assemblage is a re-collection of BaCAA’s prior fi nalists from 2010 to 2017. Amongst these individuals are distinguished names such as... from the very 1st BaCAA: Aditya Novali1, Anggun Priambodo2, Erianto3, Erwin Windu Pranata4; from the 2nd BaCAA: Eddy Susanto5, Octora6, Patriot Mukmin7, Fluxcup8; from the 3rd BaCAA: Muhammad Akbar9, Mujahiddin Nurrahman10, Patricia Untario11, Syaiful Aulia Garibaldi12; from the 4th BaCAA: Agan Harahap13, Aliansyah Caniago14, Eldwin Pradipta15, Faisal Habibi16, Harits Rasyid Paramasatya17, Maharani Mancanagara18, Muhammad Vilhamy19 and from the latest 5th BaCAA: Cynthia Delaney20, Deni Ramdani21, Etza Meisyara22, Geugeut Pangestu23, Restu Taufi k Akbar24, Ricky Janitra25, Yovista Ahtajida26

Ba

CA

A a

ss

em

bla

ge

PB

01

Direktur Director Andonowati

Kelola Managers Aditya Lingga Bagus Nugroho Asnaini Aslam Putri Larasati Sayid Basyarah

Desain Buku Book Design Irfan Hendrian

Reprografi & Fotografi Reprography & Photography Asnaini Aslam Sundayscreen

Teks Texts Asmudjo J. Irianto Rizki A. Zaelani

Penerjemah Translator Henny Rolan

Produksi Cetak Print Production IH Studio

PenerbitPublisher Lawangwangi Creative Space Jl. Dago Giri No. 99A, Mekarwangi, Lembang, Bandung Jawa Barat 40391

Cetakan pertama, 1000 salinan. Dicetak di Bandung, Februari 2019.

First edition, 1000 exp. Printed in Bandung. February 2019.

Hak Cipta dilindungi oleh Undang-Undang. Dilarang mengutip atau memperbanyak sebagian atau seluruh isi buku ini tanpa izin tertulis dari penerbit.

All rights reserved. No part of this publication may be reproduced in any form or by any means without prior written permission of the publisher.

Ba

CA

A a

ss

em

bla

ge

02

01

pengantar 04 artsociates id

foreword from 06 artsociatesen

BaCAA 08 assemblageid

BaCAA 10 assemblageen

TXT CV NEW OLD aditya 14 32 48 86 novali

TXT CV NEW OLD agan 15 32 50 86 harahap

TXT CV NEW OLD aliansyah 16 33 52 86 caniago

TXT CV NEW OLD anggun 17 33 54 86 priambodo

TXT CV NEW OLD cynthia 18 34 56 87 delaney

TXT CV NEW OLD deni 19 34 58 87 ramdani

TXT CV NEW OLD eddy 14 35 60 87 susanto

TXT CV NEW OLD eldwin 20 35 62 87 pradipta

TXT CV NEW OLD erianto 16 36 64 88

TXT CV NEW OLD erwin windu 17 36 66 88 pranata

TXT CV NEW OLD etza 21 37 67 88 meisyarad

aft

ar

isi

c

on

ten

tTXT CV NEW OLD faisal 22 37 68 89 habibi

TXT CV NEW OLD fluxcup 14 38 69 89

TXT CV NEW OLD geugeut 18 38 70 89 pangestu

TXT CV NEW OLD harits rasyid 23 34 59 90 paramasatya

TXT CV NEW OLD maharani 21 38 73 90 mancanagara

TXT CV NEW OLD muhammad 23 39 73 90 akbar

TXT CV NEW OLD muhammad 24 39 74 91 vilhamy

TXT CV NEW OLD mujahidin 20 40 75 91 nurahman

TXT CV NEW OLD octora 25 40 76 91

TXT CV NEW OLD patricia 26 41 78 92 untario

TXT CV NEW OLD patriot 27 41 79 92 mukmin

TXT CV NEW OLD restu taufik 27 42 80 92 akbar

TXT CV NEW OLD ricky 23 42 82 93 janitra

TXT CV NEW OLD syaiful aulia 22 43 83 93 garibaldi

TXT CV NEW OLD yovista 28 43 84 93 ahtajida

co

nt

en

td

af

ta

r is

i

-

01

Ba

CA

A a

ss

em

bla

ge

02

03

Ba

CA

A a

ss

em

bla

ge

04

05

Bandung Contemporary Art Award (BaCAA) adalah acara penghargaan seni yang bertujuan merangsang perkembangan seni rupa kontemporer di Indonesia dan berupaya meningkatkan partisipasi para peraih penghargaan seni ini dalam kancah seni rupa internasional. Penghargaan ini ditujukan bagi perupa muda berpotensi yang aktif memamerkan karya seninya baik di galeri, ruang publik atau ruang ruang seni baru/alternatif. Saya selalu berharap rangkaian BaCAA ini dapat menjadi relevan dengan perkembangan dunia seni rupa. Saya percaya regenerasi merupakan hal yang penting untuk memajukan dunia seni rupa serta saling memperkaya setiap elemen di dalamnya.

Semenjak 5 kali penyelenggaraan BaCAA, dimulai dari tahun 2010, BaCAA sudah melaksanakan 5 edisi, yaitu 1st BaCAA pada 2010/2011, 2nd BaCAA pada 2012, 3rd BaCAA pada 2013, 4th BaCAA pada 2015 dan 5th

BaCAA pada 2017. Saya menyaksikan kreativitas tanpa ada batas: bagaimana ide yang abstrak, ekspresif, kritis, dan terkadang kontroversial, dapat diwujudkan oleh para perupa muda dalam bentuk karya seni yang segar dan menggugah.

Seperti yang diharapkan, banyak partisipan BaCAA dari tahun-tahun sebelumnya berhasil mengembangkan jenjang karirnya menuju arah yang baik dan menjanjikan. Ini terlihat dari partisipasi-partisipasi mereka di banyak helaran acara seni penting, art fair dan biennale, baik dalam skala nasional maupun internasional.

Kesuksesan para seniman - seniman yang pernah mengikuti BaCAA ini membuat saya berkeinginan untuk mengadakan sebuah pameran bersama bagi para Finalis BaCAA. Hingga akhirnya ide untuk menyelenggarakan pameran bersama dengan mengundang seniman - seniman pemenang dan beberapa finalis pun muncul seniman - seniman yang diundang antara lain: Aditya Novali, Anggun Priambodo, Erianto dan Erwin Windu Pranata dari 1st BaCAA. Eddy Susanto, Octora, Yusuf Ismail dan Patriot Mukmin dari 2nd

BaCAA. Muhammad Akbar, Mujahidin Nurrahman, Syariful Aulia Garibaldi dan Patricia Untario Cecilia dari 3rd BaCAA. Aliansyah Caniago, Agan Harahap, Eldwin Pradipta, Faisal Habibi, Harits Rasyid Paramasatya, Maharani Mancanagara dan Muhammad Vilhamy dari 4th BaCAA. Cynthia Delaney, Deni Ramdani, Etza Meisyara, Geugeut Pangestu, Restu Taufik Akbar, Ricky Janitra dan Yovista Ahtajida dari 5th BaCAA.

Pameran BaCAA assemblage yang dikuratori oleh Asmujo J. Irianto dan Rizky A. Zaelani ini memamerkan karya – karya baru dari para seniman yang mengikutinya, sehingga kita bisa melihat perkembangan kekaryaan dari seniman - seniman yang pernah menjadi juara atau finalis Bandung Contemporary Art Award.p

en

ga

nta

r a

rts

oc

iate

sid

Kami pun beruntung telah dapat bekerjasama dengan banyak orang yang memiliki rekam jejak yang unggul di bidang seni rupa yang pernah menjadi juri di Bandung Contemporary Art Award. Agung Hujatnikajennong, Agus Suwage, Asmudjo J. Irianto, Carla Bianpoen, Edouard Mornaud, Hendro Wiyanto, Mella Jaarsma, Michael Janssen, Rifky Effendy, Syakieb A. Sungkar, Susan Baik, Tan Siuli, Valentine Willie dan Wiyu Wahono. Saya berterima kasih sedalam-dalamnya atas pengabdian dan komitmen para juri selama Bandung Contemporary Award, dari edisi pertama hingga kelima.

Saya juga mengucapkan terima kasih banyak pada seluruh partisipan yang pernah berpartisipasi dalam gelaran BaCAA dari edisi pertama hingga kelima atas antusiasme dan partisipasinya. Bagi para seniman yang ikut serta saya ucapkan selamat dan sukses selalu. Kami bahagia dapat mempresentasikan karya-karya terbaik ini selama pameran BaCAA assemblage berlangsung. Dan untuk para seniman finalis BaCAA yang belum berkesempatan untuk mengikuti pameran ini, kami berharap pameran ini dapat memacu semangat berkarya menjadi lebih besar lagi.

Lalu, di tahun 2019 ini, BaCAA akan memasuki edisi yang ke enam. Pada BaCAA edisi ke enam, kami akan membuka proses seleksi dari bulan Februari hingga bulan Juli 2019. Dan penganugerahan BaCAA #6 akan kami laksanakan pada bulan September 2019 ini.

Atas nama ArtSociates dan Lawangwangi Creative Space, saya sangat bersyukur untuk dukungan pihak-pihak yang menaruh perhatian pada perkembangan seni rupa Indonesia. Kepada kolektor, pecinta seni dan para apresiator yang telah berdedikasi dalam mendukung acara ini, tanpa kehadiran dan dukungan mereka, rasanya sulit untuk dapat menjaga kelanjutan BaCAA dengan lancar. Saya percaya bahwa karya-karya para perupa Indonesia dapat menjadi jendela untuk melihat dinamika dan kemajuan budaya di Indonesia, dan saya sangat berbahagia ketika kita dapat berjalan bersama untuk terus membangun seni rupa Indonesia.

Andonowati

pe

ng

an

ta

r a

rts

oc

iat

es

An

do

no

wa

ti

Ba

CA

A a

ss

em

bla

ge

06

07

Bandung Contemporary Art Award (BaCAA) is an event that hopes to stimulate the development of contemporary art in Indonesia, and to increase the participation of the awardees on the international stage. The Award tries to put a spotlight on promising young artists who actively exhibit their works at galleries, public spaces, and new/alternative art spaces. I believe that regeneration is important for the growth of art, to enrich every element within it.

BaCAA has thus far presented five editions—BaCAA#1 in 2010/2011, BaCAA#2 in 2012, BaCAA#3 in 2013, BaCAA#4 in 2015 and BaCAA#5 in 2017. From the very beginning, I have witnessed limitless creativity: how these young artists can take abstract, expressive, critical, sometimes controversial ideas, and transform them into fresh and provoking works.

As expected, BaCAA alumni have been able to develop their careers on a positive and promising trajectory, evident through their participation in important art events, art fairs, and biennales, at home or abroad.

Their successes gave me the idea to hold a joint exhibition for BaCAA finalists, as well as other invited artists. From 1st

BaCAA are Aditya Novali, Anggun Priambodo, Erianto and Erwin Windu Pranata. From 2nd BaCAA are Eddy Susanto, Octora, Yusuf Ismail, and Patriot Mukmin. From 3rd BaCAA are Muhammad Akbar, Mujahidin Nurrahman, Syariful Aulia Garibaldi, and Patricia Untario Cecilia. Then, Aliansyah Caniago, Agan Harahap, Eldwin Pradipta, Faisal Habibi, Harits Rasyid Paramasatya, Maharani Mancanagara, and Muhammad Vilhamy from 4th BaCAA. As well as Cynthia Delaney, Deni Ramdani, Etza Meisyara, Geugeut Pangestu, Restu Taufik Akbar, Ricky Janitra, and Yovista Ahtajida from 5th BaCAA.

The exhibition BaCAA assemblage, curated by Asmudjo J. Irianto and Rizky A. Zaelani, presents the latest works by participating artists, so we will be able to witness their creative/artistic developments.

We count ourselves fortunate to have the opportunity to work with excellent figures in the art world who have lent their expertise, gave their dedication, and shown great commitment to BaCAA’s Jury Panels throughout the years: Agung Hujatnikajennong, Agus Suwage, Asmudjo J. Irianto, Carla Bianpoen, Edouard Mornaud, Hendro Wiyanto, Mella Jaarsma, Michael Janssen, Rifky Effendy, Syakieb A. Sungkar, Susan Baik, Tan Siuli, Valentine Willie and Wiyu Wahono. fore

wo

rd f

rom

art

so

cia

tes

en

I am also grateful for the great enthusiasm shown by, and the involvement of, all the participants—from the very beginning up to BaCAA’s fifth edition. Congratulations to all the artists. And I wish you all the successes for the future. We delight in the opportunity to present some of the best works in Indonesia today at BaCAA assemblage, and hope artists have also found something meaningful in BaCAA. And for BaCAA finalist artists who have not had the opportunity to take part in this exhibition, we hope that this exhibition can spur greater enthusiasm for work.

In 2019, BaCAA will hold its sixth edition. Selection is scheduled to begin in February and extend to July 2019. Awards will be announced and given out in September 2019.

On behalf of ArtSociates and Lawangwangi Creative Space, I wish to convey my deepest gratitude for the support and attention shown to the development and growth of art in Indonesia. Without the encouragement and presence of our supporters—collectors, art lovers, and art appreciators—BaCAA will certainly face difficulties as it moves forward. I believe that the works by Indonesian artists can serve as a window through which we can appreciate the dynamics and growth of culture in Indonesia. And I am extremely grateful that we are able to work together to cultivate the Indonesian art landscape.

Andonowati

fore

wo

rd f

rom

art

so

cia

te

sA

nd

on

ow

at

i

Ba

CA

A a

ss

em

bla

ge

08

09

Saat ini, setiap ‘kelahiran’ sosok seniman akan selalu dihadapkan pada kebutuhan untuk memahami peta persoalan dari gerak perkemajuan seni rupa kontemporer yang khas. Di suatu masa, filsuf Martin Heidegger pernah menjelaskan bahwa kelahiran sebuah karya seni rupa (a work of art) ditentukan oleh kelahiran sang senimannya (the artist), namun kelahiran keduanya sebenarnya ditentukan sebuah pokok kelahiran yang mendahului, yang menjadikannya mungkinkan, dan memberikan nama bagi keduanya, yaitu: [persoalan] seni (art) (Martin Heidegger, 1998: 413). Pokok tentang ‘seni rupa kontemporer’, sebagaimana jadi pokok perhatian BaCAA, mengandung masalah laten di dalamnya yang bersifat paradoks. Kritikus Hal Foster menjelaskan bahwa sebagai sebuah kategori pemahaman ihwal seni rupa kontemporer (contemporary art) menjelaskan pendirian tentang pembelaan asas keanekaragaman praktek seni rupa yang menggambarkan keadaan masa kini yang terbebas dari logika penyusunan perkembangan sejarah yang bersifat logis serta linier; praktek seni rupa yang bersifat ‘mengapung bebas’ ini juga bermakna sebagai keadaan terbebas dari batas-batas definisi konseptual maupun cara-cara pengujian kritis yang bersifat mengikat. Namun di sisi lain, seni rupa kontemporer juga berkembang lalu dipahami sebagai ‘obyek-obyek yang bersifat institusional’—sebagai manifestasi hasil karya-karya—yang dianggap memiliki hak dan otoritas keberadaannya secara mandiri. Keadaan bebas namun juga sekaligus dianggap jadi istimewa karena memiliki hak untuk berdiri sendiri ini jelas bersifat paradoksal. Apakah yang dimaksud sebagai keadaan ‘mengapung bebas’ (floating-free) seni rupa kontemporer itu sebenar-benarnya adalah nyata atau hanya dibayangkan saja? (Hal Foster, 2009: 3).

Dalam konteks perkembangan seni rupa dan kebudayaan Indonesia secara umum, pertumbuhan seni rupa kontemporer tak hanya memunculkan tapi juga menuntut terjawabnya agenda-agenda persoalan yang penting. Urgensi permasalahan ini bukan hanya tuntutan untuk bisa menerangkan pokok masalah maupun pencapaian seni rupa kontemporer Indonesia secara khusus, tapi juga kaitannya terhadap kemajuan seni rupa Indonesia secara keseluruhan dalam bingkai kehidupan budaya dan situasi di masa kini. Tradisi BaCAA yang menggerakkan inisiatif, tenaga, dan kreativitas para seniman muda, sepertinya, coba menjadi larut dalam peta persoalan ini. BaCAA bermaksud mengenali kerumitan persoalan seni rupa kontemporer melalui dorongan yang lahir dari sudut pandang seni sedari masa awalnya dengan mengenang kembali prinsip yang ditegaskan filsuf Aristoteles dalam penjelasan, bahwa “seni identik dengan suatu pencapaian kapasitas seseorang (seniman) untuk mengerjakan karyanya dengan melibatkan cara-cara memberikan alasan [pengerjaan tersebut] yang sebenar-benarnya.” Ada dua pokok yang dimaksud Aristoteles. Pertama adalah kemampuan seorang seniman untuk berbuat —melibatkan keterampilan dan kecakapan— yang harus dicapai melalui latihan dan kerja keras; kedua adalah kemampuan dirinya untuk menemukan, B

aC

AA

as

se

mb

lag

eid

“We are what we repeatedly do.Excellence, then, is not an act, but a habit”.—Will Durant

menyusun, serta menyatakan argumen alasan-alasan yang sebenarnya dari proses kerja [penciptaan] yang telah dilakukannya. Rangkaian proses kerja para seniman, pernyataan proposal gagasan karya, serta proses penilaian yang dilakukan para juri BaCAA adalah manifestasi gambaran tentang seni ‘yang sebenarnya’ sebagaimana dimaksud sedari dulu.

Apa yang dilakukan tradisi BaCAA selama setengah dekade —hitungan ini lengkap dengan penyelenggaraan tahun ke-5 BaCAA, 2017) tentu saja tidak akan mampu menjawab kepelikan persoalan perkembangan “seni rupa kontemporer Indonesia”, namun jelas telah memberikan andil kontribusi penyelesaian yang cukup signifikan. Penyelenggaraan pameran “BaCAA assemblage” adalah cara untuk memahami kontribusi BaCAA dalam peta perkembangan seni rupa kontemporer Indonesia. Pameran ini mengundang, memeriksa dan memilih sekumpulan manifestasi gagasan dan penjelajahan estetik yang dikerjakan oleh pilihan dari para ‘alumni’ BaCAA .

Tema ‘assemblage’ yang dipilih sebagai gagasan kuratorial pameran ini dimaksudkan untuk memberikan gambaran tentang ‘gabungan berbagai komponen yang berbeda dan terpisah untuk kemudian dinyatakan sebagai sebuah kesatuan komposisi karya secara keseluruhan’. Istilah assemblage dibedakan dengan pengertian collage, yaitu prinsip kerja sekaligus juga hasil yang kurang lebih mirip untuk menghasilkan karya yang bersifat dua dimensional. Karya assemblage adalah penjelasan untuk karya collage yang berwujud tiga dimensional. Namun demikian, judul ini bukan untuk menjelaskan bahwa karya-karya yang dipamerkan hanyalah karya-karya tiga dimensional saja; dimensi ruang (nyata) yang dimaksud di sini adalah pesan untuk menekankan persoalan tentang peran konkrit dari para seniman alumni BaCAA.

Kuratorial BaCAA assemblage akan memeriksa dan menyeleksi peran dan aktivitas para alumni BaCAA sejak penyelenggaraannya yang pertama hingga yang terakhir dan hanya akan memilih dan menampilkan karya-karya yang dianggap mampu mencerminkan semangat dan ideal penyelenggaraan BaCAA. Karya-karya dalam pameran ini diupayakan mampu mencerminkan situasi kekaryaan yang ‘sesungguhnya,’ yang menggambarkan tingkat pencapaian masing-masing seniman. Jenis karya yang dipamerkan menjelaskan varian medium ekspresi seni rupa kontemporer dari jenis karya yang bersifat analog hingga dikerjakan dengan bantuan teknologi digital; dari karya yang diciptakan hasil perenungan diri yang bersifat subyektif hingga karya yang dikerjakan melalui proses interaksi yang melibatkan pihak lain secara komunal. Tradisi BaCAA, sedari awal, diharapkan mampu memicu para seniman agar terus mampu melahirkan inisiatif sekaligus juga berdaya saing. Para seniman yang berhasil adalah mereka yang senantiasa menjadikan proses kerja artistik yang dikerjakannya secara menerus dalam wawasan kompetitif secara global serta positif. Will Durant, seorang pemerhati budaya, memiliki rumus pandangan yang menarik soal proses kerja artistik yang produktif dan positif ini. Ia mengatakan: “we are what we repeatedly do. Excellence, then, is not an act, but a habit”.

Asmudjo J. Irianto & Rizki A. Zaelani

Kurator

PUSTAKA1. Hal Foster, “A

Questionnaire on ‘The Contemporary’,” Journal October, no.3 (Fall 2009).

2. Martin Heidegger, “The Origin of the Work of Art”, dalam Donald Preziosi,ed, 1998, The Art of Art History: A Critical Anthology Oxford, New York: Oxford University Press

Ba

CA

A a

ss

em

bla

ge

IDA

sm

ud

jo J

. Iri

an

to

& R

izk

i A. Z

ae

lan

i

Ba

CA

A a

ss

em

bla

ge

10

11

These days, the ‘birth’ of an artist comes with the need to understand the issues concerning contemporary art’s unique progression. The philosopher Martin Heidegger explained that the ‘birth’ of a work of art is dependent upon the ‘birth’ (or origins) of the artist. And yet, both origins are determined by some other precursor which allows them to come forth, and that which gave them their names in the first place: the [concept of] art (Martin Heidegger, 1998: 413). The subject matter of ‘contemporary art’, such as that which concerns BaCAA, contains a latent problem which is paradoxical in nature. The critic Hal Foster explained that, as a “category”, contemporary art serves to explain a stance that defends the heterogeneity of art practices, and describe the current condition that has freed itself from the linear and logical determination of historical development. It is also positioned as an art practice that ‘floats free’, in a sense that it is free from the confines of conceptual definitions or binding critical judgments. Yet, contemporary art has grown into an ‘institutional object’, i.e. the manifestation of an amalgamation of bodies of work that claims the right and authority to its own existence, set apart and quite autonomous. This condition, where it is ‘floating free’ and yet claims exclusivity, is indeed paradoxical, leading Hal Foster to ask: “Is this floating-free real or imagined?” (Hal Foster, 2009: 3).

Within the general development of art and culture in Indonesia, the growth of contemporary art not only raised, but also demanded answers to, a set of important issues. The urgency of these issues is not confined to the demands for answers to the matter above, or for elucidations on the achievements of Indonesian contemporary art in particular, but also lies in its connection to the progress art in Indonesia as a whole, within the framework of today’s cultural life and situations. BaCAA, which sought to drive the initiative, energy, and creativity of young artists, seem to attempt to immerse itself in the landscape of these issues. BaCAA intends to recognize the complexities of contemporary art issues through an urge borne from a reading into one of the earliest views on art, inspired by Aristotle and his elucidation on how Art is “a certain state of mind, apt to Make, conjoined with true Reason.” There are two main points to Aristotle’s claim. First is related to an artist’s state of mind and aptitude (read: ability) to Make—which involves skills and proficiency that must be achieved through training and hard work. Secondly is the artist’s ability to discover, put together, and argue the true Reasons that inform their creative processes. Thus the sequence of endeavors—from the artist’s creative process and the artist’s statement regarding their artistic concepts(s), to BaCAA’s jurying/evaluation process—describes the ‘true’ process of art, as originally implied.

What BaCAA has achieved in half a decade (up to BaCAA’s fifth year in 2017) certainly falls short of the ability to provide a complete answer to the complex matter that is the trajectory of Indonesian contemporary art development. However, we believe that BaCAA has certainly contributed B

aC

AA

as

se

mb

lag

ee

n“We are what we repeatedly do.Excellence, then, is not an act, but a habit”.—Will Durant

toward a solution. The current exhibition, BaCAA assemblage, is presented as a way to understand BaCAA’s contributions to the development of contemporary art in Indonesia. The exhibition process began by inviting BaCAA alumni to submit, for evaluation and selection, the manifestations of their ideas, concepts, and artistic explorations.

The theme ‘assemblage’ has been chosen as its curatorial concept to describe the collection or gathering of many different and separate components that can be taken as a compositional whole. Assemblage must be differentiated from collage, whereby the latter is a creative undertaking that leads to two-dimensional type of works. Meanwhile, assemblage takes the sense of collage and apply it to three-dimensional works. However, Assemblage as the overarching theme does not wish to imply that the exhibition will only show three-dimensional works. The spatial (real) dimension is a message that emphasizes upon the involvement of BaCAA alumni in the art landscape and the concrete roles that they are expected to play.

BaCAA assemblage examines and evaluates the roles and activities undertaken by BaCAA’s many alumni—from the very first BaCAA to the most recent edition—then selects and displays only those that are considered representative of BaCAA’s spirit and ideals. Works at this exhibition tries to reflect the ‘true sense’ of creative situations, while also describing the achievements of each artist. The types of works exhibited here illuminate the variety of contemporary mediums of expression—from analog works to those created using digital technology; from works wrought out of a subjective self-contemplation to those borne out of communal interactions involving other parties. From the very beginning, BaCAA’s traditions have always been intended to motivate artists to continue to come up with new initiatives and to shore up their competitive energy. Successful artists are those who embody a continuous and sustainable artistic (creative) process, fueled by a competitive spirit that is both global and positive. Art observer Will Durant has an interesting take on this productive and positive artistic/creative process: “We are what we repeatedly do. Excellence, then, is not an act, but a habit”.

Asmudjo J. Irianto & Rizki A. Zaelani

Curator

BIBLIOGRAPHY1. Hal Foster, “A

Questionnaire on ‘The Contemporary’,” Journal October, no.3 (Fall 2009).

2. Martin Heidegger, “The Origin of the Work of Art”, dalam Donald Preziosi,ed, 1998, The Art of Art History: A Critical Anthology Oxford, New York: Oxford University Press

Ba

CA

A a

ss

em

bla

ge

EN

As

mu

djo

J. I

ria

nt

o &

Riz

ki A

. Za

ela

ni

Ba

CA

A a

ss

em

bla

ge

Ba

CA

A a

ss

em

bla

ge

12

13

Ba

CA

A a

ss

em

bla

ge

14

15

Aditya NovaliMooi In(Die) series: Tomorrow (BaCAA

#1 tahun 2010) termasuk dalam rotatable painting series saya dimana pengunjung dapat berinteraksi dan memilih visual yang mereka inginkan dengan cara memutar ke-18 batang bersegi 4 (dengan 4 sisi kanvas drawing yang berbeda). Melalui transformasi yang terjadi, saya ingin melihat kembali konteks aliran seni rupa mooi indie yang berkembang di abad ke-19 dan mengaitkannya dengan saat ini, dimana cara kita melihat dan menginterpretasikan sesuatu ternyata merupakan sesuatu yang sangat fluid dan kabur batasannya. Sehingga multitafsir yang terjadi dari sebuah realitas dapat menjadi sesuatu yang menarik sekaligus berbahaya. Melalui medium baru (kaca akrilik transparan), teknis drawing yang sama dengan versi 2010 dan ke-3 sistem konstruksi baru (yang didapat dari merekonstruksi kembali cara berpikir saya pada saat membuat karya ini di tahun 2010), ke-3 karya baru ini membuat saya menyadari bahwa waktu ternyata merupakan dimensi yang penting dalam mendefinisikan konteks dan kebenaran dari sebuah realitas yang ada.

Mooi In(Die) series: Tomorrow (BaCAA#1,

2010) is part of my rotatable painting series, where visitors can interact with and choose the visuals they want by rotating 18 four-sided trunks (each side has a different canvas drawing). With each transformation, I wish to examine the context of mooi indie, as an art movement that grew in the 19th century, and to draw a connection between it and the current time, where we look and interpret things in a fluid way, less constrained by boundaries. The multiple interpretations that arise from (or in) reality can become something interesting, and dangerous at the same time. This time, I use a new/different media (transparent plexiglass), the same drawing technique as the one employed in the 2010 version, and three new ‘construction’ systems (obtained from reconstructing my 2010 thought processes). These three new works help me understand how time is an important dimension that we can use to define context(s) and truth(s) as a presented reality.

Agan HarahapSejarah terjalin dari ribuan, bahkan jutaan,

narasi kecil. Setiap narasi bergerak pada jalurnya sendiri, yang kemudian menyatu membentuk narasi yang lebih besar yang disebut sejarah. Narasi-narasi kecil ini jadi menarik untuk ditelaah lebih dekat. Keluarga-keluarga di Indonesia punya kepingan-kepingan sejarah mereka sendiri, yang diturunkan pada anak cucu mereka. Sayangnya, di zaman “no pic sama dengan hoax”, sejarah lisan menjadi kabur karena kurangnya bukti-bukti pendukung konkrit (visual atau tulisan). Akhirnya, sejarah lisan itu berangsur menjadi dongeng sebelum tidur yang tidak berarti banyak bagi generasi penerus.

Kenyataannya yang terjadi saat ini adalah masyarakat kita lebih mudah mencerna fakta melalui hal yang fiktif. Hal ini terlihat dari larisnya konsumsi produk budaya populer—film, novel, dan produk budaya lain, yang mengambil setting dan latar belakang sejarah namun dengan bumbu romantisme fiktif yang sangat kuat. Sejarah mengabur bagi generasi-generasi seterusnya.

Hadirnya teknologi di satu sisi mempercepat penyebaran produk-produk budaya. Tetapi kecepatan penyebaran itu bisa menjadi bumerang bagi produk budaya lokal, apalagi bila disikapi dengan gegabah. Alih-alih terjadi akulturasi budaya, cepatnya arus informasi malah bisa mengaburkan identitas kebudayaan lokal. Inilah yang kemudian terjadi di tengah-tengah masyarakat moderen, terutama di Asia Tenggara. Sebagai negara dengan jumlah penduduk ratusan juta ini, Indonesia terlihat susah payah untuk mempertahankan identitas kebudayaan lokalnya sendiri. Penetrasi budaya yang cepat dan filtrasi kebudayaan yang lemah menjadikan Indonesia sebatas pasar bagi kebudayaan lain, perlahan kehilangan identitasnya sebagai bangsa.

Mardijkers Photo Studio adalah sebuah studio fiktif yang ‘merekam’ remah-remah narasi sejarah dalam ratusan tangkapan foto portrait. Mardijkers Photo Studio memajang ‘fakta sejarah’ versinya sendiri.

History is made up of thousands, even

millions, of small narratives. Each narrative travels on its own track, then merges together to form a larger narrative called history. These small narratives, then, become interesting when observed more closely. Households in Indonesia have their own pieces of history passed down to their children, grandchildren, and so forth. Unfortunately in the era of “no pic=hoax”, oral histories have become blurred due to the lack of either visual or written supporting evidence. In the end, oral histories devolve into bedtime stories lacking a deeper meaning for (in the eyes of) the later generations.

These days, the ‘now generation’ much prefer to digest fact through fiction. This tendency can be seen in the consumption of popular culture—films, novels, and other cultural products, where history is dressed up in romance to make them more acceptable. History becomes less clear for the next generations.

On one hand, technology helps to spread cultural products more efficiently. But the speed with which it does can backfire on local cultural products, especially if we are careless about it. Instead of facilitating acculturation, the rapid flow of information can actually obscure the identity of local cultures. This is a reality in most modern societies, especially in Southeast Asian countries. As the most populous country in the region, Indonesia seems to be struggling to maintain its own cultural identit(ies). The speed of cultural penetration and weak cultural filters threaten to make Indonesia as mere consumers of other cultures, that may lead to the inevitable loss of identity as a nation.

Mardijkers Photo Studio is a fictional photo studio that records many small pieces of historical narratives in hundreds of portrait photographs. Mardijkers Photo Studio displays its own version of the historical ‘facts’.

Eddy SusantoKarya ini terdedikasi untuk perjalanan

diri. Ketika 2011 pada perhelatan BaCAA #2 mengawali dengan apropriasi karya - karya Albert Durer kemudian menjukstaposisi untuk memunculkan metafora yang kaya eksplorasi tanpa batas untuk mewadahi kognisi, emosi, perilaku sosial, dan interaksi antara ilmu pengetahuan, masyarakat, seni dan budaya. Karya ini adalah 8 tahun merayakan perjalanan kreatif, 164 tahun merayakan karya besar Henri Leys, 499 tahun merayakan Albert Durer ke Antwerp, dan merayakan BaCAA Assemblage 2019.

This work is dedicated to the journey one

embarks for oneself. In 2011, for BaCAA#2, the journey began with the appropriation of Albrecht Durer’s works, juxtaposed in such a way as to coax out metaphors that are rich in boundless explorations in order to provide space for cognition, emotions, social behaviors, and interactions between society, art and culture. This work celebrates 8 years of personal creative journey, 14 years of Henri Ley’s magnum opus, 499 years since Albrecht Durer’s journey to Antwerp, and a celebration of BaCAA Assemblage 2019.

FluxcupProduk Gagal Industri Hiburan Era

Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika.

A Failed Product of the Entertainment

Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era A Failed Product of the Entertainment Industry in the Information Era.

ad

ity

a n

ov

ali,

ed

dy

su

sa

nt

o &

flu

xc

up

T

XT

T

XT

ag

an

ha

rah

ap

Ba

CA

A a

ss

em

bla

ge

16

17

Anggun PriambodoKarya Maaf Senin Tutup, yang terdiri dari

film pendek yang berjudul sama dan pameran tunggal dari karakter fiktif Eva Sopu, yang menjadi karakter utama dalam filmnya adalah wujud penghargaanku, terima kasihku kepada kota kesenian, Yogyakarta. Semasa kuliah dulu di IKJ, aku selalu ingin sekali mengunjungi Yogyakarta untuk sekedar berlibur dan tentu yang paling utama adalah dapat melihat banyak pameran di galeri-galeri yang banyak terdapat di kota itu. Dan setelah aku lulus dari kampus, frekuensiku untuk belajar banyak tentang seni rupa dengan salah satunya mengunjungi banyak pameran benar-benar terwujud dengan lebih sering mengunjungi kota itu salah satunya. Hubungan pertemanan dengan para seniman dan pelaku seni lainnya yang ada di kota itu juga terjadi. Karya ini berbicara tentang bagaimana pameran, galeri, dan pertemanan di lingkungan seni rupa dapat menajamkan seseorang yang bercita-cita ingin menjadi seorang seniman. Aku meminjam seorang tokoh fiktif bernama Eva Sopu, untuk dapat berkhayal, memerankannya, sekaligus membuat pameran tunggal pertama kali untuknya.

Maaf Senin Tutup—consisting of a short film

of the same title, and a solo exhibition by a fictitious character Eva Sopu, who is also the main character in the film—is the manifestation of my gratitude and appreciation for the city of art, Yogyakarta. While I was a student at IKJ, I’ve always wanted to visit Yogyakarta for leisure, and most importantly, for the opportunity to visit as many exhibitions held by the city’s numerous galleries as I could. After graduation, my wish to learn more about art by visiting many exhibitions, among others, came true. And I was able to visit the city more often. I began to forge friendships with many artists and art workers there. This work talks about how exhibitions, galleries, and friendships in an art environment can help shape and sharpen anyone who dreams of becoming an artist. I have borrowed from a fictitious character Eva Sopu, to allow myself to imagine, act, and present Eva Sopu’s first solo exhibition.

Aliansyah CaniagoSaya teringat pada burung Gereja, burung

yang hidup di perkotaan namun terkadang kehadirannya luput dari perhatian manusia. Saya terkesima terhadap bagaimana mereka dapat bertahan hidup dari masa kemasa dan hidup berdampingan dengan manusia di sebuah ruang (tempat) yang sama pula tanpa menyita banyak perhatian dari manusia. Saat ini, sawah-sawah telah hilang, mereka masih saja bertahan di perkotaan, tinggal di bagian atap bangunan rumah. Maka pada saat itu timbul pertanyaan, apakah bisa saya memberi makan mereka melalui tangan saya? Apakah hubungan manusia dan burung gereja dapat membaik? Apakah mereka memiliki keinginan mereka sendiri (free-will)? Bagi saya, memberi makan burung gereja, yang kerap “dianggap liar”, memiliki banyak lapisan makna. Saat itu saya selalu berkarya di daerah pinggiran kota, dimana orang-orang kurang diperhatikan oleh masyarakat di pusat. Membawa sentimen sejarah kolonial yang dibawa oleh masyarakat barat ke belahan negara “tertinggal” di masa lalu, mungkin hingga saat ini.

I am reminded of burung gereja, the

Indonesian house sparrows, birds that live in the cities but are often overlooked by the people with whom they share their space. I am often amazed at how resilient they seem to be, at how they are able to live alongside humankind in the same space without drawing too much attention. There are less paddy fields these days, but sparrows continue to live in cities, making their homes under the eaves of houses. Some time ago, I wondered: “Can I feed them by hand? Can the relationship between man and bird become more amiable? Do they have self-agency or free will?” To me, “wild” feeding has many layers of meaning. Perhaps because at the time I was working in the suburbs, or otherwise, the edges of a city where communities lived with little acknowledgement from those in city centers. There was also an element of colonial sentiments brought by Western people to countries often considered “backwards”, perhaps even to this day.

EriantoPengalaman adalah hal paling berharga

dalam hidup dan itulah yang menjadi akar dari proses berkesenian saya sebagai respon terhadap “lingkungan” dalam artian yang lebih luas. Terkadang hal yang dianggap kecil, biasa dan remeh temeh menjadi sesuatu yang bermakna lebih ketika dielaborasi secara mendalam, sehingga hal yang biasa pun bisa menjadi luar biasa ketika telah dihadirkan dalam bentuk sebuah karya dengan berbagai pembacaan sebagai representasi dari peristiwa yang terjadi di lingkungan itu sendiri.

Experience is the most valuable thing in the

world, and it is the root of my artistic process in response to the “environment” in a wider sense of the word. Sometimes, things that are considered small, pedestrian and humdrum can become more meaningful once given a deeper elaboration. The ordinary may become extraordinary once presented in a well-thought out work, with its multiple ways of reading, as a representation of what happens in the environment itself.

Erwin Windu Pranata

Domestic Universe adalah bagian dari seri karya Imperfection. Pada seri ini saya membuat komposisi assemblage alam benda. Saya tertarik pada objek domestik yang terabaikan, tidak teratur dengan komposisi warna yang murahan dan keberadaannya yang biasa saja. Saya mencoba berspekulasi tentang bahasa afeksi yang subtil melalui proses meramu, mendandani dan mengangkat hal-hal sepele menjadi bermakna dengan memberikan panggung tontonan bagi khalayak diatas tembok ataupun di pedestal, dan mencoba memberi ruang pemaknaan yang lebih kepada publik.

“Domestic Universe” is part of the Imperfection series of still life assemblages. I am drawn to castaway domestic objects, with their irregular forms, tacky colors, and unexciting existence. I try to speculate about subtle affections by combining, dressing up, and highlighting trivial things into meaningful ones, by providing them a stage—either on a wall or on a pedestal—or by providing space for further audience interpretation.

alia

ns

ya

h c

an

iag

o &

eri

an

to

T

XT

T

XT

an

gg

un

pri

am

bo

do

& e

rwin

win

du

pra

na

ta

Ba

CA

A a

ss

em

bla

ge

18

19

Deni RamdaniEnclave adalah suatu kondisi (terkurung,

terkunci)nya suatu wilayah kekuasaan oleh kekuasaan yang lain, yang bisa ditimbulkan dari akibat sejarah, politis atau geografis. Pada karya ini saya merepresentasikan tentang pengalaman saya ketika memasuki rumah salah satu warga di kampung halaman yang terjebak diantara lahan yang sudah dimiliki oleh orang lain yang telah memiliki ‘kuasa’ atas area tanah yang mengelilingi rumah keluarga tersebut. Perhatian saya menguat ketika ketegangan antara yang (selanjutnya saya sebut) ‘terkurung’ dan ‘mengurung’ berakibat (yang saya rasa) mengabaikan hak asasi yang lain.

Terlepas dari kronologi yang saya kaji di lapangan, faktanya adalah ada satu keluarga yang sekeliling rumahnya ditemboki dan ditutup seng sejak dari sisi ujung atap hingga sisi ujung lantainya.

Memori saya jelas terbangun ketika semasa kecil pernah melintasi dan mampir ke rumah ini dengan segala pemandangan yang menghampar luas dari arah timur, selatan, barat bahkan utara Bandung.

Apa yang saya lihat dalam kondisi hari ini, membuat saya berpikir tentang buruknya relasi atas unsur yang berkuasa dan yang tidak berkuasa/lemah. Sementara kekacauan bertambah dengan ketidakhadiran yang mampu menjembatani. Kekuasaan dan kelemahan seharusnya menjadi kesatuan yang mutual, karena keduanya melekat dalam konteks kemanusiawian. Alih-alih mencari titik tengah/kesepakatan, yang terjadi adalah pertarungan yang mulai mengesampingkan akal pikiran dan perasaan.

Bagaimanapun, ini adalah pandangan subjektif saya, dan saya masih dalam tahap mengkaji.

‘Enclave’ is defined as a condition where

one sovereign territory is surrounded by another territory, usually due to some historical, political, or geographical consequences. Through my artwork, I wish to describe my experience of visiting a house in my home town, which is ‘trapped’ or ‘encircled’ by someone else’s claimed land. My interest have grown because of the tension that exists between the ‘trapee’ and ‘trapper’ (my own words), which I feel exemplifies a disregard of a person’s basic rights.

Setting aside the story’s own chronology, fact remains that one family’s house is now completely surrounded by a wall of brick and corrugated aluminum from one edge of the roof to the other edge of a floor.

I actually have a memory of this house. When I was a child, I once walked past it and visited the house with an astonishingly open view of the east, south, west, even north of Bandung.

Its situation today made me think about the cruel relationship between the powerful and the powerless. There is growing chaos because no one is able to bridge the problem. I thought that authority (power) and vulnerability should’ve coexisted mutually, as they are two sides of the same humanity coin. Yet, rather than finding a middle ground or coming to a mutual accord, both parties are now locked in a bitter fight that goes against reason or compassion.

In any case, this is just is my subjective opinion, as I am still examining the situation.

Cynthia DelaneyKarya ini mencoba menghitung berapa

banyak orang yang diperlukan untuk membuat sebuah titik di atas peta. Dengan mengeksplorasi metode perhitungan dan rumus untuk menghitung jumlah orang yang perlu dikumpulkan bersama, kita mencari cara untuk menciptakan sedikit perbedaan yang terlihat pada peta. Mulai dari peta jalan kecil hingga peta dunia. Karya ini membandingkan ukuran kita sebagai manusia dengan dunia dimana kita hidup. Meskipun dengan mengetahui jawabannya mungkin terlihat percuma. Saya percaya bahwa kita butuh mengetahui dan melihat ukuran kita secara fisik di bumi karena ini akan membantu dalam refleksi tentang bagaimana ukuran kita di bumi secara metaforis and psikologis. Warna subtitusi untuk manusia di karya ini terbuat dari nila. Terinspirasi dari kutipan karena nila setitik, rusak susu sebelanga, karya ini juga mempertanyakan apakah titik itu dapat benar-benar merusak seluruh peta atau mempercantiknya secara menambahkan warna pada peta yang hitam dan putih.

This artwork tries to find out the number

of people it takes to create a dot on a map. By exploring counting methods or mathematical formulas to count the number of people needed, we try to look for a way to create a bit of a difference on a map—from a small street map to a large map of the world. This work puts us as humans, in contrast with the size of the world in which we live. But even if we know the answer theoretically, it might still feel pointless. I believe that we need to know and see, for ourselves, our physical reality (on earth), to help us reflect upon our own stature here, metaphorically and physically. The color representing people is indigo (nila, in indonesian). The choice is inspired by the Indonesian proverb karena nila setitik rusak susu sebelanga, a drop of indigo ruins the pot of milk. We wonder whether a single drop, or dot, may indeed ruin the whole map. Or perhaps, beautify it by adding color to what is essentially a black and white map.

Geugeut PangestuSeorang kawan pernah berkata bahwa ia

melihat gelagat necrophilia dalam karya-karya kertas saya. Benar juga, saya menggali catatan peristiwa seolah menggali kubur. Mereka ulang jasad seolah melanjutkan semangat mereka. Dan apabila saya dapat menemukan siratan, mungkin saat itulah saya dapat menghadirkan Frankenstein yang budiman.

TNI, Bonek, contoh dua kekuatan yang sangat disegani kala itu. Bagaimana mereka bisa terguling? Siapa mengguling siapa? Intuisi macam apa yang menggiring Bung Sho menjepret momen ini?

Sedikit beralih dari Sudjojono, mari kita bangkitkan jasad karya anak bangsa lain. Ia yang memperoleh anugrah World Press Photo sebagai foto terbaik tahun 1995. Ia yang tak punya keyakinan apakah fotonya aman berada di headline Jawa Pos. Apalagi keyakinan mau dibawa kemana fotografi jurnalistik Indonesia.

A friend once told me that he found hints

of necrophilia in my works with paper. He is somewhat correct, especially since I tend to dig out records of events like one would dig out a grave. Reconstructing a ‘cadaver’ as though to carry on their passionate spirit. And if I ever come across some implied things, perhaps I would be able to present a dear Frankenstein.

TNI (the army). Bonek (hooligan supporters of Persebaya football club). Two most-feared examples of great might. But why did they take a tumble? Who pushed whom? What sort of intuition led the photographer Bung Sho to capture this moment?

Let us move along from Sudjojono, if only a little, to revive the ‘cadaver’ created by another son of Indonesia. Bung Sho received Best Photo award at World Press Photo 1995. He wasn’t sure whether his photographs would find a secure place in the headlines of Java Pos. He was even more unsure of the trajectory of the practice of photojournalism in Indonesia.

cy

nt

hia

de

lan

ey

& g

eu

ge

ut

pa

ng

es

tu

T

XT

T

XT

de

ni r

am

da

ni

Ba

CA

A a

ss

em

bla

ge

20

21

Eldwin PradiptaPemingitan karya merupakan salah satu

istilah khusus yang digunakan oleh Sanento Yuliman dalam tulisannya mengenai dampak boom seni rupa pada seni lukis kontemporer, khususnya di Indonesia. Secara umum istilah ini dijelaskan sebagai gejala meningkatnya jumlah koleksi karya seni milik pribadi yang aksesnya jauh dari masyarakat umum. Sangat bertentangan dengan semboyan lama “Seni untuk masyarakat luas” dan sebagainya. Karya ini berangkat dari kondisi komodifikasi seni rupa pada masa sekarang, yang dalam sebagian besar kasus, masih relevan dengan tulisan Sanento tersebut. Packing kayu sudah menjadi standarisasi umum yang digunakan dalam sistem ini untuk mengalirkan karya dari studio seniman ke pameran kemudian ke pihak kolektor. Tak jarang karya-karya ini tidak keluar lagi dari packing-nya dalam waktu yang lama, bahkan hingga berpindah tangan ke kolektor lain. Secara sadar karya ini juga dibuat sedemikian rupa membatasi dan mempersulit audiens untuk melihatnya. Seri karya mengenai komersialisasi seni merupakan pengembangan dari seri karya saya sebelumnya yang membahas komodifikasi budaya.

‘Pemingitan karya’ (artwork seclusion) is

a term used by Sanento Yuliman to describe one of the outcomes of a contemporary art boom, particularly in Indonesia. Generally, it describes the increase in the number of privately-collected artworks that are kept far from the public’s sight which goes against the spirit of ‘art for public good’, etc. This particular work is informed by today’s art commodification, which, in great part, is relevant to Sanento’s premise. Wooden crates have become a standard requirement in the art world, where they are used to transport works from the artists’ studio to exhibitions, then to collectors. Often, works are kept crated for a long time, sometimes continuously, until they changed hands to the next collector(s). This work has been made to deliberately restrict or disturb the audience’s view. This series of works on art commercialization is a continuation of my previous series on the commodification of culture.

Mujahidin Nurrahman

Perang atau kekerasan masih menjadi tema besar karya saya, namun ada pertanyaan yang sering mengganggu, apakah perang/kekerasan yang terjadi di “tempat lain” itu nyata bagi kita? Atau hanya sekedar berita pagi dan berlalu setelah kita pergi beraktifitas dan hanya menjadi bahan untuk mencipta karya? Memang kekerasan (perang) selalu menjadi momok bagi masyarakat, namun sering kali kita mengabaikannya karena merasa itu tidak akan terjadi kepada kita. Kita akan sibuk bercermin mencari diri kita berada dimana dalam kondisi itu sehingga kita abaikan “masalah” yg ada di depan mata kita, di antara kita dan cermin tersebut. Karena yang nyata itu berada di depan cermin bukan sebaliknya.

War or violence remains the overarching theme in my works, but there is a gnawing question: do wars or acts of violence that happen ‘all the way over there’ remain true for us, here? Or are they simply morning-news fodder that fade away into the background once we begin our activities? Are they merely materials to inspire creative work? War and violence continue to haunt societies, but we tend to overlook them or pay them no mind, thinking that they would never happen to us. We tend to lose ourselves gazing into a ‘mirror’ in reflection of our positions, while neglecting the ‘problems’ that exist in front of our eyes, in between ourselves and that mirror. Reality exists in front of the mirror, and not the other way around.

Etza MeisyaraKarya-karya saya menemukan berbagai

kemungkinan pembuatan seni dari segala jenis sumber, baik melalui cara melihat atau mendengar. Saya menghias proses pencampuran berbagai media dalam disiplin intermedia. Pada prakteknya, saya membiarkan apresiator untuk mengalami intisari ‘mendengar’ lebih jauh. Saya menjembatani bunyi (bebunyian) dan instalasi, sebagai kemungkinan pembuatan karya. Pada akhirnya, eksplorasi media adalah sebuah cara untuk menemukan sesuatu arti murni dalam bentuk-bentuk dan kerja seni saya.

My works find as many possibilities of

making art from any source, through either seeing or listening. I allude to the process of mixing different media in an ‘intermedia practice/discipline’. I wish to invite the audience to further appreciate the essence of listening. I bridge sound and installation in my exploration of the possibilities of creating art. In the end, media exploration is a way to discover the (meaning of) purity in the forms of my art (and in my art practice).

Maharani Mancanagara

Gagasan muncul ketika adanya kesadaran pada zaman sekarang ini, sejarah muncul sebagai media penghubung melalui historiografi dari monumen- monumen peristiwa masa lalu dengan realita zaman sekarang. Dengan adanya hubungan sebab dan akibat. sejarah menjadi kesinambungan menurut Si pencatat sejarah. Berangkat dari hal tersebut, Maharani mencoba mengangkat cerita- cerita diluar rentan waktu sejarah pada umumnya, mentransformasikan dokumen- dokumen historiografi tersebut menjadi monumen- monumen yang direkonstruksi. Dalam lima tahun belakangan ini, kecenderungan karya Maharani mencoba menyisipkan sebuah interupsi menjadi salah satu fragmen diluar kontinuitas sejarah yang mempengaruhi peristiwa pada masa lalu. Melalui karya (seri) Savanajaya, Maharani menghadirkan sebuah rekonstruksi dari keseharian di Pulau Buru Unit IV. Dengan dekonstruksi material domestik yang sebelumnya pernah digunakan, Maharani berharap bisa menjadi sebuah refleksi dari sudut pandang yang berbeda.

Ideas emerge when history appears, through historiography, as a connective media between monuments of past events and realities of today. Through cause and effect, history becomes a continuous thread according to the historiographer. Here, Maharani tries to emphasize on stories that are outside of the generally-accepted flow of history, transforming historiographic documents into reconstructed monuments. These past five years, the artists have tried to insert interruptions as fragments that exist outside accepted historical continuum and that which affects how we look at past events. Through the Savanajaya series, Maharani presents a reconstruction of life at Pulau Buru Unit IV. By deconstructing used domestic materials, the artist hopes to create a means for reflection from a different point of view.

eld

win

pra

dip

ta

& m

uja

hid

in n

urr

ah

ma

n

TX

T

TX

T

et

za

me

isy

ara

& m

ah

ara

ni m

an

ca

na

ga

ra

Ba

CA

A a

ss

em

bla

ge

22

23

Faisal HabibiSeri yang kini masih berjalan, This Thing

adalah tentang dengan keseharian bentuk. Karya-karya saya berkutat dengan bentuk-bentuk yang akrab. Kita sering bersua dengan hal-hal yang membentuk karya-karya dalam seri ini: baik secara material maupun warna, atau benda-benda keseharian seperti mebel. Saya mengamati dan mempelajari benda-benda keseharian ini. Setelah mengerti, saya akan mengambil elemen-elemen yang menangkap perhatian saya. Dengan pendekatan formalis, saya menggunakan elemen ini dalam karya saya. Setiap karya memiliki anonimitas yang mengizinkan terjadinya berbagai persepsi, pengalaman, dan interpretasi karya. Saya menggunakan tubuh saya untuk menentukan ukuran karya saya. Saya juga gunakan pengalaman, perasaan, dan pikiran saya untuk menentukan skala karya-karya itu. Selain itu, tubuh juga saya gunakan untuk membuat komposisi berbagai elemen itu. Baik tubuh maupun karya—dan tentunya benda keseharian yang digunakan—semuanya hadir dalam ruang ini. Setiap ruang ditandai adanya aliran dan ritme, volume, gelap dan terang. Saya mengamati dan mempelajari ruang. Setelah mengerti, saya akan gunakan semua hal ini untuk menumbuhkan sebuah hubungan yang konkret dengan karya dan juga dengan ruang.

This Thing adalah, secara abstrak, sebuah analisa dari dan komentar atas budaya material, terutama dimensi estetika budaya tersebut: struktur, bentuk, material, warna, yang seluruhnya kita gunakan untuk mewujudkan pengalaman-pengalaman ruang.

The ongoing series This Thing is concerned

with the everydayness of forms. My work deals with familiar forms. We often encounter elements that make up the works in this ongoing series, such as material and colors and everyday objects, like furniture. I observe and analyze everyday objects. Once I understand them, I single out elements that catch my eyes. Next, through a formalist approach, I use these elements to create my works. Each work is characterized by a certain anonymity, opening itself up to the possibility of many different perceptions, experiences, and interpretations. I use my body to determine the size and dimensions of my artworks. I also use my own experiences, feelings, and thoughts to determine how I should scale my works. I also use my body as a reference to compose the different elements in a work. Both body and work—and of course the everyday objects I use—exist within this space. Each space is characterized by flows and rhythms, volume, shadow, and light. I observe and analyze the space, and once I understand them, I use them to coax out an embodied relationship with my works as well as with (or in) the space itself.

This Thing is, in an abstract way, an analysis of and a commentary on material culture, specifically its aesthetic dimensions: structures, forms, materials, colors, with which we have embodied experiences within a space.

Syaiful Aulia Garibaldi

Karya ini merupakan salah satu bagian dari projek panjang penciptaan bahasa konstruksi atau conlang, yang kini berfokus pada aturan penulisannya. Struktur dan pertumbuhan miselium menjadi konsep visual dan pola dasar sistem penulisannya. Projek ini merespon Hak Asasi dalam Linguistik.

This work is one part of a lengthy project concerning conlang, or constructed languages, that is currently focused on its writing system. The structure and growth of mycelium become a visual concept and foundational pattern for this writing system. This project is conceived in response to the idea of linguistic rights, i.e. the right of individuals and communities to choose one’s own language for communication.

Harits Rasyid Paramasatya

Kita kerap menganggap misinformasi dan berita palsu adalah spesialisasi era pasca-kebenaran. Tetapi bukankah propaganda sudah ada dari sebelum internet lahir? S■ ■ ■ ■ ■ en■ ■ ■, S■ ■■ ■ ■ Or■ ■■ ■ ■ mencoba mengingatkan kita bahwa begitu mudah mengubah apa yang kita anggap sebagai kenyataan, walau hal tersebut (nampaknya) sudah disahkan oleh buku sejarah dan ensiklopedia.

We often think that misinformation or fake news is a specialty of the Post-Truth era. But, propaganda has existed even before the birth of the Internet. S■ ■ ■ ■ ■ en■ ■ ■, S■ ■■ ■ ■ Or■ ■■ ■ ■ tries to remind us of how easy it is to change things/facts generally considered as truth, even though they have been legitimized (or so it seems) by history books and encyclopaedias.

Muhammad AkbarKetika Berhadapan sebuah karya monumen,

patung publik, seni instalasi publik khususnya di kota Bandung, kita akan memposisikan sang pelihat berada di bawah sebagai mata kodok (frog eye angle), dengan menengadah ke langit maka mata akan tersilaukan oleh cahaya matahari yang menghasilkan bayangan dari objek yang menghalangi mata, melongo sembari mencoba mengerti sesuatu yang lebih tinggi dari nya. Di karya ini saya tertarik dengan objek (menyerupai) seni publik yang secara visual menarik namun tidak memiliki relasi dengan ingatan dengan saya atau mungkin masyarakat pada umumnya, bentuk-bentuknya yang terlihat sangat modern, rigid, permanen dan instalatif, ditempatkan pada ruang yang tidak sesuai dengan ruang sekeliling nya, terutama objek tersebut tidak memiliki judul, nama, penjelasan.

In front of a monument, a public sculpture,

or a public installation work—especially in Bandung—the viewers are placed to look at it from a frog’s eye view. Meaning that the viewers are often made to look up in the direction of the sky, sometimes getting the sun in their eyes, with the looming shadow of the object obscuring their view, forcing them to open their eyes so wide in order to understand a thing that stands taller in front of them. I am drawn to look at objects (that resemble) public art, that are visually interesting but in the end has no memory-connection (or relations) with myself or perhaps with the public in general, with their very modern, rigid, permanent, and installative forms—out of place in a public space, without title, name, or explanation.

Ricky JanitraHiruk pikuk menyelam dalam kota untuk

mengejar mimpi, derasnya perputaran ekonomi menghanyutkan nasib tenggelam dalam ketidakpastian. Hidup adalah tentang mengejar mimpi dan berenang dalam status sebagai makhluk sosial. Semua itu tidak nyata sampai kita pernah tenggelam dan dikhianati oleh mimpi sendiri.

The din that surrounds a dive through a city

to chase after a dream. The dizzying economic cycle that threatens to overwhelm fate inside a sea of uncertainty. Life is about one’s pursuit of a dream, swimming with the knowledge of one’s existence of a social being. None of them can feel real, that is, until we experience drowning and being betrayed by our own dreams.

fais

al h

ab

ibi &

sy

aif

ul a

ulia

ga

rib

ald

i

TX

T

TX

T

h

ari

ts

ra

sy

id p

ara

ma

sa

ty

a, m

uh

am

ma

d a

kb

ar

& r

ick

y ja

nit

ra

Ba

CA

A a

ss

em

bla

ge

24

25

Muhammad Vilhamy

Otonomi yang menjadi jargon seni rupa modern Barat menjadi titik dari pembacaan mereka jika kita ingin meretas kerangka dan mengetahui sisi lemahnya. Kategori keindahan dalam seni rupa dan wilayah dari keindahan sebuah objek telah muncul pada masa Renaissance. Abad ke-18, literatur, seni murni, musik, secara tidak langsung telah ter-institusikan sebagai kegiatan independen dari kebiasaan masyarakatnya. Pada akhirnya, kegiatan tersebut menjadi konsepsi estetis yang terkonstruksi dari otonomi modernitas sehingga pengklasifikasian seni dan kegiatan tersebut mendapati jarak serta kontra dari berbagai kalangan masyarakat. Proses tersebut mengasingkan paradigma seni yang telah dikenal masyarakat sejak lama dan seni menjadi semakin terasingkan, artefak dan benda, presentasi dan realita, dengan spontan menjadi kosong dan cenderung terlihat omong kosong dari sebuah percobaan. Upaya-upaya untuk meningkatkan seni pada “ruang” yang lebih tinggi memang cukup signifikan, tetapi sayangnya proyek-proyek besar yang ditawarkan oleh modernitas itu sendiri menurut penulis menjadi seperti lompatan tinggi yang jika jatuh akan hancur berkeping-keping, dan menjadikan kepingan tersebut sebagai trauma yang harus menjadi resiko masyarakat umum. Untuk konteks seni rupa, Ia harus menjadi kerangka kerja yang melegitimasi kejelasan dari titik dimana pengamat melihat tanda-tanda yang bisa diambil untuk memperbaiki kepingan tersebut. Terry Eagleton juga merumuskan seni adalah sesuatu hal yang sangat berharga dan sangat tidak berharga sekaligus, dan seni memiliki peran sosial yang berkurang dengan meningkatnya kompleksitas teori. Dari pembacaan seniman mengenai Habermas, seniman pada akhirnya mengambil titik tengah dan berusaha memijak dalam kedua jalan, yaitu high art/low art atau Art and Non-Art. Pembahasan yang sering diangkat oleh seniman pada akhirnya mengacu pada konteks keseluruhan budaya populer pada era kontemporer, khususnya wacana-wacana populer yang berkembang hingga hari ini.

Autonomy, which has become a jargon in Western modern art, is something that we must explore if we wish to break through its framework and discover its weak points. The foundation for the categorization of beauty in art, and the realm of beauty connected to an object, was laid down during the Renaissance. In the 18th century, disciplines such as literature, pure/fine art, and music were indirectly institutionalized as activities independent of social behaviors/habits. In the end, these activities became the root of an aesthetic conception constructed from the autonomy of modernity, whereby art classification and activities created a distance, even induced opposition, from many layers of society. This process made the heretofore-familiar art paradigms into a foreign phenomenon. Art grew more distant. Artefacts and objects, presentations and realities, grew spontaneously empty and tended to seem like hollow experiments. There were admittedly significant attempts to elevate art to a ‘higher realm’. Unfortunately, Modernity’s grand projects only became, at least in this writer’s opinion, somewhat Icarian. They had lofty ideals that were doomed to fall and shatter into little pieces of trauma that society must then ‘embrace’. Within the context of art, it must become a framework that shows/legitimizes a place where the observers could begin to look at the signs that could potentially repair these broken pieces. Terry Eagleton expresses art as a valuable, but at the same time, invaluable thing. He posited that art’s social role decreases as its theoretical complexity increase. From the artist’s reading/interpretation of Habermas, the artist finally decided to take the middle road and try to navigate between high art/low art, or Art and Non-Art. A discussion often highlighted by the artist pointed to the overall context of popular culture in the contemporary era, especially in popular discourses that grow to this day.

OctoraIsu “duka cita’’ merupakan salah satu

isu yang ada dalam dunia seni rupa, isu ini merupakan bagian yang paling mempengaruhi jalan hidup setiap seniman. Saya meyakini bahwa seseorang akan memahami eksistensinya setelah mengalami kehilangan, dan menerima keputusan sebagai bagian kebenaran brutal yang menyertai keberadaan manusia. Kefanaan manusia merupakan ironi dari keberadaan manusia dan bersamaan dengan itu, manusia memiliki insting bertahan hidup. Absurditas kondisi manusia ini menjadi pusat dari ketiga karya tersebut. Kemurnian dan Elite, 2016 (karya 3 dimensi), menyiratkan bagaimana kehancuran menjadi bagian integral, nasib yang menanti setiap manusia, namun disisi lain manusia menjadi subjek yang secara naluriah berpotensi membawa kefanaan tersebut untuk subjek lain. Video dokumentasi dari performance Matahari Hitam yang saya lakukan di Melbourne 2017 dengan durasi 1 jam, yang telah saya edit menggambarkan bagaimana manusia hidup merupakan portal/ ambang antara kehidupan dan kematian. Karya ketiga, Philo merupakan kaya 2 dimensi yang dibuat dengan teknik fotocopy dimana seniman merekam jejak tangan serta bunga Camelia secara simbolik mengekspresikan rasa keputusasaan dalam upaya untuk mengabadikan kehidupan yang senyatanya sementara. Kehilangan dari subjek tercinta menjadi sebuah peristiwa yang tak terelakan , manusia tidak hanya berkutat dengan ketidakabadian dirinya namun juga dihantui dengan kesementaraan segala subjek yang berada di sekelilingnya.

Grief is an issue much raised in the realm of

art; it is perhaps an issue that most influences an artist’s journey. I believe that people can get a clearer picture/understanding of their existence only after a loss or despair, which are brutal realities of life as a human being. The finiteness of human life is an irony that accompanies human existence and survival instinct. The absurdity of this human condition inspires these three works. Kemurnian dan Elite (2016) is a 3-dimensional work that implies how destruction is an integral part, or fate, that awaits every human being. And yet, human beings also possess the instinctual potential to effect transience over other subjects. An edited 1-hour video documentation of my Matahari Hitam performance in Melbourne describes how human existence can act as a portal between life and death. Meanwhile, Philo is a two-dimensional work made using photocopy as a creative technique, recording handprints and camellia flower(s) to symbolize despair that grows out of an attempt to immortalize a finite life. The loss of a beloved subject is an unavoidable event. Humankind does not only engage itself with finiteness, but also with the finiteness of everything around them.

mu

ha

mm

ad

vilh

am

y

TX

T

TX

T

o

ct

ora

Ba

CA

A a

ss

em

bla

ge

26

27

Patricia UntarioSewaktu kecil saya tinggal di sebuah kamar

yang tidak mempunyai jendela yang membawa matahari langsung ke dalam kamar. Kemudian saya pindah ke Bandung untuk menempuh kuliah, saya mulai mempunyai kamar yang memberikan kehangatan dari sinar matahari, sehingga saya menyadari pentingnya jendela di antara dinding, lalu saya mulai tertarik dengan segala sesuatu yang transparan sehingga saya dapat melihat dan merasakan realita. Perjalanan kemudian berlanjut ke Italia, disana saya mempelajari kaca yang ternyata sudah hadir semenjak 3500 tahun sebelum masehi di kehidupan manusia, dari teleskop yang memberikan persepsi baru tentang bumi dan alam semesta, bohlam yang menerangi kegelapan, hingga kacamata yang memberikan penglihatan. Beberapa tahun ini, saya banyak mengkreasi ulang bentuk-bentuk alat rumah tangga (Household Objects) dengan material kaca seperti teko, cangkir, hingga lampu. Benda-benda ini dibuat dengan ukuran skala yang lebih kecil atau besar sehingga bisa bermain pada ruang penempatannya. Di beberapa karya saya juga menggunakan benda lain yang saya dapatkan dari pasar barang bekas sehingga terlihat tua dan mempunyai memori akan masa lalu. Karya saya berangkat dari pengalaman keseharian manusia di dalam keluarga, rumah, perjalanan, dan tanah air. Pengalaman keseharian manusia ini saya harapkan dapat dirasakan oleh penikmat karya, melalui alat rumah tangga hingga membawanya kembali pada memori pribadinya tersendiri

When I was much younger, I lived in a room

that didn’t have any window to bring sunlight directly indoors. Then I moved to Bandung for my studies. There, I began to experience life in a space that received the sun’s warmth, leading me to appreciate the importance of a window on a wall. I became interested in transparent things that allow me to see and experience reality. My journey led me to Italy, where I learned how glass has existed since 3500 BC. I learned about telescopes that provide novel perceptions about the earth and the universe, the light bulb that brings light to darkness, and eyeglasses that aids sight. These past years, I’ve recreated various household objects that are commonly made from glass—teapots, cups, lightbulbs and the likes. I make them smaller or bigger than what they usually are, so I can play around with their placement. In some works, I also use found objects which I usually obtain from flea markets—they have an age to them and they retain memories within them. My works begin from an individual’s daily experience—either in a family setting, at home, on a journey, or within a nation. I hope visitors can share in these daily experiences, and allow these household objects to take them back to their own private memories.

Patriot MukminJika ada fungsi praktis dari seni rupa,

maka itu bisa didapatkan dari proses persepsi manusia. Dimana melaluinya, karya seni yang baik bisa menjadi refleksi batin dan berpotensi memberi pengetahuan yang mendalam. Karya A Sunday at La Grande Jatte (1884) oleh George Seurat, hemat saya, adalah salah satu karya yang memenuhi kategori di atas. Berkat teknik pointilis yang diterapkannya, satu bidang gambar bisa mendemonstrasikan bagaimana warna-warni bekerja. Lebih jauh lagi, bagaimana persepsi mata manusia bekerja dalam kaitannya dengan spektrum cahaya. Melalui karya ini, saya ingin memberi penghormatan pada sang seniman dengan menampilkan ulang fragmen-fragmen dari karya tersebut. Penggunaan instalasi lampu LED yang diprogram menjadi pengingat bahwa prinsip pointilis yang dikembangkannya telah membuka pintu bagi pengembangan penciptaan citraan lebih jauh, bahkan di era digital seperti sekarang.

If there is ever a practical function to

art, then it may be derived from the process of human perception. Through it, a good artwork may become a vehicle for internal reflection and has the potential to instill deep knowledge. I believe that Georges Seurat’s A Sunday at La Grande Jatte fulfils the above premise. Created with a pointilist technique, a picturescape can demonstrate how colors work. Furthermore, it shows how the human eye works in relations to color/light spectrum. With my work, I wish to honor the artist by redisplaying fragments of his work. The use of preprogrammed LED light installation serves as a reminder that the pointilistic principles which he helped develop have led to further creative processes, even in today’s digital world.

Restu Taufik AkbarBerawal dari kegemaran saya bersentuhan

dengan alam/traveling (naik gunung, touring dll), muncul kesadaran saya akan sesuatu yang lebih nyata dari realitas fisik (material). Saya melihat, mendengar dan merasakan gerakan alam dengan sangat jelas, terasa sangat nikmat dan menenangkan sekaligus riuh. Kosong tetapi penuh, intim sekaligus asing. Waktu seolah berhenti, semua bergerak secara harmonis sangat teratur dengan ketidakteraturannya. Bergejolak seolah menunjukkan ada sesuatu dibalik alam secara fisik. Realitas tidak terlihat (immaterial) dan realitas (material) bersatu menjadi realitas kehidupan yang sangat kompleks. (In)material truth adalah gabungan kata immaterial truth dan in material truth. Maksudnya adalah kebenaran realitas yang tidak terlihat dapat dipahami dan dirasakan dengan masuk kedalam sifat material murni dalam hal ini adalah material/medium yang saya gunakan yaitu stainless mirror plate, polyurethane dan nitrocellulose (cat mobil) dan vitrail (cat kaca).

It began from my desire to come into a

contact with nature (and/or) travel (hiking, touring, etc). I gradually became conscious of something more real than physical (material) realities. I found that to have the ability to clearly see, listen to, and feel nature’s movements gives me great joy and calm, but also excitement. Vacant but full, intimate but foreign at the same time. Time seem to stop where everything move so harmoniously, well-ordered in its disorderliness. Raising turmoil as though physically showing that something exists behind nature itself. Invisible reality (immaterial) and visible reality (material) come together to create a complex life reality. The title (In)material Truth combines the phrases immaterial truth and in material truth, pointing to the fact that the truth of unseen/invisible realities can be understood and felt by delving into the fundamental characteristics of various materials. In this case: stainless steel mirror plate, polyurethane and nitrocellulose (automotive paint/laquer), and vitrail (glass paint).

pa

tri

cia

un

ta

rio

T

XT

T

XT

pa

tri

ot

mu

km

in &

re

st

u t

au

fik

ak

ba

r

Ba

CA

A a

ss

em

bla

ge

28

29

Yovista AhtajidaKarya ini adalah lanjutan dari projek saya

sebelumnya Nasyid Goes Punx Vol 1 di mana saya mencoba untuk melakukan proses rebranding pada grup nasyid Izzatul Islam (grup nasyid yang karya-karya nya politikal dan pro-khilafah islamiyah). Saya merubah karya dan citraan grup Izzatul Islam dalam fashion Punk Rock, sebagai retrospeksi dalam perkenalan pribadi saya dengan kultur Punk (dalam arti budaya yang political dan anti-establishment). Karya ini menampilkan music video dari hits single yang ada dalam kompilasi Nasyid Goes Punx Vol. 1 dengan judul “Kembali”. Saya melakukan pembuatan music video ini sebagai upaya pemasaran terpadu (integrated marketing) dari musik dan citraan Izzatul Islam yang telah diperbaharui menjadi Punk Rock. Karya ini menegaskan pola komodifikasi yang dilakukan industri/media terhadap Islam. Bahwa Islam kemudian hanya menjadi gimmick pemasaran untuk kepentingan modal dan kekuasaan sambil pura-pura mengisi relung kegamangan identitas masyarakat Indonesia pasca-reformasi.

This work continues on a previous project

Nasyid Goes Punx Vol. 1, where I tried my hand at rebranding the nasyid group Izzatul Islam (a group known for their political and pro-caliphate works). I transformed the works and overall image of Izzatul Islam in a punk rock fashion, in retrospect to my personal acquaintance with Punk culture (in a sense that is political and anti-establishment). This particular work presents a music video for “Kembali”, a hit single from the compilation album Nasyid Goes Punx Vol. 1. The music video is part of an integrated marketing effort around the revamped/Punk Rock-ified music and image of Izzatul Islam. It highlights the commodification of Islam as practiced by the industry and/or media. Oftentimes, Islam is used as a marketing gimmick that only benefited a corporation’s bottomline, while only pretending to address the people’s religious anxiety post-Reformasi.

yo

vis

ta

ah

ta

jida

T

XT

Ba

CA

A a

ss

em

bla

ge

30

31

Ba

CA

A a

ss

em

bla

ge

32

33

Aditya Novali

birthSolo, November 17, 1978

education97-02 Bachelor of

Engineering in Architecture, Universitas Katolik Parahyangan, Bandung

06-08 IM Master of Conceptual Design, Design Academy Eindhoven, The Netherlands

selected solo exhibitions18 Significant Other,

ShanghArt Gallery, Singapore

17 Caprice. Discoveries section-Art Basel Hong Kong, Hong Kong (solo presentation)

16 Acrylic. Roh Projects, Jakarta

14 Painting Sense. Roh Projects, Jakarta

13 Beyond The Walls. Primo Marella Gallery, Milan, Italy

12 The Wall:Asian (Un)Real Estate Project. Project Stage-Art Stage, Singapore (solo presentation)

selected group exhibitions18 The 9th Asia

Pacific Triennial of Contemporary Art (APT9), Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia

Painting, Differently, Silverlens, Manila, Philippines

Diaspora: Exit, Exile, Exodus of Southeast Asia. MAIIAM Contemporary Art Museum, Chiangmai, Thailand

Shared Coordinates II. The Arts House, Singapore

17 Sunshower: Contemporary Art from Southeast Asia 1980s to Now. Mori Art Museum and The National Art Center, Tokyo, Japan

Multiple Spectacle: Art from Asia. Ningbo Museum of Art, Ningbo, China

Age of Hope, Biennale Jogja XIV- Equator #4. Jogja National Museum, Yogyakarta

Lines, Borders, Boundaries, and The In-Betweens. Yamamoto Gendai, Tokyo, Japan

16 Imaginary Synonym. Tokyo Wonder Site, Tokyo, Japan

Prudential Eye Awards 2016. Art Science Museum, Singapore

The Man who Fell into Art: Collecting as A Form of Personal Narrative. Song Eun Art Space, Seoul, Korea

15 ((Dis)appear. Primae Noctis Art Gallery, Lugano, Switzerland

Infinity in Flux, ArtJog15. Taman Budaya, Yogyakarta

14 The Order - Makan Angin#2. residency exhibition, Cemeti Art House, Yogyakarta

Shout! Indonesian Contemporary Art. Museo d’Arte Contemporanea (MACRO), Rome, Italy

After Image: Images of Conflict. Galleria Civica di Trento, Italy

13 Little Water . Dojima River Biennale. Osaka, Japan

Pressing. Centro Video Insight, Torino, Italia

awards16 Best Emerging Artist

using Installation finalist, Prudential Eye Awards

11 Best Artwork BaCAA (Bandung Contemporary Art Award 2010)

10 3rd winner Jakarta Art Award 2010

Finalist Sovereign Asian Art Prize

residencies16 International Creator

Program, Tokyo Wonder Site, Tokyo, Japan

14 Makan Angin #2, Cemeti Art House, Yogyakarta

Agan Harahap

birthJakarta, January 28, 1980

educationJurusan Desain Grafis Sekolah Tinggi Desain Indonesia (STDI), Bandung

selected solo exhibitions17 The Social Realism of

Agan Harahap, Mizuma Gallery, Singapore

12 Garden Fresh, Element Art Space, Singapore

11 Holy War, Richard Koh Fine Art, Kuala Lumpur (Malaysia), Singapore Art Stage (Singapore)

SUPERHISTORY, Ion Art Space, Singapore

10 SUPERHISTORY, Viviyip Artroom, Jakarta

09 Safari, Ruang MES 56, Yogyakarta

selected group exhibitions19 Hopes And Dialogues,

Mizuma Gallery, Singapore

18 ART BALI, Nusa Dua, Bali, Indonesia

FINLAND, Bibliothekswohnung, Belin, Germany

From the Archives, Mizuma Gallery, Singapore

PhotoBangkok Festival 2018, Bangkok Arts and Culture Centre, Bangkok, Thailand

Hello World. Revising a Collection, Hamburger Bahnhof Museum. Berlin, Germany

Prime Meridian, Vinyl on Vinyl Gallery. Makati, Philippines

17 Jatim Biennale “World Is Hoax”, Taman Budaya Surabaya

Traces of the Future: Contemporary Art from Southeast Asia, Mizuma Art Gallery, Tokyo, Japan

Changing Perspective, ART|JOG|10, Jogja National Museum, Yogyakarta, Indonesia

The History of Boys: the MES 56 and Beyond, DECK, Singapore

Beyond Boundaries – Globalisation and Identity, Liechtenstein National Museum, Vaduz, Liechtenstein

Chobi Mela IX, Dhaka, Bangladesh

16 Minimal Art Gallery (MAG) | HOME, REDBASE Foundation Yogyakarta, Indonesia

Dear Art World, Visma Gallery, Surabaya

11th Shanghai Biennale, Power Station of Art, Shanghai, China

5th Singapore Biennale: An Atlas Of Mirrors, Singapore Art Museum, Singapore

ENCOUNTER: Sea + Trienalle, Galeri Nasional, Jakarta

Why Are We Doing What Are We Doing? Mizuma Gallery, Gilman Barracks, Singapore

ARTSTAGE Jakarta, Sheraton Ballroom Gandaria City, Jakarta

Kolektif Kolegial, Cemeti Art House, Yogyakarta

ARTJOG, Universal Influence, Jogja National Museum, Yogyakarta.

Costume National: Contemporary Art from Indonesia at AXENEO7, Quebec, Canada

Historia Docet, d’ Gallerie, Jakarta

ARTSTAGE, Marina Bay Sand, Singapore

15 No Other Color, Kunstkring Gallery, Jakarta.

Effervescene, Gillman Barracks, Singapore.

Jogja Biennale XIII, Jogja National Museum, Yogyakarta

award15 Finalist of Bandung

Contemporary Art Awards #4, Lawangwangi Creative Space

recidency17 Objectifs Centre for

Photography and Film, Singapore

Aliansyah Caniago

birthIndonesia, 1987

educationPainting at the Bandung Institute of Technology Faculty Art and Design

selected solo projects18 The Tree Without Roots,

National Botanical Garden Taipei, Taiwan

17 Now, Bradwolff Projects Amsterdam, Nedherlands

16 The Sky Is Portable, Arcolabs Space, Jakarta

Catch The Eels, Luzhunan Historical House, Taiwan

Southeast Asia Forum; Sensing the City - Artist as a Seismograph, Artstage Singapore

15 Point of Return; Spiritual Capital - Pak Ujang’s Boat, Situ Ciburuy Lake West Java

14 Titik Balik Project, Gerilya Artist Collective, Bandung

selected group exhibitions19 Felix Art Fair, Hollywood

Roosevelt Hotel, Represented by Baik Art and Khneysser, Los Angeles, United States

Gairah Seni Rupa Bandung, Semarang Contemporary Art Gallery

18 Unsettled, MUMA - Monash University Museum of Art, Melbourne, Australia

Ex-Tension; The Dislocation of Culture and Pattern, Galeria Curator’s Lab, Poland

Silence for Dat Vu, S(h)it Together, A.Farm, Ho Chi Minh, Vietnam

Henosis, Baik Art, Seoul, South Korea

17 14th Lyon Biennale; Rendez-Vous, Institute d’Art Contemporain, Lyon, France

Jakarta Biennale - Soul, Gudang Sarinah

Neighbor’s grass is always greener, Van Every Gallery, Davidson College Museum, North Carolina, United States

Air in Zuidoost 2017, CBK Zuidoost – Stedelijk Museum, Biljmeer, Nedherlands

Moonsoon Project; Blind Date, Europalia, STUK-Leuven, Belgium

Lanta International Live Art Festival #1, Koh Lanta Island, Thailand

ArtJog10| Changing Perspective, Jogja National Museum

16 ALandscape; Workshop and Residency with Joan Jonas, Villa Iris Santander, Spain

Con(tra)septual Art; Paintings, represented by Michael Janssen Berlin, Singapore - Philliphines

Asiatopia 2016, Bangkok Art And Culture Centre, Thailand

15 The New Digital Art Biennale; Wrong Biennale, renegade0ff Pavillion

Belfast International Performance Art Festival 2015, Glassbox Gallery Belfast, Northern Ireland

Parallel Reality; Standing Corpse, Kunst und Umwelt; Wasser, Erde, Luft, Goethe Institute

awards15 Winner of Bandung

Contemporary Art Award

Top Honor of Indonesian Art Awards, National Gallery

selected residencies16 Mo+++, Ho Chi Minh City,

Vietnam

Hot Spring Project, Taipei, Taiwan

17 BaikArt Residency, VanEvery Gallery, Davidson College, United States

To Remind You; Now, Bradwolff Projects - CBK Zuidoost - Stedelijk Museum, Amsterdam

16 The Sky Is Portable, Arcolabs, Space Gallery, Jakarta

Anggun Priambodo

birthTrenggalek, May 16, 1977

education02 Graduated in Interior

Design at Jakarta Institute of Art, Jakarta

selected solo exhibitions18 Maaf Senin Tutup, LIR

Space, Yogyakarta

10 Toko Keperluan, RURU Gallery, ruangrupa Jakarta

selected group exhibitions18 Kisah, ICAD9, Hotel

Grand Kemang, Jakarta

Debur Ombak, Plasa Teater Luwes, Institut Kesenian Jakarta

Dark Lab Circle, kinosaurus Jakarta

17 Media Art Festival Arad, Romania

The Sunshower: Contemporary Art from Southeast Asia 1980s to Now, The National Art Center, Roppongi, Tokyo

RRRec Fest at the Museum, Museum Nasional Indonesia, Jakarta

Getok Tular #2: Spacing Out (Lamunanku…), Omnispace, Bandung

Field Trip Project Asia: Departure Edition, Edwin’s Gallery, Jakarta

Field Trip Project Asia, Museum Tsunami, Aceh

Hari Film Nasional, Neo Soho, Jakarta

16 Focus On Asia, Asia Video Art Exhibition, 798 International Art Exchange Center, Beijing

MuVi Party 2016, OK.Video, Gudang Sarinah Ekosistem, Jakarta

The Time-Space Loop: Southeast Asia/Taiwan Interchange Exhibition of Contemporary Art, 435 Art Zone, Taipe, Taiwan

Field Trip Project Asia, RURU Gallery, Jakarta Indonesia

15 Biennale Jogja XIII, Equator #3 “Hacking Conflict”, Jogja Nasional Museum, Jogjakarta

Changing Cities – Shifting Spaces: Jogja – Lagos: Video art and public space

OK. Video “Orde Baru” Media Arts Festival, Galeri Nasional, Jakarta

No Worries: Halaln Art, Galerie Vanessa Quang, Paris, France

14 Poetry of Space, Japan Foundation, Kedai Kebun Forum Yogyakarta

The 41th Video Art Program, Hiroshima, MOCA

Indonesia Video Art, SeMA Biennale: Mediacity Seoul

49th Karlovy Vary International Film Festival, Czech

Indonesia Video Art, The LOOP Barcelona Screen Festival, Spain

13 Singapore Biennale 2013, If The World Changed, 8Q Singapore Art Museum

8th Jogja-Netpac Asian Film Festival, Jogjakarta

Media Art Kitchen, Jakarta & Manila.

Move on Asia Travelling Exhibition, ZKM, Germany

Move on Asia Travelling Exhibition, City Gallery Wellington, New Zealand

ArtJog 2013, Taman Budaya Yogyakarta

selected awards16 Best Five, MuVi Party,

OK.Video

14 1st Winner First Feature Film Director, Akademi Film Indonesia (AFI)

10 Winner, Geber Award, Jogja-NETPAC Asian Film Festival, Rocket Rain

11 1st Winner Bandung Contemporary Art Award #1

selected residencies17 Recidency 900 mdpl at

Kaliurang, Yogyakarta

15 Recidency (Jogja Biennale), at Lagos, Nigeria

ad

ity

a n

ov

ali

& a

ga

n h

ara

ha

p

CV

C

V

a

lian

sy

ah

ca

nia

go

& a

ng

gu

n p

ria

mb

od

o

Ba

CA

A a

ss

em

bla

ge

34

35

Cynthia Delaney

birthAugust 21, 1993

education13-16 LASALLE College of

the Arts - BA Fine Arts (1st Class Honours)

selected group exhibitions18 Earth Hour 2018 by WWF

at The Float at Marine Bay, Singapore

17 Bandung Contemporary Art Award #5 at Lawangwangi Creative Space, Bandung

Body - Out at Galeri Cipta III, Taman Ismail Marzuki, Jakarta

NOISE Art Mentorship Showcase: Proposals for Waterloo at Waterloo Centre, Singapore

16 UNTAPPED Discovery 2016 at Shophouse 5, ChanHampe Gallery, Singapore

Affordable Art Fair 2016 Autumn edition at F1 Pit building, Singapore

Harper’s Bazaar Art Prize 2015 as a finalist di The Robinsons at the Heeren

What if we… at Praxis and Project Space, Institute of Contemporary Art Singapore

15 50 Obsessions at 9 Winstedt Road, Singapore

An American in Singapore 1960 - 1970 at Brother Joseph Mcnally Gallery, Institute of Contemporary Art Singapore

Lost Conversation at Brother Joseph Mcnally Gallery, Institute of Contemporary Art Singapore

14 One Night Only at LASALLE@winstedt

Orang Suku Laut: Trading Sea for Land at National Museum Singapore

award17 Winner of Bandung

Contemporary Art Award #5

Harits Rasyid Paramasatya

birthJakarta, April 5, 1992

education10-15 Fakultas Seni Rupa

dan Desain Institut Teknologi Bandung, jurusan Seni Intermedia

selected group exhibitions19 “TxT Projekt”,

Lawangwangi Art Space, Bandung

16 “Surat dari Jauh”, Centre Intermondes, La Rochelle

“Bazaar Art Jakarta”, The Ritz-Carlton Balroom, Jakarta

15 “Bandung Contemporary Art Award #4”, Lawangwangi Art Space, Bandung

13 “Report Knowledge”, Galeri Soemardja, Bandung

“10th Jams FHUI”, Galeri Komunitas Salihara, Jakarta

“Entitas: Sebuah Pameran Eksperimental”, Galeri Soemardja, Bandung

11 “Chrysalis”, Gedung Serbaguna ITB, Bandung

award15 Winner of Bandung

Contemporary Art Award #4

residency16 Centre Intermondes,

Perancis

Deni Ramdani

education03-11 Sarjana Pendidikan,

Universitas Pendidikan Indonesia (Jurusan Pendidikan Seni Rupa) Bandung

selected group exhibitions18 PARADOX, ‘Memecah

Batu’ Parahyangan Project, Lawangwangi Artspace

17 Brightspot; Untitled, PIK Avenue Ballroom, Jakarta

First Dates; ‘0 degrees’ Seni Instalasi, UK/ID Festival 2017 The Establishment SCBD, Jakarta

Bandung Contemporary Art Award #5, ‘0 Degrees’ Seni Instalasi Lawangwangi Art Space, Bandung

A New Day Came; ‘0 degrees’ Seni Instalasi A part of UK/ID Residency 2017 british Council, project curated by Emily Gray Platform3, Bandung

16 Kekuatan Seni; ‘Mountain Calling’ Omnispace, Bandung

Binal Badung Nu Kotempoler,Versus vs Versus; ‘Ideologi’ Rumah Proses Bandung

Versus vs Versus; ’Mountain Calling, Ideologi’ Roadshow Exhibition; Cigondewah Festival, Bandung

14 Hi-Lite Hajat Seni Rupa, Universitas Pendidikan Indonesia, Bandung

13 FATAMORGANA, Griya Seni Popo Iskandar, Bandung

12 Jakarta Biennale 2012; SAMAN Taman Ismail Marzuki, Jakarta

Evolusi Sempurna, Pameran Bandung New Emergence #4 Selasar Sunaryo Art Space

11 Natura Artis Magistra Cipanas Garut

Community Fest Basement FPBS UPI Bandung

09 Hy Grafher Pameran grafis 5 kota di JNM (Jogja Nasional Museum), Yogyakarta

08 Ram Art di Studio jeihan Jl. Padasuka,Bandung

Himastra Art Award, GDB UPI

Deer Andry Sosiologi 14 Bandung

07 Cetak Hijau, UPI Net Bandung

06 ‘Tribute To Munir’ dalam HAM IN FOCUS Gd PKM UPI Bandung

K’ART_INI EVENT Univesitas Negeri Jakarta

05 Siapa aku tunggu aku Tk Buku ULTIMUS, Bandung

selected performance art17 Dekonstruksi Binal

Performance Art Group Triall Koloni Hitam, GSPI Bandung

Djamoe#6, Manusia Gampang Mati Performance Art Group Koloni Hitam, Universitas Pendidikan Indonesia

16 Today’s Presence; ‘Me, my village, red zone’ Cilanguk Art District, Bandung

15 Zona, Galeri Tea House

14 Mirror Effect; Indirect Performance Art Group Koloni Hitam; Maaf Guru, Asbestos Art Space Bandung

13 Jalan Jaksa Street Festival; Suap, Jaksa Street, Jakarta

12 Action Painting Air Seni Citarum at Sungai Citarum, Bandung

Workshop Performance Art ‘Undissclosed Territory’ Padepokan Lemah Putih, Solo

Performance Art ‘8Hours Party People’ at Gerilya Galery, Bandung

11 Performance Art REWIND ART#10 UNJ Jakarta

Performance Art Zona Merah at Pasir Pogor Kabupaten Bandung

award17 1st Winner of Bandung

Contemporary Art Award #5

Eddy Susanto

birthJakarta, May 12, 1975

education94 Graphic Design at

Modern School of Design, Yogyakarta

96 Graphic Design at Indonesia Institute of Art (ISI), Yogyakarta

selected solo exhibitions18 “Occidentalism: Asian

influence on Europe” Art Expo Malaysia, Kuala Lumpur, Malaysia

“10 +3 Project” Baik Gallery, Seoul, South Korea

17 “Occultism – a shared phenomenon”, ArtStage Jakarta

“Kalatida toward Capitalism”, ArtStage Singapore

16 “Teosofi”, Sukhavati Studio, Yogyakarta

15 “JavaScript”, Galeri Nasional Indonesia, Jakarta

14 “The Passage of Panji - Memory, Journey and Desire”, Lawangwangi Creative Space Bandung

“Albrecht Durer and the Old Testament of Java”, Galerie Michael Janssen, Singapore

13 “Panji: Encounter World Stories”, Rumah Topeng dan Wayang, Setia Darma, Gianyar, Bali

12 “Matahari Centini”, Lawangwangi Creative Space, Bandung

10 “Indonesia Menggugat”, Gedung Kesenian JKT

“Newseum for Cup of World”, Newseum Indonesia, Jakarta

09 “Pandu Bangsa Pandu Negara”, Gedung Indonesia Menggugat, Bandung

08 “Abad Partai Indonesia”, Newseum Indonesia, JKT

Seabad Pers Kebangsaan “Re-Design Front Page Newspaper” (350 panels digital print on canvas), Newseum Indonesia, Jakarta

selected group exhibitions17 Singapore Bienalle, Atlas

of Mirror, Singapore Art Museum

16 Artjog 9, Universal Influence, Yogyakarta.

Art Project [Wonder Way of Wallacea], Lombok

15 The Next Insight, The Sahid Rich Hotel, Yogyakarta

14 Southeast Asia Platform, Art Stage Singapore, Singapore

13 Indonesia Art Award 2013, Galeri Nasional, Jakarta

ArtJog, Maritime Culture, Yogyakarta

12 Dharmawangsa Award, Nyoman Gunarsa Museum, Bali

ArtJog, Looking East, Yogyakarta.

UOB Painting #2, Jakarta

Bandung Contemporary Art Award #02, Lawangwangi Creative Space, Bandung

11 ArtJog, Yogyakarta

E(art)H Project: Sin City, Galeri Nasional Jakarta

Bandung Contemporary Art Award #01, Lawangwangi Creative Space, Bandung

10 Collaboration with Galam Zulkifli, Tramendum, Galeri Nasional, Jakarta

09 “FKY”, Yogyakarta

08 “G8”, Bale Black Box Laboratory, Yogyakarta

selected awards14 Indonesian Presidential

Museum Collections, Bogor

13 Finalist Indonesia Art Award 2013 (IAA 2013), Jakarta

12 Winner Dharmawangsa Award, Nyoman Gunarsa Museum, Bali

Finalist UOB Painting #2, Jakarta

Winner Bandung Contemporary Art Award (BaCAA #02), Bandung

11 Finalist Bandung Contemporary Art Award (BaCAA #01), Bandung

Eldwin Pradipta

birthJakarta, May 17, 1990

education08-13 Faculty of Art

and Design Institut Teknologi Bandung - Bachelor in Fine Art Major, Intermedia Art Studio

selected group exhibitions18 “Celebration of the

Future”, Art Bali - Bali Collection, Bali

“XyZ Art unlimited”, Gedung Gas Negara, Bandung

“[not]ARTofficial[?]: Out of Track”, Lawang Wangi Art Space, Bandung

“Spektrum Hendra Gunawan”, Ciputra Artpreneur, Jakarta

17 “Pola – Patterns of Meaning”, Jim Thompson House, Bangkok, Thailand

“re: emergence”, Selasar Sunaryo Artspace, Bandung

“South East Asia Forum”, Art Stage, Marina Bay Sands, Singapore

“Fantasy Islands”, Objectifs Center for Film and Photography, Singapore

16 “Bandung International Digital Arts Festival”, Bandung Convention Center, Bandung

“Stills in Action”, Video Stage, Art Stage, Marina Bay Sands, Singapore

15 “BaCAA - Bandung Contemporary Art Award 2015” Lawang Wangi Art Space, Bandung

“Respublica - Pameran Finalis GGIAA 2015” National Gallery, Jakarta

“New Future”, Art:1, Jakarta

“Art|Jog|8 - Infinity In Flux”, Taman Budaya Yogyakarta, Yogyakarta

“No Worries: Halal Indonesian Art”, Galerie Vanessa Quang, Paris, France

14 “Bandung International Digital Art Festival 2014”, Selasar Sunaryo Art Space, Bandung

“BNE Vol. 5”, Selasar Sunaryo Art Space, Bandung

“Coefficient of Expansion, The Third Jakarta Contemporary Ceramics Biennale” National Gallery, Jakarta

“on painting_neun: NATHALIE KOGER: Motiv”, Pinacoteca Gallery, Vienna, Austria

“Art|Jog|14 - Legacies of Power”, Taman Budaya Yogyakarta, Yogyakarta

“LOOP Festival”, La Virreina Centre, Barcelona, Spain

“Bexco Young Artist Award 2014”, Artshow Busan 2014, Bexco Exhebition Center, Busan, South Korea

“B-Seite Festival 2014”, Zeitraumexit, Mannheim, Germany

“Mapping the Unmapped”, Artists’ Gallery, Fukuoka Asian Art Museum, Fukuoka, Japan

13 “SEA+ Triennale (South East Asia Plus Triennale) 2013” National Gallery, Jakarta

“Bandung Contemporary: Disposition”, Selasar Sunaryo Art Space, Bandung

“Art|Jog|13 – Maritime Culture”, Taman Budaya Yogyakarta, Yogyakarta

selected awards15 Finalist of “Indonesia

Art Award”, Yayasan Seni Rupa Indonesia, Jakarta

Finalist of “BaCAA - Bandung Contemporary Art Award”, ArtSociates, Bandung

14 Winner of “Young Artist Award”, Art|Jog|14, Yogyakarta

Finalist of “Bexco Young Artist Award 2014”, Busan, South Korea

residency15 “Makan Angin #3 “, Cemeti

Art House, Yogyakarta

cy

nt

hia

de

lan

ey

& d

en

i ra

md

an

i

CV

C

V

ed

dy

su

sa

nt

o &

eld

win

pra

dip

ta

Ba

CA

A a

ss

em

bla

ge

36

37

Erianto

birthPaladangan Agam, July 16, 1983

educationMaster of Art Institute of Arts, Yogyakarta

selected solo exhibitions18 Artificially in Order,

Element Art Space, Singapore

15 ANDLE WITH CARE! the image&the mind in Erianto’s paintings,

D Gallerie, Jakarta

13 Play of Perception, Element Art Space, Singapore

CAUTION !!!, Sangkring Art Space,Yogyakarta

12 Resistance, Projec Stage D Galerie, Singapore art stage, Singapore

11 Returned, Inkubator Asia @ Forme, Jakarta

selected group exhibitions18 ASIA NOW, Danysz

Gallery, Paris Perancis

UOB Painting of the Year, Galeri Nasioal Indonesia, Jakarta

Plus, Nadi Gallery, Jakarta

Zaman Now (bakaba#7), Jogja Gallery, Yogyakarta

Positioning, Sangkring Ar Space Yogyakarta

Multipolar (Manifesto 6.0), Galeri Nasional Indonesia, Jakarta

Love And Identity, Raintree Boutique & Gallery,Yogyakarta

Indonesia Connecting the World(spring meeting IMF-WBG),

Headquarters World Bank, Washington DC USA

Indonesia Connecting the World, Gedung Kementrian Keuangan RI, Jakarta

17 Kepada Republik, Gedung Nusantara IV MPR- DPR RI, Jakarta

Art Stage Jakarta, Sheraton Grand Jakarta Hotel, Jakarta

Bazaar Art Jakarta, Ritz-Calrton Pacific Place, Jakarta

Indonesia Bakaba #6, Jogja Gallery, Yogyakarta

Ping Project #3 Sarang Bilding #2, Yogyakarta

Bergerak YAA #2, Bale Banjar Sangkring, Yogyakarta

Cartography of Painting, Albert Gallery, Jakarta

15 5th ANNIVERSARY Element Art Space, Audi centre, Singapore

Exhibition UOB Painting of the Year, UOB Plaza, Jakarta

New Future, Art Space:1, Art:1 Jakarta Indonesia

ASYAAF, Culture Station Seoul 284, Seoul Korea

BASE ”RED”, Redbase Foundation, Yogyakarta

NOW: Here – There – Everywhere, Semarang Contemporary Art,Gallery, Semarang

selected awards18 Finalist UOB Painting

of the Year 2018, UOB Plaza, Jakarta

15 Finalist UOB Painting of the Year 2015, UOB Plaza, Jakarta

The Best Three Art Work Bakaba#4 Award, Randang dan Rendang, Jogja Gallery, Yogyakarta

Nomination Prudential Eye Awards 2014-15

14 Nomination Sovereign Art Prize

11 Finalist UOB Painting of the Year 2011, UOB Plaza, Jakarta

The Best Three Art Work BaCAA,(Bandung Contemporary Art Awards), Lawangwangi Creative Space, Bandung

10 Finalist of JAA (Jakarta Art Award) Reflection Of Megacities, North Art Space, Pasar Seni Ancol Jakarta Indonesia

09 The Big 20 finalist Tujuh Bintang Art Award, the dream (the Power of dream), Jogja National Museum. Yogyakarta.

Erwin Windu Pranata

birthBandung, June 6, 1981

education99-0 5 Bachelor degree at

Fine Art Department of University of Education Indonesia (UPI)

18--- Studying Master in Fine Art and Design Faculty of Technology Institute of Bandung (ITB)

selected solo exhibitions17 (Im) Perfection, Artstage

Jakarta

16 Ketok Mejik, Omnispace Bandung

13 Empowering Anxiety, Rachel Gallery Jakarta

11 We Are Toys, Asia One - Art Hongkong 2011 (HK11), Hong Kong

selected group exhibitions18 Art Unlimited XYZ -

Gedung Gas Negara - Bandung

Celebrating of the future - Gedung AB BC (Art Bali) - Bali

Perempuan - Victoria College of Art - Melbourne - Australia

On Traces – Edwin Gallery – Jakarta

Museum of Creators - Public Art Installation - GWK - Bali

Contemporary Ikebana - Lawangwangi - Bandung

17 Bandung Re;emergence – Selasar Sunaryo – Bandung

Triennale Patung #3 Skala – Galeri Nasional – Jakarta

Sydney Contemporary Art Fair on Yavuz Gallery Booth – Sydney - Australia

ASEAN Students and Young Artist Art Festival – Dongdaemun Design Plaza – Seoul – Korea

Getok Tular - Omnispace, Bandung

16 Living with art – Ambiente Jakarta

Janji Kang Jait - An experiment project of art and fashion, A.P.A. Space - Jakarta

Pameran A Stone A, Historia Docet, Historia Vitae Magistra, D Gallery - Jakarta

15 Shout! – “Stables” (MIFA) Melbourne, Australia

Multicultural Art Victoria – Victoria State Library, Melbourne – Australia

Gethok Tular – Omnispace Bandung

Perform AstoneA di OK video “Orde Baru” Galeri Nasional Jakarta

Pameran A stone A, Pasca Kekuatan, Omnispace Bandung

14 Manifesto 2014, Galeri Nasional, Jakarta

Sea+ Triennale 2014, Galeri Nasional, Jakarta

13 Bazaar Art Jakarta 2013, Pacific Place, Jakarta

12 “Fantasy Island - Louis Vuitton Exhibition”, Singapore

11 “Fantasy Island - Louis Vuitton Exhibition”, Hong Kong

“Pameran Besar Patung Kontemporer Indonesia: Ekspansi”, Galeri Nasional Indonesia - Jakarta

“Bandung Contemporary Art Award (BaCAA) #2”, Bandung

10 “Unity – the return to art”, Wendt Gallery, New York

“Contemporary Art Turn”, SBin Art Plus, Singapore

“Bandung New Emergence”, Selasar Sunaryo, Bandung

“Halimun”, Lawangwangi Creative Space, Bandung

“Tribute to S. Soedjojono”, SOS, Bandung

selected awards14 Indonesian Art Award

(IAA) - Finalist

11 Bandung Contemporary Art Award (BaCAA) - Finalist

10 1st Winner The Best Artwork, Juror’s Choice Art Award 2010

Etza Meisyara

birthMay 30, 1991

educationMagister of Art -Faculty of Art and Design, Bandung Institute of Technology

Bachelor of Art - Intermedia Art -Faculty of Art and Design, Bandung Institute of Technology

selected solo exhibitions18 ALCHEMIST. Chapelle

Des Dames Blanches. La Rochelle, France

PASSING BY, Lawangwangi Creative Space, Bandung

selected group exhibitions18 AURORA. Toxteth

Reservoir, Liverpool, England.

Art Jakarta / Bazaar Art Fair. The Ritz-Carlton Hotel, Pacific Place, Jakarta

Pekan Seni Media. Palu

17 TILU, Exhibition, HBK University Braunschweg, Germany

KLANG KUNST, Sound Art Festival, Braunschweig, Germany

16 Installation Works, Titik Temu Art Space, Bandung

Today’s Presence, Sound Performance VillaTelle Salse, Bandung

15 TOKYO DESIGN WEEK, Installation Works, Tokyo, Japan

Bazaar Art, Installation Works Ritz Carlton Pasific Place

TEMPORAL, Installation Works & Sound Performance, Gedung Gas Negara, Bandung

Outdoor Analog, Sound & Music Experiments, Kent Ridge Park, Singapore

Constellation #4, Sound & Music Performance Toulon, France

Experimental Space, Sound & Music Performance, Reykjavic, Iceland

Aleph Group Exhibition, Olafsfjordur, Iceland

14 Pameran Besar Seni Rupa Indonesia Manifesto #4 “Keseharian: Mencandra Tanda-Tanda Masa”, Opening Act: Sound Performance, Galeri Nasional Indonesia, Jakarta

Constellations Kubilai Khan Investigations Satellite #5, Institut Français d’Indonésie, Bandung

Kubilai Khan Investigations Satellite #5, Lawangwangi Creative Space, Bandung

Terra Clout Union, Experimental Acts & Sound, IARC, Singapore

Gulayu Wants You!! with Gulayu Arkestra, a performance in conjunction with SOUND: Latitudes and Attitudes, LASALLE College of the Arts, Singapore

05 Seniman, Suara, Ruang, Gerilya, Bandung

13 Tips for those who wants to be a spiritual artist in five minutes, Video Performance, Bandung and Germany

Video Sonic, Video Art, Sunaryo Art Space, Bandung

Dark Room, Sound Installation, ITB Art Fair, Bandung

awards18 Best Student in Fine Art.

BANDUNG INSTITUTE OF TECHNOLOGY 2018.

17 2nd winner of Bandung Contemporary Art Award Finalist

15 2nd winner Young Creator of Tokyo Design Week

Gudang Garam Indonesian Art Award Finalist

residencies18 Centre Intermondes. La

Rochelle, France

14 Listhus Art Space, Olafsfjordur, Iceland

Kubilai Khan Art & Body Performance. Toulon, France

Faisal Habibi

birthJakarta, 1984

education03-08 BFA, Sculpture

Studio, Faculty of Fine Art and Design, Institute of Technology Bandung, Bandung

selected solo exhibitions18 fillet, Sullivan+Strumpf,

Singapore

Nonsuch, Art Basel, Hongkong

15 This is not an apple…, ROH Projects, Jakarta

selected group exhibitions19 Ripples Continuity

in Indonesian Contemporary Art, Taipei Dangdai Art Fair, Taipei

18 ICAD 9 Kisah, Jakarta

17 Jogja Biennale, Yogyakarta.

ARTJOG10: Changing Perspective, Yogyakarta

OPQRSTUDIO: Two Years In (2015-2017), ROH Projects, Jakarta

Art Fair Philippines 2017. ROH Projects, Makati City, Philippines

16 Art Stage Jakarta, Booth ROH Project Jakarta

ARTJOG9, Jogja National Museum, Yogyakarta.

Neglected Ordinaries, Red Base Foundation, Yogyakarta.

Waiting For It To Happen, Nadi Gallery, Jakarta

15 Bipolarity To Multipolarity, LAF, Yogyakarta

Effervescence, ROH Projects, Gillman Baracks, Singapore

Bandung Contemporary Art Awards, Lawangwangi Creative Space, Bandung

FAD Democracy, Gallery Mizuma, Singapore

14 Bazaar Art Jakarta, Booth ROH Project & Canna Gallery, Jakarta

Ortstermin, Moabit,

Berlin, Germany

In Between, Salihara Gallery, Jakarta

Symbol, Spirit, Culture (To Communicate in Art Making Today), Edwin’s Gallery, Jakarta

13 Everyday is like Sunday, Langgeng Gallery, Magelang

Indonesia Art Award, National Gallery, Jakarta

IVAA ArtJog Archive Aid, Taman Budaya Yogyakarta, Yogyakarta

12 Renegotiating Boundaries, Lawangwangi Art & Science Estate, Bandung

11 Expansion: Contemporary Sculpture Exhibition, National Gallery, Jakarta

ArtJog 11, Taman Budaya Yogyakarta, Yogyakarta

Kuota! Kuota! Kuota!, Langgeng Art Foundation, Yogyakarta

10 ArtJog 10, Taman Budaya Yogyakarta, Yogyakarta

Biennale Indonesia Art Award 2010, National Gallery, Jakarta

Recent Art from Indonesia: Contemporary Art Turn, Soobin Art Plus, Singapore

Bandung New Emergence Volume 3, Selasar Sunaryo Art Space, Bandung

Halimun, Lawangwangi Art & Science Estate, Bandung

Dua Kota Dua Cerita (Two Cities Two Stories), Semarang Gallery, Semarang

selected awards15 Bandung Contemporary

Art Awards, Bandung (Special Mention)

13 First Prize at the Competition for Three-Dimensional Works, Salihara Community, Jakarta

08 Indonesia Art Award, Jakarta (Juror’s Choice)

recidency14 ZKU – Zentrum für Kunst

und Urbanistik, Berlin, Germany

eri

an

to

& e

rwin

win

du

pra

na

ta

C

V

CV

e

tz

a m

eis

ya

ra &

fa

isa

l ha

bib

i

Ba

CA

A a

ss

em

bla

ge

38

39

Maharani Mancanagara

birthPadang, September 28, 1990

education08-13 Bandung Institute of Technology - Faculty of Art and Design,majoring Printmaking Studio, Bandung

selected solo exhibitions18 Zero Sum Game, Galeri

Soemardja, Bandung

17 Parodi Partikelir, Visma Gallery, Surabaya

selected group exhibitions19 Termasuk, Darren

Knight Gallery, Sydney – Australia

18 Manifesto 6.0: Multipolar, National Gallery Indonesia, Jakarta

Bukan Perawan Maria, Bandung Creative Hub, Bandung

SSAS.AS.IDEAS Selasar Sunaryo Art Space, Bandung

Java!, Institut des Cultures d’Islam, Paris – France

Biennale Jateng #2 – The Future of History, Semarang Contemporary Art Gallery, Semarang

Tapak Jejak Langkah Jelajah – Pameran Besar Seni Grafis ITB, Galeri Soemardja, Bandung

Art Unlimited: XYZ – Gedung Gas Negara, Bandung

Celebration of The Future – AB.BC Building Art Bali, Bali

17 Ace Mart, Ace House Collective, Yogyakarta

Kecil Itu Indah #15, Edwin’s Gallery, Jakarta

Re:Emergence, Selasar Sunaryo Art Space, Bandung

Equidistant Night, Provenance Gallery, Manila – Philippines

X, Orange Gallery, Bacolod – Philippines

Infamy, Pinto Art Museum, Antipolo - Phillippines

Fluxcup

birthInternet culture, August, 2011. Lives as long as the internet exist

educationSpectatorship culture

selected solo exhibitions15 “Fluxcup Spectaculum

Frustra”, Fluxcup’s Solo Exhibition on Youtube Channel, Worldwide.

selected group exhibitions18 “Open P.O.” Omni Space,

Bandung, ID

“Local Genius” Taman Budaya Golni, Palu, ID

17 “During The Exhibition The Gallery Will Be Online”, Sarang Gallery, Yogyakarta, ID

16 “RETINA” Pameran Visual Soundrenaline 2016, Bali ID

“Universe Behind The Doors” Contemporary Art Exhibition ARTOTEL, Jakarta ID

15 “Hacking Conflict”, Yogyakarta, ID

“Jogja - Lagos, Changing Cities - Shifting Spaces” Video Workshop, Yogyakarta, ID

OK Video, Orde baru, National Gallery, Jakarta, ID

13 SIASAT 13th Jakarta Biennale, Jakarta,ID

award11 1st Winner, Bandung

Contemporary Art Award #2, Lawangwangi Creative Space, Bandung

Geugeut Pangestu

birthSingaraja, November 2, 1992

education10-15 Institut Teknologi Bandung, Faculty of Visual Arts and Design, Departement of Visual Arts, Printmaking Major

selected group exhibitions17 “Bazaar Art jakarta”, The

Ritz‐Carlton Jakarta, Pacific Place

“Artist’s Proof: PEMBUKTIANKU”, Sheraton Grand Gandaria City Hotel, Jakarta

“Getok Tular”, Omnispace

16 “The Second Asean Graphic Art”, Vietnam

“Pindai/Senarai”, NuArt Sculpture Park

“The Second Jogja International Miniprint Biennale”

“Outline (How to Draw Festival #2)”, GIM, Bandung

15 “Sambung Ulang Eps. #2: Geugeut Pangestu”, Galeri Gerilya

“Artchipelago” (Pameran Nusantara), Galeri Nasional

14 “Spot Art 2014”, MICA Building, Singapore Artrium

“15x15x15 #5: >kecil”, Galeri Soemardja, BDG

“Jogja Miniprint Biennale”, Museum Bank Indonesia, Yogyakarta

“How to Draw”, Gedung Gas Negara, Bandung

“Students International Prints Show” Cairo, Egypt

awards15 Finalist, Bandung

Contemporary Art Award #4, Lawangwangi Creative Space, Bandung

14 “ArtWorld Printmaking Competition”, Best Ten Artworks

“Student International Print Show”, Featured Artworks

16 A.S.A.P, G13 Gallery, Kuala Lumpur, Malaysia

Constituent Concreteness, Mizuma Gallery, Singapore

Kolektif Kolegial, Cemeti Art House, Yogyakarta

Art Stage Jakarta, Bale Project, Sheraton Grand Gandaria City Hotel, Jakarta

15 Bandung Contemporary Art Award #4, Lawangwangi Creative Space, Bandung

SHOUT! Mapping Melbourne 2015, Melbourne, Australia

14 BEXCO Young Artist Award, Art Show Busan 2014, Busan, South Korea.

Detournement, Duo- Solo Exhibition, ROH Projects, Jakarta

13 Indonesia Art Award 2013, Galeri Nasional, Jakarta

Bandung Contemporary: Disposition, Selasar Sunaryo Art Space, Bandung

Soemardja Award, Galeri Soemardja, Bandung

12 Design Statement: A Design Weekend, Industrial design exhibition, dia.lo.gue artspace, Jakarta

The Billboard Art Project, digital LED billboards exhibition, Salem, Oregon-USA

awards15 Finalist, Gudang Garam

Art Award, Yayasan Seni Rupa Indonesia, Galeri Nasional, Jakarta

Finalist, Bandung Contemporary Art Award #4, Lawangwangi Creative Space, Bandung

14 Finalist, BEXCO Young Artist Award, Art Show Busan,Busan – South Korea

13 Finalist, Gudang Garam Art Award, Yayasan Seni Rupa Indonesia, Galeri Nasional, Jakarta

1st Prize, Soemardja Award, Galeri Soemardja, Bandung

Muhammad Akbar

birthBandung, January 25, 1984

education09-12 Program Magister

Seni Rupa, FSRD ITB. Bandung

01-07 Jurusan Pendidikan Bahasa Perancis, FPBS UPI

selected group exhibitions18 ‘XYZ Art Unlimited’

Gedung Gas Negara, Banudung

‘Open P.O.’ OmniSpace, Bandung

‘Manifesto 6” Galeri Nasional, Jakarta

“Soemardja Sound Art Project” Galeri Soemardja, ITB. Bandung

17 “Monsoon Platform” Kobalt Workz & Europalia ID. Vooruit Ghent, BL

“Re-Emergence” Selasar Sunaryo Artspace. Bandun

16 “Neglected Ordinaries” RedBase Foundation. Yogyakarta

“Fast Forward” Video work exhibition, Cemeti Arthouse, Yogyakarta

“Historia Docet, Historia Vitae Magistra” with A Stone A, D’Gallerie, Jakarta

“Kolektif Kolegial” Cemeti Art House. Yogyakarta

“SEA+ Triennale” Galeri Nasional, Jakarta

15 “Looping Loopholes” Yeo Workshop. Gillman Barracks, SG

“NO WORRIES: Halal Curated by Rifky Effendi. Vanessa Qang. Paris. FR.

“ArtMoments” Jogja National Museum, YK

“Pameran Pasca Kekuatan” with A Stone A. OmniSpace. Bandung

“Sehat Wal Afiat” curated by Chabib Duta Hapsoro. Mes56. Yogyakarta

“Getok Tular” OmniSpace. Bandung

“Bipolarity to Multipolarity. Contemporary Art from Bandung” Langgeng Art Foundation. Jogjakarta

14 “Lumieres,” Espace Art Contemporain, La Rochelle, FR

“Garden Art Festival,” Goethe Institut, Bandung

13 “Dance Your Eyes: NMA Festival,” Gedung Indonesia Menggugat, Bandung

“Arte: Indonesia Arts Festival,” Jakarta Convention Center, Jakarta

“Media Art Kitchen (M/AK),” Galeri Nasional, Ruang Rupa, Japan Foundation, Jakarta

“Indonesia Art Awards (IAA) 2013,” Galeri NasionaI, Jakarta

“Bandung Contemporary Art Award #3,” Lawangwangi Creative Space/ArtSociates, Bandung

12 “Manifesto #3: Orde & Konflik,” Galeri NasionaI, Jakarta

“Tropical Lab: Land,” LASALLE College of the Arts, Singapore, SG

11 “OK Video: Flesh,” Galeri Nasional, Jakarta

awards07 1st Prize, ASEAN New

Media Art Competition. Kemdikbud, Galeri Nasional.

13 2nd Prize, Bandung Contermporary Art Award #3. Lawangwangi Creative Artspace

Madya Award Art Award. YSRI, Galeri Nasional

recidencies17 Monsoon Platform,

Kobalt Works & Europalia Indonesia. Vooruit, Ghent, BE

14 Centre Intermondes artist in residence. La Rochelle, France

13 Media Art/Kitchen. Galeri Nasional, Ruang Rupa, Japan Foundation

12 Topicallab: Land. LaSalle College of Art, ICAS

flu

xc

up

& g

eu

ge

ut

pa

ng

es

tu

& m

ah

ara

ni m

an

ca

na

ga

ra

CV

C

V

mu

ha

mm

ad

ak

ba

r &

mu

ha

mm

ad

vilh

am

y

Muhammad Vilhamy

birthSurabaya, November 7, 1990

education17 Magister program

Exchange Chiang Mai University -Faculty of Fine Art

16--- Magister Program Faculty of Fine Art and Design - Bandung Institute of Technology

09-14 Bachelor of Fine Art Printmaking Art Studio Program Faculty of Art & Design - Bandung Institute of Technology

selected solo exhibitions16 Out of Sight,Out of Mind,

Residency Program, Tentacles Gallery, Bangkok, Thailand

17 Arebyte Gallery, Ethic and Objectivity of Primbon: From East not for Global Becomebecome Nomadic Residency, West Ham, United Kingdom

selected group exhibitions18 Jauh Tak Antara, Nu Art

Gallery, Bandung

XYZ, Art Unlimited Bekraf Indonesia, PGN Braga, Bandung

Gandaan dan Ekspansi, Printmaking Exhibition, Soemardja Gallery, Bandung

17 Student International Small Print, Davidson Gallery, Washington, USA

Turbulence, Edwins Gallery, Jakarta

Tokyo Design Week 2017, Tokyo, Japan

Fluid, Altira Gallery, Jakarta

Emang Jadi Pilihan, Lawangwangi Creative Space, Bandung

16 World Art Design Festival 2016, Guri, South Korea

SIPS 2016, Davidson Gallery, Seattle, Washington, USA

Huntthesave Represent Fendi Bag Collaboration,

Ashley Hotel, Jakarta

Universe Behind The Door, Artotel Jakarta, Jakarta

Out of Sight,Out of Mind, Residency Program, Tentacles Gallery, Bangkok, Thailand

15 Bipolarity to Multipolarity (Contemporary Art from Bandung), Langgeng Art Foundation, Yogyakarta, Indonesia

Bandung Contemporary Art Award #4, Lawangwangi Creative Artspace, Bandung, Indonesia

GGIAA, Indonesia Art Award, National Gallery, Jakarta, Indonesia

ASIA Art Network “Soul of Asia”, KEPCO Art Center Gallery, Seoul, South Korea

New.Future, The 3rd Korea-Indonesia Media Art Installation, with Pemuda Setempat, ART1 Museum, Jakarta, Indonesia

ARTJOG 8 “Infinity in Flux” at Galeri Nginjen (Collaboration with Indie Guerillaz and Ketjil Bergerak), Taman Budaya Yogyakarta, Yogyakarta, Indonesia

selected awards17 Best Magister Student,

Bandung Institute of Technology

Honorable Mention, Davidson Gallery, Printmaking in South East Asia, United States of America

16 Honorable Mention Winner, World Art Design Festival, Guri, South Korea

15 Finalist Indonesia Art Award, GGIAA, Jakarta

Winner of Bandung Contemporary Art Award #4, Bandung

recidencies17 Arebyte Gallery,

Becomebecome Nomadic Residency, West Ham, UK

16 TENTACLES Residencies Program, YET Space, Bangkok, Thailand

Ba

CA

A a

ss

em

bla

ge

40

41

Mujahidin Nurrahman

birthBandung, November 14, 1982

education07 BFA, Printmaking

Major, Art Dept. Bandung Institute Of Technology (ITB), Bandung,Indonesia

solo exhibitions18 Dogmatic Desire,

Lawang Wangi, Langgeng Art Foundation, Yogyakarta

17 The Black Gold, Art Fair Tokyo, Tokyo, Japan

16 Chamber of God, Lawangwangi Gallery, Singapore artstage

15 Essentia, Centre Intermondes, La Rochelle, France

Hidden, JIKKA, Tokyo, Japan

14 SOFT POWER >< with all reasons and decisions, Lawangwangi, Bandung

13 Ornamen Kritis, Platform3, Bandung

08 In The End Of Time, Cemara 6 Gallery, Jakarta

selected group exhibitions19 Gairah Seni Rupa

Bandung, Semarang Gallery, Semarang

18 Papersphere, Soemardja Gallery, Bandung

Power, play & perception, Gajah gallery and Tabularasa studio, Kuala lumpur

Art Charity, Art Jakarta 2018, Jakarta

17 Jangan Sentuh, Visma Gallery, Surabaya

Art Charity, Art Bazaar, Jakarta

16 French – Indonesian Connection: History in the making contemporary art, Lawangwangi creative space, Bazaar Art Jakarta

Art Charity, Art Bazaar, Jakarta

Waiting For It Happen,Platform3, Nadi Gallery

15 VOID, Langgeng Gallery, Magelang

14 The Language of Human Consciousness, ATHR Gallery, Jeddah

Today and Tomorrow: Indonesian Contemporary Art, Yallay Gallery

Art Dubai, D Gallerie

13 Every Day Is Like Sunday, Langgeng Gallery

The SEA+ Triennial 2013, Galeri Nasional, Jakarta

BaCAA#3, Lawangwangi Creative Space

12 Yunnan International Prints 2012, Yunnan, China

11 Fund Rising, Platform3, Bandung

ART/JOG/11, Yogyakarta’s Cultural Park, Yogyakarta

10 Sang Ahli Gambar dan Kawan-kawan, Galeri Kita

09 ASYAAF, Seoul, North Korea

Perang, Kata dan Rupa, Salihara Gallery, Jakarta

Deer Andry, Rumah Rupa, Jakarta

C-art Show(Cemara 6 Gallery), Grand Indonesia, Jakarta

Bandung Art Now,Galeri Nasional, Jakarta

08 Deer Andry, galeri S-14, Bandung

Siapa Salim, Galeri Nasional, Jakarta

07 Seven, Cemara 6 Gallery, Jakarta

Seven, Soemardja Gallery, Bandung

06 Exhibition of Workshop with Tisna Sanjaya, Magelang

Mereka Mereka, Redpoint Gallery, Bandung

award13 Winner, Bandung

Contemporary Art Award#3

recidencies15 Centre Intermondes, La

Rochelle, France

FAIR, Fuwari no more Artist In Residency, Narita, Japan

mu

jah

idin

nu

rra

hm

an

& o

ct

ora

C

V

CV

p

at

ric

ia u

nt

ari

o &

pa

tri

ot

mu

km

in

Octora

birthIndonesia, 1982

education16-17 Master of Contemporary Art, Victorian College of The Arts, Melbourne University, Melbourne, Australia

02-07 Bachelor of Fine Art (Sculpture), Faculty of Art and Design, Bandung Institute of Technology

01-06 Bachelor of Law, Faculty of Law, Parahyangan Catholic University, Bandung

selected solo exhibitions15 On The Edge of

Awareness, Canna Gallery, Jakarta

12 After Happiness, D’Gallerie, Jakarta

11 Mimi / Secret, curated by June Wang, Stock20, Taichung, Taiwan

07 The Nonya’s Project, Centre Culturel Français de Bandung (CCF Bandung), Bandung

selected group exhibitions18 #Perempuan, Space 28,

VCA Performing Arts, Melbourne (Australia).

Medium @ Play, Gajah Gallery Yogyakarta.

Revising a Collection: Making Paradise (Places of Longing, from Paul Gaugin toTita Salina), Hamburger Bahnhof- National Galerie Staatliche Museen zu Berlin, Berlin, Germany.

17 VCA Master Graduate Show 2017, Margaret Lawrence Gallery, Melbourne, Australia.

Power and Other Things, BOZAR (Centre for Fine Arts), Brussel, Belgium.

16 Historia Docet Historia Vitae Magista, D’Gallerie, Jakarta

15 Jakarta Biennale 2015: Maju Kena, Mundur Kena (Neither Forward nor Back: Acting in the Present), Jakarta

Mapping Melbourne 2015, Independent Contemporary Asian Arts: SHOUT! - Melbourne, Australia

Patricia Untario

birthJakarta, 1984

education09-11 Vetroricerca Glas & Modern, Bolzano, Italy

06 Tittot Glass Museum Summer Camp, Taipei, Taiwan

03-08 Institut Teknologi Bandung, Fine Art Department, majoring in Sculpture, Bandung

selected group exhibitions18 #Perempuan, Space 28,

VCA Performing Arts, Melbourne (Australia).

Sovereign Asian Art Prize 2018 Finalists, Hong Kong

ARTJOG 11 2018 Enlightment, Jogja National Museum, Jogjakarta

Spektrum Hendra Gunawan, Ciputra Artpreneur, Jakarta

Open P.O., Omnispace, Bandung

17 Indonesian Contemporary Art & Design (ICAD) 8: MURNI?, grandkemang Hotel, Jakarta

Re: Emergence, Selasar Sunaryo Art Space, Bandung

Art Jakarta 2017, The Ritz-Carlton, Pacific Place, Jakarta

Perjalanan Senyap, Orbital Dago, Bandung

16 Art Stage Jakarta, Sheraton Grand Jakarta, Gandaria City Hotel, Jakarta

Artmosphere, Galleries Lafayette, Pacific Place, Jakarta

Art for Education, Plaza Indonesia 26th Anniversary, Plaza Indonesia, Jakarta

Janji Kang Jait, APA Space, Plaza Indonesia, Jakarta, Indonesia

15 Bazaar Art Jakarta 2015, The Ritz-Carlton, Pacific Place, Jakarta

UGLY “Palmistry”, The Goods, Jakarta

14 Sculpture Triennale #2: Versi (Version), The National Gallery of Indonesia, Jakarta

12 Manis, Centre Intermondes, La Rochelle, France

The Jakarta 2nd Contemporary Ceramics Biennale: Crafting Identity, North Art Space, Jakarta

11 Sculpture Triennale #1: Ekspansi (Expansion), The National Gallery of Indonesia, Jakarta

Jogja Biennale XI: The Equator #1, Shadows Line Meets India, Jogja National Museum, Yogyakarta

selected awards17 Fiona Myer Awards for

excellence, Faculty of VCA and MCM, The University of Melbourne.

13 Runner-up of Trimatra National Competition, Salihara Gallery, Louis Vuitton, Jakarta, Indonesia

Finalist of Gudang Garam – Indonesian Art Award held by The National Gallery of Indonesia and Indonesian Visual Art Foundation, Indonesia

12 Bandung Contemporary Art Awards #02, Lawang Wangi Art Space, Bandung, Indonesia

05 Finalist of Oita Asian Sculpture Competition, Asaji, Japan

recidencies14 ZK/U, Zentrum fur

Kunst / Urbanistic, artist residency, Berlin, Germany

13 Centre Intermodes, La Rochelle, France

10 Bamboo Culture Studio, Taipei, Taiwan

Stock20, Taichung, Taiwan

09 Landing Soon #10, Cemeti Art House, Yogyakarta, organized by HEDEN, The Hague (Artoteek Den Haag), Netherlands and Cemeti Art House, Indonesia

Sovereign Asian Art Prize 2015 Finalists, Hong Kong

14 Versi, Trienal Seni Patung Indonesia, Jakarta

Bazaar Art Jakarta 2014, The Ritz-Carlton, Pacific Place, Jakarta

13 OLD NEW, Art1, Jakarta

Everyday Is Like Sunday, Langgeng Gallery, Magelang

Disthing, Gallery Rachel, Jakarta

Asia Contemporary Art Show, Hong Kong

Bandung Contemporary Art Awards#3, Lawangwangi Art Space, Bandung

12 Renegotiating Boundaries, Lawangwangi Art Space, Bandung

Contemporary Ceramics, Museum Seni dan Keramik, Jakarta

MACEF Milan 2012, Milan, Italy

Bandung Contemporary Art Awards#2, Lawangwangi Art Space, Bandung

11 Jakarta Biennale#14, Jakarta

10 Beyond The Dutch, Utrecht Central Museum, Netherland

09 Survey 2, Edwin Gallery, Jakarta

Contemporary Archeology, Sigiarts, Jakarta

C art show, Grand Indonesia, Jakarta

Bandung Initiative 3, Roemah Roepa, Bandung

08 13th Asian Art Biennale Bangladesh, Bangladesh

selected awards12 Finalist of Bandung

Contemporary Art Awards #02, Lawang Wangi Art Space, Bandung

13 Finalist of Bandung Contemporary Art Awards #03, Lawang Wangi Art Space, Bandung

Patriot Mukmin

birthTangerang, June 4, 1987

education11-13 Master of Fine Arts, Faculty of Art and Design, Bandung Institute of Technology (ITB), Indonesia

05-10 Bachelor of Fine Arts (Painting Studio), Faculty of Art and Design, Bandung Institute of Technology (ITB), Indonesia

selected solo exhibitions17 Treachery of Paintings,

Art Jakarta 2017 with Lawangwangi Creative Space, Jakarta

16 Vox Populi, Jeonbuk Museum of Art – Artist Residency exhibition room, Jeollabuk-do, South Korea

15 KUP: Titik Silang Kuasa ’66 – ’98 (Coup: A Cross of Power of 66 – 98), Lawangwangi Creative Space, Bandung

13 Seeing is Painting, Gerilya Gallery, Bandung

selected group exhibitions19 The Concept of Self:

Individuality and Integrity, Galeri Salihara, Jakarta

18 SSAS/AS/IDEAS, Bale Project in collaboration with 20 artists, in commemoration 20 years of Selasar Sunaryo Art Space (SSAS), Bale Tonggoh, SSAS, Bandung

Papersphere, Galeri Soemardja, Bandung

Manifesto 6.0: Multipolar, National Gallery of Indonesia

17 Jogja Biennale XIV: Equator #4, Indonesia meet Brasil, Age of Hope, Jogja National Museum, Yogyakarta

The Concept of Self: On Power, Identity, and Label, Subhashok The Art Center, Bangkok, Thailand

Gwanghamun International Art Festival 2017, Sejong Museum, Seoul

16 Universe Behind the Door, Artotel, Jakarta

SEA+ Triennale, National Gallery of Indonesia, Jakarta

A.S.A.P. New contemporary artists from Indonesia, G13 gallery, Kuala Lumpur, Malaysia

15 Shout! Indonesian Contemporary Art 2015, as part of Mapping Melbourne, Meat Market Stables, Melbourne, Australia

Bandung Contemporary Art Award #4, Lawangwangi Creative Space, Bandung Bipolarity to Multipolarity, Langgeng Art Foundation, Yogyakarya

GG Indonesia Art Award 2015, National Gallery of Indonesia, Jakarta

New Future: The 3rd Korea - Indonesia Media Installation Art Exhibition, Art1 Museum and Gallery, Jakarta

14 Pameran 90-an (Exhibition 0f 90), Balai Tonggoh, Selasar Sunaryo Art Space, Bandung

awards17 Finalist, UOB Painting of

the Year Competition, Jakarta.

15 Finalist of 2015 Indonesia Art Award, National Gallery of Indonesia.

12 Finalists of Bandung Contemporary Art Award (BaCAA) #2, Bandung.

11 First Prize Harper’s Bazaar Art Award, Bazaar Art Jakarta

10 Finalists of 2010 Harper’s Bazaar Art Award, Bazaar Art Jakarta

Finalist of 2010 Indonesia Art Award, “Contemporaneity,” National Gallery of Indonesia.

recidencies16 Jeonbuk Museum of Art,

Jeollabuk-do, South Korea

10 North Art Space, Pasar Seni Ancol, Jakarta

Ba

CA

A a

ss

em

bla

ge

42

43

Ricky Janitra

birthBogor, January 18, 1985

education03-07 Seni Grafis Institut Kesenian Jakarta

solo exhibitions11 Cyclture at Grand

Indonesia – Level One

selected group exhibitions18 The Aligment, Artotel

Thamrin, Jakarta-Indonesia

100th Hendra Gunawam, Ciputra Artpreuneur, Jakarta-Indonesia

Brillio, Jakarta-Indonesia

17 Finalis Bandung Contemporary Art Award, Bandung

Pekan Seni Media At Bandar Seni Raja Ali Haji, Pekan Baru

Bagilah Terangmu At Gudang Sarinah Eko sysstem, Komunitas SA’Ae

Pameran Gambar Cadas Indonesia at Gallery National, Jakarta

HEYRI PROJECT, KOREA INDONESIA CULTURAL EXCHANGE, Heyri South Korea

Following Exhibition, Media Art Exhibition, National Gallery

16 Dialogue With Senses, Korea - Indonesia Media Installation Art

Denfrie Gallery, Copenhagen, Denmark

Art and Fashion, APAspace, Jakarta

Me-Reklame-Kan PeLem, APAspace, Jakarta

15 Fringe Festival, Melbourne, Australia

Finalis Bandung Contemporary Art Award, Bandung

Bebas Tapi Sopan. Gallery National, Jakarta

Ok Video, Gallery National, Jakarta

14 “WASAK” media art Kitchen, Manilla-Phillipine

“AYATANA” ICAD (Indonesian contemporary art and design) 2014 hotel grand kemang

ARTE 2014 “Regenerasi”, JCC jakarta

13 Collaboration Project with Aksan Sjuman, speech culture, DKJ, jakarta

Video Mapping at Opening Jakarta Biennale

Arkipel (Experimental film festival), Jakarta

Indonesian Art Festival 2013 ARTE, JCC jakarta

Carp2 Dragon Festival, Ho Chi Minh City Vietnam

12 Blended By Desire, Galerie Michael Janssen, Gillman Barrack Singapore - Multimedia Art Exhibition, “DRIFT” at Ruangrupa

Exhibition 1ooth Anniversary Martell at Hotel Mulia

Visual Jockey for freeMagz Birthday with AvReactor

Trolley Project at Perth Australia

11 APOCALYPSE 2012 Mixtape - Drawing Exhibition

JKTBDG PP at dia.lo.gue Artspace

Visual Mapping at GBB, Closing party OK.video

Visual Mapping di pembukaan OK.video 2011

GIF Festival 2011 at www.giffestival.tumblr.com

TEMPERTANTRUM, Exhibition at malang & surabaya

GOOD LOOKING, Exhibtion with ruangrupa at Goodsdept

Jogja Art Fair 2011

Exhibition Jalan Bersatoe at Bintaro Sektor 9 Jakarta

awards17 Finalists of Bandung

Contemporary Art Award (BaCAA) #5, Lawangwangi Creative Space

res

tu

ta

ufi

k a

kb

ar

& r

ick

y ja

nit

ra

CV

C

V

sy

aif

ul a

ulia

ga

rib

ald

i & y

ov

ist

a

Yovista Ahtajida

birthBanyumas, May 14, 1992

education10-15 Bachelor of Communication Studies (Social & Political Science) University of Indonesia

screening & group exhibitions18 Re-Interpretting Trump

(Video Art) @ Eye’s Walk Festival, Greece

Re-Interpretting Trump (Video Art) @ W:OW 18, Torrance Art Museum, CA, USA

Ustartz: Bincang Seputar Syariat @ JAVA:Art Energy, Institute des Cultures d’Islam, Paris, France

Hirah, Solo Exhibition @ LIR SPACE Yogyakarta

17 Re-Interpretting Trump (Video Art) @ Video Vortex XI, Kochi Muziris Biennale, India

Ustartz: Bincang Seputar Syari’art (Video Art) @ Bandung Contemporary Art Award, Bandung

16 Astral Conversation (video art) @ BongkarMuat Exhibition, Jakarta With The Youngrrr

Film School VS Non-Film School (Discussion & Presentation), Jakarta With The Youngrrr

Does The Body Rule The Mind @ Jakarta Biennale, Jakarta With The Youngrrr

15 Hole of Death Mystery Ride @ Rekoleksi Memori, Jakarta

Vis A Vis II (Installation) @ LLL Exhibition, Jakarta With The Youngrrr

14 Vis A Vis (Installation) @ Against All Odds, Jakarta With The Youngrrr

Influence Of The Internet On The Creation of Contemporary Art

(Presentation), University Of Indonesia With The Youngrrr

Another Colour TV (Film) @ South Asian Visual Art Centre, Toronto, Canada With The Youngrrr

Pick Up Motorz (Video Art) @ European Media Art Festival, Osnabruck, Germany With The Youngrrr

Another Colour TV (Film) @ Berlin International Film Festival, Berlin, Germany With The Youngrrr

awards

17 Finalists of Bandung Contemporary Art Award (BaCAA) #5, Lawangwangi Creative Space

Syaiful Aulia Garibaldi

birthJakarta, 1985

education10 BA Fine Art, Fakultas

Seni Rupa dan Desain, Institut Teknologi Bandung,

05 Agronomy, Fakultas Agrikultur, Universitas Padjajaran, Bandung

solo exhibitions18 Lemniscate.

MindsetArtCenter, Taipei, Taiwan

17 Limaciform. Silverlens Galleries, Manila, Philippines

16 Quiescent. ROH Projects, Jakarta

14 Interstitial Terhah. ROH Projects, Jakarta

Abiogenesis: Terhah Landscape. Pearl Lam, Singapore, Singapore

12 Regnum Fungi. Padi Artground, Bandung

selected group exhibitions18 Opensite

“Patching Words“ (zi,kotoba,eweawea) Tokyo Arts and Space, Tokyo, Japan

(not)ASRTOfficial: out of track, Lawangwangi, Bandung

17 Monsoon Project, Europalia, Vooruit, Ghent, Belgium

Westbund TALENT. Westbund Art Centre, Shanghai, China

Jogja Biennale 2017. Jogja National Museum, Yogyakarta

w Edouard Malingue Gallery, Hong Kong, China

Art Stage Jakarta 2017. ROH Projects, Jakarta

Cinema Arta, Media Art Festival Arad, Romania

OK. PANGAN, OK. VIDEO: Indonesia Media Arts Festival 2017. Gudang Sarinah Ekosistem, Jakarta

IDENTITY XII. Nichido Contemporary Art, Tokyo, Japan

Restu Taufik Akbar

birthNovember 28, 1990

education03-07 Architecture Engineering, Faculty of Technical and Vocational Education, Indonesian University of Education

10-15 Bachelor of Fine Arts (Major Painting), Faculty of Art and Design, Bandung Institute of Technology

solo exhibitions18 ‘(IN)Material Truth’,

Orbital Dago, Bandung

‘The Other Hemisphere’, DeBraga by Artotel, Bandung

15 ‘Lucidity’, Roh Projects, Jakarta

selected group exhibitions

18 ‘MANIFESTO 6.0: Multipolar, Seni Rupa Setelah 20 Tahun Reformasi’ Galeri Nasional, Jakarta

‘Art Jakarta 2018; Lawangwangi Creative Space’, Ritz Carlton Pacific Place, Jakarta

‘Spectrum Hendra Gunawan’, Ciputra World, Jakarta

‘Biennale Jateng #2’ Kota Lama, Semarang

‘Celebration Of The Future’, ABBC Building, Bali

‘ART_UNLTD: XYZ 2018’, Gedung Gas Negara, Bandung

17 ‘Bandung Drawing Festival’ NuArt Sculpture Park, Bandung

‘OPQRSTUDIO: Two Years In’, Roh Projects, Jakarta

‘Flow Into Now: Art Sampoerna 2017’, Sampoerna Strategic Square, Jakarta

‘Art Jakarta 2017; Unity in Diversity - BEKRAF’, The Ritz Carlton Jakarta, Pacific Place, Jakarta

‘Art Stage Jakarta 2017; ROH Projects’ Sheraton Gandaria City, Jakarta

ARTJOG 10: Changing Perspective. Jogja National Museum, Jogjakarta

OPQRSTUDIO: Two Years In (2015-2017). ROH Projects, Jakarta

Art Fair Philippines 2017. Silverlens Galleries, Makati City, Philippines

Art Stage Singapore 2017. ROH Projects, Singapore, Singapore

16 ALL IN. Art Stage Jakarta and Bazaar Art Jakarta 2016, ROH Projects, Jakarta

Sea plus Triennale, Galeri Nasional, Jakarta

Constituent Concretness, Mizuma Gallery, Singapore

15 Alam/Benda. Ark Gallery, Yogyakarta

Effervescence. Gillman Barracks. Singapore, Singapore

#familyandfriends. ROH Projects. Jakarta

Getok Tular. Omni Space, Bandung

ABC Learning Town. Siheung, South Korea

Prudential Eye Zone, Art Science Museum, Singapore

Japan New Media Art Festival, Selasar Sunaryo Art Space, Bandung

14 Trienalle Patung 2. Galeri Nasional, Jakarta

Recognition System. Kuandu Biennale, Taipei, Taiwan

Lumieres, ‘L espace Contemporain. La Rochelle, France

selected awards17 Young Artist Award,

ArtJog10, Yogyakarta

13 Bandung Contemporary Art Awards #3. Best Artwork. Bandung

06 Triennale Seni Grafis 2. Finalist. Bentara Budaya, Jakarta

selected residencies15 ABC Learning Town,

Siheung, South Korea

14 Centre Intermondes, La Rochelle, France

‘BaCAA #5’ Lawangwangi Art Space, Bandung

‘Perupa Muda #2; November On Paper’ Bale Banjar Sangkring, Yogyakarta

16 ‘Pindai/Senarai’ NuArt Sculpture Park, Bandung

‘Bazaar Art Jakarta 2016; ROH Projects’ Ritz Carlton Pacific Place, Jakarta

15 ‘Nalar Sensasi Seni’ Galeri Nasional, Jakarta

‘Paradise’ Bumi Sangkuriang, Bandung

‘Better Outside’ Babakan Siliwangi, Bandung

‘Effervescence’ Gillman Barrack, Singapore

‘How To Draw 2’ Gedung Indonesia Menggugat, Bandung

14 ‘Pameran Gambar 1’ kampus FSRD ITB, Bandung

Art Performance ‘Malam Budaya ITB’ kampus FSRD ITB, Bandung

‘15x15x15: collosal’ Galeri Soemardja, Bandung

Art Performance ‘Peca Pala’ kampus FSRD ITB, Bandung

‘Magical For(rest) Series; Final Project Exhibition’ Lawangwangi Art Space, Bandung

13 ‘Blues Art’, Gedung Serba Guna RRI, Bandung

‘Urban Mobility’, kampus FSRD ITB, Bandung

Fur Ruhe Group Exhibition ‘Playground Project’, Galeri Widje Blik, Bandung

‘Painting Exhibition’, Galeri Widje Blik, Bandung

‘Local Art Jam’, Galeri Gerilya, Bandung

awards17 Finalist of ‘Bandung

Contemporary Art Award #5, Lawangwangi Art Space, Bandung

15 Finalist of ‘Nalar Sensasi Seni’ Galeri Nasional, Jakarta

Ba

CA

A a

ss

em

bla

ge

44

45

46

47

Ba

CA

A a

ss

em

bla

ge

48

49

Ba

CA

A a

ss

em

bla

ge

Aditya Novali

Abstract logic: Mooi In(Die) series - Tomorrow (deconstruction #1, #2, #3) 81 x 81 x 10 cm (each) Plexiglass, Ink, Wood, Multi Board, Zinc2019

ad

ity

a n

ov

ali

N

EW

N

EW

a

dit

ya

no

va

li

50

51

Ba

CA

A a

ss

em

bla

ge

Agan Harahap

Mardijker Photo Studio Variable Dimensions Archival pigment ink on paper Edition 1/32014

ag

an

ha

rah

ap

N

EW

N

EW

a

ga

n h

ara

ha

p

52

53

Ba

CA

A a

ss

em

bla

ge

Aliansyah Caniago

Bird Feeder; Camouflaged Behind a Painting (Re-enactment) Variable DimesionInstallation2016 N

EW

a

lian

sy

ah

ca

nia

go

alia

ns

ya

h c

an

iag

o

NE

W

54

55

Ba

CA

A a

ss

em

bla

ge

Anggun Priambodo

Maaf Senin Tutup 56 minutesVideo DigitalEdition 1/32018 N

EW

a

ng

gu

n p

ria

mb

od

oa

ng

gu

n p

ria

mb

od

o

NE

W

56

57

Ba

CA

A a

ss

em

bla

ge

Cynthia Delaney

Titik di Peta 230 x 75 cmPen and Ink on Paper2019 N

EW

c

yn

th

ia d

ela

ne

yc

yn

th

ia d

ela

ne

y

NE

W

58

59

Ba

CA

A a

ss

em

bla

ge

leftDeni Ramdani

Enclave Variable DimensionMix Media2019

rightHarits Rasyid Paramasatya

S■ ■ ■ ■ ■ en■ ■ ■, S■ ■ ■ ■ ■ Or■ ■ ■ ■ ■ Variable DimensionPrint on Aluminium Plate, Wooden Cabinet2019 N

EW

h

ari

ts

ra

sy

id p

ara

ma

st

ya

de

ni r

am

da

ni

N

EW

60

61

Ba

CA

A a

ss

em

bla

ge

Eddy Susanto

Ide Menjaga Reputasi 500 x 300 cmDrawing Pen, Acrylic on Canvas2019 N

EW

e

dd

y s

us

an

to

ed

dy

su

sa

nt

o

NE

W

62

63

Ba

CA

A a

ss

em

bla

ge

In of the Box #240 x 45 x 125 cm2 minutes (loop)Wooden Box, Mirror, Video ProjectionEdition 1/3 + 1 AC2019

Eldwin Pradipta

In of the Box #166 x 53 x 116 cm2 minutes (loop)Wooden Box, Mirror, Video ProjectionEdition 1/3 + 1 AC2019 N

EW

e

ldw

in p

rad

ipt

ae

ldw

in p

rad

ipt

a

NE

W

64

65

Ba

CA

A a

ss

em

bla

ge

Erianto

Di Atas Bidang 140 x 200 cm Acrylic on canvas2019 N

EW

e

ria

nt

oe

ria

nt

o

NE

W

66

67

Ba

CA

A a

ss

em

bla

ge

right

Etza Meisyara

Melancholia Variable DimensionSound Installation & Photo Etching on Copper Plate2019

leftErwin Windu Pranata

Domestic Universe Variable dimensionsFound object2019 N

EW

e

tz

a m

eis

ya

rae

rwin

win

du

pra

na

ta

N

EW

68

69

Ba

CA

A a

ss

em

bla

ge

rightFluxcup

Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Produk Gagal Industri Hiburan Era Informatika Variable dimentionPerformance Art2019

leftFaisal Habibi

This Thing 31 203 x 85 x 163 cmPlywood, Plexiglass2019 N

EW

fl

ux

cu

pfa

isa

l ha

bib

i

NE

W

70

71

Ba

CA

A a

ss

em

bla

ge

Geugeut Pangestu

Tergulingnya Truk Pembawa Boneka 35 x 120 x 120 cm Specially-engineered paper2019 N

EW

g

eu

ge

ut

pa

ng

es

tu

ge

ug

eu

t p

an

ge

st

u

NE

W

72

73

Ba

CA

A a

ss

em

bla

ge

right

Muhammad Akbar

Frog Eye on Untitled 100 x 100 x 18 cmPapers, Needles, Blacklight2019

leftMaharani Mancanagara

Savanajaya #1 & #2 125 x 140 x 70 cm 125 x 82 x 65 cmCharcoal and Acrylic on Teak Wood*Sketch image2019 N

EW

m

uh

am

ma

d a

kb

ar

ma

ha

ran

i ma

nc

an

ag

ara

N

EW

74

75

Ba

CA

A a

ss

em

bla

ge

rightMujahidin Nurrahman

If you’re not there, then you are safe 197 x 107 x 23 cmPaper Handcut, Glass, Mirror, Wood, Paint, LED Lamp2019

leftMuhammad Vilhamy

Blurred Series “I’m Number One, You’re Number Two” 180 x 120cm (1 piece) and 90 x 120cm (2 pieces)Oil & Turpentine on Canvas2019 N

EW

m

uja

hid

in n

urr

ah

ma

nm

uh

am

ma

d v

ilha

my

N

EW

76

77

Ba

CA

A a

ss

em

bla

ge

Octora

Matahari Hitam 3:55 minutesPerformance Documentation2017 N

EW

o

ct

ora

oc

to

ra

NE

W

78

79

Ba

CA

A a

ss

em

bla

ge

right

Patriot Mukmin

La Grande Jatte / Tour at La Grande Jatte 35 x 21 cmLED Lamp Installation2019

left

Patricia Untario

Thank You Vegetables 70 x 70 cm (9 pieces, D: 22 cm each)Fused Glass, Vegetable, LED Light Panel2019 N

EW

p

at

rio

t m

uk

min

pa

tri

cia

un

ta

rio

N

EW

80

81

Ba

CA

A a

ss

em

bla

ge

(IN)MATERIAL TRUTH; “Moving In You’’ 120 x 122 cmPolyurethane, Nitro Cellulose and Vitrail on Stainless Steel Plate2019

(IN)MATERIAL TRUTH; “There Is No Hurry, Just Flowing’’ 305 x 122 cmPolyurethane, Nitro Cellulose and Vitrail on Stainless Steel Plate2019

Restu Taufik Akbar

(IN)MATERIAL TRUTH; “Home Again’’ 190 x 100 cmPolyurethane, Nitro Cellulose and Vitrail on Stainless Steel Plate2018 N

EW

r

es

tu

ta

ufi

k a

kb

ar

res

tu

ta

ufi

k a

kb

ar

N

EW

82

83

Ba

CA

A a

ss

em

bla

ge

rightSyaiful Aulia Garibaldi

Gushuhah Ijlur#2 Variable DimensionsVideo InstallationAcrylic Photo Prints & Brass2018 - 2019

leftRicky Janitra

Fool 70 cm x120 cmVideo Installation*Sketch image2018 N

EW

s

ya

ifu

l au

lia g

ari

ba

ldi

ric

ky

jan

itra

N

EW

84

85

Ba

CA

A a

ss

em

bla

ge

Yovista Ahtajida

Nasyid Goes Punx Vol. 1 Marketing Tools: Music Video Single Channel Video2017 N

EW

y

ov

ist

a a

ht

ajid

a

Ba

CA

A a

ss

em

bla

ge

86

87

Aditya Novali

MOOI IN(DIE) series TOMORROW Charcoal, Oil & Ink on 18 Pieces Rotatable 4 Sides Bars Covered With Canvas80 x 80 x 12 cm2010

shown during the 1st BaCAA

Agan Harahap

Mardjikers Photo Studio Digital C-Print on PaperVariable dimensions2015

shown during the 4th BaCAA

Aliansyah Caniago

Titik Balik ProjectSitu Ciburuy:Wounds (a gate to Situ Ciburuy) Artefact Installation (wooden boat, stones, video)4 x 4 x 4 m2014

shown during the 4th BaCAA

Anggun Priambodo

SINEMA ELEKTRONIKA Video Still ImageDuration 4.012009

shown during the 1st BaCAA

Cynthia Delaney

Holding Breath Interactive installationDimensions variable2016

shown during the 5th BaCAA

Deni Ramdani

0⁰ Soil, water, goldfishDimensions variable2017

shown during the 5th BaCAA

Eddy Susanto

Java of Durer Acrylic & drawing pens on canvas280 x 200 cm2011

shown during the 1st BaCAA

Eldwin Pradipta

Watercasteel: Canto Installation, video projection, chicken cage, bird cage, myth scent100 x 200 x 100 cm (object), 480x 360cm (video projection), 2 minutes (video duration)2015

shown during the 4th BaCAA O

LD

c

yh

tia

d.,

de

ni r

., e

dd

y s

. & e

ldw

in p

.a

dit

ya

n.,

ag

an

h.,

alia

ns

ya

h c

. & a

ng

gu

n p

.

OL

D

Ba

CA

A a

ss

em

bla

ge

88

89Erianto

TODAY PARCEL Acrylic on Canvas100 x 140 x 20 cm2010

shown during the 1st BaCAA

Erwin Windu Pranata

DROWNING IN PLEASURE Paint, LCD Monitor, Electronical Component, IronØ 45 cm2010

shown during the 1st BaCAA

Etza Meisyara

How Does It Feel To Be A Refugee Stainless steel on iron plate, sound200 x 200 cm2017

shown during the 5th BaCAA

Faisal Habibi

This Thing Painted Steel, Leather, Rubber115 x 50 x 20 cm2015

shown during the 4th BaCAA

Fluxcup

Eat Like Andy Video4.252011

shown during the 2nd BaCAA

Geugeut Pangestu

Di Dalam Kelambu Tertutup Custom made paper200 x 150 x 150 cm2017

shown during the 5th BaCAA O

LD

f

ais

al h

ab

ibi,

flu

xc

up

& g

eu

ge

ut

pa

ng

es

tu

eri

an

to

, e

rwin

win

du

pra

na

ta

& e

tz

a m

eis

ya

ra

OL

D

Ba

CA

A a

ss

em

bla

ge

90

91

Harits Rasyid Paramasatya

Mengenang Khem Mixed Media Installation 2.5 x 2.5 m(Object/Artefact: Dimension Variable)2015

shown during the 4th BaCAA

Maharani Mancanagara

Lokale Hulptroepen (Legiun Lokal KNIL) Charchoal and assemblage on pine wood200 x 100 x 250 cm2015

shown during the 4th BaCAA

Muhammad Akbar

In Gaze Control #2 HD Video 1080p20 minutes2011

shown during the 3rd BaCAA

Muhammad Vilhamy

BAJ (Belum Ada Judul) Mixed Media on Paper & Ziplock Plastic120 x 450 cm2015

shown during the 4th BaCAA

Mujahidin Nurrahman

Layers Paper cutting manual69 x 69 x 7 cm2012

shown during the 3rd BaCAA

Octora

Laura in Paradise Teak wood, mix media, ready made chair, synthetic hair106 x 25 x 69 cm2011

shown during the 5th BaCAA O

LD

m

uh

am

ma

d v

ilha

my

, m

uja

hid

in n

urr

ah

ma

n &

oc

to

rah

ari

ts

ra

sy

id p

., m

ah

ara

ni m

an

ca

na

ga

ra &

m. a

kb

ar

O

LD

Ba

CA

A a

ss

em

bla

ge

92

93

Patricia Untario

Toilet Borosilicate-glass11 x 8 x 8 cm2011

shown during the 2nd BaCAA

Patriot Mukmin

The Presence of Mind #5 Acrylic & Oil on Canvas, Mounted on Boards, 16 panels113 x 121 x 5 cm2011

shown during the 2nd BaCAA

Restu Taufik Akbar

(IN)MATERIAL TRUTH: Happiness Lies in Perspective Urethane and vitrail on stainless steel mirror plate122 x 244 cm2017

shown during the 5th BaCAA

Ricky Janitra

WORLD WIDE WEB WASTE Video installation2017

shown during the 5th BaCAA

Syaiful Aulia Garibaldi

Atoah epok, Ehoor lamura (Like art, Fungal statement) Fungi, spora, substrat200 x 300 cm2012

shown during the 3rd BaCAA

Yovista Ahtajida

USTARTZ: KONSULTASI SEPUTAR SYARI’ART Single channel video2017

shown during the 5th BaCAA O

LD

r

ick

y ja

nit

ra,

sy

aif

ul a

ulia

ga

rib

ald

i & y

ov

ist

a a

ht

ajid

ap

at

ric

ia u

nt

ari

o,

pa

tri

ot

mu

km

in &

re

st

u t

au

fik

ak

ba

r

OL

D

bandung contemporary art award

see you again in the ...

beyond exploration → www.bacaa.id

assemblage is a re-collection of BaCAA’s prior fi nalists from 2010 to 2017. Amongst these individuals are distinguished names such as... from the very 1st BaCAA: Aditya Novali1, Anggun Priambodo2, Erianto3, Erwin Windu Pranata4; from the 2nd BaCAA: Eddy Susanto5, Octora6, Patriot Mukmin7, Fluxcup8; from the 3rd BaCAA: Muhammad Akbar9, Mujahiddin Nurrahman10, Patricia Untario11, Syaiful Aulia Garibaldi12; from the 4th BaCAA: Agan Harahap13, Aliansyah Caniago14, Eldwin Pradipta15, Faisal Habibi16, Harits Rasyid Paramasatya17, Maharani Mancanagara18, Muhammad Vilhamy19 and from the latest 5th BaCAA: Cynthia Delaney20, Deni Ramdani21, Etza Meisyara22, Geugeut Pangestu23, Restu Taufi k Akbar24, Ricky Janitra25, Yovista Ahtajida26

Ba

CA

A a

ss

em

bla

ge