They showed me how to create images,
which divined us.
Wallflowers, soil and water.
of rain drops
please, enlighten me.
A heart of mine told me once
Time was just once a future,
After seconds, minutes, hours,
People eyes and their madness,
depression and self destruction
weird acts and well-planned dramas.
Life lies between present and past,
dreams of reality.
When I think about my self
lights and paths are just side to side.
I’m not here for crossing time,
that’s why I am here.
Note: This is my self experience through my feeling towards the artworks, these words are not linked to any of Artists’ point of view or messages.
BIENNALE JOGJA XIV
Biennale Jogja (BJ) is an international biennial run by Yogyakarta Regional Government and organized by Yayasan Biennale Yogyakarta (YBY). It was first organized in 1988, and this year reached its 14th edition. Starting with 2011, YBY launched the project of Biennale Jogja Equator series (Biennale Equator) with focus on the region of the equator belt. Biennale Jogja assumes the equator as a new perspective which simultaneously opens up to confront the ‘establishment’ as well the conventions towards the organization of such events. Equator represents the starting point to create a common platform to “re-read’” the world.
Curatorial Biennale Jogja
Biennale Jogja XIV Equator #4 will respond to the issue of live uncertainty which has made us less brave to hope as the reality has become increasingly hard to understand.
The main team raised in Biennale Jogja XIV Equator #4 is:
STAGE of HOPELESSNESS
This big narrative invites us to experience a transition from uncertainty towards hope. The narration will present a series of traumatic moments which can be interpreted as aesthetic moments of raising awareness. Nine repertoires will be shown, consisting of three main parts such as Organizing Chaos as the main theme for Festival Equator, Stage of Hopelessness as the main theme for Main Exhibition and Parallel Events, and Managing Hope as the theme for Biennale Forum.
Main exhibition held at Jogja Nasional Musium
2nd Nov – 10th Dec 2017
More Info check: biennalejogja.org
Untitled 2 (Beringin) by Wakidi
World as we see it is kind of different from each eyes whose see. A painting might be one of the oldest media to show the philosophy differ principally according to the painters subject and meaning which they reflect, transform and express it. From reality within his spiritual world – simplify their deep head and feelings – as an individual interaction with the world.
The paintings in this collection from Art 1 New Museum show the development of Indonesian art in the twentieth and onto the twenty-first century. The paintings are mostly represent a romanticized view of the Indonesian Landscape: colonial times, and also supported the notion of Mooi Indië. Mooi Indië (“Beautiful Indies”) was likely have been used term for the romanticized idyllic landscapes portraying the Indies, inspired by the beauty of indie land, people and culture, and therefore paint with their highest sense of aesthetics. 
And other than that, Modern painting are also came into Indonesia was often considered to be introduced by Sindhudarsono Sudjojono who urged Indonesian painters to shy away from painting in the Mooi Indie genre and create artworks that expressed their own thoughts and feelings.
Pulang Bawa Kaju (Bringing Wood Home) by S. Sudjojono, 1968
According with Sudjojono’s thought: during the early development of Indonesian art, some artist often painted the lives of common folk, with their own individual characteristic styles. And the exhibition shows two of the best are Affandi and Hendra Gunawan.
Boats at Kusamba by Affandi, 1981
Picking Lice by Hendra Gunawan
And the time after the fall of Soeharto in 1998, Amrus Natalsya and other painters in the era of end of 1980 artists whom are associated with Lekra (People’s Cultural Agency) of the Communist Party were detained following the aborted coup d’etat of 1965 had been released from prison and became active again creating artworks express their thoughts and point of views of political and racial discrimination during that time with marked freedom in their artworks as you can see it in Armus Natalsya painting.
Menyerbu Alengka by Armus Natalsya
Near to today in the 21st century Indonesia seems has increased and managed great economic development. For modern artist and art collectors were developed more sophisticated, formalistic tastes, one of catches my eyes is a painting by Srihardi Soedarsono.
Jiwa Samudra by Srihadi Soedarsono, 1987
And for above all, I met this the most beautiful woman in such an exotic feels of beautiful Javanese woman wears kebaya. In a steady posture and gesture, the sense of power and self-control. This beauty is made by Basoeki Abdullah his characterized as realism.
Lady in Kebaya by Basoeki Abdullah
Picture is talking thousand words, speaking of creating a vision. Painting are one of example of human experiment of their eyes to the mind through their body into a media. Kind of elegance of experiment which evokes legitimate admiration, affords us intellectual and aesthetic pleasure. A meaningful expression without words. When truth can be seen in each of who sees it with different point of view followed by the same feeling of artist’s visions.
Indonesian Art in the Twentieth and Early Twenty-First Century
Art:1 New Museum
Jl. Rajawali Selatan Raya No 3
Jakarta 10720 Indonesia
Wakidi , Affandi , Jeihan , Koempoel , S. Soedjono , Chris Suharso , Suparto , Putu Ngurah Wardhana , Abdullah , Srihadi , Fajar Sidik , But Mochtar , G. Sidharta , Nashar , Rusli , Bagong Kusudiarja , G. Sidharta Soegijo , Hendra Gunawan
When art involves conscious for decision-making and portrait reflects self-consciousness, then what exactly the message or meaning of portrait? Why do certain artists decide to create other people as an object as a visual archives of presence and somehow decidedly so in a particular time and space? The question declares itself; “Describing existence of one particular object”.
Portrait painting of someone we know and stranger are often having a common issue: it’s not about the familiarity (resemblance) of the subject and the vision into a painting. Most of party are stated portrait painting is about imitation from ‘mimesis’ which are from classic Geek philosophy, Plato. Hand-Georg Gadamer said ‘mimesis’ is widely known “has the sense of ‘making the absent present”. To actualized of ‘nothing’ into ‘something’. When there are many of interpretation of Portrait itself. To manifest idea into physical. Xie Dongming as the most well-known realism painter from China.
Through paintings Dongming not only noted as ‘existed’ but actualized the idea of life and culture of China. Dongming creates the portrait not fully realism but also expressionism at the same time. The power of the expression from the paintings also giving us the idea of identity through the technique and color material. He could brought us to get close to our feelings to whom see it, also summarized his or ourselves experiences of live interaction that contained intention of appreciation and value.
The result that he want to reach, not only for the value of ‘accuracy’ about certain situation or events but the accession of experiences of beauty. The portrait tells manifestation of reaching its own beauty, rather than fully speaking for the object instead.
Selfscape by Xie Dongming
15–24 February 2017 | 10.00 – 18.00 WIB
Gedung D Galeri Nasional Indonesia
We are living in the era of software, hardware, smartphone apps controlled the future. For technology digital media now shifting from passive customer to active customer. The differences of them two are how they consume the media; old days was the phase of receiving information, and today people are more active to creating information. People are easily create content, moving picture, photos, sounds, texts and so on.
The receiving eyes and ears are now directed to calculated machine (software / apps) which controlling its own users. The barrier between the power and control by machine itself are so thin and tend to be illusive.
In this exhibition, thirteen of Indonesian Artists facing this situation with production strategy method and visual not to against the limitation of this phenomenon. Otherwise, the artists were playing within the cracks.
Chosen method, system and texts they displayed with various shape of information that has been filtered to process of exchanging codes made by its artist, curator team, and also the visitor themselves.
The content of the exhibitions are displayed not just for showing the technology and method the artists used but to make an open dialogue to talk about the negotiate production and content between the artist and the visitors.
In my humble opinion, ‘Following’ exhibition has its own purposes of the nowadays digital-technology media: in this era which people are easily make a content and creating a new art by downloading it through apps and software are the opposite of what – ‘somewhat called as’ – ancient artists do. Just a bit of reminder, the media of displaying a content is not always about how easy and complex of the process but the true meaning of each pieces. How they can relate to the right audiences and their habits.
9– 21 Februari 2017. Pukul 10.00-19.00 WIB
(waktu istirahat pukul 14.00-15.00 WIB)
Gedung A, Galeri Nasional Indonesia
Adel Pasha. Adhari Donora. Adityo Pratomo. Andang Kelana. Ari Dina Krestiawan. Ari Satria Darma. Budi Prakosa. Gelar Agryano Soemantri. Gooodit. Mahesa Almeida. MG Pringgotono. oomleo. Ricky ‘Babay’ Janitra
Galeri Nasional – February 2017
Almost every afternoon she went to a coffee shop nearby her office, she always reserved the same spot, at the same hours; table for two, right before the stairs.
“One hot macchiato and apple crumble for this beautiful lady”
She looked out towards the door, for two hours a day. She sat there exploring, discovering people passing by the door. She enjoyed their faces whose elicited their ‘hidden’ stories. Just, like that.
“Hi, excuse me, are you smiling at me?”
he said to her after she eyed him entering the door, smiling.
As he introduced him self, and asked why he caught her eyes exploring him entered the building. He felt that he was kind of interesting object. So, he planned to play the catch.
“So, tell me why a ladylike can sit here alone, sipping a bitter macchiato and had a sweetest dessert on earth. What a scene to be missed”, he directly felt okay to sat in front of her. Spilled out a question sign of starting a conversation.
“Do you want to hear a sad story?”
“‘This is a story of beautiful Princess and her lover who has long been in longing to be a couple but their plan didn’t go well along her parents’ policy. After a decade the princess refused to forget about her lover. She preferred holding her breath in live deeply from letters to letters that came for her, like wood that need fire to warm the night, comfortably soundless.
Unfortunately, her broken hearted story must be had an end. She whined to his father, The King, begged his willing. The King felt down to saw her only daughter suffering from the sadness she made. And finally The King blessed her with his will.’”
“Sad story, isn’t it?”, she stated.
“No, that was a happy ending, right? Except, after-a-decade-part. Phew, how come?”
“Don’t forget, she had a mother.”
“I only say this, because knowing that you have suffered great pain and sorrow, you will be more cheerful, perhaps, after spoiled out to a stranger, but let me know you; who are you; what brought you here alone?”
“It wasn’t about me, you might recognized the second I finished the story”
She checked her utterance for some minutes; when he got silence on the point of her statement to relate how the story had been brought him to a confusing moment, and carried away the sadness from her eyes while she pretended it was just an old story from far-far-away castle.
He had a manner of bitting his lip when he spoke and of looking directly to her eyes at the same time: which irresistibly gorgeous, she thought. However this attitude, he fixed himself, the moment he made his appearance; and, holding out a small piece of brown leather pouch, in a growling, broken voice.
“Too bad, I thought we have one more shot”
At this moment, there he walked away: supporting himself by a careless gesture: rather lame in aged face, who was dressed in a blue parka, grey striped t-shirt she gave. Just like a decade ago.
The first time I came to Museum Ulen Sentalu, it took me less than 1 hour to get here from central town of Yogyakarta. The ambiance and atmosphere from the buildings and surroundings gave me a calm vibe. Museum Ulen Sentalu is about private collection of history of Javanese Heritage; paintings, statues, Javanese Historical Literature, and even a private collection from princess of Kraton Yogyakarta.
Ulen Sentalu brings everything seems so close to nostalgic mood of old heritage of Central Java. We can find a lot of interesting stories about Kraton and their Kings and Princesses which we couldn’t hear in any place before. And of course, it’s a private collections so yes, people are not allowed to take picture while we inside the main buildings.
After we finished the private tour, there is Boukenhof Restaurant. You will definitely don’t want get out of there soon you finished the tour. To feel the magical and mystic feel of Museum. You can also try to eat your late lunch or have a conversation about the private collections with friends and family in Boukenhof Restaurant. When I enter the restaurant, it gave me feel like so hollandish, wood furniture, white table cloth and those detail art deco ornament. They serve western food, it was kinda weird for me. But still it’s a perfect place for you to sit and feel your needs of nature and historical demand.
Museum Ulen Sentalu & Boukenhof Restaurant – Sleman, Yogyakarta
Hari sudah gelap. Diantara malam dan tidur lelap.
Kau masih bercakap, mengapa musim datang.
Kali ini hujan kata kau, kau benci hujan.
Di ruang yang makin parau,
dan waktu mu,
dunia maya kita bertemu
Kita masih bercakap.
Dentuman bass berkumandang, tanda mulai.
suara memainkan sajak lama,
percakapan tanpa kata,
kehadiran sosok di ujung sana,
kita pandang, cerita dari masing-masing mata
Saat kembali sunyi,
atas rindu yang makin merana.
Matahari berganti tugas
waktu kaki-kaki menapak pulang,
waktu ia berganti peran,
waktu yang tiba-tiba hilang batas,
waktu suara memilih untuk lelah
diantara sadar dan pesan,
“Sampai jumpa lagi, malam”
Weekdays beer night with office mates or the feel of needing some booze after hard work days. Jakarta still have its old star to shine. The Jaya Pub is one of the oldest pub in town will bring the old surroundings to your soul and make you sing the song with their band performance.