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16 February 2020 Rooted in Bali

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16 February 2020 Rooted in Bali During Sukarno’s era, the direction of artists who studied outside Bali 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 Indonesia 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 Singapore and Akademi Teknik build a tourism industry in Bali and it wayang figures and Kamasan art and artistic narration to the audience, but Desain Interior (ATDI) in Jakarta, 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 Yogyakarta.”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 Museum, 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 Indonesian art, 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.
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