During Sukarno’s era, the direction of artists who studied outside were same kind of feeling can also be found be different in their artistic approaches Cyanotype. Using images he found on Balinese art has a different agenda, I Made Wianta, Nyoman Gunarsa, in his other painting entitled Dream as well as the narratives, but they do the Internet, he composes them on not in the direction of art history. I Wayan Sika, Pande Gede Supada, Island. Through Wianta’s composition have one thing in common that really his computer and transfers them onto “That agenda was to present a positive and I Nyoman Arsana. They were of colors and dots, we could sense the caught my attention. It is the fact that a large film, which he uses to create image of as a new nation on the pioneers of Sanggar Dewata spirit of Bali. both artists do not show any sense his cyanotype print on canvas. Finally, the international stage ... For Sukarno, Indonesia. As recorded by Richard of perspective in their paintings. The he lays acrylic paint onto the canvas the Mooi Indië view was easier to Horstman, “These artists were Similar sensibilities are also evident in composition of their paintings are flat to colour parts of his cyanotype print. integrate into the national story young and dynamic and they loved the works of I Made Djirna presented which is similar to Balinese ornaments As part of the Hindu community, he than complicated and challenging to experiment with new techniques in this exhibition, entitled Men and or the traditional Kamasan paintings. believes that life is about now, not modernist works. It was certainly and aesthetic concepts. This was Beasts, Primitive Images, and Ceremony the past nor the future. But as human easier to accommodate Mooi Indië art the prerequisite for artists who in Red. In all of these works, Djirna Budi Agung Kuswara, also a member beings, we are unable to escape from into the attempts to restore tourism to were invited to join this avant-garde overcrowded his canvases with of Sanggar Dewata Indonesia (SDI), our past memories. In his works Bali. Curiously the alignment of newer collective. Theirs was a vision of interlocking images of small figures is the youngest artist participating presented in this exhibition entitled Balinese art with national culture has freedom of expression in art.”6 and animals, although it does reminds in this exhibition. He hailed from the Eastern Fortune (deep blue mirror created a problem in terminology. me of Jean Dubuffet’s works, but in same alma mater as Made Wianta series), he has created a composition What was once ‘modern’ art of Bali A particularly important part of from an old photograph and images is now called ‘traditional’.”4 What Sanggar Dewata Indonesia (SDI) of various objects, where each object once was the triumph of Balinese has been its reference to traditional is able to trigger a certain memory in Modern Art is now becoming a tourist Balinese aesthetics. Sometimes in the minds of the audience. In a sense, HERMANTO SOERJANTO (b. 1970, Indonesia) went to Palin attraction. But it did successfully the form of direct appropriation of he is an artist who does not dictate an School of Arts & Design in and Akademi Teknik build a tourism industry in Bali and it figures and Kamasan art and artistic narration to the audience, but Desain Interior (ATDI) in , Indonesia, before joining Cipta became an icon for the nation. at other times, through the direct instead, wants them to give their own I Made Djirna Citra advertising agency in 1994. Since then, he had built his career in the field of advertising and currently holds a position study and adaptation of traditional interpretations and meanings into the Men and Beasts “Following on the examples of Affandi techniques and styles. In many works artworks. 2019 at Pantarei Communications as Chief Creative Officer. As an art and Agus Djaja, aspiring artists from of these artists, we could see that they mixed media on canvas collector, Hermanto Soerjanto is familiar with Indonesian artists, all over the archipelago made Bali are no longer bound or influenced by Bali’s society has a unique 200 x 140 cm having spent much time conversing with them and visiting their a place of pilgrimage. However this the Bali Modernism, but I can sense characteristic where daily lives are studios. In 2008 he established GARIS Artspace, an art gallery in Jakarta showcasing works by contemporary Indonesian artists, connection encouraged Balinese who that their spirits are still rooted in Bali. still deeply centered on their religious many other tourist-related facilities where he organizes and curates the exhibitions on regular basis. wanted to be modern Indonesian We witness this in the Karangasem Made Wianta belief, the Agama Tirtha or ‘ the Religion are becoming the main economic To date, Hermanto Soerjanto has organized several exhibitions, artists to go to the centers on Java series of paintings by Made Wianta, Jade Mosaic of the Holy Water’. Balinese Hinduism heartbeat of Bali. most notably Noodle Theory by Angki Purbandono at GARIS from which these aspiring artists which depicts flora and fauna in very 2005 incorporates interpretations of oil and acrylic on canvas Artspace (2010), Ethnicity Now, a group exhibition at Galeri came, particularly to study in Bandung intricate and fine ornamentations, Chinese, Indian, and Javanese beliefs. Bali is the place of contradictions Nasional Indonesia, Jakarta (2010), and Unveiling Fundamentals and .”5 Amongst the first probably inspired by Balinese rajah 90 x 120 cm Balinese truly believe that they are between deep religious beliefs versus (unframed) in Contemporary Art Through Asia at OHD , Magelang, trusted by God Sanghyang Widhi to worldly pleasures, traditional versus generation of artists who studied (the drawing of symbols or Balinese 111.5 x 140.5 x 2.5 cm Indonesia (2015). Hermanto Soerjanto lives and works in in Java was a respected leading alphabets that is believed to possess (framed) take care of the land. As a result, they international, and they go hand in hand Jakarta, Indonesia. Balinese artist, Nyoman Tusan, who spiritual powers). If we look closely are deeply religious and make great in harmony. This unique contradiction went to study art in Bandung, and at Wianta’s ornamentations, we are efforts to appease the gods through in cultural and social characteristics encouraged the younger generation unable to find any typical Balinese Djirna’s works we could sense the and I Made Djirna at the Indonesian processions, offerings, ceremonies, has given a unique artistic soul to of Balinese artists to follow his path. ornaments, but we could feel the primitive spirit and the taksu of Bali (a Institute of the Arts (ISI), Yogyakarta, and many other religious activities. many Balinese contemporary artists, Amongst the second generation of sense of Bali in his paintings. The unique Balinese concept of charisma, Indonesia. However, he came from a Hence, many disciplines of art are still as evident in the works of the three spiritual power, and artistic inspiration different generation – the generation alive in the daily lives of the people artists showcased in this exhibition. needed to capture the eyes, minds, of Internet and smartphones. As as a part of their religious activities. To me, this is the “contemporaneity

4 and hearts of the audience). compared to his seniors, he employs a On the other hand, Bali is also an that roots back to its traditional soul”. Ibid, pg. 37-38. 5 very different method of working and international tourist paradise and Ibid, pg. 43. 6 Looking at the works of both Made aesthetic approach. His works involve ‘party’ destination, where hotels, - Hermanto Soerjanto Richard Horstman, “Sanggar Dewata Indonesia”, Life as Art Asia, http://lifeasartasia.weebly.com/uploads/6/5/3/0/6530628/ sanggar_dewata_indonesia_1.pdf, (accessed on January 08, 2020). Wianta and I Made Djirna, they might a photographic printing process called resorts, villas, clubs, beach clubs, and

Rooted in Bali Budi Agung Kuswara, I Made Djirna, Made Wianta Curated by Hermanto Soerjanto Executive Director Sueo Mizuma established Mizuma Art Gallery in Tokyo in 1994. Since 10 January – 16 February 2020 its opening in Gillman Barracks, Singapore in 2012, the gallery aims for the promotion Mizuma Gallery Pte Ltd of East Asian artists in the region as well as 22 Lock Road, #01-34 Gillman Barracks, the introduction of Southeast Asian artists Singapore 108939 to the international art scene. From 2014 T. +65 6570 2505 to 2019, the artist residency space “Rumah Back in the 1930s, Bali was one of “In 1930s, art (in Bali) was truly F. +65 6570 2506 Kijang Mizuma” operated in Yogyakarta, Indonesia’s most important places for modernist, in that it involved www.mizuma.sg Indonesia, providing a new platform for 10 January – 16 February 2020 modern art development. But looking experimentation and searching for www.mizuma.shop dialogue by supporting exchanges between at the Balinese art scene now, I think new styles and modes of art. It deserves [email protected] East Asian and Southeast Asian artists. In it has been dormant for too long. recognition in art historical terms, but 2018, a new gallery space, “Mizuma, Kips What I mean is that Bali is no longer it has been problematic in narratives Tue-Sat: 11am - 7pm & Wada Art” opened in New York, USA, as acting as fertile soil for the growth of of the development of modern Sun: 11am - 6pm a shared collaboration between Mizuma art and its artists. However, it does , in that it does not fit Closed on Mondays and Public Holidays Gallery from Tokyo and Singapore, Kips not mean that there are no prominent in with the teleology of modernism Gallery from New York, and Wada Garou artists in Bali. In fact, one of the most from Raden Saleh to Persagi to the Facebook.com/mizumagallery from Tokyo. important Indonesian contemporary Bandung and Yogyakarta Schools Instagram @mizumaartgallery artists, Nyoman Masriadi, is a Balinese of painting.”2 According to Adrian Mizuma Gallery features the works of who lives and works in Yogyakarta, Vickers, “The narrowing of Balinese Executive Director: Mizuma Sueo Japanese artists including Aida Makoto, General Manager: Fredy Chandra Aiko Miyanaga, Amano Yoshitaka, Ikeda yet refuses to be labeled as a Balinese art in the 1950s in a complex topic, Gallery Manager: Theresia Irma Manabu, Tenmyouya Hisashi, and Yamaguchi artist. Nyoman Masriadi is an example and I have set out in more detail the Gallery Liaison: Cai Yun Teo, Marsha Tan Akira. Moreover, it showcases the works of of the many artists who had envisioned factors that influenced this change. renown East Asian artists such as Ai Weiwei, themselves working on a global level Chief amongst these factors was Design: Cai Yun Teo Du Kun, Jun Nguyen-Hatsushiba, Ken + Julia in the rapidly changing contemporary the influence of Rudolf Bonnet, who Printer: Print Ideas Yonetani, and Zhao Zhao. The gallery also art scene. They ventured out of Bali, advised marketers of art (such as G. First published in Singapore, 2020, in print features the creations of prominent and since it is not possible to work as an Koopman), directed commissions (as run of 300. emerging artists from the region including artist within the confines of the ‘Bali in the case of a big Dutch-American Agan Harahap, Albert Yonathan Setyawan, image’ and to gain global recognition. exhibition of 1948-49), assisted in the Text © Hermanto Soerjanto Angki Purbandono, Entang Wiharso, Gilang setting up of formal schools (in Ubud, Fradika, Heri Dono, indieguerillas, Made In his paper, Balinese Art Versus Global Pliatan and Batuan), and played a major Images © Budi Agung Kuswara, I Made Wianta, Mark Justiniani, Nasirun, Robert Art, presented at Bali World Culture institutional role in the setting upof Djirna, Made Wianta, courtesy of the artists Zhao Renhui, and Zen Teh. Mizuma Gallery Forum, June 2011, Adrian Vickers Museum Puri Lukisan (Bakker 1985). and Mizuma Gallery participates annually in international art wrote that there are two main reasons The new direction of art was much fairs including Art Basel Hong Kong and The why “Balinese art” is not global: “First, more in accord with Bonnet’s taste, © 2020 Mizuma Gallery, writer, artists. All Armory Show, New York. rights reserved under International copyright it became too closely subordinated and his lack of interest in modernism conventions. No part of this leaflet may to tourism between the 1950s and in his own art. Bonnet’s art belonged be reproduced or transmitted in any form 1970s, and secondly, because of to what Sudjojono derisively called or by any means, electronic or mechanical, confusion about how to classify ‘Mooi Indië’ or ‘Beautiful Indies’ art, Set in a former military barracks dating back to “modern” and “traditional” Balinese idyllic depictions of happy natives in including photocopy, recording or any other 1936 and surrounded by lush tropical greenery, information storage and retrieval system art."1 rice fields, that was a part of colonial Made Wianta the Gillman Barracks visual arts cluster was without prior permission from the publisher. launched in September 2012. Jointly developed mentality of the western artists who Red Coral Reef __ by government agencies, the Singapore Economic lived in Bali in the 1930s (Holt 1967).”3 2011 Development Board (EDB), the National oil and acrylic on canvas Arts Council (NAC) and the JTC Corporation (JTC), Gillman Barracks’ vision is to be Asia’s 132 x 160 cm (unframed), 167.1 x 138 x 6.1 cm (framed) destination for the presentation and discussion of international and Southeast Asian art. 1 Adrian Vickers, “Balinese Art Versus Global Art”, Jurnal Kajian Bali, Vol. 01, No. 02 (Oct 2011): pg. 35. For more information, please visit 2 www.gillmanbarracks.com Ibid, pg. 36. 3 Ibid, pg. 37. Made Wianta

MADE WIANTA (b. 1949, Bali, Indonesia) graduated from the Indonesia Institute of Arts (ISI), Yogyakarta, Indonesia in 1974. He is one of the most important figures in Balinese contemporary art and is one of the most prominent Indonesian abstract artists. Some of his exhibitions includeBeyond the Myths: Art Bali at AB•BC Building, Bali Collection, Bali, Indonesia (2018); Run For Manhattan at Ciptadana Art Space, Jakarta, Indonesia (2017); and After Utopia: Revisiting the Ideal in Asian Contemporary Art at Singapore Art Museum, Singapore (2015). Wianta was one of the artists at the Indonesian Pavilion of the Beijing International Art Biennale #7, National Art Museum of China, Beijing, China (2017). His works are in the collections of OHD Museum, Magelang, Indonesia; Museum der Kulturen, Basel, Switzerland; Rudana Art Museum, Ubud, Bali, Indonesia; Agung Rai Museum of Art, Ubud, Bali, Indonesia; National Gallery of Indonesia, Jakarta, Indonesia; Neka Art Museum, Ubud, Bali, Indonesia; Darwin Art Museum, Darwin, ; and Museum Bali, Denpasar, Bali, Indonesia amongst others. Made Wianta lives and works in Bali, Indonesia.

Made Wianta, The Soul of The Trees (detail)

I Made Djirna Ceremony in Red 2019 mixed media on canvas Made Wianta 200 x 140 cm The Soul of The Trees 1982 Chinese ink on traditional canvas 87 x 191 cm (unframed) 93.5 x 198.5 x 6.1 cm (framed)

I Made Djirna Primitive Images 2019 I Made Djirna mixed media on canvas Primitive Images 200 x 140 cm (detail)

Budi Agung Kuswara, Summer Blooming (deep blue mirror series) (detail)

Budi Agung Kuswara Summer Blooming (deep blue mirror series) 2020 cyanotype and acrylic on canvas 250 x 145 cm

Budi Agung Kuswara Eastern Fortune (deep blue mirror series) 2019 cyanotype and acrylic on canvas 250 x 145 cm I Made Djirna

I MADE DJIRNA (b. 1957, Bali, Indonesia) is a renowned artist who graduated from the Faculty of Fine Arts and Design at the Budi Agung Kuswara Indonesian Institute of the Arts (ISI) Yogyakarta, Indonesia in 1985. Djirna grew up in a village in Ubud, Bali, surrounded by BUDI AGUNG KUSWARA (b. 1982, Bali, Indonesia) graduated Balinese stories of spirits, dance, and shadow puppetry. The with a Bachelor in Fine Arts from the Indonesia Institute of people of Ubud treated traditions, customs, and religion with Arts (ISI), Yogyakarta, Indonesia in 2009. His major exhibitions great significance, as it was believed that it could help achieve include Arus Berlabuh Kita at the Asian Civilization Museum, peace and well being – a principal of life rooted deep down in Singapore (2018); Love Me in My at ILHAM Gallery, Kuala Djirna’s heart. Through his works, Djirna explores the social Lumpur, Malaysia (2016); Floating Desires at TAKSU Gallery, and political issues of Indonesia and human relationships. Singapore (solo, 2012); The Wax on Our Fingers, a collaboration Exploring the use of different materials, techniques and styles, with Singaporean artist Samantha Tio (Mintio), at the Indonesian he masterfully translates these thoughts and emotions into his Contemporary Arts Network, Yogyakarta, Indonesia (2012); and paintings and installations. His solo exhibitions includes The i.self at Komaneka Fine Art Gallery, Bali, Indonesia (solo, 2009). Logic of Ritual at Sangkring Art Space, Yogyakarta, Indonesia He has also undertaken residencies at Bamboo Curtain Studio, (2013); Seascapes at Gajah Gallery, Singapore (2007); and held Taipei, Taiwan (2016), Fukuoka Asian Art Museum, Fukuoka, his first solo exhibition at the Northern Territory Museum of Art Japan (2012), and TAKSU Gallery, Kuala Lumpur, Malaysia and Sciences, Darwin, Australia (1989). His past exhibitions also (2012). Budi Agung Kuswara lives and works in Bali, Indonesia, extend widely across Indonesia, Singapore, Australia, Canada where he co-founded Ketemu Project Space, a visual collective and the United States. I Made Djirna lives and works in Bali, and social enterprise hybrid with focus on social engagement. Indonesia.