Indonesian

Women Artists

26-02–2019 – 16-03-2019
Gedung A
Galeri Nasional Indonesia

Kurator | Curators:
Carla Bianpoen
Citra Smara Dewi

E-Catalog
E-Catalog
Diselenggarakan oleh | Organized by:

Didukung oleh | Supported by:

“Art, Science, Technology and The Female Spirit
Signifiers of Today and the Coming Era”
Ketua | Chairman
Dr. Inda C. Noerhadi
Penasehat | Adviser
Ade K Syarfuan
Kurator | Curators
Carla Bianpoen
Citra Smara Dewi
Desain Cover | Cover Design
Rie Naftali | After Hours
Desain | Design
Ardiles Hamzah
Foto | Photo
Fendi Siregar
Sri Daryani Daftar Isi | Content
Carla Bianpoen
Manajer Pameran | Exhibition Manager
Rifky Effendy
Sambutan Ketua Yayasan Cemara Enam | Chairperson Cemara Enam Foundation Preface 4
Terima Kasih kepada | Thanks to:
Konfir Kabo Sambutan Ketua Galeri Nasional Indonesia | Chairperson National Gallery Indonesia Preface 5
Ignatia Nilu Catatan Kuratorial | Curatorial Notes 6
Perupa | Artists 12
E-Catalog
Karya | Works 14
Berdasarkan pameran yang di adakan sebagai extension dari launching buku dengan penerbit Cemara
CV Perupa | Artists’ CVs 56
Enam Foundation dengan judul yang sama yang di tulis Carla Bianpoen
CV Kurator | Curators’ CVs 92
Based on the exhibition held as an extension of the book launch of the same title Peliputan Media | Media Coverage 97
authored by Carla Bianpoen, published by Cemara Enam Foundation.
3
Cemara 6 Galeri-Museum
dan Keberpihakannya
pada Perupa Perempuan
Cemara 6 Galeri-Museum
and its support for women artists
Inda Citraninda Noerhadi
Cemara 6 Galeri Museum didirikan pada 4 Desember
1993, disertai oleh semangat feminisme pendirinya,
Prof. Dr. Toeti Heraty N-Roosseno. Semangat itu yang
membuat kami akan selalu mendukung proses kreatif
perupa perempuan Indonesia. Misal tahun 1998,
kami menyelenggarakan “Women in the Realm of
Spirituality”, pameran karya 16 perupa perempuan di
Galeri Nasional Indonesia dan Pontifical University of
Gregoriana, Roma-Italia.
Awal tahun 2019 kami menerbitkan dan meluncurkan
Perdana buku Indonesian Women Artists: “Into the
Future” oleh Carla Bianpoen, disertai pameran “Into
the Future” dengan narasi yang dipresentasikan oleh
perjalanan artistik 21 perupa perempuan kontemporer
dan mengisi diskursus seni rupa kita dengan narasi
perempuan yang berlangsung 26 Februari – 16
Maret 2019 di Galeri Nasional Indonesia, didukung
rangkaian program edukasi publik seperti Bedah
Buku, Art Talk, dan Diskusi.
Salam budaya,
Ketua Yayasan Cemara Enam
Chairperson Cemara Enam Foundation
Cemara 6 Galeri Museum was established on
4 December, 1993. Its set up was inspired by a
feminist spirit of her founder Prof. Dr. Toeti Heraty
N-Roosseno. Consequently, this spirit has been
our all-time inspiration to support women artists’
creative forces. In 1998, for instance, we organized
“Women in the Realm of Spirituality”, an exhibition
of 16 Indonesian women artists, which was held at
the National Gallery of Indonesia as well as at the
Pontifical University of Gregoriana, Roma-Italia.
In early 2019 we ventured into our maiden
publication of an arts book on women artists.
Authored by the senior writer of contemporary
art, Carla Bianpoen, the book titled “Indonesian
Women Artists: “Into the Future” was launched
along with an exhibition of the same title, informing
on the works of 21 contemporary women artists
representing a new direction in contemporary art.
Held at the National Gallery of Indonesia from 26
February – 16 March 2019, the event extended with
a range of public programs, such as a Book Launch,
Art Talks and Discussions.
Pesan dari Galeri Indonesia | Message
from the National Gallery of Indonesia (GNI)
Pustanto
Pameran Indonesia Women Artist (IWA) 2019
“Into The Furture” , yang diadakan di Gedung A
Galeri Nasional Indonesia (GNI), memiliki peran
penting karena memperluas kesempatan bagi publik
untuk mendapatkan informasi dan pengetahuan
yang lebih mendalam tentang perkembangan seni
rupa Indonesisa khususnya melalui peran perupa
perempuan. Dengan menyaksikan secara langsung
karya-karya pada pameran IWA 2019, masyarakat
mendapatkan pengalaman estetis dan rekreasi visual
yang sangat berharga, sehingga peran GNI dalam
peningkatan edukasi publik melalui pameran seni
rupa terlihat nyata. Pada sisi lain diharapkan pameran
ini dapat memperkaya sekaligus melengkapi arsip seni
rupa Indonesia.
Kepala Galeri Nasional Indonesia
Head of National Gallery of Indonesia
The importance of the exhibition Indonesian
Women Artists: “Into the Future”, which was held
at the Nastional Gallery here lies in its providing
the general public with in-depth information and
knowledge on art development in Indonesia, and
women artists’ particular roles in it. Watching the
works in person and from close-by, the public,
enjoyed access to visual and aesthetic experience,
which GNI is happy to have helped facilitate.
5
Catatan Kuratorial | Curatorial Notes
Into the Future :
The Future has Arrived!
Hari ini merupakan “Future” (masa depan) yang
kemarin dan akan menjadi masa lalunya hari esok.
Jadi kita berada di tengah tengah masa depannya
kemarin, dan apa yang kemarin merupakan mimpi
belaka, hari ini sudah menjadi kenyataan yang tak
terbantahkan. Teknologi sedang berkembang pesat,
penemuan baru ilmu pengetahun memperkaya
kehidupan, dan roh perempuan sedang membuat
terobosan.yang tidak dapat ditahan lagi. Semua itu
membuka tantangan dan kemungkinan serta cara
baru dalam seni rupa kontemporer yang menciptakan
“Art of Another Kind”, seni rupa baru, atau Seni Rupa
Kekinian, “NOW ART”.
Diliputi roh perempuan, dan diperkuat dengan
teknologi baru serta penemuan sains yang mutakhir,
karya karya dalam pameran ini menandakan spirit hari
ini menjelang hari esok.
Beberapa isu dan tema yang digarap mungkin sama
dengan yang terdapat sebelumnya; konstelasi dunia
sebagaimana dirasakan perupa mungkin terkesan
lebih gelap dari yang diharapkan, tapi cara mereka
menggarapnya diliputi roh perempuan, suatu “sense”
dan “sensitivitas” yang khas perempuan.
Karya karya mereka berbicara mengenai identitas,
frustrasi, kegetiran, kedukaan, kritik dan keprihatinan
intens mengenai keadaan sosial dan lingkungan.
Instalasi dinding Maradita Sutantio (kelahiran
1984) berjudul Speculative Present berupa
sejumlah pendulum memberi aksen pada pendapat
bahwa hari kemarin dan hari ini hanya berbeda
satu menit. Hari ini adalah momen penerobosan
batas batas, membanjirnya informasi global yang
membuka berbagai kesempatan baru dan cara
kerja yang baru. Namun menandakan juga suatu
Today’s Present Time was yesterday’s Future and
will tomorrow be the Past.
So we are today in the midst of yesterday’s ‘future’ ,
and what was yesterday visionary has now become
reality. Technology is thriving, new findings in
science are life-enriching and the female spirit is
making a breakthrough, all of which are opening up
new challenges, new possibilities and a new way
doing in contemporary art evoking Art of another
kind, which we may name “NOW ART”.
Infused with the female spirit, and amplified with
new technology and scientific knowledge, they signify
the spirit of the present time and the coming era.
Some issues and themes in the exhibition may
sound the same as before, and the state of the
world’s constellation as viewed by the artists may
appear darker than would be expected, but the
way they are dealt with is replete with the female
spirit (roh perempuan), a female take of Sense and
Sensitivity marking works that talk about identity,
frustration, anguish, grief, critique and profound
social and environmental concerns, leading to
visions of yet another future.
Maradita Sutantio (1984)’s wall installation of
pendulums accentuates, that Past and Future
are only one minute apart. Today is a time when
boundaries have broken down, letting in an
overwhelming influx of global information and
new challenges are opening up new ways of doing.
Titled Speculative Present it, however, also puts
forward insecurity of where we stand and concern
of the impermanence of things. Dita Gambiro (b.
1986) expresses such state of overwhelming impact
in the dwindling security of the real self with an
kekhawatiran yang baru dan ketidakpastian tentang
dimana kita harus berpijak.
Dita Gambiro (kelahiran 1986) mengungkapkan
kegelisahan akan kepastian the self yang dibanjiri
pengaruh global sehingga menutupi jati diri dengan
Instalasi Distorted Reality yang memakai pakaian
sebagai metafora diri, persepsi, presentasi diri, baik
sebagai individu dan kelompok individu. Pada display
yang melingkar terlihat layer baju baju yang berbayang
satu pada yang lain.
Sanchia Hamidjaja (kelahiran1983) dengan karya The
Future is Abandoned menampilkan kekecewaan hari
ini yang merupakan masa depan kemarin: ilustsrasi
digital pada sebuah kotak cahaya menyerupai
sebuah kota modern, namun jika diamati lebih
dekat mengungkapkan sebuah kota yang dibangun
diatas sampah yang tidak layak dihuni manusia.
Menghadirkan sebuah masa depan yang mengerikan.
Karya kedua Undisposable Guilt merupakan jawaban
personal. Merasa bersalah telah memberlakukan
plastik sebagai item yang dibuang tanpa perasaan
sedikitpun, ia ingin perbaiki sikap dan membuat
replika dari obyek sekali pakai itu dengan bahan yang
memiliki keterikatan emosional baginya, seperti bahan
untuk baju pengantin atau baju pesta. Menjahit dan
menyeterikanya membangkitkan emosi yang hilang
pada prilakunya terhadap kantong plastik.
Identifikasi dan bagaimana kita tampil melalui tatapan
orang lain merupakan masalah penting bagi diri
seseorang. Erika Ernawan (kelahiran 1986) yang sering
merepresentasikan konsep “tatapan” dan ketubuhan”
yang dipandang orang lain, pada karya Ways of Seeing,
ia ingin mengedepankan pandangan dan perspektif
dirinya sendiri tentang konsep dan latar belakang
“tatapan”. Dengan sebuah instalasi berupa konstruksi
besi, digital print pada bidang acrylic/Perspex dengan
penggunaan cahaya neon Erika sekaligus memberi
tawaran kepada penonton untuk mengalami perubahan
pengertian “tatapan” tersebut.
Identitas juga merupakan masalah penting pada
karya Fika Ria Santika (kelahiran1987). Karya patung
Tumpuk Lapis Tampak Isi:Limpapeh 3 memakai
tehnik etnik canggih. Tulisan dari petatah petitih yang
dijahit manual dengan benang putih pada patung ini
ia ingin mengungkapkan keberadaan perempuan di
kampong halamannya di Minangkabau.
installation titled Distorted Reality. To what extend
is the ‘I’ authentic ? Featuring dresses made of
transparent organdy as metaphors of the self; are
set in suspended circular formation, layered and
casting shadows one on the other.
A dwindling of the ‘I’ is a more than worrisome
outlook of today’s presence which is yesterday’s
future, and we might be worndering about tomorrow
or the coming future. Sanchia Hamidjaja (b.1983)
in The Future is Abandoned presents the delusion
of the present day that was yesterday’s future: a
digital illustration set in a light box, appearing like
the ideal of a modern city, but a closer look reveals
its built on trash, unlivable for human beings. It is
a frightening picture that evokes the question what
tomorrow will bring. A second work
Undisposable Guilt is a personal guilt trip that
brings the plastic bag into question. For personal
reasons feeling guilty to have treated the plastic
bag as an easily disposable item, without having
had the least of feeling, she wants to make good. In
a personal take, she makes replicas of disposable
objects of delicate fabric to which she has an
emotional attachment. Sewing and ironing each
item intensifies the emotional that was missing in
her treatment of disposable plastic bags.
Identity and how we appear through the gaze of
others remains an important issue of self. Erika
Ernawan (b. 1986) whose works used to emphasize
the gaze related to the body, now aims to put
forward the gaze in the artist’s perspective, offering
the audience to experience the change in Ways of
Seeing, an installation of racks displaying materials
as is, including neon lights and a painting with a
moving image). Identity is also an issue at the work
by Fika Ria Santika (b.1987), whose sculpture
aided with advanced technology still speaks about
women’s existence in her home land Minangkabau.
Borders, an issue of world scale, is also poignant
at the tiniest local level, where house gates are
meant to function as a protector of one’s private
area. Illegal crossing the gate into a private
domain is an act of contempt evoking unwanted
negative emotions. Restu Ratnaningtyas (b.
1981) expresses that with her participatory work
Invisible Boundaries featuring polyester boxes tied
7 Catatan Kuratorial | Curatorial Notes
“Perbatasan”, isu global, tapi juga pedih dirasakan
pada tingkat lokal. Pintu gerbang rumah-rumah
memiliki fungsi sebagai pelindung dari ranah pribadi.
Pelanggaran ilegal menyeberang pintu gerbang
ke area pribadi, merupakan tindakan pelanggaran
yang membangkitkan emosi negatif yang tidak
diinginkan. Restu Ratnaningtyas (kelahiran 1981)
mengungkapkannya dengan karya partisipatoris
Invisible Borders. Visi ditampilkan melalui kotak
polyester yang terikat pada dinding dengan benang
tipis. Siapa saja yang ingin melihat apa yang ada di
dalam kotak harus melangkah di atas benang dengan
resiko menginjaknya.
Namun konsep”Perbatasan” di Jerman
merupakan isu pengungsi dan pekerja migran
yang melewati perbatasan dan oleh masyarkat
Jerman dipandang dengan tatapn mata curiga. Elia
Nurvista (kelahiran 1983) melalui karya instalasi
Früchtlinge menggambarkan pemukiman di Berlin
dan mencerminkan ambiguitas yang dia temukan
disana, ketika di satu sisi pendatang dan pengungsi
cenderung akan dibenci, tapi di sisi lain buah-buahan
tropis yang eksotis dianggap keren. “memelesatkan”
kata Fluchting (pengungsi) menjadi Früchtlinge
(merujuk ke buah2an).
“Hidup hari ini seperti di belantara” kata Andrita
Yuniza Orbandy (kelahiran 1994) yang menginginkan
kebebasan seperti burung yang tinggal dalam
perdamaian dan kebahagiaan. Sampai akhirnya ia
menemukan dia perlu melindungi kebebasannya
dan memperkuat batinnya. Mengikuti kehidupan
burung yang membangun sarang mereka sebagai
tempat perlindungan, dia membangun struktur
seperti benteng dan terbuat dari ranting ranting
pohon dan memberinya judul Weaving Joints of Self
(Menganyam Sendi-Sendi Diri).
Enerji, makanan, kesehatan dan industri, sangat
erat berhubungan dengan kebiasaan makan kita.
Apa yang akan kita makan sebagai sarapan pagi
ini?, tanya Prilla Tania (kelahiran 1979 ). Karya
instalasi ini menawarkan konsep partisipatoris
pengunjung dengan memberi pilihan pada jenis
makanan tradisional daerah dan makanan ‘pabrikan’
apa yang akan diplih, melalui karya berjudul
Demokratisasi Karbohidrat (pemilihan demokratis
Karbo). Keterasingan antara manusia dan alam telah
menyebabkan bencana yang paling menyedihkan
to the wall with thin threads. Anyone wanting to see
what’s in the boxes has to step over the threads.
But borders in Germany have a specific meaning,
as refugees and migrants are looked at with a
suspicious eye.
Elia Nurvista (b. 1983) who made her work in a
residency in Berlin, reflects on the ambiguity she
found there, when on the one hand migrants and
the refugees tend to be loathed, but on the other
hand tropical an exotic fruits are considered cool.
Twisting the word Fluchtling (refugee) she calls her
installation Früchtlinge (referring to fruit).
Today life is like in the wilds, finds Andrita Yuniza
Orbandy (b. 1994) who wishes to be free as a
bird and living in peace and happiness. To that end
she finds she needs to protect her freedom and
strengthen the inner being. Following birds’ lives
who build their nests as havens of protection, she
constructs a fort-like structure of tree branches in
analogy of a bird’s nest, calling her work Weaving
Joints of Self.
Energy, food, health and industry are closely related
to our eating habits and food intake. What will we
have for breakfast, asks Prilla Tania (b. 1979)
presenting her participatory installation of a choice
of local traditional food and ‘fabricated’ food items
titled Demokratisasi Karbohidrat (Democratic
selection of Carbo). A second work consists of
charcoal drawings of plants growing local produce
as healthy alternatives to growing imported,
unhealthy foods.
Alienation between man and nature has led to
disasters of the gravest kind today, leaving its
impact on the entire world, including artists. A
deeply saddened Etza Meisyara (b. 1991) created
Ode to the Homeland when she was abroad in
residency at the time a Tsunami shocked South
Sulawesi and the world. To express her grief she
had her photo etchings oxidized in the waters of
the ocean, at the same time evoking a melancholic
turquoise hue. Meanwhile earth quakes, fires,
floods, social conflicts and killings continued
in unprecedented frequency leaving Theresia
Agustina Sitompul (b.1981) deeply concerned
with the human condition. Her installation Menabur
Benih (sowing) consisting of linocuts on hydrophilic
seperti hari ini, meninggalkan dampaknya terhadap
seluruh dunia, termasuk seniman.
Alienasi yang terjadi antara manusia dan alam
berdampak mendalam termasuk pada para perupa.
Etza Meisyara (kelahiran 1991) merasa keresahan
yang sangat ketika ia mendengar mengenai bencana
tsunami yang terjadi di Sulawisi Selatan. Suasana hatinya
mengilhami karya Ode to the Homeland. Etsa yang ia
buat dengan oksidasi dalam air laut membangkitkan
rasa iba yang terekspresi dengan warna turquois. Karya
instalasi diberi aksen dengan karya multimedia Tree of
Life yang mengeluarkan bunyi2an alam.
Theresia Agustina Sitompul (kelahiran 1981) sangat
prihatin dengan kondisi tersebut. Rasa prihatinnya
ditunjukkan melalui karya Instalasi Menabur
Benih , sebagai ungkapan mendesaknya proses
menyembuhkan luka tersebut. Karya didahului
dengan menyelesaikan masa lalu. Sebuah Instalasi
berupa sederet instalasi ini menggunakan media kain
kasa hidrofil dengan proses teknik linocut.
Octora (kelahiran 1982) percaya bahwa melanjutkan
ke masa depan perlu penyelesaian masa lalu.
Instalasi berupa ubin keramik bertuliskan kata
kata kunci yang merujuk pada aksi 1965 terhadap
Komunisme dan terikat dalam judul Kuburan Kata
menandakan waktu yang panjang telah berlalu tanpa
penyelesaian yang jelas mengenai ketidakadilan yang
mengerikan. Tetapi dalam menanggapi kesuraman
Octora menciptakan karya lain sebagai respons. Puisi
Untuk Masa Depan menampilkan plat besi dimana
karat tetap menyinarkan harapan.
Maharani Mancanagara (kelahiran 1990) yang telah
menggali kedalam dokumen-dokumen kakeknya
menemukan jurnal wartawan, yang menceritakan
bagaimana mereka menahan ketidakadilan ketika
dipenjara. Sementara kakeknya menderita di bawah
pemerintahan kolonial, ironisnya ketika terjadi
gelombang pembebasan nasional, kakeknya kembali
dipenjara. Maharani bermaksud untuk memperbaiki
ketidakadilan melalui karya seni yang dihadirkan
dengan instalasi Looking Back to the Future berupa
kotak kotak penyimpanan bahan dokumentasi beserta
instalasi berupa Koran dalam proses percetakan.
Yaya Sung (kelahiran 1986) dengan instalasi nya
yang muram berwarna putih Liberty Markers : An
gauze cotton denotes the imminent need of healing
the wounds.
The Past is reviewed in works that signal its
importance in seeking a better future. Octora
(b.1982) believes that proceeding to the future
needs to be preceded by settling the past. A large
installation of keywords on ceramic tiles referencing
1965 actions against communism, tied in the title
Kuburan Kata (Sepulchre of words) denotes how
years have gone by without adequate settlement
of the horrors of injustice. But in response to the
gloom another work Puisi untuk masa depan
(Poetry for the Future) features an iron plate where
hope should shine through the rust. Maharani
Mancanagara (b.1990) who has delved into
her grandfather’s documents found journals of
journalists narrating how they survived injustice
while incarcerated. While her grandfather suffered
under the colonial rule, ironically the tide of national
liberation saw him incaracerated again. Maharani
is intent to correct injustice with art. Yaya Sung
(b. 1986) with her white and somber installation
Liberty Markers: An Entity 100 Years Away
retraces the her involvement in various actions of
protest imagining the tools and objects infused with
her emotions at the time, in a hundred years from
now. They will have faded into artifacts buried in the
ashes of oblivion.
As the future is setting in into the present time,
some great advances have evolved. Science and
technology have previously been considered an
exclusive prerogative of men, but open source
technology and women creating their own women
friendly technology have provided access to new
challenges and new ways of doing, as proven
by Irene Agrivina Widyaningrum. For her work
Tajin, she used a biological process with open
source software and hardware to create underwear
that protects the female body against harmful
pollutants that are usually used in modern fashion
industry. She converted porridge (air tajin) into
cellulose, then added a number of bacteria such
as acetobacter, xylinum as well as floral bacteria
from the female genitalia. Tajin (starch) made with
simple tools and materials that are easily found
around women’s daily lives, is a momentum in art
history that must chronicle this female innovation
in technology. Certainly the delicate and beautiful
9 Sambutan
Entity 100 years menapak kembali keterlibatannya
dalam berbagai tindakan protes pada zamannya. Ia
membayangkan kembali alat dan benda-benda yang
mengandung penuh emosi ketika digunakan pada
aksi protes dulu. Membayangkannya pada 100
tahun kemudian ia sadar bahwa semua benda itu
akan telah menjadi artefak yang terkubur dalam abu
kelupaan zaman.
Disamping masa kelabu yang terbayang dari beberapa
karya, perlu diperhatikan masa yang namanya Future
yang sudah menjadi masa kini, telah membawa
kemajuan yang dahsyat. Sains dan teknologi yang
sedianya dianggap wilayah kaum pria, kini sudah
berubah dengan masuknya open source technology
serta teknologi ramah perempuan yang diciptakan
perempuan sendiri, sebagaimana dibuktikan Irene
Agrivina Widyaningrum. Pada karyanya Tajin, Irene
menggunakan proses biologis dengan open source
perangkat lunak dan perangkat keras untuk membuat
pakaian yang melindungi tubuh perempuan terhadap
polutan berbahaya yang biasanya digunakan dalam
industri fashion modern. Melalui proses air tajin
ia membuat selulosa, kemudian menambahkan
sejumlah bakteri seperti acetobacter, xylinum, serta
bunga bakteri dari alat kelamin perempuan. Tajin
(Pati) dibuat dengan alat-alat sederhana dan bahan
nonformal yang didapat dengan mudah, ditemukan di
sekitar kehidupan sehari-hari perempuan. Merupakan
inovasi perempuan yang perlu dicatat dalam penulisan
sejarah senirupa.
Tabung-tabung yang terbuat dari kaca yang halus
dan indah pada instalasi sunyi Silent 2 karya Cecilia
Patricia Untario (kelahiran 1984) menyentuh secara
mendalam pada kehidupan perempuan hari ini.
Melambangkan kondom modern yang merupakan
pelindung seksual, karya ini yang menampilkan lima
panel masing-masing terdiri dari dua belas tabung
kaca indah halus, berbicara mengenai pentingnya
pendidikan seksual. Cecilia meniupnya sendiri ala
peniup Murano (Itlia).
Tujuh panel mixed media karya-karya Ayu Arista
Murti (kelahiran 1979) berjudul Embryo Harapan.
Ditengah segala kemuraman masa kini, Ayu ingin
menyampaikan harapan untuk masa mendatang. Ia
percaya pada alam dan sering menciptakan karya
karyanya dengan memakai bantuan air, angin dan
matahari untuk membentuk garis dan warna cerah.
glass tubes in the installation Silent 2 by Cecilia
Patricia Untario (b. 1984) touch deeply into
women’s lives today as they seek to embolden the
self with sexual protection. Featuring five panels
each carrying twelve beautiful and delicately self-
blown glass tubes symbolizing modern condoms; it
speaks of the importance of early sexual education.
The seven panels of mixed media works by Ayu
Arista Murti (b.1979) is about hope in the face of
disasters. Instrumental in creating the works are
water, wind and the sun by which lines are formed,
paint is dried. Its title Embryo Harapan (Embryo of
Hope) says it all.
The development of new media art is emphasized
by focusing on color. Syagini Ratna Wulan (b. 1979)
who previously had been impressed by the power
of light and giving her works numerical titles, this
time makes a huge work with lacquer paint. Syagini
denotes color by its waves. ‘Even as I imagine the
world without any human being, there will always be
light”. Her work with lacquer paint on plexiglass is
titled 31.85 (6.21462,106.84513) referring to the
level of the rainbow’s slant and the longitude and
latitude of Jakarta.
Meanwhile Tara Astari Kasenda , mimicking the
idea of the impressionists who used to study color
‘en plein air’, to observe the changing light and how
it affects the environment, brings back the idea
to the 21st century by using technology and new
media. Photographing the changing Parisian sky
no less than 400 times since August 2018, she has
condensed the colors to 9 RGB using Photoshop
and coding in open proceedings and presents the
changing skies in a video projection titled Sous Les
Cumulus Humilis (under a network of clouds).
Kinez Riza (b. 1989) uses her camera to make
pictures of the changing moon as it captures
nature’s phenomena. A series of 7 photographs
each measuring 15.42x2159 cm are printed on
Ilford smooth pearl.
The Future as Natasha Tontey (b. 1989) imagines
it, takes away the center from the human being.
In a science quasi-fictional quest she explores the
idea of eco-centric futurism in which the cockroach
as the only single species able to survive the many
Syagini Ratna Wulan (kelahiran 1979) yang banyak extinction events and epochal transformation might
terinspsirasi oleh kekuatan cahaya, dan gelombang be the key to a sustainable future. In this she leans
warna sering memberi judul karya dengan cara angka on the Manifesto of Xenofeminism that the future
angka. Kali ini karya yang memakai lacquer paint, includes non-humans. From Pest to Power is a
berwarna putih diatas plexiglass, diberi judul 31.85 project that is still in progress.
(6.21462, 106.84513). Menurutnya, ia memakai
hitungan fisika dan geografi .Angka 31.83 adalah
derajat kemiringan pelangi. Yang dalam kurung itu
koordinat kota Jakarta.
Sementara Tara Astari Kasenda (kelahiran 1990) Carla Bianpoen
terinspirasi ide impresionis yang pada waktunya Citra Smara Dewi
mempelajari pengaruh warna ‘en plein air’. Ia ingin
membawa kembali gagasan para impresionis dulu
ke abad 21. Untuk itu ia menggunakan teknologi
dan media baru. Mengamati perubahan cahaya di
cakrawala awan diatas kota Paris dan bagaimana hal
itu mempengaruhi lingkungan, ia memotret perubahan
langit diatas kota Paris tidak kurang dari 400 kali sejak
Agustus 2018. Lalu ia abstraksi ribuan wana menjadi
9 RGB dengan menggunakan Photoshop dan coding.
Proses proses perubahan langit divisualisasikan
dalam proyeksi video berjudul Sous Les Cumulus
Humilis (di bawah jaringan awan)
Kinez Riza (kelahiran 1989) juga menatap langit
dan menemukan bulan sebagai obyek yang penuh
misteri. Iapun menggunakan kamera untuk merekam
fenomena alam pada perubahan perubahan yang
terjadi pada cyclus bulan. Tujuh foto detail pergerakan
bulan dari kuartal pertama hingga akhir cyclus di
presentasi dengan print berukuran (15.42x21,59cm)
diatas kertas Ilford mutiara halus.
Masa depan sebagaimana dibayangkan Natasha
Tontey (kelahiran 1989), mempertanyakannya
dengan spekulasi yang memakai metoda fiksi-nyaris-
ilmiah (science-quasi-fiction) dan mengeksplorasi ide
masa depan yang lebih eco-sentris.
Instalasi video yang berjudul From Pest to Power
mengangkat kecoa, mahluk yang marjinal dan
tersingkirkan, tapi yang merupakan satusatunya
species yang dapat bertahan dan yang mungkin saja
menjadi kunci untuk masa depan yang berkelanjutan.
Terinspirasi oleh Manifesto Xenofeminism bahwa
masa depan tidak lagi berpusat pada manusia saja
tetapi ikut memfokus mahluk mahluk lainnya, karya ini
masih dalam proses pengembangan.
11
Perupa | Artists Andrita Yuniza Orbandi Bandung

Ayu Arista Murti Yogyakarta

Cecilia Patricia Untario Bandung

Dita Gambiro Jakarta

Elia Nurvista Yogyakarta

Erika Ernawan Bandung

Etza Meisyara Bandung

Fika Ria Santika Yogyakarta

Irene Agrivina Yogyakarta

Kinez Riza Jakarta

Maharani Mancanagara Bandung

Maradita Sutantio Bandung

Natasha Tontey Jakarta - Yogyakarta

Octora Bandung

Prilla Tania Bandung

Restu Ratnaningtyas Yogyakarta

Sanchia Tryphosa Hamidjaja Jakarta

Syagini Ratna Wulan Bandung

Tara Astari Kasenda Jakarta

Theresia Agustina Sitompul Yogyakarta

Yaya Sung Jakarta

13
Andrita Yuniza Orbandi
Segala yang ada di dunia ini
bertumpu pada waktu. Segala
sesuatunya memiliki periode
masing-masing. Akan ada akhir
bagi setiap awal. Hidup seperti
mengulang 24 jam yang persis
sama sampai kesempatannya
habis. Satu-satunya perbedaan
hanyalah apa yang kita lakukan
dalam 24 jam tersebut.
Mengontrol atau dikontrol.
Oleh sebab itu, saya pikir untuk
dapat bertahan hidup dan
melakukan yang terbaik dari
24 jam yang kita miliki, kita
harus mengembangkan hati
yang kuat. Sehingga, apapun
yang terjadi diluar diri, baik hari
ini atau esok hari, kita tetap
dapat kuat mempertahankan
kedamaian dalam diri.
Everything in this world is
time-based. Everything has its
own period. There will be an
end for every start. Life is about
repeating the same exact 24
hour a day, over and over again,
until we run out of chance. The
only difference is what we do
with our time. Control or be
controlled. Therefore, I think in
order to survive life and make
the best out of 24 hour we have,
we must develop a strong heart.
Hence, no matter what happens
outside, today or tomorrow, we
will be able to stand strong and
attain the peace inside.
To me, the world today is like
living in a jungle—where the
strongest beats the weakest.

“Hidup hari ini seperti di Birds create its nest as their

belantara” yang menginginkan
kebebasan seperti burung yang
tinggal dalam perdamaian dan
kebahagiaan. Sampai akhirnya
ia menemukan dia perlu
melindungi kebebasannya
dan memperkuat batinnya.
Mengikuti kehidupan burung
yang membangun sarang
mereka sebagai tempat
perlindungan, dia membangun
struktur seperti benteng dan
terbuat dari ranting ranting
pohon.
home as well as their sanctuary
and fort. Birds can’t change the
weather and the predators but
they can control their sanctuary
by creating a strong structure.
If we think of the nest as the
analogy of a human’s heart,
I think heart is the center of
our universe. Just like nest
to birds when surviving their
jungle life. Our only fort is not
a big house, great career and
tons of money, but a strong
heart. Change takes time.
In order to attain a strong
heart we need perseverance
and endurance. Therefore,
freedom is not when we have
no enemy or problems—just
like predators, bad weathers or
threats. Freedom is when we
have an utmost authority over
ourselves, whenever it is.

Menganyam Sendi–sendi Diri, 2019

Diameter 3 m
Instalasi, Ranting Pohon dan Mixed Media
Dimensi: variabel

15
Ayu Arista Murti

Ini adalah cerita This is a tale of the rainy season

Di musim penghujan A poem about water that flows
Saat air mengalir mengisi cererukan like flash floods over the earth
Tak bertepi when all is dusk and breath
Bagai banjir bandang anyer panarukan stops before the night
Yang luber membasahi bumi
Melalui belah rekah But you know my dear, that
Atau urat nadi At every rainy season
Pipa Api Water washes and cleanses the
thrash
Maka waktu itu It evokes the seed of life
Seperti senjakala mati And when morning breaks
Seperti tercerabut nafasnya the rays of the morning sun
Dalam kaisan kaki will shine again denoting hope
Pada kelam malam sunya ruri and new life…

Tapi sayangku
Tahukah kamu…
Pada setiap musim hujan
Adalah air yang membasuh kotoran
Juga memberikan benih kehidupan
Seperti mentari pagi yang kembali lagi
Memberikan sinaran
Memberikan sinaran
Dan harapan
Kehidupan

Embryo Harapan, 2019

Mixed media
250 x 180 cm

17
Cecilia Patricia Untario
Di Indonesia masih saja
tabu dalam membicarakan
seks, terutama pentingnya
pendidikan seks pada anak.
Pendidikan seks sangatlah
penting untuk menghindari
penyimpangan - penyimpangan
negatif seks pada perempuan
ataupun anak. Pendidikan seks
dapat membuat manusia lebih
menghargai arti reproduksi
dan bukan hanya pada sisi
eksploitasinya saja. Ketika saya
bersekolah di Italia, kami sering
berdiskusi hal-hal mengenai
seks dengan teman-teman
perempuan saya, adapun
salah satu teman sejak sekolah
menengah pertama sudah
bersama sang ibu ke dokter
untuk memilih alat kontrasepsi
apa yang cocok. Saya rasa
contoh kasus seperti ini baru
akan hadir dalam satu atau dua
generasi lagi di Indonesia.
Ide karya ini diadaptasi dari
bentuk condom mould yang
terbuat dari bahan kaca yang
biasanya digunakan untuk
memproduksi kondom secara
masal dalam pabrik. Condom
mould ini akan dibuat dengan
bentuk unik dan berbeda satu
sama lain yang diharapkan
akan memiliki kesan fun,
namun dengan material kaca
diharapkan pula masih tetap
memberikan kesan fragile.
Kedua hal ini saya bawa untuk
menghadirkan pesan bahwa
membicarakan seks bukanlah
diskusi terlarang, melainkan
dapat membantu masyarakat
untuk semakin lebih memahami
arti sesungguhnya dari seks.
Silent 2, 2019
560 cm x 20 cm
Instalasi, Glass dan Mixed Media
In Indonesia, to discuss sex is
still taboo, but sex education
is particularly for the youth is
particularly important in order
to prevent negative divergences
for girls and children. Sex
education will inspire the
meaning of reproduction,
and not only in terms of
exploitation. When I studied in
Italy, my friends often talked
about these issues. One of the
girls even said she was only in
middle school when her mother
took her to a medical doctor
to choose a contraceptive. I
guess such will only occur in
Indonesia after one or two
generations.
The tubes in my work is an
adaptaion the shape of a
condom mould made of glass
which is usually used for
condom production. These
condom moulds were made
different from one another and
with unique shapes, hoping to
give the impression of fun, but
the glass nevertheless attaches
a touch of fragility. This I
present here to discuss sex, not
as a forbidden discussion, but
rather to inspire the people with
understanding what sex really
means.
19
Dita Gambiro
Masa yang akan datang akan
semakin banyak manusia yang
mengalami sensory overload,
dimana satu atau lebih indra
tubuh mengalami rangsangan
berlebih dari lingkungan.
Ada banyak elemen yang
mempengaruhi, contohnya
urbanisasi, kebisingan,
media massa, teknologi dan
pertumbuhan informasi yang
eksplosif. Selama berabad-
abad, persepsi tentang realitas
telah diubah oleh teknologi.
Alat-alat seperti teleskop,
kamera, komputer, smart phone
telah membuka dunia visual
baru, menumbuhkan berbagai
persepsi baru, dan mendorong
tumbuhnya preferensi baru di
masyarakat. Persepsi manusia
berubah dalam kaitannya
dengan lingkungan visual dan
budaya kita. Hari ini, orang
dibombardir setiap hari dengan
ribuan gambar visual yang
berubah. Masyarakat saat ini
terbiasa melihat banyak layar/
visual sekaligus. Ini mengubah
cara kita melihat sesuatu
karena kita hanya melihat
sedikit demi sedikit daripada
keseluruhan gambar. Hanya
melihat di permukaan tanpa
menyelami lebih dalam.
In the future, evermore Distorted Reality, 2019
people will experience a Instalasi, Kain organdi
sensory overload, with the dan Mixed Media
Gantungan berlingkar,
body experiencing more
Diameter 1,5 x 2 meter
and more stimulants from
its environment. Stimulants
come from multiple elements,
for instance, urbanization,
noise, the mass media,
technology and explosive
growth of information. For
ages, technology has been
changing the perception
of reality. Instruments like
the telescope, the camera,
computers, smart phones
and the like have opened up
a new visual world, adding a
host of new perceptions, and
supported new preferences in
society. Human views about
the environment and culture
are changing. We are daily
bombarded with thousands of
changing visual images, evoking
many visual layers at the same
time. Seeing images in patches
rather than the entirity of each
image, we tend to just see the
surface without diving deeper
into the matter.
21
Elia Nurvista
Karya ini terinspirasi dari
pengalaman seniman nya, ketika
mendapat kesempatan tinggal
di Berlin. melalui karya video
Früchtlinge menggambarkan
salah satu fenomena pemukiman
di Berlin yang mencerminkan
ambiguitas. Sikap ambiguitas
dalam hal ini terlihat dalam
dua sisi berlawanan, yaitu
ketika di satu sisi pendatang
dan pengungsi cenderung akan
dibenci, tapi di sisi lain hasil
bumi yang menyehatkan seperti
buah-buahan tropis yang eksotis
dianggap keren. “memelesatkan”
kata Fluchting (pengungsi)
Fluchtling (refugee).
Made while in a residency in
Berlin, the video reflects on the
ambiguity found there, when on
the one hand migrants and the
refugees tend to be loathed, but
on the other hand tropical an
exotic fruits from their countries
are considered cool. Twisting
the word Fluchtling (refugee)
the vieo installation is therefore
called Früchtlinge (referring to
fruit).
Früchtlinge, 2019
265 cm x 200 cm
Video art
23
Erika Ernawan
Kata “Future” sering kali
ditujukan pada sesuatu yang
belum hadir, harapan, visi
bahkan ramalan tentang
bagaimana wujud nyata dari
sesuatu yang akan dimaknai
atau dipahami sebagai masa
yang akan datang. Realita
dapat mulai dipahami bersama
hadirnya cahaya yang identik
dengan kemajuan, modernitas
dan segala sesuatu yang
dianggap lebih beradab. Cahaya
yang kita terima saat ini adalah
gelombang cahaya yang telah
dipancarkan dari berjuta tahun
lalu, dengan kata lain dari masa
lampau. Cahaya membantu
manusia dalam persepsi
melihat bentuk, warna, dan lain
sebagainya. Bila kita melihat
lebih dalam, justru pertanyaan
besarnya adalah : Realita yang
kita jalani saat ini sebetulnya
bagian dari realita yang mana?
Yang saat ini betul-betul sedang
terjadi, sudah lampau atau
justru sama sekali yang belum
datang belum kita pahami?
Penggunaan cahaya dalam
ataupun sebagai sebuah kosep
sering kali pula dapat ditemui
dalam karya-karya seni rupa.
Misalnya saja pada seni lukis.
Perubahan gaya dalam seni
lukis melibatkan cahaya, cara
melihat, cara memandang
yang baru, dan cenderung
mengecilkan pemikiran
sebelumnya. Cara melihat/ gaze
ini yang menjadi tema besar di
dalam karya saya. Kata gaze
bersinonim dengan banyak
kata dan bermuara pada inti
dari (cara) melihat, sebelum
sebuah karya diberi nilai, karya
akan melewati serangkaian
objektifikasi yang melibatkan
seluruh aktifitas melihat,
menatap, mencoba memberi
The word “Future” is often used
to denote something which is
yet to come, hopes, vison even
predictions about something to
be understood or intrpreted in
a time to come. A reality which
comes with the understanding
and the appearance of light
which is identical to progress,
modernity and everything that
is considered more civilised.
Light that we experience now,
constitutes waves that have
been raditated a million years
ago, in other words, in the
distant past. Light helps us to
see form, color and the like.
Looking deeper precisely places
us for the big question: What
reality is it in fact that we are
experiencing now, or what part
of which reality ? Is what is
really happening now, already
past or is it yet to come?
The use of light in or as a
concept is often seen in works
of art. In painting , for instance,
a changing trend in painting
involves light, the way we view
a new phenomena which tends
to alter a previous opinion.
The way we view, or the gaze
has been a grand theme in
my works. The word gaze is
synonimous to the essence Ways of Seeing, 2019
of the way of seeing; before a makna, dst. Dalam seni lukis, menjadi material mentah ketika the artist’s perspective, judged 255 cm x 165 cm x 75 cm
piece of work is being judged, sebuah ram hanya sebagai karya tsb kembali ke studio and given meaning; also how it Digital Print on Perspex, Neon, Shelf
the work undergoes a process struktur untuk menahan senimannya. Efek refleksi yang is perceived by the viewer, and
of objectification which involves bentangan kanvas, namun bagi timbul dari gabungan neon dan then returns to its raw version
the seeing and an effort to saya ram menjadi bagian karya perspex menjadi saksi dari in the artist’s studio. The effect
denote. In painting, a ram is yang membuat karya tersebut proses ‘gazing’. and reflection that arises from
just to hold the canvas, but for utuh bukan hanya sebagai the combination of neon light
me a spanram is not only a struktur yang ditutupi. Seperti and perspex stand witness to
structure to support or hold; it halnya rak besi di karya saya. the gaze.
is part of the work, something Instalasi ini memperlihatkan
that makes the work whole. proses bagaimana sebuah
Similarly, this iron structure material mentah menerima
in my work. This installation gaze dari senimannya diberi
shows the process how raw nilai dan makna, menerima
material is being looked at from asumsi dari viewer, dan kembali
25
Etza Meisyara
Ketika saya sedang residensi di
Perancis Selatan saya merasa
keresahan yang sangat ketika
mendengar berita mengenai
bencana tsunami yang terjadi
di Sulawisi Selatan. Suasana
hati mengilhami karya Ode to
the Homeland. Etsa yang saya
buat dengan oksidasi dalam air
laut membangkitkan rasa iba
yang terekspresi dengan warna
turquoise
This work refers to my love
adventures in foreign lands
where rustique landscape
and the scent of age old
buildings evoked in my sense
of undefined melancholy. At
September and December
2018, there was a natural
disaster of tsunami and earth
quake in Palu and Selat Sunda,
Indonesia. The Idea of the sea
is taking into a deep meaning
as beauty and tragedy at the
same time. I went to the sea
dipped the photographs of
the scenery and disaster on
the copper plate. By the time,
the copper plate is oxidized
by the sea salt and ammoniac.
The greenish blue hue that
marks these etching refers
to my feeling at that time. It
is a hue that is not colored
on the plates, but emerged
as a result of chemical liquid
predestined to touch on several
points of the copper plate.
Disclosure of sadness, feeling
of emotion, or pain that cannot
be fully controlled, it becomes a
metaphor as negatively charged
in the oxidation process.
The essence of this art work
delivers humanistic nuances in
favor of the existence of human
beings to involve in the feeling
of melancholia.
Ode to My Homeland, 2019
500 cm x 500 cm
Art Video, Instalasi etsa, video dan pelat etsa
27
Fika Ria Santika
Karya ini merupakan lanjutan
dari karya saya sebelumnya
“limpapeh” . Karya ini terdapat
tulisan yang diambil dari
“petatah petitih” yang berisi
tentang bagaimana seharusnya
perempuan Minangkabau
menjalani kehidupan, saya
menggunakan tulisan sebagai
simbol identitas yang sedang
saya dalami dan pelajari,
seperti karya-karya lainnya
pada seri Tumpuk Lapis Tampak
Isi. Dan apakah petatah petitih
ini dapat benar-benar dipahami
dan diterapkan juga menjadi
pertanyaan bagi saya, masih
dalam bayang dan samar.
Material yang digunakan jaring
nilon dan benang, jaring dibuat
dengan abtrak 3 dimensi,
dengan tulisan tang dijahit
manual menggunakan benang
putih, menghukum lampu spot
sebagai pendukung untuk
membuat bayangan. Material
transparan dan tulisan akan
membuat bayangan dan bentuk
tang tumpang tindih, saling
bertumpuk.
Tumpuk Lapis Tampak Isi: Limpapeh 3, 2019
Instalasi, mixed media
This work is a continuation of
previous works “limpapeh” .
It is covered with texts taken
from “petatah petitih” which
denotes how a Minang woman
should behave. I am using
these texts as symbolic of
identity in exploring culture.
Like the works Tumpuk Lapis
Tampak Isi. Whether these
petatah petitih can indeed
be understood and made to
realise is a question for me the
answer to which is still unclear.
Materials used consist of nylon
nets, thread to sew abstract
3-dimentional forms with
writings using white thread,
spotlight.
29
Irene Agrivina
Beras dan nasi adalah sesuatu
yang sangat dekat dengan
kehidupan kita. Terlebih untuk
perempuan Indonesia, dimana
pekerjaan domestik dan dapur
adalah merupakan sebuah daerah
kekuasaan. Beras mempunyai
banyak kegunaan, terutama
sebagai penyuplai kebutuhan
pangan bagi tubuh. Kegunaan
beras sudah tidak terhitung,
bahkan airnya-pun yang selama
ini sering kita sia-siakan dengan
membuangnya begitu saja,
sebenarnya memiliki kandungan
gizi yang tinggi. Susu beras ini
banyak sekali kegunaannya
mulai dari minuman, remedies,
ataupun sebagai kosmetik.
Ketika kita melihat kehidupan
seorang perempuan, selain
dapur maka sandang adalah
salah satu hal yang cukup
penting pula. Terlebih pakaian
dalam yang sifatnya sangat intim
dan privasi. Namun jika kita
melihat lebih jauh sampah yang
dihasilkan oleh pakaian dalam
yang digunakan perempuan,
maka itu sangat mengejutkan
bagaimana itu proses pembuatan
dan sampah yang dihasilkan oleh
pakaian dalam sangat merusak
lingkungan. Karya ini berusaha
membuat ide-ide pembuatan
pakaian dalam perempuan
yang ramah lingkungan sebuah
sistem loop (berputar) dan
sirkular, yang dapat dikerjakan
atau ditumbuhkan sendiri oleh
perempuan manapun dengan
bahan terdapat di sekitar kita
melalui proses biologis yang
dapat dikerjakan dengan
peralatan sederhana yang
terdapat di dapur.
The work Tajin, shows the
basic materials to produce
female underwear that protect
the body against harmful
pollutants. Women can produce
themselves, with materials
easily found around their daily
lives. Applying a biological
process, aided by open source
software and hardware, the
process converts porridge
into cellulose, then adds a
number of bacteria such as
acetobacter, xylinum as well as
floral bacteria from the female
genitalia.
Tajin, 2019
Instalasi, Mixed Media
31
Kinez Riza

Karya ini terinspirasi dari These are pictures of the

fenomena alam yaitu saat changing cycle of the moon as it
menatap langit dan menemukan captures nature’s phenomena.
bulan sebagai obyek yang A series of 7 photographs each
penuh misteri. Tekstur alam measuring 15.42x2159 cm are
dengan bebagai sensasi dan printed on Ilford smooth pearl.
karakter yang menakjubkan
terekam pada karya ini. Gema
Alam menjadi penekanan
konsep berkarya. Teknik yang
digunakan pada karya ini
menggunakan kamera untuk
merekam perubahan perubahan
yang terjadi pada cyclus bulan.
Foto detail pergerakan bulan
dari kuartal pertama hingga
akhir cyclus di presentasikan
khusus diatas kertas Ilford
mutiara halus, dengan
dengan print berukuran 7x
(15.42x21.59 cm).

Earth Echoes, 2019

7 x (15.42 x 21.59 cm)
Print diatas kertas Ilford mutiara
halus | Print on Ilford smooth pearl

33
Maharani Mancanagara
Banyak hal yang terjadi selama
masa pengasingan tahun
1965 s.d. 1979 (pemulangan
terakhir). Dengan latar belakang
yang beragam, banyak cerita
bagaimana para tahanan politik
berusaha untuk mempertahankan
hidup disana. Bahkan juga banyak
cerita mengenai bagaimana
proses penangkapan, bagaiaman
trauma setelah kepulangan
ke rumah masing- masing.
Berangkat dari hal tersebut, saya
mencoba merangkum beberapa
strategi dari cerita para tahanan
politik yang berprofesi sebagai
jurnalis, bagaimana mereka bisa
bertahan di Nusakambangan
dan Pulau Buru menghadapi
tantangan dan cobaan, sehingga
hal- hal tersebut bisa menjadi
refleksi kolektif supaya tidak akan
terjadi lagi di masa sekarang.
Much has happened during the
time of seclusion from 1965
- 1979 (the last repatriation).
Various backgrounds color
the stories of how the political
prisoners had to try to survive.
Indeed much can be told
also about the process of
incarceration, the traumas
after returning home. This all
made me try figure out how
the political prisoners who
were journalist were able to
survive in Nusakambangan and
Buru island, how they faced
challenges and hardships
in order to preserve it as a
collective reflection, that it may
never again happen today.
Terompet Masyarakat #1– #3, 2019
Warta Pijar # 6, 2019
Instalasi, Mixed Media
35
Maradita Sutantio
Jam yang menjadi alat pengukur
dan penanda waktu pada masa
kini telah menjadi objek yang
dianalogikan sebagai sesuatu
yang mengejar manusia. Diterpa
berbagai rutinitas dan berbagai
tenggang waktu atas segala
sesuatu, menjadikan manusia
urban seringkali terjebak dalam
konsep waktu, masa lalu,
masa kini (present), dan masa
depan. Kuatir akan masa depan
dan dibayangi masa lalu telah
mencederai masa kini (present)
dan disebutkan Giorgio Agamben
sebagai pemiskinan pengalaman.
Dalam kondisi seperti ini,
manusia menjadi terlalu
memikirkan kejadian-kejadian
atau peristiwa di luar dirinya,
dan mengesampingkan waktu
untuk mencari nilai kedirian
yang utuh sebagai seorang
manusia. Pada awalnya konsep
mengenai detik jam adalah
mengenai terukurnya waktu
yang dihasilkan dari pengamatan
manusia akan tanda-tanda
alam yang berpola dan menjadi
siklus. Hingga akhirnya pada
perkembangannya waktu menjadi
alat satuan ukur yang disepakati
manusia. Misalnya mengenai usia
seseorang yang berulang tahun,
hari yang berputar menjadi tahun
setelah melewati 356hari, dan
seterusnya. Masa depan hanya
berselisih “1 detik” dari masa
sekarang yang kita sadari, dan
masa lalu juga berjarak selisih “ 1
detik” dari yang tidak sadari telah
berlalu. Dalam memandang masa
depan banyak sekali spekulasi
yang dapat diskenariokan.
Berbagai hal dapat menjadi
kebenaran sekaligus tidak ada
lagi hal yang mutlak. Sekalinya
kita meng-spekulasikan, maka
seluruhnya menjadi tidak
terbendung lagi. Hingga yang ada
adalah berbagai kemungkinan,
beragam spekulasi realisme akan
waktu masa kini dan masa depan.
The clock as an instrument
to measure and denote time,
has become an object analog
to something that pushes
mankind. Faced with routinity
and time limits that often trap
the urban person in a concept of
time, the past, the present and
the future. Anxiety about the
future and shadows of the past,
are impairing the present time
which Giorgio Agamben calls an
impoverishment of experience.
In such a condition, people
think too much about things or
events outside the self, leaving
little time for the real self as a
human being. In the beginning
the concept of a second was
about measuring time which
was achieved by observing
nature and its signs that
eventually became a cycle, until
in the course of developments,
time became an agreed
measuring tool, as evident
when, for instance a person’s
age adds up with a year after
the passing of 356 days. The
future is only a second away
from the present time and
similarly the past is also only
a second away. In considering
the future, many scenarios give
way to speculations, which
potentially materialize and can Speculative Present, 2019
become reality, and nothing is Instalasi, Mixed Media
certain anymore. The result
is a host of possibilities, and a
variety of speculations about
the now and the future.
37
Natasha Tontey
Karya ini membayangkan masa
depan dengan spekulasi yang
memakai metoda fiksi-nyaris-
ilmiah (science-quasi-fiction)
dan mengeksplorasi ide masa
depan yang lebih eco-sentris.
Instalasi video yang berjudul
From Pest to Power mengangkat
kecoa, mahluk yang marjinal
dan tersingkirkan, tapi yang
merupakan satusatunya
species yang dapat bertahan
dan yang mungkin saja menjadi
kunci untuk masa depan yang
berkelanjutan. Terinspirasi oleh
Manifesto Xenofeminism bahwa
masa depan tidak lagi berpusat
pada manusia saja tetapi ikut
memfokus mahluk mahluk
lainnya. Karya ini masih dalam
proses pengembangan.
“In this project, I look to the
possibility of unlearning human
evolution for manufacturing
future by gaining knowledge
through the agency of
cockroaches. What is consider
as pest might be a key to lead
the sustainable future. Being
marginalized for thousand
years as a creature carrying
diseases and treated as
a fear-some species by
the human counterpart,
cockroaches bear its agency
as the only single species
that could survive the many
extinction events and epochal
transformation. Moreover, the
judgement toward cockroach
is built by the hyper-sterilized
semiocapitalism/biopolitics
idea of ‘proper lifestyle’ in
which overproduction of
synthetic commodity and the
human dis-attachment to
waste generated cockroach
as a peripheral creature
outside human’s cupola. When
everything has to be related
to the human activities, the
filthy cockroaches are not part
of the nature. Human idea to
differentiate the nature and
culture embraced the notion of
speciesism for the cockroach.
This project is a science-quasi-
fictional quest into a peculiar
behavior of cockroach that is
constituted as an assemblage
of nocturnal, habitable,
homeopathic, and resourceful
material to explore the idea of
eco-centric futurism—which
means human is not the center
for everything. The artistic
gesture of this artwork is that
of presenting a collection of
texts and images in the form
of published book for inter-
species reciprocity between
human and cockroach. This
publication will explore the
potential of future-developing
involving cockroach as a source
material. In addition, a video
displays the visuality of the
research will also be installed
as part of the installation. In
order to extend the artistic
expression of this phenomenon,
a reading-performance will
be held while implementing
the installation space as
the cenacle of transferring From Pest to Power, 2019
knowledge. The performance, Video Installation, Wallpaper
which consists of human being Installation, Reading Performances
reading the passage from the
publish book while passively
interacting with the audience,
is an act of mimicking the
existence of cockroach—that
being somehow ignored but
yet menacing. The installation
and performance draws on a
mode of representation and
expression of the immersed
image for the complex and
fragile interactions and
responses between human and
cockroach”.
39
Octora
“Puisi Baru Untuk Esok Hari”
adalah karya yang saya buat
sebagai respond terhadap karya
“Kuburan Kata” yang pernah saya
buat. “Kuburan Kata” merupakan
reaksi saya terhadap bagaimana
perubahan ideology berimplikasi
terhadap berhentinya
penggunaan istilah tertentu
dalam masyarakat,. Saya tidak
memiliki intensi untuk berpihak
terhadap pemaknaan kata kata
ini sebagai baik dan buruk.
Sebagai seniman saya mengamati
bagaimana kekuasaan dapat
berimplikasi terhadap dinamika
linguistic suatu masyarakat
yang mana berkaitan dengan
konstruksi “Sejarah”. Sejarah
dalam konteks masyarakat
modern adalah tentang tulisan
, ekspresi linguistic, ketika ada
“Puisi Baru Untuk Esok Hari” is
a work that I created to respond
to the installation “Kuburan
Kata” which I had made earlier.
“Kuburan Kata” is my reaction
to the way a change of ideology
impacts on the use of a certain
saying in society. I do not mean
to take sides towards the way
those words are interpreted
as good or bad. As an artist,
I observe how power is able
to implicate on linguistic
expression of a society, and
relates to the construction of
“History”. When History in
the context of modern society
is about writing, linguistic
expression and when meaning
and use of linguistic elements
is intervened, then it will
implicate on the construction of
intervensi dalam pemaknaan dan
penggunaan element linguistic
maka aka ada implikasi terhadap
pengkonstruksian sejarah.
Dalam karya baru “Puisi baru
untuk Esok Hari “, dua lempeng
logam dengan figura saya
biarkan untuk merangkul proses
alamiahnya, berkarat . Saya
melihat kejujuran dan keikhlasan
untuk menerima dan menghargai
perjalanan waktu dalam material
besi dan saya menggunakan ini
untuk mempertanyakan perihal
masa depan.
Dalam konteks kesejarahan
bangsa Indonesia, terkhusus
bagaimana di hari ini kita
masih mengalami kebingungan
mengenai masa lalu kita
sebagai bagsa dalam memahami
peristiwa komunisme di tahun
1965 , sejarah menjadi sebuah
gubahan yang didominasi oleh
kekuasaan. Sebagai bagian dari
bangsa ini, saya sebagai anak
bangsa merasa keterpisahan
dalam perihal masa esok. Masa
esok menjadi sebuah puisi
dimana saya tidak memiliki
agensi dalam menentukan bahan
bervisi, sekali lagi sebagai bagian
dari golongan “akar rumput” ,
kita hanya bias mengikuti alr
bagaimana kekuasaan ingin
menulisnya. Kekuasaan yang
menolak untuk menghadapi masa
lalu tidak akan menjadi utuh
dalam menulis masa depannya.
41
history. In my new work titled
“Puisi baru untuk Esok Hari “
(A new poem for tomorrow),
two framed metal plates
are left to follow its natural
process towards rust. honesty
and sincerity to accept and
value the passing of time area
reflected in the material I am
using to question the future.
In the context of Indonesia’s
national history, particularly
how even today we are still
confused about our past as
a nation and have a problem
understanding events related
to communism in 1965, history
has become an arrangement
dominated by power. Being part
of this nation, I as a child of the
nation, feel separated from the
future. The future is like poetry
where I have no part in deciding
on a vision, again as part of the
grass root, we only have to go
with how the power wishes to
write it. Power that refuses to
face the past will never be fit to
write its future.
Kuburan Kata
Puisi Baru untuk Esok Hari, 2019
Instalasi, Mixed Media
Prilla Tania
Karbohidrat yang terkandung
dalam makanan merupakan
sumber energi utama
bagi manusia untuk dapat
beraktifitas. Banyak jenis
tanaman bahan pangan yang
mengandung karbohidrat.
Namun di masa serba “ada”
justru pilihan jenis pangan
(sumber karbohidrat) semakin
sedikit/terbatas. Gandum,
beras, jagung, dan kentang
menjadi sedikit pilihan
yang tersedia di pasar. Lalu
bagaimana nasib puluhan jenis
tanaman penghasil karbohidrat
baik di kebun ataupun di alam.
Jika pilihan yang banyak itu
dihadirkan kembali bagaimana
kiranya wajah pertanian,
industri pangan, dan pasar kita?
Carbohydrate in food is a major
source of energy for human
activity. There are many plants
that contain carbo, but at a time
when everything is available,
the choice for karbo contained
food is getting limited. Grains,
rice, maize and potatoes are
within the limitation o choice at
the market. So what happens
to the tens of plants with good
carbo content in our garden
or in nature. If they are re-
included how would agriculture,
the food industry and our
market look like?
Demokratisasi Karabohidrat, 2019
500 x 350 cm
Mixed Media, Mural, Interaktif
43
Restu Ratnaningtyas
Mengenai batasan batasan Boundaries that nowadays
yang saat ini semakin tidak are becoming more and more
terlihat, membuat kita dengan unclear, make us easily bypass
mudah melewati batas batas them. Without realizing,
tersebut. Tanpa kita sadari those thinning boundaries
batasan batasan yang semakin are growing like ghosts that
tipis itu kemudian lama live within the self This idea
kelamaan menjadi seperti is visualized through boxes
hantu yang hidup didalam diri of polyester that are linked
kita. Ide tersebut ditampilkan to the wall with thin threads.
melalui kotak polyester yang Whoever shoukd want to see
terikat pada dinding dengan what is in those boxes must
benang tipis. Siapa saja yang step over the threads, running
ingin melihat apa yang ada di the risk of stepping on it.
dalam kotak harus melangkah
di atas benang dengan resiko
menginjaknya. Namun
konsep”Perbatasan” di Jerman
merupakan isu pengungsi dan
pekerja migran yang melewati
perbatasan dan oleh masyarkat
Jerman dipandang dengan
tatapn mata curiga.

Invisible Boundaries, 2019

Instalasi, mixed media

45
Sanchia Tryphosa Hamidjaja
Sepanjang praktek saya dalam
media ilustrasi, saya sangat
tertarik dengan tema-tema
pemandangan perkotaan yang
bergaya distopia. Karya kali
ini mendorong saya untuk
menggambar representasi
suatu kota yang lebih realistis.
Penggambaran kota masa
depan yang sangat mungkin
terjadi, yang tidak terlalu beda
jauh dengan yang kita hidupi
sekarang. Sebuah ilustrasi
digital penuh warna yang di
display seperti layaknya sebuah
iklan bilboard. Terlihat sangat
penuh warna, menyenangkan
dari kejauhan, tapi ketika
di dekati, mulai terlihat
kebusukan-kebusukan yang
terakumulasi didalamnya.
Tumpukan mobil, properti-
properti yang tidak terjual,
struktur-struktur pembangunan
setengah jadi dan ketiadaan
eksistensi manusia dan
kulturnya. Sebuah habitat yang
tak bisa di hidupi.
Plastic bag is something that
is designed to be inherently
disposable. This inherent
disposability of things is reflecting
on the culture of consumerism, its
all about mass producing objects
that has to be thrown away, unlike
teddy bears thats designed to
trigger emotion and to be given
sentimental value, while plastic
bags are made to be thrown away.
Through this art work i want
to give sentimental emotional
quality to seemingly look like a
disposable object. By sewing
materials that carries personal
attachment into the shape of a
disposable object.
The fabrics I use, are the same
fabrics I would use to make
wedding gowns, such as silk,
delicate cottons for traditional
kebaya encim worn at family
events, and organzas from left
over bridemaids dresses, reduced
to a replica of “kantong kresek”
/ plastic bag. Embroidered with
a designed representation of
supermarket / department stores
logos found in the environment
where I live. The process of
ironing each fabric, sewing each
one into “plastic bag” replicas
give it a much more intimate
treatment.
Displayed like clothes, hung
from a clothes hanger. Giving it a
sense of preciousness and well
cared for. I want to project my
guilt for over consuming cheap
inherently disposable objects.
Also being born into a family
that owns a plastic packaging
factory, and experienced work
in the advertisement industry
that played a massive part in the
consumerism culture, makes
the guilt even more validated.
To remind myself that seeming
ordinary disposable object, in
accumulation is inevitably deadly
Undisposable Guilt, 2019 The Future is Abandoned, 2019 towards our environment.
Variable sizes 350 x 100 cm, Digital Print on fabric,
Mixed media lightbox display. LED Light
47
Throughout my drawing /
illustration practice, I have
been interested in creating a
fantastical dystopian themed
cities. This illustration have
pushed me towards a more
realistic representation of what
I believe the near future might
be, which is no different from
where we are currently. A piece
of full color digital illustration
displayed in a way that an
advertisement would, a glowing
billboard.
Which from a distance may
seem like a happy idealistic
city scape, that promises
you a better life, but as you
get a closer look, you start
noticing all the accumulation
of rubbish, cars, motorbikes,
unsold properties, abandoned
structures, and the absence
of human and culture. An
unliveable habitat.
Syagini Ratna Wulan
Karya ini terinspirasi dari
kekuatan cahaya, dan
gelombang warna sering
memberi judul karya dengan
cara angka angka. Kali ini
karya yang memakai lacquer
paint, berwarna putih diatas
plexiglass, diberi judul.
31.85 (6.21462, 106.84513).
Menurutnya, ia memakai
hitungan fisika dan geografi
dan angka 31.83 adalah derajat
kemiringan pelangi. Yang dalam
kurung itu merupakan koordinat
kota Jakarta.
This work is inspired by the
strength of light and color
waves. The title of the work
is denoted with numbers,
31.85 (6.21462, 106.84513).
Made with lacquer painteon
plexiglass, the artist says she
uses the countings in physics
and geography with the number
31.83 referring to the rainbow
slant and the numbers in
brackets refers to the Jakarta
city coordinate.
31.85 (6.21462.106.84513), 2019
3x2m
Lorem Ipsum Dolor Amet Lorem
Ipsum Dolor Amet Lorem Ipsum
Dolor Amet Lorem Ipsum Dolor Amet
49
Tara Astari Kasenda
Sejak kecil saya terinspirasi
Impresionisme, yang pada
waktunya mempelajari
pengaruhwarna ‘en plein air’.
Saya ingin membawa kembali
gagasan para impresionis
dulu ke masa kini, abad ke-21
dengan menggunakan teknologi
dan media baru. Di Paris saya
mengamati perubahan cahaya
di cakrawala awan diatas
kota Paris dan bagaimana
hal itu mempengaruhi
lingkungan. Saya memotret
perubahan langit diatas kota
Paris tidak kurang dari 400
kali sejak Agustus 2018,
lalu mengabsraksi warna
warna menjadi 9 RGB dengan
menggunakan Photoshop dan
coding in open proceedings.
I see the world through pastel
color goggles. After receiving my
bachelor’s degree in painting, in
my practice, I delve more into
exploring installation art and
try to redefine the meaning of
painting with unconventional
mediums. Many of my works
show blurry portraits that
emphasized the issue of identity
and the vagueness of being.
The one thing that has been
consistent in my work is the
color. Muted pastel colors. I
was always obsessed with soft
pastel colors ever since I was
a child. This comes from early
experience in my life. When I
was a child, my painting teacher
introduced me to impressionism,
and I fell in love with it. The soft
color, the blurriness, everything. Sous Les Cumulus Humilis, 2019
But as my work developed, I feel Transdisciplinary new media
like I needed to find more reason (photography, coding, photoshop)
why I continued to make pastel
colors as the heart of my work.
So I decided to come to France,
the place where impressionism
was born. So since my first day
in Paris, August 1st, 2018, I’ve
been doing a data collection
research by taking more or less
400 pictures of the sky with
my phone. And with digital
tools such as Photoshop and
especially with coding in open
processing, I was able to narrow
down the color of the sky of Paris
to exactly 9 RGB colors (10 in
total after adding white, being
an essential pigment on the
impressionist’s palette).
51
Theresia Agustina Sitompul
Karya ini bersumber dari
kegelisahan dan kecemasan
saya ketika mengamati serta
merasakan situasi di sekitar saya
seperti terjadinya bencana alam,
peperangan, konflik sosial yang
sedikit banyak diakibatkan oleh
keserakahan dan kerakusan
manusia. Relasi yang dibangun
antara manusia dengan alam
atau manusia dengan sesama
manusia tidak lagi harmonis.
Manusia yg rakus mengambil atau
mengeksploitasi alam sedikian
rupa sehingga tidak lagi ada
keseimbangan. Akibatnya kita
bisa lihat banyak bencana alam
seperti banjir, longsor, kebakaran
hutan dll. Begitu pula situasi
sosial yg cenderung memanas
dan mudah terjadi gesekan yg
ujung-ujungnya berakhir pada
kekerasan.
This work came to be as I
worried at the situation around
me, like natural disasters, wars,
social conflicts that somehow
result from human greed. Inter
human relations and relations
between man and nature are
no more harmonious. Greed
exploits nature at a level that
distorts the balance. The result
being many natural disasters
like floods, erosion, forest fires,
and the likes. Similarly, social
tensions tend to augment, with
clashes ending up in violence.
Menabur Benih, 2019
Dimensi variabel, linocut on
hydrophile gauze catton
53
Yaya Sung
Karya ini merupakan
pengandaian tentang kondisi
100 tahun lagi di masa depan
sekaligus refleksi dari praktek
kesenian Yaya Sung selama
5 tahun terakhir. Pencarian
identitas diri sebagai warga
Indonesia keturunan Tionghoa,
mengantarkan Yaya menelusuri
kembali peristiwa Mei 1998,
mengajaknya berkenalan
dengan aksi Kamisan di depan
istana negara yang menjadi
wadah bagi semua penyintas
kasus HAM di Indonesia,
mengantar penemuannya
tentang penghancuran gerakan
perempuan progresif tahun
1965. Mempelajari sejarah,
menjalani hidup keseharian,
dan mereka-reka tentang
masa depan, Jaman yang
Yaya ketahui adalah jaman
dimana opresi, diskriminasi
suku, agama, ras, gender,
dan ketimpangan keadilan
sosial subur dan merajalela.
Seyogianya, ketika Tekanan
disiram dan dipupuk dengan
Keberanian dan Kepedulian,
disitu tumbuh dengan subur
Perlawanan.
Karya-karya dalam projek ini
memberi fokus pada perangkat
kebendaan yang menjadi peran
utama dalam aksi demonstrasi,
protes, dan marching.
Perangkat dengan metode
paling primitif; secarik kertas
yang ditulis, sebentang kain
yang digambar telah menjadi
wadah mengekspresikan
diri, menuangkan emosi,
menyerukan perlawanan,
dan menyuarakan tuntutan.
Perangkat yang paling ampuh
ketika saling berpaguyuban
ini menjadi penanda sebuah
Kebebasan, terutama Harapan,
di masa kehidupan kita kini.
Perangkat kebendaan yang
The work imagines the situation biasa kita jumpai penuh dengan objects that were once most
in a hundred years to come, kata-kata, tulisan, seruan, dan powerful in the community and
and at the same time reflects tuntutan, namun di dalam karya became signifiers of Freedom,
on Yaya Sung’s artistic practice ini, semua bentuk ekspresi particularly Hope, in our life
during 5 years. Her search emosi tersebut kemudian time. A set of objects that
for identity as a Chinese direduksi dengan warna putih we usually find with words,
Indonesian, retraces the May bersih tanpa sedikitpun kata- writing, calling and demands,
1998 event which brought kata atau makna gambar. Yaya but in this work all forms of
her into the kamisan action mengandaikan, 100 tahun lagi, such emotional expression is
(an enduring protest demo manusia di bumi ini memiliki reduced using a white color
held every Thursday) in front satu perjuangan bersama yaitu without any words or image.
of the palace which became menyelamatkan bumi manusia Yaya imagines that a hundred
a repository for all human dari perubahan alam, kemudian years from now people on this
rights survivors and introduced perangkat kebendaan yang earth had a joint struggele
her to the demolition of the pada jaman ini kita gunakan which is to save the earth of
progressive women movement untuk berjuang, sudah menjadi humans from nature’s change,
movement of 196., Learning sebuah bentuk artefak sejarah. and the set of objects that
about history while going we used to apply to fight, has
about daily life and wondering become an artefact of history.
about the future, the era that
Yaya got to know was an era of
oppression, discrimination of
ethnic groups, religion, race,
gender and an
overwhelming
imbalance of
an arbitrary
social justice.
In fact, when
such emphasis
was met with
courage and
concern, it
became a
fruitful ground
for Resistance.
The works in
this project
are focused
on the set of
objects that
had a major
role in the
actions of demonstration,
protests and marching. Using a
most primitive method, a piece
of paper that is written on, a
stretch of imaged cloth were the
mediums for expression, to vent
emotion, calling for resistance Liberty Markers, An Entity 100 Years Away”, 2019
and voicing demands. A set of 200 x 100 cm dan 60 x 80 cm, Digital print on Neon Box
55
CV Perupa | Artists’ CVs Andrita Yuniza Orbandi

Education 2014 15x15x15 Mini Art Project #5: Colossal, Galeri

2012 Proctor High School, Minnesota, US Soemardja Bandung, Indonesia

2016 BFA Visual Arts, Faculty of Art and Design, Bandung Awards
Institute of Technology, Indonesia 2018 Finalist Gudang Garam Indonesia Art Award ‘Dunia

2017 Erasmus in Freie Kunst (Visual Arts), Hochschüle Komik’, Indonesia

für Bildende Künste, Braunschweig, Germany 2017 Finalist Bandung Contemporary Art Award 5,

Solo Exhibitions Indonesia

2017 ‘Spielen’ – Solo show for researching happiness 2017 Winner LED Wettbewerb von Volksbank Brawo,

project, Artmax, Braunschweig, Germany Germany

2016 ‘Menuju Titik Ba’, BFA Final Presentation at CC 2017 Awardee DAAD Stipendium Programme Stibet

Timur Yard of Institut Teknologi Bandung, Indonesia 2016 Finalist Ganesha Prize Institut Teknologi Bandung,
Selected Group Exhibitions Indonesia

2018 Indonesian Art Award 2018: Dunia Komik, Galeri 2016 Awardee The Most Oustanding Student of Art and

Nasional, Jakarta, Indonesia Design Faculty ITB, Indonesia

2018 Soemardja Sound Art Project 2018, Galeri Soemardja 2016 AwardeeDAAD Stipendium – ISAP Program

Bandung, Indonesia 2016/2017

2017 Bandung Contemporary Art Awards 5, Lawang 2015 Winner of ASEAN-Korea Multimedia Art

Wangi, Bandung, Indonesia Competition ‘Lifestyle of ASEAN’, South Korea

2017 ‘Protest’ – Rundang bei Klasse Kummer, Artmax, 2012 Awardee President’s Award for Educational

Braunschweig, Germany Excellence 2012 by US Department of Education

2017 ‘Sergi’, TBMYO Cam Atölyesi, Adiyaman, Turkey

2017 Participant Documenta 14, Athens, Greece

2017 Performer ‘Silent Condition’ by Enric Fort Ballester,

Kunstverein Wolfenbüttel, Germany

2016 ‘Tilu’, HBK Braunschweig, Germany

2015 ‘Lifestyle of ASEAN’–“Against All Odds”,

Dongdaemun Design Plaza, Seoul, South Korea – Hanam
Art Center, Gyeonggi Province, South Korea – Gyeonju Arts
Center, Gyung-buk Province, South Korea

2015 Chiang-Mai Photo Festival 2015—“Family Means

Nobody is Left Behind”, Chiang Mai, Thailand

57
Ayu Arista Murti
Education
2004 Graduated from Faculty of Fine Arts and Design,
Indonesia Institute of Arts (ISI), Yogyakarta, Indonesia
Solo Exhibitions
2017 “Flowing with the Water”, Ark Gallery, Yogyakarta,
Indonesia
2011 Solo Exhibition, Wada Gallery, Tokyo
2010 “Cloning Garden”, Valentine Willie Fine Art, Kuala
Lumpur—“Cloning Garden”, organized by Edwin’s Gallery,
Jakarta Art District, Grand Indonesia, Jakarta
2008 “Rhyme of Lines”, Edwin’s Gallery, Jakarta 2013 Bazaar Art ++, Edwin’s Gallery, Jakarta
2006 “Sweet Bitter Sour”, 24HR ART Gallery, Darwin,
Australia
2005 “Metafora Metamorfosa”, Edwin’s Gallery, Jakarta
Selected Group Exhibitions
2018 Art Stage Singapore, Gajah Gallery, Marina Bay,
Singapore 2012 The Winner’s Creation, Indonesian Arts Award,
2017 “Kembulan”, Studio Kalahan, Yogyakarta, Indonesia National Gallery of Indonesia, Jakarta
2017 Open Studio, Gajah Gallery, Yogyakarta
2017 “Lost and Found”, Art Merdeka, Bumbon #3, Pararel
Biennalle, Yogyakarta, Indonesia
2017 Yogya Annual Art #2, Sangkring, Yogyakarta,
Indonesia
2017 “Turbulence”, by Martel, Edwin’s Gallery, Jakarta
2017 “Hanoi March Connection”, Art Exhibition and
Workshop, by Hanoi University of Industrial Fine Arts and
Asia Art Link, Hanoi, Vietnam
2017 “Bumbon #2”, Sangkring, Yogyakarta
2016 Art Stage 2016, Marina Bay, Singapore Budaya, Yogyakarta, Indonesia
2016 “Equilibrio”, Artemis Gallery, Kuala Lumpur
2016 “Equilibrio”, China House, Penang, Malaysia
2016 “Kecil itu Indah”, Edwin’s Gallery & Bazaar Art
Jakarta
2016 “Print Parade”, Grafis Minggiran, Yogyakarta
2015 “Dystopia 1000 Pulau”, Cata Odata, Bali, Indonesia
2015 Bazaar Art, Jakarta
2015 “Polychromatic”, Green Host Hotel, Yogyakarta,
Indonesia
2014 “Socio Landscape—Indonesia & Cambodia Artist”,
National Museum, Cambodia Communicating In Art
Making Today, Edwin’s Gallery, Jakarta 1996 “The Best Encounter of Two Millennial Country
2014 “ReDraw”, Edwin’s Gallery, Jakarta
2014 KIAF, Coex, Seoul
2014 Bazaar Art, Jakarta
2014 “Indonesia–Thailand Artist”, Bentara Budaya,
Yogyakarta, Indonesia
2014 “Iconoclast”, Langgeng Gallery, Magelang, Indonesia
2014 “Manifesto #4: Keseharian: Mencandra Tanda Masa”,
National Gallery of Indonesia, Jakarta
2014 ArtJog 14, Legacies of Power, Cultural Park/Taman
2014 Parallel Event Biennale Jogja XII, Knyt Somnia—
Genesis of Terror, Yogyakarta, Indonesia
2013 “Homoludens 4”, Bentara Budaya, Denpasar, Bali,
Indonesia
2013 “Unforgettable”, Exhibition Hall, Jakarta Art District,
Grand Indonesia, Jakarta
2012 “Vertigo”, The Indonesian Ugliness, Ode To Art,
Singapore
2011 “Beauty Case”, Jakarta Art District, Grand Indonesia,
Jakarta
2011 Jakarta Biennale #14, Jakarta
2011 “Lintas”, Edwin’s Gallery, Jakarta
2011 Bazaar Art Jakarta, Ritz Carlton, Pacific Place,
Jakarta
2011 “The Everyday Fantastic”, S. Bin Art Plus, Singapore
2011 Art Stage Singapore, Marina Bay Sands, Singapore
2010 “Survey #1.10”, Edwin’s Gallery, Jakarta
2010 “Dua Kota Dua Cerita”, Semarang Gallery, Semarang,
Indonesia
Awards
2003 Top 5 of Indonesian Art Awards by Phillip Morris
Company and YSRI, Indonesia
2003 Finalist South East Asian Art Awards by Phillip
Morris Company
2002 Best Artwork, Dies Natalis Indonesian Institute of
Art, Yogyakarta, Indonesia
2001 Total Indonesia Award from YSRI and Total
Company
2000 The Best Drawing Sketch from Indonesian Institute
of Art, Yogyakarta, Indonesia
1999 The Best Water Color and Sketch from Indonesian
Institute of Art, Yogyakarta, Indonesia
Peru-Indonesia”, Embassy of Peru, Jakarta
59
Cecilia Patricia Untario
Education
2009–2011 Vetroricerca Glas & Modern, Bolzano, Italy
2006 Tittot Glass Museum Summer Camp, Taipei, Taiwan
2003–2008 Bandung Institute of Technology, Fine Art
Department, majoring in Sculpture, Bandung, Indonesia
Exhibitions
2018 Sovereign Asian Art Prize 2018 Finalists, Hong Kong
2018 ArtJog 11 2018 “Enlightenment”, Jogja National
Museum, Yogyakarta, Indonesia
2018 “Spektrum Hendra Gunawan”, Ciputra Artpreneur,
Jakarta
2018 “Open P.O.”, Omnispace, Bandung, Indonesia
2017 Indonesian Contemporary Art & Design (ICAD) 8:
MURNI, Jakarta
2017 “Re: Emergence”, Selasar Sunaryo Art Space,
Bandung, Indonesia
2017 Art Jakarta 2017, The Ritz-Carlton, Pacific Place,
Jakarta
2017 “Perjalanan Senyap”, Orbital Dago, Bandung,
Indonesia
2016 Art Stage Jakarta, Sheraton Grand Jakarta, Gandaria
City Hotel, Jakarta
2016 “Artmosphere”, Galleries Lafayette, Pacific Place,
Jakarta
2016 “Art for Education”, Plaza Indonesia 26th
Anniversary, Plaza Indonesia, Jakarta
2016 “Janji Kang Jait”, APA Space, Plaza Indonesia,
Jakarta
2015 Bazaar Art Jakarta 2015, The Ritz-Carlton, Pacific
Place, Jakarta
Dita Gambiro
2015 UGLY “Palmistry”, The Goods, Jakarta
2015 Sovereign Asian Art Prize 2015 Finalists, Hong Kong
2014 “Versi”, Trienal Seni Patung Indonesia, Jakarta
2014 Bazaar Art Jakarta 2014, The Ritz-Carlton, Pacific
Place, Jakarta
2013 “OLD NEW”, Art1, Jakarta
2013 “Everyday is Like Sunday”, Langgeng Gallery,
Magelang, Indonesia
2013 “Disthing”, Gallery Rachel, Jakarta
2013 Asia Contemporary Art Show, Hong Kong
2013 Bandung Contemporary Art Awards#3,
Education Indonesia
Lawangwangi Art Space, Bandung, Indonesia
2009 BFA, Bandung Institute of Technology, Faculty of Art 2016 “Artmosphere”, Galeries Lafayette, Jakarta
2012 “Renegotiating Boundaries”, Lawangwangi Art
and Design, majoring Sculpture
Space, Bandung, Indonesia 2016 “Constituent Concreteness”, Mizuma Gallery,
2013 MA, Kingston University London, Production Singapore
2012 “Contemporary Ceramics”, Museum Seni dan
Design for Film and TV
Keramik, Jakarta 2015 “(Un)usual” by Wang Lei & Dita Gambiro, Redbase
Solo Exhibitions Gallery, Jakarta
2012 MACEF Milan 2012, Milan, Italy          
2011 “White Lies”, Inkubator at Forme Building, Jakarta 2015 Bazaar Art, Redbase Gallery, Jakarta
2012 Bandung Contemporary Art Awards#2,
Lawangwangi Art Space, Bandung, Indonesia 2012 Art Stage Singapore: Project Stage, Galerie Michael 2015 Fashion TV: F Party, Jakarta
Janssen (Berlin), Marina Bay Sands, Singapore
2011 Jakarta Biennale#14, Jakarta     2015 “Sequence”, Nu Art Sculpture Park, Bandung,
Selected Group Exhibitions Indonesia
2010 “Beyond The Dutch”, Utrecht Central Museum,
2017 “What You Wear is (not) What You Are. You are (not)
Netherlands   2014 “Versi”: Triennale Patung Kontemporer Indonesia,
What You Wear”, The Warehouse, Plaza Indonesia, Jakarta National Gallery of Indonesia, Jakarta
Awards
2017 Asia Woman Artist, Jeonbuk Museum of Art, South 2014 “Symbol, Spirit, Culture (To Communicate in Art
2018 Sovereign Asian Art Prize Finalist
Korea Making Today)”, Edwin’s Gallery, Jakarta
2015 Sovereign Asian Art Prize Finalist
2017 “Perjalanan Senyap”, Orbital Dago, Bandung, 2013 Graduation Show, MA Production Design for Film &
2013 Bandung Contemporary Art Award Finalist Indonesia TV, Kingston University, London, United Kingdom
2012 Bandung Contemporary Art Award Finalist 2016 South East Asia Plus (SEA+) Triennale, National 2013 “Everyday is Like Sunday”, Langgeng Gallery,
2008 Indonesian Art Award Finalist Gallery of Indonesia, Jakarta Magelang, Indonesia
2016 “Beyond Masculinity”, Ark Galerie, Yogyakarta, 2012 “Fountain of Lamneth”, Gajah Gallery, Singapore
61

2012 “Role Play: Parallab”, Artsphere, Jakarta
2012 “Re.Claim”, National Gallery of Indonesia, Jakarta
2012 ARTHK#12, Galerie Michael Janssen, Hong Kong
2012 “FLOW”, Galerie Michael Janssen, Berlin, Germany
2012 “Prismatic Vibe”, Fang Gallery, Jakarta
2012 Bazaar Art, Edwin Gallery, Jakarta
2012 “Revisited”, One East Asia, Singapore
2012 “Romancing Indonesia”, One East Asia—Royal Opera
Arcade Gallery, London, United Kingdom
2011 “Beauty Case”, Jakarta Art District, Grand Indonesia,
Jakarta
2011 “PMR Cube”, Contemporary Culture Interplay, The
Atrium Sampoerna Strategic Square, Jakarta
2011 “Flight for Light: Indonesian Art and Religiosity”,
Mon Decor Gallery, Jakarta
2011 Bazaar Art Jakarta: Special Exhibitions, The Ritz-
Carlton, Pacific Place, Jakarta
2011 “Ekspansi”, Indonesian National Gallery, Jakarta
2011 “Dysfashional #6”, Indonesian National Gallery,
Jakarta
2011 “Art & Motoring”, Indonesian National Gallery,
Jakarta
2011 Contemporary Archaeology chapter 3, Sigi Gallery,
Jakarta
2011 “Fiber Face #3: Transformation”, Taman Budaya
Yogyakarta, Yogyakarta, Indonesia
2011 Bandung Contemporary Art Award, Lawangwangi,
Bandung, Indonesia
2011 “1001 Doors: Reinterpreting the Tradition”, Ciputra
Marketing World, Jakarta
2010 “Tapak Telu”, an installation & performance art,
collaboration with Sujana ‘Suklu’ and Ngurah Sudibya, ISI
Denpasar, Bali, Indonesia
2010 “Tribute to Sudjojono Sang Ahli Gambar dan
Kawan-kawan”, Titik Orange Gallery, Bandung, Indonesia
2010 “Percakapan Masa”, Indonesian National Gallery,
Jakarta
2010 The 25th Asian International Art Exhibition,
Mongolia
2010 Bandung New Emergence vol. 3, Selasar Sunaryo
Art Space, Bandung, Indonesia
2010 Art Festival, Plaza Indonesia, Jakarta
2010 “Cross/Piece”, The 8th Anniversary of Canna Gallery,
Jakarta
Elia Nurvista
Education
2003 BFA Visual Arts, Indonesian Institute of Arts,
Yogyakarta, Indonesia
Solo Exhibitions
2013 Adiboga Wonoasri Kedai Kebun Forum, Yogyakarta,
Indonesia
Selected Group Exhibitions 2014 “Lizard Says You’re a Liar”, Vargas Museum,
2018 “How Little You Know About Me”, National Museum
of Modern and Contemporary Art (MMCA), Seoul
2018 Ninth Asian Pacific Triennial 9 (APT9), QAGOMA,
Brisbane, Australia
2017 “Recipro(vo)cation”, National Gallery Jakarta
2017 “Urban Implosion”, Asia Culture Center, Gwangju,
South Korea
2017 “OK Pangan”, OK Video Festival, Gudang Sarinah
Ekosistem, Jakarta 2012 “Story of Thread”, Koganecho Bazaar 2012,
2017 “Behind the Terrain”, Nhà Sàn Collective, Hanoi,
Vietnam 2012 “Des Indes Orientales”, Parallel Events Jogja
2016 “Behind the Terrain”, Studio Kalahan, Yogyakarta,
Indonesia
2016 “Dialogue with the Senses”, Galeri Fatahillah,
Jakarta
2016 “Simmer”, Kunstraum LLC, New York, USA
2015 Jogja Biennale XIII, “Hacking Conflict”, Jogja
National Museum, Yogyakarta, Indonesia
2015 “Seni Indonesia Berkabung”, PKKH, Yogyakarta,
Indonesia
2015 “High Water”, Fukutake House, Shodoshima Island,
Japan
2015 “Liminal”, Cemeti Art House, Yogyakarta,
Indonesia
2015 “Made in Commons: Indonesian Iteration”, Jogja
National Museum, Yogyakarta, Indonesia
University of the Philippines, Manila, Philippines
2014 “1 × 25 Jam”, Cemeti Art House, Yogyakarta,
Indonesia
2013 “Disana Project”, Cemeti Art House, Yogyakarta,
Indonesia
2013 Jakarta Biennale 2013 in collaboration
with Lifepatch, Basement Taman Ismail Marzuki,
Jakarta
Yokohama, Japan
Biennale, iCan, Yogyakarta, Indonesia
Selected Events and Performances
2016 Feast on the Evolution of Taiwan, Polymer, Taipei
2015 Choreographer’s LAB, Mousonturm, Frankfurt,
Germany
63
Erika Ernawan
Education and Training
2012 Auditory Architecture, Berlin University of Art
2008–2010 M.F.A. Fine Arts, Faculty of Fine Art and
Design, ITB, Bandung, Indonesia
2009 Extension Course Culture and Philosophy,
Parahyangan Catholic University, Bandung, Indonesia
2003–2007 B.F.A. Fine Arts, Majoring in Painting,
Faculty of Fine Art and Design, ITB, Bandung, Indonesia Platform3, Bandung, Indonesia
Solo Exhibitions
2011 “Der Spiegel: Her Space (subvert) His Gaze”, Viviyip
Art Room, Jakarta
2012 “Ruhe in Frieden”, Lawangwangi Art & Science
Estate, Bandung, Indonesia
2017 “Migrating in Your Own Home”, Can’s Gallery,
Jakarta
Selected Group Exhibitions
2017 “Beyond Boundaries–Globalisierung and Identity”,
Liechtenstein Landes Museum, Vanduz, Germany
2017 “Mashup Syndicate”, Gudang Sarinah Ekosistem,
Jakarta
2017 “Perjalanan Senyap”, Orbital Dago, Bandung,
Indonesia
2017 “Re-emergence”, Selasar Sunaryo Art Space,
Bandung, Indonesia
2017 “Migrating in Your Own Home”, Can’s Gallery,
Jakarta
2016 Art for Education, Artdept, Jakarta
2016 Singapore Contemporary, Artsphere, Singapore
2016 “Waiting for it to Happen”, Nadi Galleri, Platform3,
Jakarta
2016 “The Artists’s Storage”, Duet with Erik Pauhrizi,
2016 Pameran Bersama Perupa/Pengajar Bandung,
Bandung, Indonesia
2016 Artstage, d’gallerie, Jakarta
2016 Bazaar Art, Jakarta
2015 “The Contemporary Alternative”, Artsphere, Jakarta
2015 “No Other Color”, Kunstkring, Jakarta
2015 “Shout!”, The Meat Market Stable, MAV, Melbourne,
Australia
2014 “Symbol; Spirit; Culture”, Edwin’s Gallery, Jakarta
2014 “Shout!”, Indonesian Contemporary Art, Museo
D’Arte Contemporanea, Roma, Italy
2013 Indonesian Pavilion, Artstage Singapore
2013 “Undisclosed Territory #7”, Solo, Indonesia
2013 ArtJog13, Taman Budaya Yogyakarta, Indonesia
2013 “Homoludens #4”, Bentara Budaya Bali, Indonesia
2013 “100th S.Sudjojono”, Tonyraka Art Gallery, Bali, 2011 Jogja Biennale XI: “The Equator #1”, Yogyakarta,
Indonesia Indonesia
2013 SEA+ Triennalle, National Gallery, Jakarta 2010 “Veduta”, Bandung Initiative #5, Vanessa Art Link,
Jakarta
2012 “40 × 40”, dia.lo.gue Artspace, Jakarta
2010 “Current(s)”, Soemardja Gallery, Bandung, Indonesia
2012 Book Launching “Indonesian Art World” and Group
Exhibition “RE. Claim”, National Gallery of Indonesia, 2010 “On Desire”, Duet with Erik Pauhrizi, Darga Gallery,
Jakarta Sanur Bali, Indonesia
2012 “Mother Earth”, Green Art Space, Jakarta 2010 “Tribute to Sudjojono”, Rumah Proses, Bandung,
Indonesia
2012 “Flow”, Michael Janssen Galerie, Berlin, Germany
2010 “Leisure on Mine, Play Dead #2”, Padi Art Ground,
2012 Kulturbeilage, Berlin, Germany
Bandung, Indonesia
2012 “Indonesian Contemporary Fiber Art#1: Mapping”,
2009 “My Body”, Andi’s Gallery, Jakarta
Art:1, Jakarta
2009 “Fairies”, Vivi Yip Art Room, Jakarta
2011 Bandung Contemporary Art Awards (BaCAA),
Lawangwangi Art & Science Estate, Bandung, Indonesia Award and Scholarship
2011 “Fluid Identity”, CG Art Space, Jakarta 2011 Residency and Studio Project in Berlin, Germany
2011 “A Room of Her Own”, Dimensi Art Gallery,
Surabaya, Indonesia 2011 2nd place Winner Bandung Contemporary Art
Awards, Lawangwangi Art & Science Estate, Bandung,
2011 “Dysfashional Jakarta #6”, National Gallery of
Indonesia for artwork titled: “Mirror Sees Me” series
Indonesia, Jakarta
2008 Magister Program FSRD ITB Scholarship
2011 “Homo Ludens #2”, Emmitan Gallery, Surabaya,
Indonesia
2011 “Flight for Light: Indonesian Art and Religiosity”,
Art:1, Jakarta
65
Etza Meisyara
Education
2009 Intermedia and New Media Art, Bandung Institute of
Technology (ITB) Bandung, Indonesia
2015 Magister of Fine Art Practice, Bandung Institute of
Technology (ITB) Bandung, Indonesia 2015 Jogja Art Moment, Jogjakarta Nasional Museum,
2016 Sound Art—KLANG KUNST HBK Braunschweig,
Germany 2015 “Void”, Langgeng Art Magelang, Indonesia
2018 Master of Fine Art, Bandung Institute of Technology
(ITB) Bandung, Indonesia
Selected Exhibitions
and Performances
2017 “Tilu”, Exhibition at KLANG KUNST HBK University
Braunschweig, Germany
2017 Sound Art Festival in Braunschweig, Germany
2016 Installation Work, Titik Temu Art Space, Bandung,
Indonesia
2016 “Today’s Presence”, Sound Performance, VillaTelle
Salse, Bandung, Indonesia
2015 Tokyo Design Week, Installation Works, Tokyo,
Japan
2015 Bazaar Art Installation Works, Ritz Carlton Pacific
Place, Indonesia
2015 “Temporal”, Installation Works & Sound
Performance, Gedung Gas Negara, Bandung, Indonesia
Indonesia
2015 “I don’t need to edit the reality, The reality is always
modifiying itself”, Gallery Gerilya, Bandung Indonesia
2015 “Outdoor Analog”, Sound & Music Experiments,
Kent Ridge Park, Singapore
2015 “Constellation #4”, Sound & Music Performance,
Toulon, France
2015 “Experimental Space”, Sound & Music Performance,
Reykjavic, Aleph
2015 “Manifesto #4 Keseharian”, Pameran Besar Seni
Rupa Indonesia, National Gallery of Indonesia, Jakarta
2014 “Mencandra Tanda-Tanda Masa”, Opening Act:
Sound Performance, National Gallery of Indonesia, Jakarta
2014 “Constellations. Kubilai Khan Investigations
Satellite # 5”, Institut Français d’Indonésie, Lawangwangi 2012 “Maximum City” Jakarta Biennale: Collaboration Art
Creative Space, Bandung, Indonesia Work, National Gallery of Indonesia, Jakarta
2014 “Terra Clout Union”, Experimental Acts & Sound, Awards
IARC, Singapore
2015 2nd Winner, Young Creator of Tokyo Design Week
2014 “Gulayu Wants You!!” with Gulayu Arkestra, a
2015 Nominee, Gudang Garam Indonesia Art Award
performance in conjunction with SOUND: Latitudes and
Attitudes, Lasalle College of the Arts, Singapore 2015 Nominee, BaCAA Bandung Contemporary Art
Awards
2014 “05 Seniman, Suara, Ruang”, Sound Performance,
Gallery Geriliya, Bandung, Indonesia 2016 Nominee, Sovereign Asian Art Award Prize
2013 “Space Intruders”, Sound Performance, Vanilla 2017 3rd Winner BaCAA Bandung Contemporary Art
Kitchen and Dine, Bandung, Indonesia Awards #5
2013 “Tips for Those Who Wants to be a Spiritual Artist in 2017 Scholarship from Hochschule für Bildende Künste
Five Minutes”, Video Performance, Bandung and Germany Braunschweig (HBK) Professor Ulrich Eller
2013 “Video Sonic”, Video Art, Sunaryo Art Space,
Bandung, Indonesia
2013 “Video Killed Radiostar”, Video Art Screening,
Institut Teknologi Bandung, Bandung, Indonesia
2013 “Art Act”, Sound Installation, Padi Art Ground,
Bandung, Indonesia
2013 “Dark Room”, Sound Installation, ITB Art Fair,
Bandung, Indonesia
67
Fika Ria Santika Irene Agrivina

Education 2017 “The Artling Pop-Up”, Artspace@Helutrans, Education 2010 “S.A.T.U/Saturn Analogy of Trans Urgency”, Next

2005–2010 Padang State University, Indonesia Singapore 1991–1996 Visual Communication Design (BA), Wave Festival, Melbourne, Australia

2017 “Knowing Incompleteness”, Gajah Gallery, Indonesian Institute of the Arts (ISI), Yogyakarta, Indonesia 2010 “C.O.S, Circle of Satan ver 0.2”, PlayAround Festival,
2010–2012 Post Graduate Indonesian Institute of Arts,
Yogyakarta, Indonesia Yogyakarta, Indonesia 2000–2003 Science of Religion and Culture Master Taiwan

Solo Exhibitions
2013 “[ s p a c e ]”, Tembi Rumah Budaya Yogyakarta dan
Jakarta
2012 “Melancholia: Voice from the Darkness”, Kersan Art
Studio, Yogyakarta, Indonesia
Selected Group Exhibitions
2018 Art Jakarta, Indonesia
2018 “Power, Play, Perception”, Gajah Gallery, Kuala
Lumpur
2018 “Medium at Play”, Gajah Gallery, Yogyakarta,
Indonesia
2018 “Zaman Now, BAKABA #7”, Jogja Gallery,
Yogyakarta, Indonesia
2018 “Efflorescence”, Gajah Gallery, Yogyakarta,
Indonesia
2018 “Landscape’s Legacies”, Gajah Gallery, Singapore
2018 Artstage Singapore, Singapore
2017 “Menolak Sekaligus Merengkuh”, Nadi Gallery,
Indonesia
2017 “Gajah Open House”, Gajah Gallery, Yogyakarta,
Indonesia
2017 “Indonesia, BAKABA #6”, Jogja Gallery, Yogyakarta,
Indonesia
2016 “Redbase Young Artist Award Exhibition”, Jogja
Gallery, Yogyakarta, Indonesia
2016 “Third Space”, ROH Projects, Jakarta
2016 “Cadiak Indak Mambuang Pandai, BAKABA #5”,
Jogja Gallery, Yogyakarta, Indonesia
2015 “Zona Biru, Pameran Bersama Perupa Indonesia-
Malaysia”, Kersan Art Studio, Yogyakarta, Indonesia
2015 “Horison, Residensi Transit”, Selasar Sunaryo Art
Space, Bandung, Indonesia
2014 “Foreverfat Mural”, National Gallery of Indonesia,
Jakarta
2014 “Kini, BAKABA #3”, Jogja Gallery, Yogyakarta,
Indonesia
2014 “Luar untuk Dalam”, Syang Gallery, Magelang,
Indonesia
Awards
2014 Winners of Mural Design Contest National Gallery
of Indonesia
2016 Finalist Redbase Young Artist Award
Program, Sanata Dharma University, Yogyakarta, Indonesia
Media Art Projects: Performances/
Installation/Platform/Interactive Media
2003–2004 “Electrophonicanalog” (based on frequency
+ electromagnetic spectrum), electro contact project
(collaboration with Daniel Hiu), live in public space,
Indonesia 2012 “C.O.S, Circle of Satan”, New Museum Triennial,
2004 “BLUEPOPROJECT”, fashion performance,
Indonesia-Singapore-Malaysia
2005 “CAUS#3 (Citizen Against UFO Secrecy #3)”,
Transmediale 05, Berlin
2006 “KINGDOM OF REBEL”, new media art project
Indonesia-Malaysia, Kuala Lumpur
2009 “up:DATE”, HONF project/a tour, Nova Gorica, Celje,
Maribor, Ljubljana
2009 “up:DATE”, Indonesia-Romania, National Dance
Theatre, Bucharest C.O.S, DOX, Prague
2010 “P.A.D.I/Paradigm of Antidotes to Deconstruct the
Infrastructure Performance”, Royal Danish Academy,
Copenhagen
2010 “P.A.D.I/Paradigm of Antidotes to Deconstruct the
Infrastructure Performance”, Narodni Technicka Knihovna
Technicka, Prague
2010 “Upgrade Paris #32-33-34”, Ars Longa, Paris
2011 “IB:SC”, Gaite Lyrique, Paris, France
2011 “Open Apparel, Velocity”, KHM, Cologne, Germany
2011 “Open Apparel, WORM”, Rotterdam, Netherland
2011 “HOLYSHIT”, Jakarta Biennale, Jakarta
2012 “HOLYSHIT”, Umahseni Gallery, Jakarta
New York, USA
2012 “MICRONATION/MACRONATION 2012 Project”,
Langgeng Art Foundation, Yogyakarta, Indonesia
2012 “MICRONATION/MACRONATION 2012 Project”,
Cellsbutton #06 2012, Yogyakarta, Indonesia
2012 “MICRONATION/MACRONATION 2012 Project”,
Moscow Biennale 2012, Moscow
2012 “MICRONATION/MACRONATION 2012 Project”,
Science Museum, Moscow
2012 “KOR#3 Black Energy”, B-Side, Manila
2013 “KOR#3.5”, Fab Café, Tokyo
2013 “Beast/Bloom for Thee: Biota Etc”, Canna Gallery,
Jakarta
2013 “WSIS + 10 Review Meeting”, UNESCO
Headquarters, Paris
2013 “PiXELACHE”, Bricolabs Curatorial, Helsinki

69

2014 “B.I.O ESM”, Arboctics, Jakarta
2014 “Jalan Emas”, The Game, Yogyakarta, Indonesia
2014 “WATI: Domestic Hacking”, Pixel Festival Bergen,
Norway
2015 “GROW KITCHEN”, Bel Ordinaire, Pau, France
2015 “SOYA C(O)U(L)TURE, Prix Ars Electronica (Next
Idea)”, Voelstapine Art & Technology, Austria
2015 “SOYA C(O)U(L)TURE, Wasted Beauty”, ArtJog 2015,
Yogyakarta, Indonesia
2015 “AFSNIT I Festival”, Stenlose, Denmark
2015 “SOYA Colabs”, Yogyakarta, Indonesia
2016 “SOYA C(O)U(L)TURE”, Museum Taiwan of Fine Art,
Taiwan
2016 “SOYA C(O)U(L)TURE”, Axe Direction, Montreal,
Canada
2016 “C6H12O6 + O2, Visualising the Invisible, Data for
Life”, Pacific Place, Jakarta
2016 “Anyang Public Lab (APL) for APAP 5”, Anyang,
South Korea
2017 “C6H1206 + 02”, IFVA New Media Art Festival, Hong
Kong Art Centre, Hong Kong
Awards
2015 SOYA C(O)U(L)TURE - XXLAB, Prix Ars Electronica
(Next Idea), Voelstapine Art & Technology, Austria
2015 Mac George Award, Australia
2016 Runner up for the best concept and design, Jogja
Fashion Week 2016, Indonesia
2017 Silver Award for IFVA (Incubator for Film & Visual
Media) 2017, New Media Art Category, Hong Kong
2017 Vera List Prize Nominee, Centre of Arts and Politics
New School, New York, USA
Kinez Riza
Solo Exhibitions
2012 d’Gallerie, Jakarta
2012 Art Dubai, United Arab Emirates
2014 “Unseen Photo Fair”, Amsterdam
2015 Ruci Art Space, Jakarta
2015 Salian Art, Bandung, Indonesia
2016 Art Stage Singapore, Singapore
Selected Group Exhibitions
2012 dia.lo.gue, Jakarta
2013 Art Bazaar, Jakarta
2014 Geology Museum, Bandung, Indonesia
2014 “LandArt Mongolia 360”, Orkhon Valley and
Ulaanbaatar
2014 World Trade Center, Jakarta
2014 Museum Fatahillah, Jakarta
2015 Art Bazaar, Jakarta
2015 Hong Kong Land Group, China
2016 Art Stage Jakarta, Jakarta
2017 Art Stage Jakarta, Jakarta
2017 World Trade Center, Jakarta
2017 Jogja Biennale, Yogyakarta, Indonesia
Award
2013 Featured Emerging Artist, Global Archive
Photography
71
Maharani Mancanagara
Education
2008–2013 Bandung Institute of Technology, Faculty of
Art and Design, Printmaking Studio, Indonesia 2016 “Kolektif Kolegial”, Cemeti Art House, Yogyakarta,
Solo Exhibitions
2017 “Parodi Partikelir”, Visma Gallery, Surabaya,
Indonesia
2018 “Zero Sum Game”, Galeri Soemardja, Bandung,
Indonesia
Selected Group Exhibitions
2017 “Kaya Kayu: Care of Wood”, The Space The Parlor,
Bandung, Indonesia
2017 “Bandung Drawing Festival”, NuArt Sculpture Park,
Bandung, Indonesia
2017 “Mereka-reka”, Galeri Lorong, Yogyakarta, Indonesia
2017 “Ace Mart”, Ace House Collective, Yogyakarta,
Indonesia
2017 “Kecil Itu Indah #15”, Edwin’s Gallery, Jakarta
2017 “Re:Emergence”, Selasar Sunaryo Art Space,
Bandung, Indonesia
2017 “Equidistant Night”, Provenance Gallery, Manila
2017 “X”, Orange Gallery, Bacolod, Philippines
2017 “What You Wear is (Not) What You Are, You are (Not)
What You Wear”, The Warehouse, Jakarta
2017 “Infamy”, Pinto Art Museum, Antipolo, Philippines
2016 “Historia Docet, Historia Vitæ Magistra”, d’Gallerie,
Jakarta
2016 “A.S.A.P”, G13 Gallery, Kuala Lumpur
2016 “Redraw II: Discovery”, Edwin’s Gallery, Jakarta
2016 “Constituent Concreteness”, Mizuma Gallery,
Singapore
Indonesia
2016 “Kecil itu Indah”, Edwin’s Gallery, Jakarta
2016 “Art Mosphere”, Galleries Lafayette, Pacific Place,
Jakarta
2016 Art Stage Jakarta—Bale Project, Ballroom Sheraton
Hotel, Gandaria City, Jakarta
2015 “Aku Diponegoro”, National Gallery of Indonesia,
Jakarta
2015 “Contemporary Alternative”, Ar+otel, Jakarta
2015 “Connection, Commemorative 60th Years of Asian
African Conference”, Roemah Seni Sarasvati, Bandung,
Indonesia
2015 “Void”, Langgeng Gallery, Magelang, Indonesia
2015 “Artmoments Jogja”, Jogja National Museum,
Yogyakarta, Indonesia
2015 “Langkah Kepalang Dekolonisasi”, National Gallery
of Indonesia, Jakarta
2015 “Art Sneakers”, Art Bazaar Jakarta, Pacific Place,
Jakarta
2015 “Gagasan: Getok Tular”, Omni Space, Bandung,
Indonesia
2015 “Bardo”, Edwin’s Gallery, Jakarta
2015 “New Future”, Art:1 New Museum, Jakarta
2015 “Friends and Family”, ROH Projects, Jakarta
2015 “Gudang Garam Indonesia Art Award—Respublica”,
National Gallery of Indonesia, Jakarta
2015 “Bandung Contemporary Art Award #4”,
Lawangwangi Creative Space, Bandung, Indonesia
2015 “Jerman Fest: Market Share”, Pasar Tebet Timur,
Jakarta
2015 “SHOUT! Mapping Melbourne 2015”, Melbourne,
Australia
2014 “Arte Indonesia 2014, Regenerasi”, Jakarta
Convention Centre, Jakarta
2014 “BEXCO Young Artist Award”, Art Show Busan 2014,
Busan, South Korea
2014 “Detournement”, Duo-Solo Exhibition, ROH Projects,
Jakarta
2014 “When in Bali Do Like the Balinese Do”, Kendra
Artspace, Bali, Indonesia
2014 “Indonesia Sekarang”, Plaza Indonesia, Jakarta
2014 Korea International Art Fair 2014, COEX Hall A&B,
Seoul
2014 “Art Tech”, Art Dept and Samsung, Pacific Place,
Jakarta
2014 “Bandung New Emergence vol. 5”, Selasar Sunaryo
Artspace, Bandung, Indonesia
2014 “Symbol, Spirit, Culture”, Edwin’s Gallery, Jakarta
2013 Indonesia Art Award 2013, National Gallery of
Indonesia, Jakarta
2013 “Bandung Contemporary: Disposition”, Selasar
Sunaryo Art Space, Bandung, Indonesia
2013 “Stepping into the Light”, Tugu Kunstkring Paleis,
Jakarta
2013 “Spot Art”, MICA Building, Singapore
2013 Soemardja Award, Galeri Soemardja, Bandung,
Indonesia
2013 “Lima Pembuka Tabir”, Roemah Seni Sarasvati,
Bandung, Indonesia
2012 “Ranah Bertabur Kreasi”, Medco, Jakarta
2012 “Design Statement: A Design Weekend, Industrial
Design Exhibition”, dia.lo.gue Artspace, Jakarta
2012 “The Billboard Art Project”, Digital LED Billboards
Exhibition, Salem, Oregon, USA
2012 “15×15×15 Mini Art Project #4: Mind Eye Perception”,
Galeri Soemardja, Bandung, Indonesia
2012 “Atlanta Billboard Art Project”, Digital LED
Billboards Exhibition, Atlanta, Georgia, USA
Awards
2013 Finalist, Gudang Garam–Indonesia Art Award,
Yayasan Seni Rupa Indonesia, National Gallery of
Indonesia, Jakarta
2013 First Prize, Soemardja Award, Galeri Soemardja,
Bandung, Indonesia
2014 Finalist, BEXCO Young Artist Award, Art Show
Busan, Busan, South Korea
2015 Finalist, Gudang Garam–Indonesia Art Award,
Yayasan Seni Rupa Indonesia, National Gallery of
Indonesia, Jakarta
2015 Finalist, Bandung Contemporary Art Award #4,
Lawangwangi Creative Space, Bandung, Indonesia
73
 Maradita Sutantio

Education 2016 “Hidden Treasure”, Museum Tekstil, Jakarta 2013 “Collision of Nature and Culture”, Art Bromo, Java 2011 “Contemporary Landscape”, Lawang Wangi,

2003–2007 Bandung Institute of Technology, Faculty of Banana Art Gallery, Bromo, Indonesia Bandung Artist Studio Exhibition, Paris Van Java Mall,
2015 “The Interconnectedness”, Wastu Creative Space,
Arts and Design majoring in Textile and Craft (S.Ds/BA) Bandung, Indonesia
Bandung, Indonesia 2013 “Indonesia Frying Tofu”, Soemardja Gallery,

2016–2018 Bandung Institute of Technology, Faculty of Bandung, Indonesia 2011 “Fluid Identity”, CG Art Space, Jakarta
2015 KSCS International Exhibition of Color Works,
Arts and Design majoring in Fine Art  Soongsil University, Korea 2012 “Indonesia Contemporary Fiber Art #1: Mapping”, 2011 “Fiber Face 3”, Indonesian International Fiber Art
(M.Sn/MA) Art:1 Mondecor, Jakarta Exhibition, Taman Budaya Yogyakarta, Indonesia
2014 “Manifesto No. 4”, National Gallery of Indonesia,
Solo Exhibitions Jakarta 2012 “Renegotiating Boundaries”, Lawangwangi Art and 2010 “Bandung New Emergence vol. 3”, Selasar Sunaryo,

2014 “Identity Parade”, ViaVia Alternative Space, Science Estate, Bandung, Indonesia Bandung, Indonesia
2014 “ARTE–Indonesian Art Festival”, Jakarta
Yogyakarta, Indonesia 2012 “International Color Works”, Korea Society of Color 2010 “Play Dead 2, Leisure All Mine”, Galeri Padi,
2014 KSCS International Exhibition of Color Works,
2013 “Equanimity”, Artsphere Gallery, Jakarta Studies, Xi Gallery, Seoul Bandung, Indonesia
Seogyodong Xi Gallery, South Korea 
2012 “I am You”, Galeri Gerilya Bandung, Indonesia 2012 “KSDT International Design Trend”, Korea Design 2010 Korea International Art and Design Exhibition,
2013 “Spot Art”, Parallel exhibition to the Singapore
Center Exhibition, Seongnam, South Korea South Korea
Biennale, MICA Building, Singapore
Selected Group Exhibitions 2012 “Reposisi”, National Gallery of Indonesia, Jakarta 2010 “The 7th Asia Fiber Art (AFA) Exhibition”, Beijing
2013 “Art at Your Own Risk: Frying Tahu”, Santeria

2017 “Emang Jadi Pilihan”, Lawangwangi Creative Space, Milano, Milan, Italy 2012 “15 × 15 × 15 Mini Art Project #4: Mind-Eye”, 2010 “Upperdogs”, Garasi 10, Bandung, Indonesia

Bandung, Indonesia Soemardja Gallery, Bandung, Indonesia  

2013 “International Design Trend 2013”, Korea Society of 2009 “Fiber Art Exhibition Play Dead”, Galeri Kita,

2017 “Emang Jadi Omongan”, Galeri Hidayat, Bandung, Design Trend, Gyeonggi–Do, South Korea  2011 “PMR CUBE Contemporary Culture Interplay”, Bandung, Indonesia
Indonesia Sampoerna Strategic Building, Jakarta
2013 “Pasar Seni Jakarta 2013”, Gelora Bung Karno, 2009 “Fiber Face 2 Evolution”, Taman Budaya Yogyakarta,

2017 A Group Show; Platform3 Gallery, Bandung, Jakarta 2011 “La Composition Seduisante”, Edwin’s Gallery, Indonesia
Indonesia Jakarta
2013 Art Bazaar 2013, Pacific Place, Jakarta 2008 “The 6th International Asia Fiber Art (AFA)

2017 “Getok Tular 2: Spacing Out”, Omni Space, Bandung, 2011 “The 8 Asia Fiber Art (AFA) Exhibition”, Perak,
th
Exhibition”, Bentara Budaya, Jakarta
2013 KSCS International Exhibition of Color Works,
Indonesia Malaysia
Korea Design Center Gallery, South Korea
2016 “Fiber Face 4”, Taman Budaya Yogyakarta Beaten
Bark, Yogyakarta, Indonesia

75
Natasha Tontey
Education
2007–2011 BA Visual Communication Design,
Universitas Pelita Harapan
Solo Exhibition
2018 “Almanak”, Cemeti Institute for Art and Society,
Yogyakarta, Indonesia
Performances
2018 LA DANSE MACABRE (in collaboration with
choreographer I Putu Bagus Bang Sada Graha Saputra) for
Indonesian Dance Festival
2018 The work was presented several times as work in
progress in: ASIA DRAMATURGS NETWORK September
2018(Yogyakar ta, Indonesia)
2018 Jejak-Tabi Exchange: Wandering Asian
Contemporary Per formance 2018 (Yogyakarta and Kuala
Lumpur)
2018 Jalur Pinggir Tak Selalu Ada di Peta Kota at Institut
Francais Indonesie, Yogyakarta, Indonesia
2017 Makan Mayit, a self initiated per formative dinner
2016 Angkot Alien (in collaboration with Rafaella
McDonald) at NEXT WAVE Festival 2016 in Melbourne,
Australia
Selected Group Exhibitions
2018 ‘THE INSTRUMENT BUILDERS PROJECT -
Circulating Echo’, at Kyoto Art Centre (Kyoto, Japan)
2018 ‘MASS’ working as collaborator for Auto Italia South-
East, at Cemeti Institute for Art and Society, Yogyakarta,
Indonesia
2017 Craft as Method of Thinking at Galeri Lorong
(Yogyakar ta, Indonesia)
2017 Koganecho Bazaar 2017 at Koganecho Area
Management, Yokohama, Japan
2017 Here is Zine Tokyo 15 at Tokyo CultuArt by BEAMS,
Tokyo, Japan
2016 OKVIDEO MuVi Festival, at Ruangrupa Gudang
Sarinah Ekosistem, Jakarta, Indonesia
2016 UNKNOWN ASIA 2016 at Herbis Hall, Osaka, Japan
2016 Toko Pura-pura (Ruangrupa Quasi-shop)’ at Asia Ar t
Archive, Hong Kong
2016 Fieldtrip Project at Ruangrupa Gudang Sarinah
Ekosistem, Jakarta, Indonesia
2016 Next Wave Festival 2016 (Melbourne, VIC, Australia)
2015 Unjuk Rasa: Protest and Political Affirmation in
Poster Design, at C20 Library, Surabaya, Indonesia
2015 Koganecho Bazaar 2015, at Koganecho Area
2015 Management Center, Yokohama, Japan
2015 LIMINAL, at Cemeti Art House, Yogyakarta,
Indonesia
2014 ‘Mama Nggak Boleh Tahu’ Router Art Project, at
Cemeti Art House, Yogyakarta, Indonesia
2014 Youth of Today, at Ruang MES56, Yogyakarta, 2016 Judge Award Shuji Nagai (Tokyo Culturart BEAMS)
Indonesia at Unknown Asia
2014 Exquisite Corpstallation (working with Kunci 2016 Judge Award Hiro Sugiyama (Enlightment Japan) at
Cultural Studies Centre and Dr. Marnie Badham & Alia Unknown Asia
Gabres of Footscray Arts), at Ace House Collective,
2016 Judge Award Keita Kusaka (Dentsu Kansai/UFO
Yogyakarta, Indonesia
Conductor) at Unknown Asia
2013 SEKS VOL. 3, at Waga Gallery, Jakarta, Indonesia
2016 Playking Grant 2016 for Next Wave Festival 2016
2013 The Age of Photography, at Tony Raka Gallery, Ubud, together with Rafaella McDonald, Australia
Indonesia
2009 Indonesian Graphic Design Award,
2013 Body Festival, at Ruangrupa, Jakarta, Indonesia Indonesia
Selected Press / Publication / Interviews Residency
2019 The Future is A Cockroach, Interview by Schloss- 2019 >>Planetary Glitch<< Web Residency by ZKM &
Post (Akademie Schloss-Solitude & ZKM) Akademie Schloss-Solitude
2018 The Fear Producer’ written by Nuraini Juliastuti of 2015 Koganecho Bazaar 2015, Yokohama, Japan
KUNCI Cultural Studies Center (October 2018)
2014 Youth Of Today, Ruang MES56, Yogyakarta,
2018 Alia Swastika ‘Merayakan Feminisme Baru’ Indonesia
published at Koran Tempo July 2018
2018 Mempertebal Harapan Dari Panggung “Pinggiran”,
written by Michael HB Raditya, published in terasseni.
com on May 2018, ht tp://www.teraseni.com/2018/05/
mempertebal-harapan-dari-panggung.html
Awards and Grants
2016 OK Video, MUVI Party Festival 5 best Music Video
from OK Video Ruangrupa
77
Octora
Education
2016 Master of Contemporary Art, Victorian College
of The Arts, The University of Melbourne, Melbourne,
Australia
2002 Bachelor of Fine Art (Sculpture), Faculty of Art
and Design, Bandung Institute of Technology, Bandung,
Indonesia
2001 Bachelor of Law, Faculty of Law, Parahyangan
Catholic University, Bandung, Indonesia
Solo Exhibitions
2015 “On The Edge of Awareness”, Canna Gallery, Jakarta
2012 “After Happiness”, d’Gallerie, Jakarta
2011 “Mimi/Secret”, Stock20, Taichung, Taiwan
2007 “The Nonya’s Project”, Centre Culturel Français de
Bandung (CCF Bandung), Bandung, Indonesia
Selected Group Exhibitions
2017 VCA Master Graduate Show 2017, Margaret
Lawrence Gallery, Melbourne, Australia
2017 “Power and Other Things”, BOZAR (Centre for Fine
Arts), Brussels
2016 “What Can We All Agree On”, VCA Student Gallery,
Melbourne, Australia
2016 “Kait Kelindan”, Salihara Gallery, Jakarta
2016 “Historia Docet Historia Vitæ Magista”, d’Gallerie,
Jakarta
2015 “Maju Kena, Mundur Kena”, Jakarta Biennale 2015
2015 “(Neither Forward nor Back: Acting in the Present)”,
Jakarta
2015 “Mapping Melbourne 2015, Independent
Contemporary Asian Arts: SHOUT!”, The Meat Market
Stables, Melbourne, Australia
2014 “Playing with Boundaries, Tetangga Seniman”, Al-
Munawir Islamic Education Centre, Yogyakarta, Indonesia
2014 “Di Antara/In Between”, Salihara Gallery, Jakarta
2014 “Sculpture Triennale #2: Versi (Version)”, National
Gallery of Indonesia, Jakarta
2012 “Manis”, Centre Intermondes, La Rochelle, France
2012 “The Jakarta 2nd Contemporary Ceramics Biennale:
Crafting Identity”, North Art Space, Jakarta
2011 “Beastly”, Cemeti Art House, Yogyakarta, Indonesia Awards
and Salihara Gallery, Jakarta 2017 Fiona Myer Awards for excellence, Faculty of VCA
2011 “Sculpture Triennale #1: Ekspansi (Expansion)”, and MCM, The University of Melbourne
National Gallery of Indonesia, Jakarta
2016 Mentorship Award, Faculty VCA and MCM, The
2011 “Motion Sensation”, Edwin’s Gallery, Jakarta University of Melbourne
2011 “Jogja Biennale XI: The Equator #1, India”, Jogja 2013 Runner-up of Trimatra National Competition,
National Museum, Yogyakarta, Indonesia held by Indonesian Ministry of Tourism and Creative
Industries, Salihara Gallery, Louis Vuitton, Jakarta
2010 “Mental Archieve”, Cemeti Art House, Yogyakarta,
Indonesia 2012 Winner at Bandung Contemporary Art Awards
2010 “Landing Soon #6–#11”, Erasmus Huis, Jakarta
2009 “Asian Art Project: Darimana?”, Ma-Sui Gallery,
Kawaguchi, Japan
2009 “Everything You Know About Art is Wrong”, Selasar
Sunaryo Art Space, Bandung, Indonesia
2009 “Landing Soon #10”, Cemeti Art House, Yogyakarta,
Indonesia
2008 “Bandung New Emergence Vol. 2”, Selasar Sunaryo
Art Space, Bandung, Indonesia
2008 “15 × 15 Exhibition: Metaphoria”, Soemardja Gallery,
Bandung, Indonesia
79
Prilla Tania
Education
2001 BA Faculty of Art and Design, Sculpture Studio,
Bandung Institute of Technology 2015 “Vertical Horizon”, ICAD, Grand Kemang, Jakarta
Solo Exhibitions
2013 “E”, Selasar Sunaryo Art Space, Bandung, Indonesia
2012 “Ik Ben De Chloroman, Hier Heden”, Den Haag, The
Netherlands
2011 “Video Out, Focus On Prilla Tania; 5th OK.Video
Festival, Flesh”, Linggar Seni, Jakarta
2009 “Mikrokosmos”, MD Art Space, Jakarta
2008 “Tanah di Dasar Samudera”, Cemara 6 Gallery,
Jakarta
2005 “Watching me watching you watching me, Room#1”,
Bandung, Indonesia
2003 “Phiruku”, CCF Bandung, Indonesia
Selected Group Exhibitions
2017 “Pekan Seni Media”, Pekanbaru, Indonesia
2016 “Panoptic”, Galeri Cipta, TIM, Jakarta
2016 “Hacking Urban Reality #3”, DIAS, Vallensbaek
Station, Copenhagen
2016 “Koneksi/Connectie: Rethinking Home”, Niew
Dakota, Amsterdam
2016 “Neglected Ordinaries”, Redbase Foundation,
Yogyakarta, Indonesia
2014 “Fukuoka Triennale 5”, Fukuoka Asian Art Museum,
Fukuoka, Japan
2014 “Media/Art Kitchen”, Aomori Contemporary Art
Center, Aomori, Japan
2014 “ArtJog 2014: Legacies of Power”, Yogyakarta,
Indonesia
2014 “Not a Dead End”, Jogja Biennale XII, Jogja National
Museum, Yogyakarta, Indonesia
2014 “Crossing Contemporary Culture”, MiFA,
Melbourne, Australia
2014 “Inside The Moment”, Crane Arts, Philadelphia, USA
2012 “Drift”, Ruang Rupa, Jakarta
2012 “Manifesto #3”, National Gallery of Indonesia,
Jakarta
2012 “The Fountain of Lamneth”, Gajah Gallery,
Singapore
2012 “Bandung Contemporary Art Awards #2”,
Lawangwangi Art and Science Estate, Bandung, Indonesia
2011 “Flight for Light: Indonesian Art and Religiosity”,
Art:1 New Museum, Jakarta
2011 “Contemporary Landscape”, Lawangwangi,
Bandung, Indonesia
2010 “Close The Gap: Indonesian Art Today”, MiFA,
Melbourne, Australia
2010 “Contemporary Art Indonesia-ID”, Kunstraum
Kreuzberg/Bethanien, Berlin
2010 “MEDIACTION”, Chiyoda Arts 3331, Tokyo
2010 “Eattoipa”, Taiwan International Video Art
Exhibition, Hong Gah Museum, Taipei
2010 “Lihat! Video Art from Indonesia”, Jesús Gallardo,
León, Mexico
2010 “n.b.k. Video-Forum”, Neuer Berliner Kunstverein,
Berlin, Germany
2009 “Halimun”, Lawangwangi Art and Science Estate,
Bandung, Indonesia
2009 “Beyond The Dutch”, Centraal Museum Utrecht, The
Netherlands
2009 “Fluid Zones”, Jakarta Biennale, Indonesian
National Gallery, Jakarta with VideoBabes, Indonesia
2008 “MANIFESTO”, Indonesian National Gallery, Jakarta
2008 “The Past, The Forgotten”, Singapore National
Museum, Singapore
2008 “Beyond the Boundary”, IASKA (International Art
Space Kellerberrin Australia)
2008 “The Past, The Forgotten”, Bizart, Shanghai,
China; Rumah Seni Yaitu, Semarang; Erasmus Huis,
Jakarta; Rumah Seni Cemeti, Yogyakarta, Indonesia; The
Netherlands Institute of War Documentation (NIOD),
Amsterdam; Artotek, Den Haag, The Netherlands
2007 “Intimate Distance, Indonesian Women Artists”,
Indonesian National Gallery, Jakarta with VideoBabes,
Indonesia
2007 “OK Video Militia”, Jakarta International Video
Festival, Indonesian National Gallery, Jakarta
2006 Jakarta Biennale, “Beyond”, Cipta II Gallery, Taman
Ismail Marzuki, Jakarta
2006 “Passing on Distance”, Base Gallery, Tokyo
2006 “Fraicheur de vivre”, public art project in
TransJakarta stations, Jakarta
2005 “OK Video Subversion”, Indonesian National Gallery,
Jakarta, with Rani Ravenina, Indonesia
81
Restu Ratnaningtyas
Education
2000 Jurusan Pendidikan Seni Rupa, Universitas Negeri
Jakarta
Solo Exhibitions
2017 “Subsume”, Baik Art Gallery, Los Angeles, USA Indonesia
2016 “Tantrum”, Kedai Kebun Forum, Yogyakarta,
Indonesia
2008 “Memento: Privatization Room”, Vivi Yip Art Room,
Jakarta 2014 “The Roving Eye”, Arter, Istanbul, Turkey
Selected Group Exhibitions
2018 “Redraw 3”, Edwin’s Gallery, Jakarta
2018 “Multipolar: Pameran Manifesto 6”, National Gallery
of Indonesia, Jakarta
2017 “Performing Craft”, Galeri Lorong, Yogyakarta,
Indonesia
2017 “POLA”, Jim Thompson Art Center, Bangkok
2016 “Art With Purpose”, Museum Nasional Indonesia,
Jakarta
2016 “Beyond Masculinity”, Ark Gallery, Yogyakarta,
Indonesia
2016 “Concept Context Contestation: Art and the
Collective in Southeast Asia”, Cemeti Art House,
Yogyakarta, Indonesia
2016 “Fast and Forward”, Cemeti Art House, Yogyakarta,
Indonesia
2016 “REDRAW II”, Edwin’s Gallery, Jakarta
2015 “Polychromatic”, Green House Hotel, Yogyakarta,
2015 “Membaca Widayat”, Museum Widayat, Magelang,
Indonesia
2014 “Hisashi Tenmyouya × Indieguerillas Curatorial
Exhibition”, Mizuma Gallery, Singapore
2014 “REDRAW”, Edwin’s Gallery, Jakarta
2013 “Not a Dead End”, Biennale Jogja, Yogyakarta,
Indonesia
2013 “Art Gwangju 2013”, Dong-gu, Gwangju, South Korea
2013 “Mnēmonikos: Art of Memory”, Jim Thompson Art
Center, Bangkok
2013 “Dobrak”, Cemeti Art House, Yogyakarta, Indonesia
2013 Krack studio launching, Yogyakarta, Indonesia
2013 “Girls Gang of Indonesia”, Newagency Gallery,
Sydney, Australia
2013 “BACAA #3”, Lawangwangi Artspace, Bandung,
Indonesia
2012 “Mom, My Dearest”, Via Via Café, Yogyakarta,
Indonesia
2012 “Personal Project”, dia.lo.gue Artspace, Jakarta 2010 ArtJog 2010, Taman Budaya Yogyakarta, Indonesia
2012 “UNDER REFLECTION”, Lokanat Gallery, Yangon 2009 “HeRe is here”, Vivi Yip Art Room, Jakarta
2012 “Gangster Nation”, Art Bazaar, Pacific Place, Jakarta
2009 “Deer Andry, Ruang Rupa and Mes 56”, Jakarta and
2012 “Domestic Stuff”, Salihara Gallery, Jakarta; Cemeti
Yogyakarta, Indonesia
Art House Yogyakarta, Indonesia
2009 Jakarta Biennale XIII, Indonesian National Gallery,
2012 “Kiniyakini” website launching, Frank
Jakarta
Welkenhuysen Galerie & Kunstmakelaardij, Utrecht, The
Netherlands Projects and Residency
2012 ArtJog 2012, Taman Budaya Yogyakarta, Indonesia 2017 Baik Art Gallery Residency, Davidson College, North
Carolina, USA
2011 “Pause; Automatic Drawing Simple and Dangerous”,
Langgeng Art Foundation, Yogyakarta, Indonesia 2013 “Dobrak”, Cemeti, Yogyakarta Indonesia
2011 “Beastly”, Cemeti Art House Yogyakarta, Salihara 2010 “Hotwave#1”, Cemeti, Yogyakarta Indonesia
Gallery, Jakarta
2010 “+ Road”, Cemeti, Yogyakarta Indonesia
2011 “Tongtong Festival”, The Hague, The Netherlands
2011 “Brest: Mengintip Laut”, LIP Yogyakarta, Indonesia
2011 ArtJog 2011, Taman Budaya Yogyakarta, Indonesia
2010 “Wouw!”, Tujuh Bintang Gallery, Yogyakarta,
Indonesia
2010 “+ ROAD”, Cemeti Art House Yogyakarta, Indonesia
2010 “Hotwave #1”, Cemeti Art House Yogyakarta,
Indonesia
2010 “The lazy dog jumps over the quick brown fox”,
Smarta Gallery, Jakarta
83
Sanchia Tryphosa Hamidjaja

Education 2014 KIAF (Korean International Art Fair) with ROH Published Works 2014 Vodka & Latte Dog Grooming, Kemang, Jakarta,

2002–2004 Bachelor Degree of Communication Design Gallery, Seoul 2016 Stack City Coloring Book, published by Gramedia Indonesia
Swinburne National Institute of Design, Melbourne, 2014 “Symbol, Spirit, Culture”, Edwin’s Gallery, Jakarta, Pustaka 2014 Packer Lodge, Kemurnian, Jakarta, Indonesia
Australia Indonesia Commissioned Mural Works 2014 Pong Me! Ping Pong Lounge, Gunawarman, Jakarta,
Solo Exhibitions 2014 “Redraw”, Edwin’s Gallery, Jakarta, Indonesia Indonesia
2017 Go-Jek Office Mural, Pasaraya, Jakarta, Indonesia
2011 “The Yin & Yang Dogs”, Inkubator Asia Gallery, 2014 “Manifesto”, National Gallery of Indonesia, Jakarta, 2012–2013 Kosenda Hotel, Wahid Hasyim, Jakarta,
2016 Nike Store Gandaria City, Jakarta, Indonesia
Jakarta Indonesia Indonesia
2015 Kiubi Waxing Studio, Tanjung Duren, Jakarta,
Selected Group Exhibitions 2014 Collaboration Zine with Empat Lima (Australia), Art Biennale
Indonesia
2018 “On Traces”, Edwin’s Gallery, Jakarta, Ruang Rupa, Jakarta, Indonesia
2015 The Cubbyhole Restaurant, Temple Trees, Senopati, 2015 Jakarta Biennale “Maju Kena Mundur Kena”,
Indonesia 2014 “Scribble Project”, Melbourne, Australia Gudang Sarinah, Jakarta, Indonesia
Jakarta, Indonesia
2017 “Kecil itu Indah”, Edwin’s Gallery, Jakarta, 2013 “Begadang Neng?”, Ruang Rupa Gallery, Jakarta, Art Residencies
2015 Nam Nam Noodle, Plaza Indonesia, Jakarta,
Indonesia Indonesia Indonesia 2017 Comic Art Workshop, Krack! Studio, Yogyakarta,
2016 “Pong Pong Balong”, dia.lo.gue Artspace, Jakarta, 2012 Rachel Gallery Opening Exhibition, UOB Building, Indonesia
2015 Nam Nam Noodle, Gandaria City, Jakarta, Indonesia
Indonesia Jakarta, Indonesia
2014 Club Kembang (Sekolah Kembang), Kemang, 2016 Exquisite Corpstallation, Footscray Community Art
2016 “FemaleArtivism-Jakarta!”, FCAC, Gabriel Gallery, 2012 “Blended By Desire”, Michael Janssen Gallery, Center, Melbourne, Australia
Jakarta, Indonesia
Melbourne, Australia Gillman Barracks, Singapore
2015 “Ugly”, ArtDept, Jakarta, Indonesia 2011 “Finding Me” Gallery Semarang, Semarang,
Indonesia

85
Syagini Ratna Wulan

Education 2015 “Effervescence”, ROH Projects, Gillman Barracks, 2012 “Fountain of Lamneth”, Gajah Gallery, Singapore 2010 “Post-Psychedelia”, Selasar Seni Sunaryo, Bandung,

1997 Bandung Institute of Technology, Fine Art, Singapore Indonesia

2012 “40 × 40”, dia.lo.gue, Jakarta
Printmaking 2015 “Family and Friends”, ROH Projects, Jakarta Residency
2011 “Beauty Case”, JAD, Jakarta
2005 Goldsmiths College, University of London, MA 2015 Bazaar Art Jakarta, Vivi Yip Artroom, Jakarta April–July 2011 Art Initiative Tokyo
2011 “Rounds at Bar Vol. 5”, Roppongi, Tokyo
Cultural Studies
2014 “Ayatana”, 5 ICAD, Grand Kemang, Jakarta
th
Public Collections
2011 “IVAA (Indonesian Visual Art Archive ) ArchiveAID
Solo Exhibitions
2014 “Xero- Fest”, Art Department, The Goods, Pacific no. 4”, Jakarta Art District, Jakarta Singapore Art Museum
2016 “Spectral Fiction”, ROH Projects, Jakarta Place, Jakarta
2011 Grand Indonesia, Jakarta Indonesia Stock Exchange (IDX)
2016 ROH Projects, Art Stage Singapore 2014 Biennale Jogja XII “Equator #2. Not A Dead End”,
2011 Art Stage, Canna Gallery, Marina Bay Sands,
2015 “Catharsis”, Mizuma Gallery, Gillman Barracks, Yogyakarta, Indonesia
Singapore
Singapore 2014 “Indonesia Encounters the Arab Region” Jogja
2010 “Decompressed, 10 Years of Ruang Rupa Artspace”,
2012 “100 Years of Tempest”, Ark Galerie, Jakarta National Museum, Yogyakarta, Indonesia
National Gallery of Indonesia, Jakarta
2011 “Bibliotea”, AsiaOne, Vivi Yip Artroom, ArtHK, Hong 2013 “Sip! Indonesian Art Today”, Arndt Gallery, Berlin,
2010 “Mental Archive”, Cemeti Art House, Yogyakarta,
Kong Germany
Indonesia
2010 “Love Affair Pt. 1: The Dining Room/White Lies”, Vivi 2013 “Some Like it Hot”, Shanghai Gallery of Art,
2010 “Lompat Pagar/Crossing Borders”, National Gallery
Yip Art Room, Jakarta Shanghai, China
of Indonesia, Jakarta
Selected Group Exhibitions 2012 “AIT Reunion”, Hara Museum, Tokyo
2010 “Critical Points”, Edwin’s Gallery, Jakarta

2016 “Bazaar Art”, ROH Projects, Jakarta 2012 Singapore Art Museum, Singapore
2010 “Shopping”, Nadi Gallery, JAD, Jakarta

2016 Art Stage Jakarta, ROH Projects 2012 Bandung Pavilion, Shanghai Biennale, Shanghai

87
Tara Astari Kasenda
Education
2008–2013 Bachelor of Fine Arts Bandung Institute of
Technology (ITB), Bandung, Indonesia Faculty of Fine Art
and Design, majoring in Painting
2018 Ongoing to obtain Master of Arts in
Transdisciplinary New Media, Paris College of Art, Paris
Solo Exhibitions
2015 “Wheedled Beings”, Art Taipei 2015, Taipei
2015 “Section for Young Emerging Artist”, Taipei
2014 “Somatic Markers”, Langgeng Art Foundation (LAF),
Yogyakarta, Indonesia
2013 “Taksa”, Ark Galerie, Jakarta
Selected Group Exhibitions
2017 “Bandung Contemporary Art Awards #5 (BaCAA
#5)”, Lawangwangi Art Space, Bandung, Indonesia
2017 “Murni”, Grand Kemang Hotel, Jakarta
2017 “X”, Orange Gallery, Bacolod, Negros Occidental,
Philippines
2017 “Equidistant Night”
2017 “Young Artists”, Provenance Gallery, Shangri-La at
the Fort, Manila
2017 “Bazaar Art 2017”, The Ritz Carlton, Jakarta
2017 “Sekata Living”, BRAVACASA, The Ritz Carlton,
Jakarta
2017 “Social Turbulence”, Edwin’s Gallery, Jakarta
2016 “Universe Behind the Door”, Ar+otel, Jakarta
2016 “Bazaar Art Jakarta 2016”, The Ritz Carlton, Jakarta
2016 “Waiting for It to Happen”, Nadi Gallery, Jakarta
2016 “Saya Kata Maka Saya Percaya”, Galeri Chandan,
Kuala Lumpur
2016 “A.S.A.P”, G13 Gallery, Selangor, Malaysia
2016 “Mulat Sarira Nagri Parahyangan”, NuArt Sculpture
Park, Bandung, Indonesia
2015 “Bipolarity to Multipolarity”, Yogyakarta, Indonesia
2015 “AGSI Artsy Weekend”, Edwin’s Gallery, Jakarta
2015 “Bazaar Art Jakarta 2015”, Jakarta
2015 “New Future, The 3rd Korea-Indonesia Media
Installation Art Exhibition”, Art:1 Museum, Jakarta
2015 “VOID”, Langgeng Gallery, Magelang, Indonesia
2015 “Here-There-Everywhere”, Galeri Semarang,
Semarang, Indonesia
2014 “Mini Mart Now”, Pasar Seni ITB 2014, Bandung,
Indonesia
2014 “Hole In The Wall”, Ruci Gallery, Jakarta
2014 “Cut & Re-Mix”, Jogja Gallery, Yogyakarta, Indonesia
2014 “Kamarisahari”, Hidayat Gallery, Bandung,
Indonesia
2013 “Everyday is Like Sunday”, Langgeng Gallery,
Magelang, Indonesia
2012 “Humanity in Motion”, Mercantile Athletic Club,
Jakarta
2012 “ArtJog 12, Looking East: A Gaze Upon Indonesian
Contemporary Art”, Taman Budaya Yogyakarta, Yogyakarta,
Indonesia
2012 “Lubberland”, W Space Kemang, Jakarta
2012 “Kartini Effect”, Medco, Jakarta
2011 “Lavishly Silent”, Lawangwangi Art Space, Bandung,
Indonesia
Award
2017 Finalist, Bandung Contemporary Art Award (BaCAA)
#5
Theresia Agustina Sitompul
Education 2017 “Slow Fashion Lab”, Ark​ ​Galerie,​ ​Yogyakarta,​ ​
1999–2007 Fine​ ​Art​ ​dept.​ ​Printmaking,​ ​Indonesia Indonesia   
Institute of Art​,​ ​Yogyakarta 2017 “Babon,​ ​​Bumbon #2”,​ ​Project Bale​ ​Banjar​ ​Sangkring,​ ​
Yogyakarta,​​Indonesia     
2009–2011 Postgraduate,​ ​Fine​ ​Art​ ​Dept.​ ​Printmaking,​ ​
Indonesia​ ​Institute​ ​of​ ​Art​ ​Yogyakarta 2017 “Buku​​Mini II, Juara​​Dunia”,​​Yogyakarta,​​Indonesia   
Solo Exhibitions 2017 “Sikat Sekat​”, Taman​​Budaya​​Surakarta,​​Indonesia 
2014–​2015 “Pada Tiap Rumah Hanya Ada Seorang 2016 SEA+​​Triennale​​​“ENCOUNTER: Art from Different
Ibu (within​ ​each​ ​house​ ​there​ ​is​ ​only​ ​a​ ​mother)”, Bentara​ ​ Lands”, National Gallery of Indonesia, Jakarta 
Budaya,​​Jakarta,​​Bali,​​Solo,​​Yogyakarta,​​Indonesia 
2016 “Bazaar Art Jakarta”, Ritz​​Carlton​​Ballroom,​​Jakarta 
2012 “Prints of the Book of Genesis: Seeds of Peace”,
2016 “Collective Society (Grafis​​Minggiran)”  BEKRAF​​
Lawang​ ​Wangi,​ ​Bandung,​ ​Indonesia
SPACE,​​Art​​Stage​​2016,​Sheraton​​Grand​​Jakarta   
2011 “Spirit of Noah”, Bentara​​Budaya,​​Yogyakarta,​​
2016 “Print Parade #02”, Studio​​Grafis​​Minggiran,​​
Indonesia
Yogyakarta,​​Indonesia   
2010 “Happyartland”, Vivi Yip​ ​Art​ ​Room​ ​2,​ ​Jakarta
2016 “ArtJog​​9:​Universal Influence”, Jogja​​National​​
2010 “Happyartland”, S​​Bin​​Art​​Plus,​​Singapore  Museum,​​Yogyakarta,​​Indonesia 
2009 “Confession”, Vivi​ ​Yip​ ​Art​ ​Room,​ ​Jakarta 2016 “Charity Art and Design​Against Cancer”,​​Jakarta   
2009 “Confession”, Richard​​Koh​​Fine​​Art,​​Kuala Lumpur    2016 “Singapore Contemporary”, Suntec​​City,​​Singapore
2004 “Yearnin”, Via-Via​ ​Café, ​Yogyakarta,​ ​Indonesia 2016 “Bumbon”, Sangkring​ ​Artspace,​ ​Yogyakarta,​ ​
Selected Group Exhibitions Indonesia   
2017 “ASYAAF- Asian Students and Young Artists Art 2016 “Martell Contemporary Art Exhibition Historia
Festival”, LVS​ ​Project,​ ​Seoul Docet,​ ​Historia​ ​Vitæ​ ​Magistra”, d’​Gallerie,​ ​Jakarta
2017 “Art Jakarta 2017”, The​​Ritz​​Carlton​​Jakarta​​Pacific​​ 2015 “Mencegah Bara”, Galeri​​Fatahillah,​​Jakarta 
Place,​​Jakarta    2015 “Belum Ada Judul”, Sangkring​ ​Art​ ​Space,​ ​
2017 “Pekan Seni Grafis Yogyakarta (Grafis​​Minggiran)”, Yogyakarta,​​Indonesia   
Jogja​ ​National​ ​Museum,​ Yogyakarta,​ ​Indonesia 2015 5th Anniversary Exhibition, Element​ ​Art​ ​Space,​ ​
2017 “Peek × Grafis Minggiran Intaglio​​Exhibition”,​​Dong​​ Singapore   
Po​​Colonial​​Cafe,​​Singapore     2015 Fundraising Biennale Yogya, RUCI​ ​Art​ ​Space,​ ​
2017 “I​too am Untranslatable”, Ruci​​Art​​Space,​​Jakarta    Yogyakarta,​​Indonesia   
2015 31st Dies Natalis​ ISI, ISI​ ​Yogyakarta,​ ​Indonesia
2017 “Interpersonal Encounter Exhibition”, Museum​​dan​​
Tanah​ ​Liat,​ Yogyakarta, Indonesia
89
 Yaya Sung

2014 “ArtJog 14: Legacies of Power”, Taman​​Budaya​​ 2013 “Girl​ ​Gangs​​ of ​Indonesia”, News​ ​agency​ ​Gallery,​ ​ Education 2015 “Wanita: Female Artivism-Jakarta”, Footscray
Yogyakarta,​​Indonesia  Sydney    2004–2008 BA, Visual Communication and Design, Community Art Center, Gabriel Gallery, Melbourne,
University of Pelita Harapan, Jakarta Australia
2014 “Manifesto #4: Keseharian”, National Gallery of 2013 Fundraising “Steak Daging Kacang Ijo”​, Museum​​
Indonesia, Jakarta dan​​Tanah​​Liat,​​Yogyakarta,​Indonesia      2009–2010 Pre-Master for Fine Art Programme, 2015 “NOW: Here–There–Everywhere”, Semarang

Cambridge School of Visual and Performing Arts Contemporary Art Gallery, Semarang, Indonesia
2014 “Wood & Good: Meta-Kriya Nusantara”, Ciputra​​ 2013 “Dermawan​ ​untuk​ ​Darmawan”, Nadi​ ​Gallery,​ ​
Artpreneur​​Center,​​Jakarta    Jakarta  Cambridge, United Kingdom 2015 “Koganecho Passage: Revisited”, Koganecho Area

Solo Exhibitions Management Center, Yokohama, Japan

2014 “Untukmu Guru”, Museum​ ​Widayat,​ ​Muntilan,​ ​ Awards
Indonesia  2016 “Open Calling”, Taipei Cultural Foundation, Treasure 2014 “Afterimage: Contemporary Photography
2015 Nominee​ ​of​ Prudential Eye Art Award​​,​ ​Emerging​ ​
Hill Artist Village, Taipei in Southeast Asia”, Singapore Art Museum,
2013 “ArtEdition”,​ ​Seoul Artist​in​​Sculpture   
Singapore
2013 “Membaca Kota #01”, House​​of​​Sampoerna,​​ 2013 Winner​ ​of​ ​Young Artist Award, ArtJog ​2013,​ ​ 2014 “57: Lima Puluh Tujuh Tahun Api Kartini”, Petak 9
Sektor 9, Tangerang Selatan, Indonesia 2014 “1 × 25 Jam”, Cemeti Art House, Yogyakarta,
Surabaya,​​Indonesia      Yogyakarta,​ ​Indonesia
Indonesia
2013 “Paperium”, Museum​ ​Sri​ ​Baduga,​ ​Bandung,​ ​ 2013 Finalist​ ​of​ ​Indonesian​ ​Art​ ​Awards​ Idiolect​,​ ​National 2014 “Black Umbrella Thursday Memorial”, Koganecho
Bazaar 2014, Yokohama, Japan 2014 “49 - 39 = 10th …Menolak Diam”, Omah Munir
Indonesia Gallery of Indonesia
Museum, Malang, Indonesia
2013 “Print Parade”, Studio​​Grafis​​Minggiran,​​Yogyakarta,​​ 2012–2013 Finalist​​Sovereign Asian Art Prize, Espace​​ 2013 “Legal Artist Series: Jalan Kemenangan”, Ruang
MES56, Yogyakarta, Indonesia 2014 “Contract & Other Transactions”, Ruang MES56,
Indonesia  Louis​ ​Vuitton​ ​Island​ ​Maison​ ​and​ ​W Hotel,​ ​Korea​ ​and​ ​
Yogyakarta, Indonesia
Singapore Selected Group Exhibitions
2013 “ArtJog 13: Maritime Culture”, Taman​​Budaya,​​
2013 “SEKS Vol.III”, Waga Gallery, Jakarta
Yogyakarta,​​Indonesia    2012 3​rd​​ ​Winner Indonesia Triennal Printmaking IV​ 2017 “Exi(s)t 2017: Tomorrow As We Know It”, National
Gallery of Indonesia, Jakarta 2013 “Blink/Glance/Gaze, dia.lo.gue Artspace, Jakarta
2013 “Kuota #4: Kepingan”, Langgeng​​Art​​Foundation,​​ 2005 First Winner Belanja Grosir Sambil Plesir,​​Mural​​
Yogyakarta,​​Indonesia  Competition,​ ​ITC,​ ​Surabaya 2017 “The History of the Boys: the MES 56 and Beyond”, 2013 “ARTE: Indonesia Arts Festival”, Jakarta Convention

DECK, Singapore Center, Jakarta

2013 Silkscreen Exhibition,​ KRACK​ ​Studio,​ ​Yogyakarta,​ ​
Indonesia  2015 “Wani Ditata Project”, Jakarta Arts Council, Taman Grant

2013 “Sovereign Asian Art Prize”, ​Espace​ ​Louis​ ​Vuitton​ ​ Ismail Marzuki, Jakarta 2017 16th IPA Mentorship Grants Invisible Photographer
Island​​Maison​​and​​W Hotel,​​in​​Korea​​and​​Singapore  Asia, Singapore

91
CV Kurator | Curators’ CVs Carla Bianpoen

Education - Author “Han Sai Por: Revealing the Tao of her Soul”
Studied social sciences, Wilhelms University, Muenster/ - in Beyond the Dutch: Art and The Nation, The Cultural
Westfalen, Germany Politics of Soekarno

- Examiner S-2 at IKJ (November 2016)

Freelance Arts Journalist since 1990, contributing to
Travel Indonesia, Garuda Magazine, The Jakarta Post, The
Indonesian Observer, Indonesia Times, Asian Art News,
Visual Arts Magazine, Tempo daily and magazine, The
Jakart Globe, ArtRepublik Singapore, CoBo Social, HK
- Juror for the Akademi Jakarta Award 2016
- Author Indonesian Women Artists: Into the Future 2019
- Curator exhibition Into the Future (with Citra Smara
Dewi), 2019

Selected engagements Selected Awards

- World Bank, Jakarta (1989-1998) - Hivos to attend “Speak Memory” seminar, Cairo/Egypt,
2010
- freelance art journalist (1989- todate);
- Mondriaan Fonds to tour Museums in The Netherlands
- Senior Editor, C-Arts Magazine 2007 - late 2011;
- French Cultural Center to visit Lyon Biennale, 2009
- Juror, Bandung Contemporary Art Award (5 editions)
- Prince Claus Fund to attend teatrical presentation
- Artistic Director, Indonesia Pavilion in the 55th Venice
of reworked “I LaGaligo” (South Sulawesi epos),
Biennale (2013)
Amsterdam 2004
- Co-Curator, Indonesia Pavilion, 56th Venice Biennale
- Koc Foundation to cover The Roving Eye Exhibition on
(2015)
SE Asian Contemporary art at ARTER, Istanbul, 2013
- Co-author/editor “Indonesian Women Artists: The
- Van Loon Museum’s Suspended Histories (2013)
Curtain Opens” (2007)
- Prince Claus Fund to attend Prince Claus Awards
- author of (unpublished ) book on emerging Indonesian
Ceremony , Amsterdam ( with Dutch Embassy-Jakarta
artists, commissioned by IndoArt Now (2011).
and National Gallery Jakarta support), 2014
- Van Loon Museum’s Suspended Histories (2013)
Honors
- Author “Revealing Sakti”, retrospective essay for Sri
- Visual Art Award from Visual Art Magazine (2011)
Astari Rasjid (2015)
- Contemporary Art Award from the Government of
- Author ‘To Take a Bath’. The Story of Prof.Dr. Saparinah
Indonesia (2014)
Sadli (2016)

93
Citra Smara Dewi

Lahir Jakarta 29 Oktober 1968. Menyelesaikan Pendidikan

Sarjana (S1) 1998, pada Fakultas Seni Rupa, Institut
Kesenian Jakarta, program studi Desain Interior,
Menyelesaikan Pendidikan Pasca Sarjana (S2) 2004
pada Fakultas Ilmu Sosial dan Politik, program studi
Ilmu Komunikasi, Universitas Indonesia. Saat ini
tengah menyelesaikan Program Doktoral (S3), Fakultas
Ilmu Budaya, program Studi Ilmu Sejarah, Universitas
Indonesia. Mengikuti Pelatihan Jurnalistik di Lembaga
Jurnalis Dr. Soetomo, Jakarta. Saat ini selain sebagai
Dosen Tetap di Fakultas Seni Rupa, Institut Kesenian
Jakarta, juga Aktif sebagai nara sumber/konsultan seni,
juri, penulis lepas, peneliti. Menjadi Tim Kurator Galeri
Nasional Indonesia sejak tahun 2012 hingga saat ini.

Pameran yang pernah dikuratori antara lain

Pameran Indonesian Women Artist, Into The Future,

Galeri Nasional Indonesia tahun 2019, Pameran Manifesto
6.0 “Multipolar”, Seni Rupa 20 Tahun Setelah Reformasi,
Galeri Nasional Indonesia tahun 2018, Pameran “Wonders
of Indonesia”, Koleksi Galeri Nasional Indonesia di The
National Art Gallery (The Palace), Sofia, Bulgaria,tahun
2017, Pameran Visualisasi Pahlawan dan Tokoh
Perempuan, Eksplorasi Batik Gutha Tamarin dalam Kain
Sutra , Kementerian Pendidikan dan kebudayaan RI.
Pameran “Art with Purpose”, United Nations Information
Centre Jakarta (UN PBB), Museum Nasional Indonesia
tahun 2016, Pameran Pelukis Taiwan Chen Yang-Chun,
The Beauty of Taiwan, Galeri Nasional Indonesia tahun
2016, Pameran Basuki Abdulah Art Award #2, Museum
Basuki Abdulah, Jakarta Selatan, Pameran Tunggal Titis
Jabarudin, “Titis Liris Garis”, Galeri Nasional Indonesia
2016, Pameran Seni Rupa Karya Guru Seni Budaya, “Alur”,
Plaza Insani Berprestasi, Gedung Ki Hajar Dewantara
(Gedung A) Kemendikbud 2014, Pameran Seni Rupa karya
“Residensi Seniman” : Indonesia, Korea Selatan, Jepang,
Perancis, Italy ”, Galeri Nasional Indonesia.

95
Peliputan Media Media Online – Artikel Melaju ke Masa Depan
13-02-2019, Ars Media, https://arsmediatama.com/post/melaju-ke-masa-
| Media Coverage depan
Titian Masa Lalu, Menembus Masa Depan
22-02-2019, Facebook- Bambang Asrini Widjarnako, https://www.
facebook.com/bambang.a.widjanarko/posts/10213297297643026
21 Perempuan Perupa dalam Indonesian Women Artist 2019
24-02-2019, 19:07 WIB, Koran Sindo, https://lifestyle.sindonews.com/
read/1381597/166/21-perempuan-perupa-dalam-indonesian-women-
artist-2019-1551010015
Peluncuran Buku dan Pameran Indonesian Women Artist “Into the Future” di Galnas
24-02-2019, 20:52 WIB, Kompas.id, https://kompas.id/baca/
utama/2019/02/24/peluncuran-buku-dan-pameran-indonesian-women-
artist-into-the-future-di-galnas/
Perempuan Perupa Menuju Seni Kekinian
25-02-2019, 07:44 WIB, Harian Nasional, http://www.harnas.
co/2019/02/24/perempuan-perupa-menuju-seni-kekinian
http://berita.baca.co.id/30108009?origin=relative&pageId=9620f824-
6fa1-4fb8-b1e7-c9e56b892db0&PageIndex=2
Press Release Pameran Indonesian Women Artists: Into the Future
25-02-2019, Indonesiana, https://kebudayaan.kemdikbud.go.id/
galerinasional/press-release-pameran-indonesian-women-artist
Bekraf Dukung Peluncuran Buku Indonesian Women Artists: Into The Future
BEKRAF, http://www.bekraf.go.id/kegiatan/detail/bekraf-dukung-
peluncuran-buku-indonesian-women-artists-into-the-future
Peluncuran Buku Indonesian Women Artists: Into The Future
26-02-2019, BEKRAF, http://www.bekraf.go.id/galeri/detail/peluncuran-
buku-indonesian-women-artists-into-the-future
INDONESIAN WOMEN ARTIST: INTO THE FUTURE
26-02-2019, KlikDirektori.com, https://www.klikdirektori.com/indonesian-
women-artist/
Into the Future: Menilik Karya Perempuan Perupa Indonesia
26-02-2019, 18:00 WIB, MNEWS.co.id, https://www.mnews.co.id/read/
SENI/into-the-future-menilik-karya-perempuan-perupa-indonesia
21 Perempuan Merajut Masa Depan
27-02-2019, 16:08 WIB, Beritasatu.com, https://www.beritasatu.com/
hiburan/540339-21-perempuan-merajut-masa-depan.html
Dosen FSRD ISI Surakarta, masuk dalam 21 Perupa Perempuan Muda
Kontemporer Indonesia
27-02-2019, Fakultas Seni Rupa dan Desain, https://fsrd.isi-ska.
ac.id/2019/02/dosen-fsrd-isi-surakarta-masuk-dalam-21-perupa-
perempuan-muda-kontemporer-indonesia/

97
Buku ‘Into The Future’ Ungkap Seluk Beluk 21 Perupa Perempuan
27-02-2019, 17:14 WIB, Detik Hot, https://hot.detik.com/
celebofthemonth/art/d-4446659/buku-into-the-future-ungkap-seluk-
beluk-21-perupa-perempuan
Ragam Karya 21 Perupa Perempuan Kontemporer Lewat Pameran ‘Into
the Future
27-02-2019, 10:40 WIB, Detik Hot, https://hot.detik.com/
art/d-4445863/ragam-karya-21-perupa-perempuan-kontemporer-
lewat-pameran-into-the-future
Memetakan Gelap-Terang Masa Depan dari Kacamata Perempuan
27-02-2019, Whiteboard Journal, https://www.whiteboardjournal.
com/ideas/art/memetakan-gelap-terang-masa-depan-dari-
kacamata-perempuan/
Melaju ke Masa Depan
27-02-2019, Facebook- Bambang Asrini Widjarnako, https://www.
facebook.com/lennyratnasari.weichert/posts/10157041946941774
Perupa Perempuan Indonesia Diakui Dunia Internasional
28-02-2019, SIAR.com, https://siar.com/perupa-perempuan-
indonesia-diakui-dunia-internasional/
Roh Perempuan dalam Karya Seni Rupa Baru: Air Tajin, Kecoak, Hingga
Demokratisasi Karbohidrat
28-02-2019, 17:34 WIB, MNEWS.co.id, https://mnews.co.id/read/
SENI/roh-perempuan-dalam-karya-seni-rupa-baru-air-tajin-kecoak-
hingga-demokratisasi-karbohidrat
Perempuan Muda Pilihan Carla
02-03-2019 Tempo.co, https://majalah.tempo.co/read/157204/
perempuan-muda-pilihan-carla?hidden=login
Gebrakan Instalasi 21 Perupa Perempuan
03-03-2019, 00:40 WIB, Media Indonesia, http://mediaindonesia.
com/read/detail/220387-gebrakan-instalasi-21-perupa-perempuan
21 Seniman Perempuan Unjuk Karya di Galeri Nasional Indonesia
05-03-2019, ItjeHer, http://www.itjeher.com/seni-budaya/20737/21-
seniman-perempuan-unjuk-karya-di-galeri-nasional-indonesia/
‘Into the Future’ celebrates female Indonesian artists
07-03-2019, 15.51, Line Today, https://today.line.me/id/pc/article/%
E2%80%98Into+the+Future%E2%80%99+celebrates+female+Indo
nesian+artists-1jq8M3
Menangkap ‘Roh’ Perempuan dalam Ekshibisi “Into The Future”
08-03-2019, Indonesiana, https://kebudayaan.kemdikbud.go.id/
galerinasional/indonesian-women-artist-into-the-future/
‘Into the Future’ celebrates female Indonesian artists
08-03-2019, 09:01 am, The Jakarta Post, https://www.
thejakartapost.com/life/2019/03/07/into-the-future-celebrates-
female-indonesian-artists.html
Indonesian Women Artists: “Into the Future”, Memaknai Masa
10-03-2019, A Medium Corporation, (Rima Aisha), https://medium.
com/@aysazara/indonesian-women-artists-into-the-future-
memaknai-masa-53142fe9a8b
KARYA KONTEMPORER : Roh Perempuan dalalm Seni Instalasi
15-03-2019, 02:00 WIB, Koran.bisnis.com, https://koran.bisnis.com/
read/20190315/466/899916/karya-kontemporer-roh-perempuan-
dalalm-seni-instalasi
Indonesian Women Artists art exhibition: Into the Future
15-03-2019, 13:00 WIB, Independent Observer, https://observerid.
com/indonesian-women-artists-art-exhibition-into-the-future/
For Indonesian Women in the Arts, The Future is Now
01-04-2019, NOW!JAKARTA, https://nowjakarta.co.id/art-and-
culture/arts/for-indonesian-women-in-the-arts-the-future-is-now
Are We There Yet? Into The Future, with Carla Bianpoen
13-04-2019 Plural Art, https://pluralartmag.com/2019/04/13/are-
we-there-yet-into-the-future-with-carla-bianpoen/
Spellbound by ‘Into the Future: Indonesian Women Artists’
11-05-2019, thejakartapost.com, https://www.thejakartapost.com/
life/2019/05/10/spellbound-by-into-the-future-indonesian-women-
artists.html
Media Online – Berita Foto PAMERAN SENI RUPA INTO THE FUTURE
27-02-2019, 12:20 WIB, ANTARA Foto, https://www.antarafoto.com/
seni-budaya/v1551244811/pameran-seni-rupa-into-the-future
Pameran Seni Rupa
28-02-2019, 01:00, Koran Jakarta, http://www.koran-jakarta.com/
pameran-seni-rupa44/
BEDAH BUKU PERUPA 21 PEREMPUAN
01-03-2019, 18:45 WIB, ANTARA Foto, https://www.antarafoto.com/
peristiwa/v1551440715/bedah-buku-perupa-21-perempuan
Menikmati 21 Karya Imaji Perempuan di Pameran Into The Future
04-03-2019, 14:14 WIB, Suara.com, https://www.suara.com/
foto/2019/03/04/141452/menikmati-21-karya-imaji-perempuan-di-
pameran-into-the-future
FOTO: Kala 21 Seniman Perempuan Indonesia Bersatu
04-03-2019, 10:33 WIB, CNN Indonesia, https://www.cnnindonesia.
com/hiburan/20190303190817-243-374214/foto-kala-21-
seniman-perempuan-indonesia-bersatu
99
Media Cetak 21 Perempuan Dalam IWA 2019
Minggu, 24-02-2019, Koran Sindo, Harian, Budaya Hal. 8
Indonesian Women Artist: Into The Future
Rabu, 27-02-2019, Kabar Banten, Harian , Kabar Pendidikan Hal. 9
Indonesian Women Artist: Into The Future
Jumat, 01-03-2019, Koran Tempo, Harian, Seni Hal. 26
Menyuarakan Identitas, Frustasi, dan Kegetiran
Minggu, 03-03-2019, Jawa Pos, Harian, Lifestyle Hal. 24
Membingkai Roh Perempuan
Minggu, 03-03-2019, Kompas, Harian, Seni Hal.18
Gebrakan Instalasi 21 Perupa Perempuan
Minggu, 03-03-2019, Media Indonesia, Harian, Tifa Hal.10
Indonesian Women Artist: Into The Future
Jumat, 08-03-2019, Koran Tempo, Harian, Seni Hal.26
Into The Future: Celebrates Female Indonesian Artist
Jumat, 08-03-2019, The Jakarta Post, Harian, Features Hal.20
Kegelisahan 21 Perempuan
Kamis, 14-03-2019, Koran Tempo, Harian, Seni Hal.26
Roh Perempuan Dalam Seni Instalasi
Minggu, 07-03-2019, Bisnis Indonesia, Harian, Art Hal.15
Perempuan Muda Pilihan Carla
Minggu, 10-03-2019, Tempo, Majalah, Seni Hal. 48-49
Agenda Acara Galeri Nasional Indonesia
http://galeri-nasional.or.id/newss/517-pameran_indonesian_
women_artists_into_the_future
Qubicle
https://qubicle.id/art/art-event-bulan-maret-2019
Sosial Media Lain Twiter, Amir Sidharta
18-02-2019, https://twitter.com/senirupa/
status/1097741101165817856
Media Televisi Mengenal 21 Perempuan Perupa Indonesia Lewat Pameran Into the
Future (1)
21-02-2019, 11:00 wib, Metro TV, http://m.metrotvnews.com/video/
selamat-pagi-indonesia/1bVVOO7b-mengenal-21-perempuan-
perupa-indonesia-lewat-pameran-into-the-future-1
Mengenal 21 Perempuan Perupa Indonesia Lewat Pameran Into the
Future (2)
21-02-2019, 11:00 wib, Metro TV, http://video.metrotvnews.com/
selamat-pagi-indonesia/DkqqOZnk-mengenal-21-perempuan-
perupa-indonesia-lewat-pameran-into-the-future-2
Buku ‘Into the Future’ Angkat Sosok 21 Perupa Perempuan
02-03-2019, 07:25 wib, Metro TV, http://m.metrotvnews.com/video/
metro-pagi-prime-time/ybJ9PmaN-buku-into-the-future-angkat-
sosok-21-perupa-perempuan
Pameran Seni Rupa ‘Women Artist, Into the Future’
03-03-2019, RTV - LENSA INDONESIA, https://www.youtube.com/
watch?v=bRtlVPsBpfw
Media Radio Brava
Cosmo
101
Indonesian
Women Artists