Catalogue 15 X 21 Kebiar Seni XIV MPL

COVER IMAGE

I GEDE WIDYANTARA The Ever Changing Face of Bali 115 x 81 cm Acrylic on Canvas FOREWORD

Om Swastyastu,

It is our pleasure to present our annual exhibition, KebiarSeni XIV, with the theme of REAWAKENING. This year we celebrate the reawakening of the artists in the village of Batuan.

In the early 1930s, there was a con uence of ideas between several foreign artists, such as Walter Spies (German)and Rudolf Bonnet (Dutch), and indigenous artisans of Bali that gave birth to the so-called Modern-Traditional Balinese Art. During this time, Bali art community experienced an abrupt shift in subject matter, perspective, composition, coloring techniques and their patron that formed various schools such as Ubud, Sanur and Batuan; each with distinct characteristics.

Since then, there have been many in uences coming from various parties and directions. The Batuan artists are now in contact with other Balinese artists, with other artists from dierent regions in Indonesia, with artists in Southeast Asia and with the global artist community.

Aligned with the mission of Museum Puri Lukisan to preserve and develop modern- traditional Balinese art, this year we gave the opportunity to the Batuan Artists Association to have their annual exhibition at our museum. A group of younger artists of Batuan innovated a new genre of paintings that signicantly deviate from their tradition, but still maintained their traditional techniques. We hope you enjoy the product of the Reawakening of the younger Batuan Artists, as much as we do.

We would like to thank the artists who have participated inthis exhibition, the RatnaWartha Foundation, the entire sta and employees of ourMuseum, Richard Hasell, SoemantriWidagdo,and all those who have helped us to make the annualKebiarSeni exhibition possible.

Om Santhi, Santhi, Santhi, Om.

Ubud, July 2013

Ir. Tjokorda Bagus Astika Museum Director

KEBIAR SENI XIV 1 INTRODUCTION

During the early 1900s, Western anthropologists ocked to Bali to study its unique culture. Americans, Margaret Mead and Gregory Bateson spent two years (1937-1939) in the village of Batuan, their studies culminating in the publication of their controversial work, the Balinese Characters.

During their stay, they collected some 2000 Batuan paintings, all black and white drawings, depicting the fearsome experiences of ordinary Balinese caught in the constant tension between the world of seen, niscaya, and unseen, niskala. It was a great challenge for the Batuan artists at that time to respond to Bateson and Mead’s unusual requests. At the same time, it was liberating and, in away, a path to escape from the strict rules of the classical Wayang painting tradition. During these years, the Batuan artisans created daring drawings, their styles drastically bifurcated, and a new branch emerged: a stylistic awakening from their sleep.

After the Second World War, and particularly after the tragic and traumatic period of mass killings in Bali c. 1965, the Batuan artists and artists from other regions in Bali chose to stay away from politics and other controversial subject matter for their art.

For this exhibition, we challenged the members of the Batuan Artists Association to produce new themes while maintaining their traditional Batuan techniques. With the progress of democracy and freedoms in Indonesia, some of the younger Batuan artists (such as I Ketut Sadia, I Wayan Malik, I Gde Widyantara and I Made Sujendra) have started to venture into more daring subjects, while the majority (including I Nyoman Toya and I Ketut Murtika) stayed within their comfort zone.

2 KEBIAR SENI XIV “An Indonesian plane carrying more than 100 passengers broke in two after missing the runway at Bali airport and landing in the sea, leaving dozens injured but no fatalities, April 13, 2013.” The Age Traveller

Within a month from the date of this accident, I Ketut Sadia (b. 1966) created a painting recording the event, thereby acting more as a reporter or a historian rather than strictly as an artist. In a similar way, I Gusti Nyoman Rai of Sanur had acted as reporter/ historian with his paintings of many Beached Whales on Sanur beaches (c. 1960s) as well as the capture of Bali from the Japanese army by the US air force (c. 1945s).

I KETUT SADIA (b. 1966), Lion Floating Happily Acrylic on Canvas, 100 x 150 cm Sadia chose to document the magical moment when ordinary Balinese came to the rescue of one hundred frightened passengers aboard the Lion Airplane that missed the runway by a few meters. Fortunately most of the passengers were able to walk away safely from the shallow water, and were happy to see the smiling faces of their rescuers.

KEBIAR SENI XIV 3 Leyak is synonymous with the black magic practitioners, who are particularly feared in Bali. Their ability to transform into various living creatures, to snatch babies and toads and to cause all sorts of supernatural manifestations gives them a fearsome reputation. “As unpredictable—and probably just as controversial—as UFOs, leyak are a supernatural phenomenon most feared by many Balinese. Appearing as reballs, strange animals (normally pig- or dog-like creatures) or demons, leyak appear as oating apparitions and, according to eyewitnesses, can move at extremely high speeds. Interestingly enough, not only Balinese claim to have seen them, but also other Indonesians and foreigners. Not only that, they do not always appear hovering over rice elds (the more ‘romantic’ version), but have also been seen in high population density areas such as Kuta. Since the majority of people associate leyak with practitioners of black magic, it is not considered a good thing to have witnessed one. Stories of witches in the form of leyak baby snatching, spreading illness and general suering abound—it makes sense that they don’t have a great name. However, Balinese who have studied magic or at least observed the initiation and disciple process will tell you otherwise. According to an article published in Taksu magazine by Gde Mahendra, being able to transform oneself into another form, manifesting as a leyak, is part of the process of learning magic. It is a developed skill that is learnt by all practitioners of magic, both black and white. The unique ability to take on another form may be used for good or bad and is very much in the hands of the practitioner. When in a meditative state, a practitioner focuses on certain magical symbols to the point that they emit light (like an aura) and leave their bodies to wander about experimenting with the power of their forms. These are the apparitions that some people claim to see. However, almost nostalgically, in most parts of Bali, leyak sightings seem to be a thing of the past. This is attributed to modern times with all its chaos—seemingly these days leyak are, somewhat ironically, ‘afraid’ to show themselves. Vaughan Hatch (2010)

I WAYAN MALIK Leyak Demonstrating Acrylic on Canvas 60 x 80 cm I Wayan Malik (b. 1963) created a painting of Leyak gathering from all over the world to protest and protect their reputations. Their defense is that many men do evil things in the name of Leyak. They suggest that many tourists, expats, government ocials, non-Balinese and greedy Balinese use the excuse of Leyak to cover their evil deeds. Notice the waves in the form of “eyes” surrounding the protest?

4 KEBIAR SENI XIV I GEDE WIDYANTARA (B. 1984), The Ever Changing Face of Bali Acrylic on Canvas, 115 x 81 cm

The original title was “The Face of Bali,” but I took the liberty of changing it to “The Ever Changing Face of Bali”. There is a face of a man, but you need to step back to see it! Within the man’s face you can see the two worlds: old and new Bali comingling in harmony (or is it?). At the top, above the “eye”, you can see a serene Balinese temple gate and Balinese ladies entering the temple with a helicopter and an airplane hovering above them. In the middle world, below the “eye”, you see the popular Kecak Dance being lmed by a tourist with their exotic car as the nose of the man’s face. And underneath you see the everyday life of the modern Balinese living in Ubud, comingling with and bombarded by tourists. A lady wearing a Balinese sarong is shown on a motorcycle chatting on her mobile phone while balancing a temple oering on her head, witnessed by her son sucking a candy. What a phenomenon!

KEBIAR SENI XIV 5 I MADE SUJENDRA (B. 1964), The Monkey and The Goats Acrylic on Canvas, 60 x 80 cm

This painting tells a story of goats and a monkey who agree on a joint venture to do farming together with the understanding that the goats will eat the leaves of the crop while the monkey will get the fruits. However, the goats eat all the young leaves, and so the crop does not produce any fruits for the monkey to harvest.

The painting captures the scene where the Monkey, who thinks that he can outsmart the goats, ask the goats to pull the heavy plow while he is directing and maneuvering the plow. Unlike most Batuan painters who populate every inch of the canvas, Sujendra chose to leave the background bare with a solid black that provides the necessary contrast to showcase the main characters of the story.

6 KEBIAR SENI XIV I NYOMAN TOYA (B. 1966), Durga Murti Acrylic on Canvas, 30 x 40 cm

I Nyoman Toya depicted a mythical story of the God Siwa who sent his wife, Durga, to earth to get fresh cow’s milk to cure his illness. When Durga met a cow herder, she oered her body to him in exchange for the milk. She went back to the heavens and presented her husband with the milk. He was happy but he wanted to know how his wife got the milk, suspecting her deceit. Since Durga refused to confess, Siwa called the God Gana to tell him the truth. As Gana was telling what actually happened for Durga got so angry she turned herself into a demonic being (Durga Murti).

KEBIAR SENI XIV 7 I KETUT MURTIKA (B. 1952), The Arrogant Monkey Acrylic on Canvas, 80 x 100 cm

Murtika is a Master story teller of Balinese folklores and his paintings contain many episodes in a single story line. Although he still adheres to the classical Wayang painting tradition, the episodes are drawn without any borders, forming a contiguous composition depicting the complete story divided into 10 episodes. Episode-1: The story starts at the lower right of the canvas where the Monkey makes a gentleman’s agreement with several goats to farm long beans. The goats can have the leaves, while the Monkey will get the beans. As the long bean plants grew, the goats ate all of the young leaves, which prevented the plants from producing any beans. Murtika depicts the goats plowing the farmland with the Monkey directing the plow.

Episode-2: The upset Monkey left the farm and met a wild hen in the forest. The wild hen asked the Monkey to watch her ospring while she looked for food. After a long wait, the Monkey gets so hungry that he cannot wait any longer and devours the hen’s ospring. (Lower center)

Episode-3: The hen was sad to nd out that she lost all of her ospring and tricks the Monkey saying that she will take the Monkey to an island with plenty of food for both of them. The Monkey jumps on the back of the wild hen and is dropped on a deserted island and left behind by the angry hen. (Left Center)

Episode-4: The Monkey yells loudly telling all inhabitants that he is the son of the God of Fire (Brahma). The Monkey threatens to boil the ocean and evaporate all of the water unless all the oceanic creatures come out. With his coercion, a giant turtle appears and carries the Monkey to the mainland. (Center)

8 KEBIAR SENI XIV Episode-5: As soon as the Monkey lands on the shore, he pulls the turtle to ip her and drag her into the woods. He persuades a hungry tiger to help him kill the turtle with the promise to share the meat evenly. (Top Right)

Episode-6: The tiger kills the turtle and the Monkey grills the meat but as soon as it is cooked, he hides it in a tall tree. (Lower Left)

Episode-7: Feeling cheated by the Monkey, the tiger roars loudly and the Monkey is startled and falls. The tiger chases him out into the forest. (Top Left)

Episode-8: While hiding the Monkey nds a termite nest. He promises to provide protection and asks the termites to come out. As they gather, the Monkey eats the termites. (Top Center)

Episode-9: Some of the termites are able to escape and hide under a Jatropha plant and ask the plant not to tell the Monkey. The Jatropha betrays the termites and gives the location of the hiding place to the Monkey. The termites curse the Jatropha trees that the termite’s descendants will eat them alive. (Top Center)

Episode-10: The termites escape and hide under a jackfruit tree and promise not to consume the Jackfruit tree. In exchange the Jackfruit tree should not reveal the hiding place of the termites. The Jackfruit tree keeps its promise and in respect, termites do not disturb Jackfruit trees. (Top Center)

Soemantri Widagdo Ubud, Bali – July 14, 2013

KEBIAR SENI XIV 9 10 KEBIAR SENI XIV BATUAN CONVERSATIONS

Batuan Art emerged over 80 years ago in the small village of Batuan, Bali. As an Australian born architect who lives in Singapore and frequently works in Bali, I nd this art tradition born out of the meeting of international modernity and traditional culture highly interesting and artistically important. It is a child of tourism, and faces all the problems of cultural tourism – is it authentic? Is it corrupted by its audience? As an architect working in tourism projects, we face similar issues of the market demanding reality hides itself behind a comforting mask.

However, the viewpoint that tourism corrupts is a creative trap that leads nowhere. It denies the truth of people living their lives in a changing world.

As a way out of this trap, we have developed an approach to our architecture, where we see our designs as a way of making sense of the world, of drawing connections, and of sharing interesting discoveries. The authenticity arises out of this sharing of a genuine experience. For instance, in Alila Villas Uluwatu – a project for an Indonesian client by an Australian and Singaporean - we wanted to share the drama of the horizon, the similarities we could see between Balinese pavilions and Mies van der Rohe’s modernist pavilions, delight in the resonance between Carlo Scarpa’s Venetian architecture and Majapahit architecture, respond to the rocky, scrubby environment so dierent from the stereotypical Bali landscapes of lush paddy and rainforest. The architecture exists at the intersection of the local with the global; it is about the meeting of the two, about good things we can share, problems we can solve together.

Alila Villus Uluwatu, WOHA, designed 2004.

KEBIAR SENI XIV 11 A similar attitude allows us to seeBatuan art with clarity, to understand it as an ongoing sharing of stories, of dreams, of observations, reactions, agreements and dierences. This long, complex, engaging discussion is between Bali and the world, between Batuan and Bali, between tradition and modernity, between the teacher and the student, between and within families, between history and the present, between the visitor and the host. Like any conversation, sometimes it is interesting and stimulating, sometimes, dull and politepleasantries. Like any conversation, it is the common ground between the parties that sets the topic of discussion.

The 1930s was an amazing owering of creativity and productivity, where Batuan met the modern world and had so much to explain and so much to share. The paintings are stories of darkness, magic and power. The partners in the conversation were challenging and interested, the dierences fascinating, the conversation owed.

After the pain and trauma of war, the conversation moved to reminiscence and nostalgia, a sweet path that leads to the dead end of charm, production of a past free of pain and darkness that never really existed. The conversation died and becomes a broadcasted recording, a scratchy record played over and over again.

In the 1970s, the passive listeners were suddenly shocked to nd they were dragged back into the act, they were pulled up on stage and appeared in the crowds along with the police, the drugs, the cameras, the power lines, cars, motorbikes and the bad behavior. Batuan had come to the world, instead of waiting for the world to visit Batuan. The conversation had started again, it became lively, ugly, provocative, obscene, funny. There were authentic feelings here behind the humor, worry about how things are changing, the dierence between image and reality, about what has already been lost, and genuine excitement and laughter too in the headlong rush of change.

I MADE BUDI, Beach Scene, Watercolor on Paper, 52 x 25cm, 1978, Cetus Collection

In the 1990s and 2000s Indonesia suered a series of shocks, political, economic, environmental and social, and Bali was right in the middle of it. At the same time, information and communication technology meant that Batuan was no longer a small village on a small island, but has the same seat at the table as everyone else. Batuan’s younger generation are discussing this world in their art. The partners in the conversation

12 KEBIAR SENI XIV are no longer just tourists looking for a comforting souvenir, but billions of people on line. Steve Diamond, an American collector based at that time in Singapore,started a new conversation with the Singapore Batuan Collection – instead of asking to hear the same old stories; he oered to hear whatever they wanted to share. Talented artists were freed from stale performance for the imaginary generic tourist, instead they started to push artistic boundaries intowhat was thought to be the unsalable terrain of contemporary events and private obsessions. Once again a challenging conversationalpartner stimulated brilliant work.

I MADE GRIYAWAN, Indonesia Now, Acrylic on Canvas, 70 x 50cm, 2012, Cetus Collection I have recently started my own conversation with Batuan’s art. I am intensely curious as to what Batuan can tell me about this new world, how they will explain to me what is happening to them, to us all. The narrative and illustrative form of Batuan art makes it very accessible. My commissions are questions to stimulate the conversation in directions I am interested in.

One question is about commonality and dierence. What makes Batuan a style? Where does the individual artist locate themselves in this style? I have commissioned a series of paintings based on single elements – water, clouds, mountains, and forest. The paintings are all the same size, in the same medium. We get a chance to relax with these paintings and enjoy the subtle dierences between the artist’s personal styles that are normally hidden in the frenzied activity, and can see the genealogy and relationships of the dierent artists.

KEBIAR SENI XIV 13 Batuan Clouds Series, Each 50 x 35 cm, Watercolor on Paper, 2013, Cetus Collection

I GEDE WIDYANTARA I MADE GRIYAWAN

I MADE INDIA I NYOMAN JADI

14 KEBIAR SENI XIV I WAYAN DANA WIRAWAN IDA BAGUS PUTU PADMA

Batuan Flora and Fauna Series, Each 50 x 35 cm, Watercolor on Paper, 2013, Cetus Collection

I GEDE WIDYANTARA I KETUT SADIA

KEBIAR SENI XIV 15 I WAYAN GRIYAWAN IDA BAGUS PUTU PADMA

I NYOMAN JADI I MADE CEKEG

16 KEBIAR SENI XIV The series will continue with Water, Vegetation, Volcanoes, Surf and Waterfalls, among others.

Another question is about how the artists will depict the changing world, and process newly urgent issues like environmental destruction. I asked I Gede Widyantara, who has already made paintings on these issues, to make me a painting about global warming, inspired by Diding and Bala’s image of the Battle in Drawati in classic black and white on paper, a story from the Mahabharata becomes a contemporary warning:

Left – I.B.K. Diding with I.B.M Bala, The Battle of Drawati (extract) 1937, Rijksmuseum voor Volkenkunde Right - I Gede Widyantara, Global Warming, Ink on Paper, 35 x 50 cm, 2013, Cetus Collection I Gede Widyantara has also started producing surrealist works, such as his Life in Serenity Land and works stimulated by research, newspaper articles, school studies, and data and images found online, such as the Last Bali Tiger.

KEBIAR SENI XIV 17 GEDE WIDYANTARA, Life in Serenity Land, Acrylic on Canvas, 70 x 90 cm, 2012, Cetus Collection

I GEDE WIDYANTARA, the Last Bali Tiger, Acrylic on Canvas, 80 x 115 cm, Cetus Collection

18 KEBIAR SENI XIV I have asked I Made Cekeg to make me a new painting continuing the theme of the amazing Revolusi he painted for the Singapore Batuan Collection. This painting shows the power and potential of Batuan Style, and to me rivals the power of the great Batuan paintings from the 1930s, its unstable, writhing composition, frenzied activity and disturbing characters communicating terrible disruption.

I MADE CEKEG, Revolusi, Acrylic on Canvas, 125 x 200 cm, Singapore Batuan Collection

On my visit to the village this June, I was told only two young artists are serious about painting as a career. The continuity of this phenomenon is hanging by a thread. The disappearance of the Sanur art community after World War 2 shows us we cannot take these owerings of culture for granted and let the conversation die. I hope the renewal of interest in Batuan Art continues to grow, as this place-community of artists working in continuity over almost a century is a unique and living treasure. I believe the conversation is getting lively again, and a very productive period has started in Batuan. I, for one, can’t wait to hear the new stories.

Richard Hassell Singapore, June 2013

KEBIAR SENI XIV 19 20 KEBIAR SENI XIV A BCDEFGHIJKLMNOPQRSTUVWXYZ

ARIS SARMANTA, I WAYAN Bali Now Acrylic on Canvas 80 x 100 cm

ARIYONI, I GUSTI AYU OKA Pounding Rice Acrylic on Canvas 40 x 30 cm

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ARSANIA, DEWA PUTU Funeral Ceremony Ink Wash on Canvas BENDI, I WAYAN 89 x 64 cm Lady Diana of England Acrylic on Canvas 146 x 250 cm

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BUDIARTA, I WAYAN Searching for Bali Ink Wash on Canvas 57,5 x 73 cm

CAT SUTEJA, I MADE Meditation Acrylic on Paper 29 x 21 cm

KEBIAR SENI XIV 23 DANA, I KETUT The Legend of Detya Patri Ink Wash on Canvas 66 x 44 cm

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DANA WIRAWAN, I WAYAN Melasti at Tanah Lot Acrylic on Canvas 64 x 87 cm

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DIANA, I WAYAN Outside the Borders Acrylic on Canvas 70 x 90 cm EKA BUDI, I WAYAN Funeral Ceremony Acrylic on Canvas 100 x 150 cm

KEBIAR SENI XIV 25 GENDRA, I WAYAN The Lord Gana Acrylic on Canvas 50 x 40 cm

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GRIYAWAN, I MADE Swimming in Peacefulness Acrylic on Paper 35 x 50 cm

26 KEBIAR SENI XIV INDIA, I MADE The Legend of Kalarau Acrylic on Paper 39 x 29 cm

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I J K KARWAN, I KETUT The War of Arjuna and Karna LMNOPQRSTUVWXYZ Acrylic on Canvas 91 x 108 cm

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KASTAWA, I KOMANG K The God Kala Acrylic on Paper LMNOPQRSTUVWXYZ 35 x 60 cm

KOMPIANG SURA, I GUSTI Gambuh Performance Ink Wash on Canvas 60 x 80 cm

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MANGGI, I KETUT Harley Rally MARGAWA, DEWA KETUT Acrylic on Canvas 71 x 101 cm Benoa Beach M Acrylic on Canvas 80 x 100 cm NOPQRSTUVWXYZ

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MARTANA, DEWA NYOMAN Farmers Acrylic on Canvas 64 x 93 cm M MERTI, NI WAYAN NOPQRSTUVWXYZ Funeral Ceremony Acrylic on Canvas 60 x 80 cm

30 KEBIAR SENI XIV MURYASA, I GUSTI NGURAH The Goddess Sarasvati Ink Wash on Canvas 60 x 40 cm

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NATIH ARIMINI, I GUSTI AYU Bali Life Acrylic on Canvas 40 x 30 cm

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NURBAWA, I NYOMAN Market Acrylic on Canvas 95 x 80 cm N O

P PADMA, IDA BAGUS PUTU QRSTUVWXYZ Funeral Ceremony Acrylic on Canvas 91 x 151 cm

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PARWATA, I KETUT BALIK Bali Life PURWA, DEWA NYOMAN 80 x 100 cm Farmers Acrylic on Canvas Ink Wash on Paper 38 x 53 cm P QRSTUVWXYZ

KEBIAR SENI XIV 33 RETA, I KETUT Hunting Squirels Acrylic on Canvas 80 x 70 cm

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SANDI, DEWA KETUT The Legend of Shinta Masatya Acrylic on Canvas 90 x 70 cm

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SELAMET, I NYOMAN Tradition Acrylic on Paper 60 x 80 cm

SETIAWAN, IDA BAGUS Tradition Acrylic on Canvas 67 x 120 cm S TUVWXYZ

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SUDIANA, DEWA NYOMAN Beached Fish Acrylic on Canvas 85 x 140 cm

SUDIRGA, I NYOMAN Tradition and Tourism Acrylic on Canvas 60 x 80 cm

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TUBUH, I MADE The Story of Amad Muhamad Acrylic on Canvas VINANTA, PANDE PUTU 90 x 100 cm The Legend of Sapuh Leger Ink Wash on Canvas 40 x 50 cm

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VIRAYUGA, DEWA MADE Water Sport Acrylic on Canvas WARSIKA, I WAYAN 70 x 90 cm Melasti Ceremony Acrylic on Canvas 70 x 90 cm

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WARTI, NI WAYAN Tradition Acrylic on Canvas 70 x 90 cm

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WIN, I WAYAN The Legend of Kalarau Acrylic on Paper 55 x 35 cm

KEBIAR SENI XIV 39 WIRTAWAN, I KETUT The Sacri ce of Suta Soma Acrylic on Paper 70 x 60 cm

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YASNING, GUSTI AYU Duck Herder Ink Wash on Paper 31,5 x 24 cm

40 KEBIAR SENI XIV GENDRA, I WAYAN (b. 1970) He studied painting at age 10 from I Wayan Warsika. He has participated at various group exhibitions in Bali.

BIOGRAPHY OF THE ARTISTS GRIYAWAN, I MADE (b. 1979) He learned painting from his father, I Wayan Taweng. Griyawan is a talented young artist with a tendency towards simplicity. His paintings are based on his self-searching of happiness and peacefulness. He has participated in-group exhibitions in Jakarta and Bali.

INDIA, I MADE (b. 1974) He learned painting at age nine from the Batuan artist, I Made Bukel.

KARWAN, I KETUT (b.1942) ARIS SARMANTA, I WAYAN (b. 1995) At age 12 he began to learn painting from the Master of the Pitamaha period (1936 – He learned to paint from his grandfather, I Wayan Regug, since he was in elementary school. Then he continued his formal art education at the School of Art in Batubulan. 1942), I Nyoman Reneh.

ARIYONI, GUSTI AYU OKA (b. 1997) KASTAWA, I KOMANG (b. 1970) She began to learn painting since she was in elementary school from her aunt, Gusti Ayu He learned painting from his father, I Made Djata and later from his brother, I Wayan Rajin. Natih Arimini. This is her second exhibition at the Puri Lukisan Museum. Kastawa extensively paints birds, butter y and tamed animals on the tree. Several European art collectors treasured his works on paper. Among them appeared in the book ARSANIA, DEWA PUTU (b. 1960) Re ections of Faith published in the Netherlands in 1997. At age 10, he studied painting from his father the late Dewa Wayan Kandel. He participated at the Kompas exhibition in Jakarta and at the Museum Puri Lukisan (1982). KOMPIANG SURA, I GUSTI (b.1963) At age 8, he apprenticed at the studio of the late Dewa Made Astawan. BENDI, I WAYAN (b. 1950) Bendi inherited his artistic talent from his father I Wayan Taweng. In 1980s he initiated a MALIK, I WAYAN (b. 1963) new Batuan art as a social commentator and as a record of historical news. His works are He started to learn painting at age 8 from I Made Kebiarsa and later he apprenticed at the in the collection of various museums in Indonesia and abroad. He was a winner of the studio of I Made Budi. His works are based on his acute observation of social changes in Indofood Art Awards. the community around him.

BUDIARTA, I WAYAN (b. 1993) MANGGI, I KETUT (b. 1942) He studied painting at age 10 from his father, I Made Sujendra. He has participated He learned to paint from I Wayan Labing, a famous Batuan painter. He has exhibited his in-group exhibitions at the Museum Batuan (2011) and at Agung Rai Art Museum (2012). works in Bali and Jakarta

CAT SUTEJA, I MADE (b. 1974) MARGAWAN, DEWA KETUT (b.1980) I Made Cat Suteja learned painting from his father, I Made Bukel. He is a budding artist He studied painting at age 18 from his father the late Dewa Made Astawan and later he with a great sense of artistic design. apprenticed at the studio I Wayan Subalon in Tebesaya. He has participated in a group exhibition at Agung Rai Art Museum (2012). DANA, I KETUT (b. 1970) He learned painting from two senior Batuan artists: I Wayan Gendra and I Nyoman Barak MARTANA, I DEWA NYOMAN (b. 1976) At age 9, he studied painting from I Made Bukel and later he apprenticed at the studio of DANA WIRAWAN, I WAYAN (b. 1974) Dewa Ketut Sandi. He won the rst prize at the Children Painting Competition in He learned painting at age 10. Indonesia (1987). He has participated in a group exhibition at the Agung Rai Art Museum (2012) DIANA, I WAYAN (b. 1977) He learned to paint under the guidance of his brother, I Wayan Bendi. He has participated MERTI, NI WAYAN (b. 1974) in numerous exhibitions in Jakarta and Bali. At age 9, she learned painting from his father, I Wayan Taweng and from his brother I Wayan Bendi. This is her rst time to exhibit at the Museum Puri Lukisan. EKA BUDI, I WAYAN (b.1968) He began learning painting at age 7 from his father, the prominent Batuan painter, I MURTIKA, I KETUT (b. 1952) Wayan Bendi. His works are not so dierent from his father's. He often exhibits his works He learned to paint from his uncle, I Made Djata. One of his superb works, the birth of in Bali. In his dense painting, which is dominated by maroon and brown, are comical Hanuman was exhibited to welcome Ronald Reagan during his visit to Bali. His gures of Western and Asian tourists who ock in Bali. masterpiece, the Wheel of Life, is on permanent display at the Museum Puri Lukisan.

KEBIAR SENI XIV 41

MURYASA, I GUSTI NGURAH (b. 1958) SUDIRGA, I NYOMAN (b. 1979) Muryasa studied painting with the Batuan Master, I Made Djata. He also apprenticed with At age 12, he studied painting from his grand father, I Wayan Regug. Djata’s son, the late I Wayan Rajin. He has participated in various group exhibitions in Bali and Jakarta SUJENDRA, I MADE (b. 1964) Sujendra learned painting from his father, I Wayan Kabetan. His works preserve the NATIH ARIMINI, GUSTI AYU (b. 1963) traditional Balinese narratives, but deviate from the standard techniques of the Batuan She is one of a handful traditional Balinese female artists. At age 9 Natih Arimini began to School, showing a preference for open designs, devoid of detailed ornamentation. learn painting from her brother, I Gusti Ngurah Muryasa, and later from the Batuan master, I Made Djata. She has participated in numerous domestic and international exhibitions. TOYA, I NYOMAN (b. 1966) She belongs to the Seniwati Women Artist association, which promotes and supports the At age 9, he studied painting from his father I Made Kicen. Later he apprenticed at the work of professional women artists in Bali. studio of I Made Bukel.

NURBAWA, I NYOMAN (b. 1970) TUBUH, I MADE (b. 1941) He studied painting since the age of 7 from his father, I Made Tubuh He started painting since elementary school and apprenticed for seven years with his uncles, the prominent painters: I Made Djata and I Ketut Kenyod. He has participated in PADMA, IDA BAGUS PUTU (b.1972) numerous exhibitions in Bali and Jakarta. Several of his paintings were exhibited in the He studied painting since age 15 from his grandfather, Ida Bagus Widja, the prominent Netherlands. Batuan School artist from the Pitamaha period (1932 – 1942). He has participated in numerous exhibitions in Bali and Jakarta. VINANTA, PANDE PUTU (b. 1989) PARWATA, I KETUT BALIK (b. 1971) He studied painting from I Ketut Kenur, a noted Batuan painter. He studied painting at age 10 from I Made Tubuh. He has participated in a group exhibition at Museum Puri Lukisan in 1992. VIRAYUGA, DEWA MADE (b. 1981) At age 12, he studied painting from his grand father, the late Dewa Made Kundel. Later he PURWA, DEWA NYOMAN (b. 1962) apprenticed at the studios of I Made Tubuh ad I Made Bukel. He studied art at the Art At age 12, he learned painting from I Made Djata. Later, he apprenticed at the studio of I Junior High School in Sukawati. He has participated at several exhibitions in Bali. Wayan Rajin, the son of Djata. Purwa found his personal style in 1980. He frequently illustrates the tourism activities in Bali. He has exhibited his works in Bali. WARSIKA, I WAYAN (b.1957) At age 10, he began to study painting from I Made Tubuh. RETA, I KETUT (b. 1949) He learned painting at age 9 from the late Batuan artist, I Wayan Punduh. Later he learned WARTI, NI WAYAN (b. 1964) color composition from another Batuan Artist, I Wayan Bom. He has exhibited his works. She learned painting from the Batuan Master, I Made Djata.

SADIA, I KETUT (b. 1966) WIDYANTARA, I GEDE (b. 1984) He learned to paint from his brother, I Wayan Bendi. One of his works appeared on the He started painting at age 4 under the guidance of his father, I Wayan Darsana. Later he cover of the book Menggugat Bali published in Japan. He was one of the winners of the apprenticed at the studio of his grandfather, I Wayan Taweng. He also studied with his Jakarta Art Awards in 2008. uncles: I Wayan Sadia and I Wayan Diana. He has participated in an exhibition at the National Gallery Jakarta (2011) and at the Agung Rai Art Museum (2012). SANDI, DEWA KETUT (b. 1962) He studied painting since he was in primary school from I Wayan Rajin, I Made Djata and I WIN, I WAYAN (b. 1985) Made Bukel. He participated in-group exhibitions at Puri Lukisan Museum (1982), Art He learned to paint at age 12 from his father, I Ketut Murtika. Center Denpasar (1985) and at Agung Rai Art Museum (2012).

SELAMET, I NYOMAN (b. 1974) WIRTAWAN, I KETUT (b. 1969) He was an autodidact and picked up painting at age 25. At age 10, he studied painting from his father, I Ketut Kantor.

SETIAWAN, IDA BAGUS (b. 1942) YASNING, GUSTI AYU (b.1964) Born in Batuan in 1942. Inherited the ability of Batuan School artists to adapt to the She was a tailor before she married her husband, I Gusti Muryasa, a noted Batuan painter changes in their surrounding. in 1985. At age 21, she started painting under the guidance of her husband. Later she apprenticed at the Batuan Master painter, I Gusti Natih Arimini. In 2009, she joined the SUDIANA, DEWA NYOMAN (b.1973) Seniwati Woman Artist Association. He studied painting at age 8 from I Made Labing. He completed a study in art at the Art Junior High Scholl in Denpasar (1994). He has participated in group exhibitions in Bali and the Netherlands. GENDRA, I WAYAN (b. 1970) He studied painting at age 10 from I Wayan Warsika. He has participated at various group exhibitions in Bali.

GRIYAWAN, I MADE (b. 1979) He learned painting from his father, I Wayan Taweng. Griyawan is a talented young artist with a tendency towards simplicity. His paintings are based on his self-searching of happiness and peacefulness. He has participated in-group exhibitions in Jakarta and Bali.

INDIA, I MADE (b. 1974) He learned painting at age nine from the Batuan artist, I Made Bukel.

42 KEBIAR SENI XIV

SELAMET, I NYOMAN (b. 1974) WIRTAWAN, I KETUT (b. 1969) He was an autodidact and picked up painting at age 25. At age 10, he studied painting from his father, I Ketut Kantor.

INDIA, I MADE (b. 1974) He learned painting at age nine from the Batuan artist, I Made Bukel.

SELAMET, I NYOMAN (b. 1974) WIRTAWAN, I KETUT (b. 1969) He was an autodidact and picked up painting at age 25. At age 10, he studied painting from his father, I Ketut Kantor.

KEBIAR SENI XIV 43 GENDRA, I WAYAN (b. 1970) He studied painting at age 10 from I Wayan Warsika. He has participated at various group exhibitions in Bali.

INDIA, I MADE (b. 1974) He learned painting at age nine from the Batuan artist, I Made Bukel.

SELAMET, I NYOMAN (b. 1974) WIRTAWAN, I KETUT (b. 1969) He was an autodidact and picked up painting at age 25. At age 10, he studied painting from his father, I Ketut Kantor.

44 KEBIAR SENI XIV PUBLISHER Museum Puri Lukisan

COORDINATOR Ir. Tjokorda Bagus Astika

CURATORS Anak Agung Ngurah Muning Soemantri Widagdo

SPECIAL THANKS Ida Ayu Made Widyastuti I Wayan Sumadi Dewa Nyoman Sumertayadnya

DESIGNER Ju-Lee

PRODUCTION Pt. Cintya Gra ka Jalan Raya Ubud, P.O. Box 215 Ubud Gianyar 80571, Bali, Indonesia

Phone: +62 361 971159 Fax: +62 361 975136 Email: [email protected] Website: www.museumpurilukisan.com