figures appear in Roby's works. Still with his peculiarities, Roby also includes a lot of messages and symbols in his work. If we observe, there are many symbols that Roby wants to convey to his audience. Such as, there is a picture of a pine forest, for him pine forest symbolizes immortality. Or small dinosaurs which implies the early of living in the world. Roby even deliberately refers to a symbol dictionary when he wants to inscibe the paint on the canvas. He learns it carefully, what the appropriate symbols that he wnts to combined in his works composition.  And he wants his work can be read universally, so that the selection of symbols will be major consideration for him.

Concerning to the selection of muted colors but still fresh, Roby do not deny that he refers to the works of Mark Ryden, especially a work entitled 'California Brown Bear'. The painting is very inspired him for color selection character. Landscape picture, such as a bed of pine forests, lakes and mountains of ice which are he likes much and then almost always look for the peculiarities of Roby's works. On the previous solo exhibitions, Roby introduces his alter-ego through the rabbit figures, which he named Kinci. Together with Kinci, which he regarded as a highly symbolic art, sensitivity to beauty, comfort and love to the confidential things; sometimes rabbit is also suggested as a sad, fool animal, but still funny. Rabbits hate the decision, violence, criticism and something untidy. In this theme, Roby was still 'invited' Kinci to greet his audience although it is not as intensive as the first. For approximately 9 months exploring Kinci, Roby wants to lose it  slowly. Roby wants to show his working process to the different, new things. though still with a pop surrealism style which is satire or creepy, but also sweet and adorable. As his audience are suggested, Dwi Antono Roby has a very Childish quality to his work, brining in a rugged sort of Alice in Wonderland, Storybook style. Most of his Illustrations are of bunny rabbits That resemble the old Peter Rabbit Drawings in their simplicity and sweetness. (Source: http://d2gapparel.com/2012/fashion-illustration-2/art-attack-illustrator-roby-dwi- Antono /).

Nunuk Ambarwati

TULISAN PENGANTAR
ROBY DWI ANTONO
Event Bazaar Art, Jakarta,  27-30 Juli 2012

Anda baru mengenal karya Roby Dwi Antono? Bagi saya, Roby adalah sosok muda yang memiliki talenta luar biasa. Asal Ambarawa, Jawa Tengah, usianya baru 22 tahun (kelahiran 1990) namun Roby mampu menampilkan kemampuan teknik drawingnya dengan maksimal.  Sehari-hari ia disibukkan dengan profesinya sebagai illustrator dan desainer grafis di kota Yogyakarta. Roby memang belum pernah mengenyam pendidikan selevel akademi bahkan perguruan tinggi seni. Keahlian melukisnya ia dapat secara alami sejak ia kecil. Kemudian ia perdalam semasa sekolah menengah di SMK (Sekolah Menengah Kejuruan) Negeri Grafika (JawaTengah), jurusan Desain Grafis. Ia juga banyak belajar dan mengamati karya-karya siapa pun yang kemudian menginspirasinya. Salah satunya adalah Mark Ryden (seniman asal Amerika yang dikenal dengan aliran pop surealisme) masih menjadi favoritnya hingga kini; juga drawing-drawing karya Rachel Goodyear yang menurut Roby sederhana namun sarat makna. Catatan jam terbang pameran Roby pun belum banyak di dalam curriculum vitaenya. Namun, jangan salah, karya-karyanya mampu menembus Elle Magazine dan situs media online Juxtapoz Magazine baru-baru ini.

Pada presentasinya kali ini, Roby membawa kita masuk ke dalam alam imajinasi yang lebih dalam. Pameran tunggal terakhirnya di Tirana Artspace, Yogyakarta (April 2012) bertajuk ‘Imajinasi’ membuatnya lebih matang dalam berkarya. Feedback yang singgah pada dirinya saat pameran tunggal pertamanya tersebut, membuatnya berpikir ulang dan menyemangatinya untuk belajar lebih intens. Roby sengaja memperdalam teknik mau pun konsep untuk presentasinya kali ini. Teknik yang ia perdalam bisa kita nikmati dari 5 karya acrylic di atas kanvasnya dan 7 karya drawing di atas kertas.  Ia garap semuanya kurang lebih dalam 2 bulan terakhir ini. Latar belakang profesinya membuatnya disiplin dalam mengerjakan karya, sehingga tak disangsikan dapat menghasilkan karya-karya dengan konsep yang jauh lebih matang. Ia juga sangat adaptif merespon bentuk-bentuk kolaborasi dalam berkarya, sehingga banyak karya-karya ilustrasi Roby dengan teknik digital yang bisa kita jumpai di dunia maya. Seperti persinggungannya dengan dunia fashion atau pun musik.

Perihal konsep karya kanvasnya, ia masih berkutat dengan keliaran imajinasinya. Kali ini, Roby mengambil tema proses kehidupan manusia, mulai dari kelahiran, bayi, menjadi dewasa, hingga kematian. Kita bisa melihat dan membaca 5 karya kanvasnya akan menjadi seri perjalanan kehidupan manusia tersebut. Sementara karya drawingnya, akan menggambarkan hal yang kurang lebih bertema sama. Roby ingin mempertanyakan kembali apa tujuan manusia diciptakan? Bagaimana fungsi manusia saat ini sebagai khalifah yang menjaga alam semesta? Dan bagaimana seharusnya kita sebagai manusia mencari jalan yang lurus dan menuju tujuan akhirnya, yakni surga.

Pada karya-karyanya saat ini, tampak sosok-sosok baru muncul. Masih dengan kekhasan dia, Roby juga banyak menyertakan pesan dan simbol-simbol dalam karyanya. Jika kita amati, ada banyak simbol yang ingin Roby sampaikan kepada penikmat karyanya. Misal terdapat gambaran hutan pinus, baginya hutan pinus menyimbolkan keabadian. Atau dinosaurus-dinosaurus kecil dalam karyanya tersebut menyiratkan awal kehidupan di dunia. Roby bahkan sengaja mengacu pada sebuah buku kamus tentang simbol ketika ia hendak menggoreskan catnya di atas kanvas. Ia mempelajari dengan seksama, gambaran simbol seperti apa yang cocok untuk dia letakkan dalam komposisi karyanya. Dan ia ingin karyanya bisa dibaca secara universal, sehingga pemilihan simbol yang ingin dia cantumkan dalam karyanya merupakan pertimbangan utama baginya.

Perihal pemilihan warna-warna yang kalem tapi tetap terkesan segar, Roby memang tidak menyangkal bahwa ia mengacu pada karya-karya Mark Ryden, khususnya karya yang berjudul ‘California Brown Bear’. Lukisan tersebut yang sangat menginspirasinya untuk karakter pemilihan warna. Gambaran landscape seperti hamparan hutan pinus, danau dan gunung es sangat ia sukai dan kemudian hampir selalu mencari ciri khas karya-karya Roby.

Pada pameran tunggal sebelumnya, Roby memperkenalkan alter-egonya melalui figur binatang kelinci, yang ia namai Kinci. Bersama Kinci, yang ia anggap sebagai sosok yang menyimbolkan kesenian, sensitif terhadap keindahan, kenyamanan dan menyukai hal-hal yang bersifat rahasia; kelinci juga kadang dikesankan sebagai binatang yang murung atau masa bodoh, namun tetap lucu. Kelinci membenci keputusan, kekerasan, kritik dan ketidak-rapian.Pada tema ini, Roby pun masih ‘mengajak’ Kinci untuk menyapa audiencenya meski tak seintens dulu. Selama kurang lebih 9 bulan mengeksplorasi Kinci, Roby ingin perlahan-lahan menyurutkannya. Roby ingin menampilkan proses berkaryanya dengan hal yang berbeda dan baru, meski masih dengan style pop surealis yang terkesan satir atau menyeramkan tapi juga manis dan menggemaskan. Seperti dikesankan seorang penikmat karyanya, Roby Dwi Antono has a very childish quality to his work, brining in a sort of rugged Alice in Wonderland, storybook style. Most of his illustrations are of bunny rabbits that resemble the old Peter Rabbit illustrations in their simplicity and sweetness.( http://d2gapparel.com/2012/fashion-illustration-2/art-attack-illustrator-roby-dwi-antono/).

Nunuk Ambarwati

Art as Child’s Play, Dolls Included

by Jenny March, July 12, 2012

http://www.thejakartaglobe.com/arts/art-as-childs-play-dolls-included/529768

Invincible. Powerful. Fast. There’s about a million different ways to describe Superman. 

But cute? 

“It’s so humorous,” exclaimed Jeong-ok Jeon as she admired the blue-suited figure. “Too small, too cute.” 

Well perhaps those adjectives were, in fact, correct, seeing as she wasn’t describing Superman, but rather “Super-MON” — a six-inch-tall female version of the famous superhero. 

“Super-MON” is one of dozens of pieces included in “Imaginary World: Childishly Inspired,” a contemporary art exhibition on display this month at Plaza Senayan in South Jakarta. The show, which is sponsored by Art Sidharta, features installation and sculptural work from three Yogyakarta-based artists. 

Jeong-ok, the exhibit’s curator, said “Imaginary World” aimed to blur the lines of childhood, explaining that there’s no definitive boundary between youth and adulthood. 

“As I get older, if I do something naughty or childish, people think that’s not really proper. Adults have to behave in a certain way, but nobody really says why,” Jeong-ok said. “As I was putting together this exhibition, I realized that it could make us question that.” 

But while the official mission may be to blur the lines between two of life’s biggest chapters, a closer look at the work reveals each artist’s relationship with the idea of childhood itself. 

For thedeoMIXBLOOD, a man and woman who together create assemblages, youth can only be conceptualized in terms of their personal memories, which are apparently painful. According to Jeong-ok, the duo experienced some traumatic events that are reflected in their grotesque creations. 

Made out of recycled doll limbs and figurine heads, pieces like “Dasamuka” resemble toys in terms of shape and stature. But the discordant combinations create a sinister quality, as if they were designed in a toy shop gone wrong. As if to heighten the confusion, “Dasamuka’s” main head — which protrudes from five others — is a smiling clown, a seemingly happy character that is the source of so many children’s nightmares. 

“Our childhood memories are not always happy,” Jeong-ok reiterated while examining the piece. “Sometimes we feel very scared about things, and those things are stuck in our minds.” 

Whereas thedeoMIXBLOOD can’t seem to escape their own demons, Tina Wahyuningsih explores youth with the help of her 2-year-old daughter. Using mostly fabric, she stitches together whimsical dolls that would be at home in any infant’s nursery. 

In work such as “Flying Elephants,” Tina re-creates the world through her daughter’s eyes — an imaginative place where animals fly, rabbits speak and anything is still possible. Whether these pieces are influenced by her daughter’s own musings or the fairy tales that they read together, it’s clear that Tina looks at childhood with a sense of wonderment. 

While these first two artists seem to interpret youth through their own experiences, Rennie “Emonk” Augustine may be the only one to consider a childhood beyond her own. Inspired by well-known superheroes and comics, Emonk produces both sculptures and felt patchwork that combines her own persona with that of the character. As with “Super-MON,” Emonk creates a new alter-ego in all of her pieces. “She’s not just the creator creating art,” Jeong-ok said. “I think she’s a part of her art work by putting in her own personal story lines.” 

Perhaps these pieces reflect Emonk’s inability to leave her own childhood behind. Or maybe they’re asking us to not loose touch with our inner child. Whatever the case may be, they certainly come the closest to begging Jeong-ok’s original question — what exactly is the difference between childhood and adulthood? A particular age? A certain moment? 

According to these three artists, there is no definite answer. But if you’d like to try and determine that for yourself, the work will be on display in South Jakarta until Sunday.

Imaginary World 
Until Sunday, July 15
Plaza Senayan, Jl. Asia Afrika 
South Jakarta

NAFA’S Residensi Showcase Cycle One 2012 | Thursday July 12th, 7.30 PM

A Group Exhibition by
Anisa Abdullah
Anissa Aziz feat. Tina Wahyuningsih
Hirzaq Harris
Imam Santoso
Mulyo Gunarso
Shahrul Hisham Ahmad Tarmizi

At Independent Art-Space & Management | I AM
Jalan Nagan Lor 25 Yogyakarta

Officiated by Farah Wardani
Music Performance by Rattlesnake
________________________________________
A Breathing Voice of South East Asia
By Anis Azlinda Abdul Ghani

NAFA’S Residency was established in January 2012; born with a grand intent to discover a Southeast Asian voice of art. There is much richness in the diverse culture of Southeast Asia, and it is not surprising that its layers of depth could leave one marveled and overwhelmed at the same time.

Since January, NAFA’S has housed four Malaysian and two Indonesian emerging artists, whom had spent varying period at the residency – each between one, three and six months. Although their presence there may be concurrent, they each work independently.

Interestingly though, all works featured at this First Cycle Exhibition centers around themes of personal reflections.

In Shahrul Hisham's works, artist is portrayed a traveler in continuous search of new knowledge. Yet he can never deny his origin and identity thus will still be a Malay and a Muslim wherever in the world he may be.

Hirzaq Harris showed another side of Muslims he finds to be common these days: disgusted by the haram pigs yet gladly opt to ignore other haram aspects in life. Oblivion is unacceptable in lives of Muslims. Rather, a life in search of truth should prevail, one that strives to put halal over haram with no excuses. The noblest of intentions could still pave the route to hell.

Anisa Abdullah chose to take her viewers along through her life adventures. She painted snapshots from her stint in the city from her point of view. Yet her quest is one that we can all relate to; of dreams and ambitions and decisions. She warns us though, to never be too rushed and uptight in our own. And to remember to have a breather to enjoy our life surroundings at the same time.

Along similar lines, Anissa Abdul Aziz's installation that is currently in Galeri Chandan @ Publika, Kuala Lumpur, was derived from the idea of tracing her artistic journey. Anissa created and manipulated the overlapping baby cloth as a metaphor to represent her newness, freshness and immaturity in the industry. The artwork is an imagination with stuffed fabric suspended from nowhere. To her, the gaps between the pieces is as important as the connection, as when viewed in totality, is a mixture of logic and intuition. Her installation for this exhibition will be a continuation from the one that is currently being exhibited in Kuala Lumpur.

Mulyo Gunarso reflected on the negative effects of rapid industrialisation and the lack of control in logging and forestry industry. The impacts not only affect humans but also flora and fauna around us. Should we continue at this pace with little intent to preserve, balance and regenerate, certainly future generations would not carry the same memory of the world as we do.

Imam Santoso's paintings are a consistent reflection of himself; he communicates through them. He includes symbols from his daily life and repeats them in various paintings. He is a symbol of contradiction and is expressive about it. He painted sekaten (fun fair) yet without the usual crowd and noise. He painted the traditional keraton and wonders if teenagers these days would be interested to preserve this iconic culture of the city, or be more consumed by urbanisation and pop culture. His works are vivid yet adaptive, real yet imaginative.

The outcome of the residency hopefully extends beyond better-developed artists, but will also elevate awareness and appreciation of art in the region. Better understanding of our differences and similarities would certainly increase tolerance, empathy and interest for one another, which in turn could only impact all of us positively. May the efforts at NAFA’S encourage others to do the same thus opening more doors of other potential collaborations in the future for continuous evolution of the art industry.

--------------------------------------------

NAFA’S Residensi
Jalan Ngadisuryan No 7 Patehan
Yogyakarta 55133
T/F +62 274 379 054
E nafasresidency@gmail.com
FB www.facebook.com/nafasresidensi
CP Nunuk Ambarwati 0818 2770 73 | Icha 0815 7871 3748

Royal Ambarrukmo Pendopo Activities

IMAGINARY WORLD: CHILDISHLY INSPIRED

Artists: Tina Wahyuningsih, thedeoMIXBLOOD, Rennie ‘Emonk’ Agustine

Curated by Jeong-ok Jeon

Artist management by Nunuk Ambarwati

June 30 ~ July 15, 2012

ART Temporary Space

Plaza Senayan, ground level (by main entrance)

Jalan Asia Afrika No 8, Jakarta Selatan

Sensibility of kids, fantasy of adults

An American movie, Tooth Fairy, tells a story about an adult, Derek Thompson, who is unyielding to childish fantasy. He particularly tries to squash the tooth fairy myth: that when a child puts their fallen tooth under a pillow, the tooth fairy visits and exchanges the lost tooth for a dollar. For children, tooth fairies are heroes, providing comfort from fear of losing a tooth, and the promise of growing a new healthy one. But for Derek, this fantasy figure that lives in an imaginary world promotes a silly custom and encourages a false belief to those should be ‘growing up’.

In typical Disney fashion and morality, Derek’s lack of wonder is novelly punished when he is sentence to be an actual tooth fairy for a fortnight. His subsequent change of heart brings to light the impasse between what is ‘childish’ and what is ‘grown-up’, and raises some interesting questions relating to the current exhibition Imaginary World: Childishly Inspired.

Imaginary World: Childishly Inspired features the work of three artists based in Jogjakarta who share an interest in exploring their vision of a fairy-tale-like world full of magic and fantasy. Using childhood memories and dreams as their pivotal concept, the artists, Tina Wahyuningsih, thedeoMIXBLOOD, and Rennie ‘Emonk’ Agustine suggest that we contemplate what it means to be an adult and what draws a boundary between children and adults. Unlike Derek, the artists affirm that childhood fantasy is still alive in the hearts of adults, and more importantly it is critical in the process of creation.

Tina creates her imaginary world where surrealistic creatures and personified animals come to play together. In her world, we find elephants are flying in the sky and a bunny rabbit becomes the next supermodel. Looking at her imaginary creatures, we become a part of a whimsical story where anything is possible. As a mother of a two year old girl, Tina also often creates characters that are family members in her works. Mother House for instance shows that her creativity cannot be separated from her motherhood and symbolizes her domestic responsibility as a wife and care-giver.

While Tina’s imaginary world is illustrated in fictional narratives, the works of thedeoMIXBLOOD -- a project duo consisting Dila and Otong -- stand as individual sculptures. Inspired by Graffiti and Pop Art and influenced by childhood traumatic events, thedeoMIXBLOOD creates collages using toys, Barbie dolls, Wayang puppets, fabrics, batiks, magazines, and beads. By taking parts from one context or medium and piecing them together into another, their sculptures become akin to the hybrid, grotesque, yet fantastic mythical characters found in fantasy movies. thedeoMIXBLOOD is certainly gifted in embodying the indescribable into a work of art. 

Emonk extends her creation of an imaginary world further by being both creator and creation in her series ‘MON’s world. Borrowing from many superhero characters in various famous comics, Emonk creates a new set of superheroes. What is interesting in her superhero series is that Emonk re-titles them by combining their original name and her own. Thus, her alter ego comes to a life as Super-mon (Superman), Bat-mon (Batman), Wonder Wo-Mon (Wonder Woman) and Ultra-Mon (Ultraman). Through her works Emonk tries to send an important message: we can be anything in our life and whatever we choose to be, we become the main performer.

In our constantly busy contemporary lives filled with “adult” responsibilities, it is ever-more important for us to search beyond the surface. The super-power of this exhibition is its ability to recall our inner child’s sensibilities, providing a momentary escape from the mundane as we enjoy the experience of playing and playfulness within the art. After all, the fantastical can bring joy and stretch our imaginations, and could even bring us closer to our deeper selves if we just allow it.

Jeong-ok Jeon (Curator)

Tirana House : Fashion, Art & Creativity

TIRANA HOUSE
Paduan segar Art, Fashion & Creativity
 
Soft Opening: Sabtu, 21 April 2012

Grand Launching: Sabtu, 9 Juni 2012
 
Fashion adalah bagian dari seni.  Orang membeli produk fashion bukan hanya karena fungsinya, namun juga karena keindahan desainnya, warnanya dan juga karena desainer/perancang nya. Tidak ada bedanya dengan pertimbangan orang dalam membeli karya seni.
 
Di Tirana House, kami menggabungkan semua karya seni itu dalam sebuah butik yang terintegrasi dengan Art Space. Tirana House, seperti arti harfiahnya adalah sebuah rumah. Kenyamanan dan keserasian interior menjadi perhatian kami, sehingga dapat memberikan pengalaman yang berbeda dengan berbelanja di mall atau pasar. Kami menyebutnya, “Senyaman belanja di rumah”. Selain butik dan art space yang berada dibagian depan dan siap dibuka untuk umum, di bagian teras Tirana House akan hadir coffee shop serta dibagian belakang akan menjadi rest area yang dilengkapi dengan mini library dan kids’ corner yang saat ini sedang tahap penyelesaian.
 
Tentu saja kualitas produk adalah hal yang mutlak harus kami berikan pada pelanggan. Cara termudah mendapatkan kualitas yang diinginkan adalah dengan memilih produk yang dikeluarkan oleh merk-merk yang sudah terjamin kualitasnya. Kami menghadirkan koleksi Victoria’s Secret, LaSenza, Bonprix, George, Next, Guess, DKNY, Zara, H&M, Mango, Esprit, Ralph Laurent, Nike, Adidas dan masih banyak merk lainnya, mulai dari pakaian dalam (underwear) hingga busana anak, dewasa pria dan wanita. Selain itu kami juga menyediakan produk perawatan kulit merek Eveline dan Perfecta yang merupakan merk asal Eropa. Seluruh koleksi kami dijamin originalitasnya. Harga produk di butik kami cukup bersahabat, bila dibandingkan dengan harga yang dipatok bandroll di mall.
 
Di Tirana House, kami juga bermitra dengan wirausaha-wirausaha muda Jogjakarta . Melalui unit usaha Mitra Tirana, kami menghadirkan karya-karya wirausaha muda Jogjakarta . Saat ini, yang sudah bermitra adalah produk coklat dari dapur “Kakaoku” dan boneka-boneka unik dari workshop “Jahit Tangan”. Selanjutnya akan ada banyak lagi wirausaha muda Jogjakarta yang akan bergabung sebagai Mitra Tirana.
 
Unit kami yang lain adalah Rumah Tirana, yang akan memproduksi produk-produk fashion merk kami sendiri, “Tirana”. Mitra Tirana dan Rumah Tirana merupakan wadah kami untuk dapat berpartisipasi lebih banyak dalam memutar roda perekonomian kota Jogjakarta yang kami cintai.
 
“Little Act for Greener Jogja”, adalah inisiatif-inisiatif kecil kami dalam usaha mengambil peran dalam membangun Jogjakarta menjadi kota yang lebih ramah lingkungan. Melalui konsep “Sustainability Consumption & Production”, kami mencoba mengurangi pemakaian plastik, menghindari pemakaian energi yang tidak perlu serta melakukan kampanye-kampanye kecil dalam kegiatan promosi kami.
 
Jelas, Tirana House bukan sekedar butik tempat berbelanja. Tirana House adalah rumah, butik, ruang seni, wadah kreatifitas dan aktualisasi, tempat bersosialisasi, sarana belajar dan berbagi, yang semuanya harus dapat memberikan keuntungan bukan hanya bagi pemiliknya namun juga masyarakat dan lingkungan Jogjakarta . Tirana House melayani masyarakat Jogjakarta sekaligus menjadi alternatif kunjungan bagi pengunjung kota Jogja.
 
Sebagai penghuni baru Kota Jogja, Tirana House berharap dapat diterima dengan baik oleh masyarakat Kota Jogjakarta serta berperan serta membangun perekonomian kota Jogja dan sekitarnya. Mohon doa restu dan dukungan nya.
 
 
Salam hangat,
Nunuk Ambarwati
Manajer Operasional
 

Kado Malaikatku untuk Tuhan

Introduction

Solo drawing exhibition by R. Bonar Diat Senan Putro

A gift From My Angel to God’.

Tirana Artspace

Jalan Suryodiningratan 55 Yogyakarta

June 9th – July 9^th, 2012

For having a chance to meet R. Bonar Diat Senan Putro or also known as Otong (30 years), was like bring our memory back to our childhood. The world full of fantasy, playing all around and liberate our imagination. Those were my first impression when I looked at Otong’s drawing. Otong was born in Surakarta November 22^nd, 1982. He had studied at Art Institute of Solo (ISI), in a year of 2003, but only last for 5 semesters. After that he studied through his experiences, starting as an art worker at Bali until stayed and worked in Yogyakarta. He was also assisted one of the artist in Yogyakarta, Bob ‘Sick’ Yudhita for 5 months. Today with his close friend, Fahla F. Lotan, also known as Dila, both are collaborated to make art toys in thedeoMIXBLOOD. Child characters in his works, also realized in his activities along with the children. As I quoted in Otong’s biographical, together with his close friend in 2010 and 2011, he did a variety of workshops with the children.

With introduction by Bob ‘Sick’ Yudhita, Ugo Untoro and S.Teddy D. (in a year of 2008), he admitted that he has been given a little influences at the beginning of his creative works. He also admires some figures like, Nirvana, Basquiat, Andy Warhol and the genre of Cobra painting. Until today he fell comfortable with his character in a figure of octopus. An animal that lives in the sea, has four pairs of hands, adaptable, can be camouflaged and claimed to be the most intelligent animals in the ocean for the class of invertebrates (animals without backbones). He has been made figures of octopus for 4 years since 2009. So, look at his artworks, although it appears to be the drawing of Batman, but Batman with tentacles. Or the human figure, still with tentacles.

Not only figures of octopus that I found interesting from Otong’s drawing, but also the texts that we can observe in his works. Most of the texts are written backwards. We can read it by reversing the texts, for example ‘otiuqsam namtab isamiofsnart atatirug’, read as ‘mosquito batman transformasi guritata’. And usually those texts are the titles of his drawing. For otong, reversing texts is his play zone during the process of drawing. Even for Otong it can be confusing, puzzling through words/texts. However from his ‘text game’ he can found reversed words to have its own meaning. Such as, ‘Ibu’ reversed to be ‘ubi’, and still be legible. Unique. Moreover, he wants the audiences to be paused for a moment while ‘reading’ his texts. And hopefully there’ll be questions or feedback for Otong’s works.

Otong’s drawing that is shown in Tirana Artspace this time, was only a small part of hundreds works/drawing that are stored neatly in his narrow boarding house, located in the south of Jogja. Even honestly, I didn’t have enough time to select all the entire works for this exhibition. It is too many! Otong has compiled his works based on its year. From there, we could see his process of making the artworks, started from water color, pencil, crayon, ballpoint, markers, etc. Presentation of his works in this exhibition represents his process of making artworks since 2009 until now, 2012.

The maturity of his ideas appears from the chronology of his drawings. When Otong start to draw, he always draws simultaneously by minimum 10 blank papers. His ideas flow wildly, messy but impressive and honest. For each paper that he draw have its own fantasy like fairy tale. Because basically he likes narratives fairy tales, such as Narnia, Harry Potter, Pirates of the Caribbean, etc.

And later, piles of hundreds of Otong’s drawing become ‘A gift From My Angel to God’. Every time he draw, for him is like playing, for him is a contemplation, for him is some kind of therapy. And also worshipping, according in his own way. Every time he draw, he fell there’s ‘an angel’ with him. When I get the chance to meet Otong and having interviewed with him for few times, he showed that he is a serious person in searching for God. Although for the moment, status of religion doesn’t important for him, but his religiosity is quite strong through religious journey that he had since childhood until now. Each work that he made is returned-back to God. And furthermore we’ll wait for your feedback.

Enjoy the artworks and get inspired!

Regards, Nunuk Ambarwati

Short Biography

R. Bonar Diat Senan Putro ( Otong )

Was born at Surakarta, 22 November 1982

Education: Fine Art department, Indonesian Institute of Art, Solo (ISI, Solo)

Solo Exhibition

2012 – ‘Kado Malaikatku untuk Tuhan/A Gift from My Angel to God’, Tirana Artspace, Yogyakarta

2011 -  “INTROVERTASY PHOBIA”, thedeoMIXBLOOD’s Solo Exhibition, Kedai Kebun Forum, Yogyakarta

Group Exhibition (selection)

2012 : Pameran JANEFO #1 – Jogja New Emerging Forces, Langgeng Art Foundation, Yogyakarta

2011 : Performance, Istvan Kantor’s Neoist Project from Canada, “NEOIST DISASTER”, collaborator Iwan Wijono, JNM Jogjakarta / Performance, “BoredDay” Doger Panorsa’s Solo Exhibition, at Via-Via Café, Jogjakarta. / Workshop boneka, “Pameran Boneka Jogja Istimewa”, Bentara Budaya, Yogyakarta / Pameran Kelompok Six Needlle Six, “Sew And Share”, Via-via Café Yogyakarta / Pameran Terseleksi, “Imaji Ornamen”, Galeri Nasional Jakarta / Pameran kolaborasi residensi bersama kelompok eksperimental Six A (Hobart, Tazmania), “Machine No.6”, Sangkring Art Space, Yogyakarta / Kids Programme dalam CellsKid rangkaian acara Cellsbutton, International New Media Art Festival, “Institutional Cells”, Bersama HONF / Group Exhibition, “AYO MIX FUN”, Survive ! Garage and Friends,  at Disco Beans, 238 High St, Northcote, Melbourne,Australia / Workshop dan pameran, “DIS” , bersama Metropolelightberry dan Difable SLB Negeri 1 Bantul, Rangkaian Program Biennale 2011.

Award: 5 Finalist at Bazzart Art Award, by Vanessa Art Link and Harpers Bazzar, Vanessa Art Link Jakarta and Ritz Carlton Hotel Jakarta, 2010

Activities:

Recycle workshop for children, by thedeoMIXBLOOD at Bienalle Anak Jogjakarta, 2010

Workshop and performance with collaborator by Iwan Wijono at Istvan Kantor .aka. Monty Cantsin’s Neoist Project from Toronto (Canada), 2011

Clay Workshop and Simple Animation at CellsKid Programme with HONF, 2011

Flour a Sense, Workshop for Difable, SLB Negeri 1 Bantul, Yogyakarta, with Metropolelightberry, Biennale 2011.

Exhibition periode Juni 9th – July 9th 2012.
Open daily, 9am – 9 pm.

Open for public and free.

Information and reservation of artworks, please feel free to contact:

Nunuk Ambarwati

Tirana Artspace

Jalan Suryodiningratan No 55 Yogyakarta

Ph/ +62 81 827 7073

e/ tiranahouse@yahoo.com, qnansha@yahoo.com

TEKS BAHASA INDONESIA

Tulisan Pengantar

Pameran Tunggal Drawing karya R. Bonar Diat Senan Putro

Kado Malaikatku untuk Tuhan

Tirana Artspace

Jalan Suryodiningratan 55 Yogyakarta

9 Juni – 9 Juli 2012

Bertemu dengan seorang R. Bonar Diat Senan Putro atau lebih dikenal dengan Otong (30 tahun), seperti kembali pada masa kanak-kanak kita. Dunia anak-anak yang penuh fantasi, bermain sesuka hati, membebaskan dan meliarkan imajinasi, demikianlah pandangan pertama pada karya-karya drawing Otong. Otong, lahir di Surakarta, 22 November 1982. Pernah menempuh studi di Institut Seni Indonesia (ISI), Solo, angkatan 2003 namun hanya bertahan hingga semester 5 saja. Selebihnya, ia menimba studi langsung dalam perjalanan pengalamannya, mulai dari jadi pekerja seni di Bali hingga akhirnya berlama-lama tinggal dan berkarya di Yogya, dan pernah selama kurang lebih 5 bulan tinggal bersama Bob ‘Sick’ Yudhita dan membantu proses berkaryanya. Saat ini bersama teman dekatnya, Fahla F. Lotan atau akrab dipanggil Dila, mereka berdua berkolaborasi meng-custom mainan dengan bendera thedeoMIXBLOOD. Karakter kanak-kanak dalam karya-karyanya, juga terrealisasi dalam berbagai aktivitasnya yang berhubungan dengan anak-anak. Seperti saya kutip dalam biodata Otong, bersama teman dekatnya Dila, di tahun 2010 dan 2011, berbagai kegiatan workshop ia lakukan bersama anak-anak.

Perkenalannya dengan Bob ‘Sick’ Yudhita, Ugo Untoro dan S.Teddy D (di sekitar tahun 2008) diakuinya memberi sedikit banyak pengaruh di awal proses kreatifnya. Dia juga mengagumi figur-figur seperti Nirvana, Basquiat, Andy Warhol dan aliran Cobra Painting.

Hingga kemudian, saat ini, Otong mengaku merasa nyaman dengan karakter karyanya di sesosok figur Octopus. Sebuah hewan yang hidup di laut, memiliki 4 pasang tangan, mudah beradaptasi, bisa berkamuflase dan diklaim sebagai hewan paling cerdas di laut untuk golongan invertebrata (hewan yang tidak memiliki tulang belakang). Bersama figur Octopus ini, Otong sudah menggeluti selama kurun waktu 4 tahun terakhir (awal 2009). Maka, cermati saja, karya-karyanya, meski pun itu muncul gambar Batman, maka Batman dengan tentakel. Atau figur manusia, tetap dengan tentakelnya.

Tak hanya sosok figur Octopus yang menarik dari deretan drawing Otong. Teks-teks yang termuat didalamnya menarik untuk kita cermati. Hampir sebagian besar teks yang tercantum di dalam karya drawingnya ditulis terbalik. Kita bisa membacanya dengan membalik, misal ada teks ‘otiuqsam namtab isamiofsnart atatirug’ maka dibaca ‘mosqiuto batman transformasi guritata’. Dan biasanya teks-teks itu pula yang akan menjadi judul karya drawing Otong. Bagi Otong, membalik tulisan tersebut merupakan zona bermainnya ketika menggambar. Mengkutak katik teks, bahkan Otong mengaku pernah kesulitan sendiri membaca kembali teks-teks tersebut. Dari permainan teks tersebut, Otong juga menemukan kadang sebuah teks yang dibalikpun, akhirnya mempunyai arti sendiri. Misalnya, kata ‘ibu’ dibalik menjadi ‘ubi’ dan tetap bisa terbaca. Unik. Selebihnya, dia ingin supaya setiap penikmat karyanya bisa terdiam sejenak ‘membaca’ teks sambil memandang karya dan berharap ada selebih pertanyaan atau feedback untuk karya-karya Otong.

 

Karya-karya drawing Otong yang ditampilkan di Tirana Artspace kali ini, hanya sebagian kecil saja dari ratusan karyanya yang tersimpan rapi di rumah kos sempitnya di wilayah Yogya selatan. Bahkan sejujurnya, saya tidak cukup waktu untuk bisa menyeleksi keseluruhan karyanya untuk rencana pameran ini. Terlampau banyaknya! Otong menyusun karya-karya drawingnya berdasar tahun pembuatan. Dari sana, kita bisa melihat proses berkaryanya. Mulai dari media cat air, pensil, crayon, ballpoint, spidol dan seterusnya. Presentasi karyanya dalam pameran ini pun cukup mewakili proses berkaryanya mulai dari tahun 2009 hingga saat ini, 2012. Kematangan gagasannya nampak dari kronologi deretan drawingnya tersebut. Ketika Otong mulai menggambar, dia akan selalu mulai menggambar secara simultan dengan minimal sepuluh kertas kosong. Ide-idenya mengalir begitu saja, liar tak bisa ditahan, berantakan tapi keren dan jujur. Setiap kertas yang dia gambar selalu mempunyai cerita fantasi layaknya dongeng. Hal ini pun didasari karena kesukaannya dengan narasi-narasi dongeng seperti Narnia, Harry Potter, Pirates the Carribean dan sejenisnya.

Dan kemudian, setumpuk ratusan karya drawing Otong menjadi ‘Kado Malaikatku untuk Tuhan’. Setiap kali menggambar, baginya adalah bermain, baginya adalah kontemplasi, baginya adalah terapi. Dan juga bentuk ibadah menurut cara dia sendiri. Setiap kali menggambar, ia merasa ada ‘malaikat’ yang mendampinginya. Ketika bertemu Otong dan sempat interview dengannya beberapa kali, Otong menunjukkan orang yang serius dalam pencariannya akan Tuhan. Meski pun saat ini, status agama tidaklah penting baginya, religiusitasnya cukup tinggi melalui perjalanan keagamaan yang dilewatinya dari kecil hingga saat ini. Setiap karya yang ia hasilkan, pertama kali dikembalikan kepada Tuhannya. Selanjutnya, kami tunggu feedback dari Anda.

Selamat berapresiasi dan semoga terinspirasi.

Salam, Nunuk Ambarwati

Biodata singkat

R. Bonar Diat Senan Putro ( Otong )

Lahir di Surakarta, 22 November 1982

Pendidikan Institut Seni Indonesia (ISI) Solo

Pameran tunggal
2012 – ‘Kado Malaikatku untuk Tuhan’, Tirana Artspace, Yogyakarta

2011 -  “INTROVERTASY PHOBIA”, thedeoMIXBLOOD’s Solo Exhibition, Kedai Kebun Forum, Yogyakarta

Pameran bersama (seleksi)

2012 : Pameran JANEFO #1 – Jogja New Emerging Forces, Langgeng Art Foundation, Yogyakarta

2011 : Performance, Istvan Kantor’s Neoist Project from Canada, “NEOIST DISASTER”, collaborator Iwan Wijono, JNM Jogjakarta / Performance, “BoredDay” Doger Panorsa’s Solo Exhibition, at Via-Via Café, Jogjakarta. / Workshop boneka, “Pameran Boneka Jogja Istimewa”, Bentara Budaya, Yogyakarta / Pameran Kelompok Six Needlle Six, “Sew And Share”, Via-via Café Yogyakarta / Pameran Terseleksi, “Imaji Ornamen”, Galeri Nasional Jakarta / Pameran kolaborasi residensi bersama kelompok eksperimental Six A (Hobart, Tazmania), “Machine No.6”, Sangkring Art Space, Yogyakarta / Kids Programme dalam CellsKid rangkaian acara Cellsbutton, International New Media Art Festival, “Institutional Cells”, Bersama HONF / Group Exhibition, “AYO MIX FUN”, Survive ! Garage and Friends,  at Disco Beans, 238 High St, Northcote, Melbourne,Australia / Workshop dan pameran, “DIS” , bersama Metropolelightberry dan Difable SLB Negeri 1 Bantul, Rangkaian Program Biennale 2011.

Penghargaan:
5 Finalis dalam Bazzart Art Award, Oleh Vanessa Art Link dan Harpers Bazzar, Vanessa Art Link Jakarta dan Ritz Carlton Hotel Jakarta, 2010

Aktivitas:

Recycle workshop for children, by thedeoMIXBLOOD at Bienalle Anak Jogjakarta, 2010

Workshop and performance with collaborator by Iwan Wijono at Istvan Kantor .aka. Monty Cantsin’s Neoist Project from Toronto (Canada), 2011

Clay Workshop and Simple Animation at CellsKid Programme with HONF, 2011

Flour a Sense, Workshop for Difable, SLB Negeri 1 Bantul, Yogyakarta, with Metropolelightberry, Biennale 2011.

Pameran berlangsung mulai 9 Juni – 9 Juli 2012.
Buka setiap hari, pk. 9 pagi – 9 malam.

Terbuka untuk umum dan gratis.

Untuk minat karya dan informasi selanjutnya, silakan hubungi:

Nunuk Ambarwati

Tirana Artspace

Jalan Suryodiningratan No 55 Yogyakarta

Ph/ +62 81 827 7073

e/ tiranahouse@yahoo.com, qnansha@yahoo.com