Saturday, January 28, 2017

Exciting Events + Happy Chinese New Year

Hi everyone. We have some exciting events coming up at Ciputra Artpreneur !!!
4-5 February 2017 2-5 March 2017 18-19 March 2017

Copyright © 2016 Ciputra Artpreneur, All rights reserved.
image for email

Friday, January 27, 2017


Exhibition Period (OPEN FOR PUBLIC):
22nd January - 5th February 2017
at 10.30 am - 6.00 pm

*We are still open on Chinese New Year (28th January 2017) 
This fascination with Peranakan cultural influence has inspired Edward Hutabarat, Didi Budiardjo, and Adrian Gan to create an installation show titled Tiga Negeri. Apart from showing their expertise in interpreting the traditional reference into modern fashion collection, these three acclaimed Indonesian fashion designers will also be showcasing their personal antique collections gathered over the decades. From the Tjoas' Tiga Negeri batik to the late Go Tik Swan's collection, porcelains, antique jewelries to kebaya encim; this comprehensive exhibition will display numerous artifacts proving the importance of Peranakan culture in Indonesia, while also maintaining its relevance in modern society.
Edward Hutabarat @edo_thejourney, Didi Budiarjo @didibudiardjo, Adrian Gan @adriangan8
Antique Furniture & Ceramic by Gilbert Wiryadinata
Flower Arrangement by
Consultant by David Kwa
Photo by @davylinggar



Martell in association with Edwin's Gallery Proudly Presents "Contemporary Art and Social Turbulance" 

You're Cordially Invited to Edwin's Gallery and satisfy your curiosity with new discoveries and enrich your live new impressions. The Curious arts presented specially for you by Martell. 

Opening Night:
Monday, 6 February 2017
6.30 PM Onwards
Edwin's Gallery Jl. Kemang Raya No 21.

Curator by Rifky Effendy (GORO)

Artists by
Abdi Setiawan, Adi Gunawan, Aliansyah Caniago, Arya Pandjalu, Ayu Arista Murti, Dedy Shofianto, Francy Vidriani, Kara Andarini, Muhammad Vilhamy, Mujahidin Nurrahman, Rega Ayundya, Rudi Atjeh, Rudi Hendriatno, Septian Harriyoga, Tara Astari Kesenda, Yosefa Aulia, Yogie A Ginanjar. 

Host by Aimee Juliette

Live Performance by Mia Ismi & Friends

Cocktail Party with DJ JAY BEE

Dress Code: Black Suit (Gentlemen) and Trendy Cocktail Dress (Ladies)

Media Partner by PRESTIGE, DAMAN. 

Organized by The BIG Organizer (

Thank you and see you soon ! 


Wednesday, January 25, 2017

Artshow: NATURE BODY-NESS Nana Tedja & Utin Rini, Thursday, Jan 26 at 7 pm



In the history of writings, a French feminist, Helene Cixou, once considered that women had no history when compared to men. Women were silenced as only men were acknowledged to have their stories. Only men were deemed worthy to write. It was a notion that was then played by her followers that the discipline of the past, which clearly in English is stated as 'history', refers only to the stories of the men (his)-story. There were no (her)-story.
Helene Cixou emphasized that for women to be existing in the history, there is only one thing to do: write and write women!
How about the world of painting? It is not much different from the history of writing above.
Paint! Paint women!
Though both in the history of writings and in the history of paintings women were considered subordinate, the awareness to rise above shows an optimistic reality. The women in the world of painting are still bound by the impression of being a thing of beauty and therefore they are more worthy to be an object of painting rather than be a painter-subject. It cannot be denied that in this particular world, the men have more possession of the women body as an object of beauty.
Philo Art Space is now presenting two women painters, Nana Tedja and Utin Rini, under the theme Nature Body-ness. They paint what have become their object of attention and their own desires. Painting in two different styles, Utin Rini with her expressionism and Nana Tedja with her realism, both convene in similar concern which is the women issues and their world. But a common concern does not consequentially merge their paintings into a single theme.
Nana Tedja, as we can assume from her paintings, is more open in presenting the problems of today's women in their relations with their own humanity, which then open up a challenging question: how far are we with the struggle of women?
The narration of Nana's paintings depicts women who are awaken from their path in culture that place them in particular space and time. It is not a coincidence that a woman would face a unique challenge when put in an intersection. The modern cultural construct places men as progressive subjects that when they are faced with an intersection, it does not give them any significance to just walk forward. A woman, facing the same intersection, is confronted with a rather serious psychological issue that she must overcome, mainly her existence which is already embedded in the domestic domain. A public domain competition, is giving women a rather problematic standpoint, as they are not truly accustomed or trained for it.
Cultural analysts are optimistically in agreement to state that there are different emotional stages in women and in men in facing the same reality of progress in time. Cultures are a construction of subjects with more masculine characters and therefore between men and reality, it is easier to find the objective space. This objective space enables men treat reality or nature as things to be described, even to be challenged, while women see reality or nature more as parts of themselves to be understood.
The division of men and women space into public and domestic dominions has given a unique pattern on their sexual relationship. Women obtain various discourses which are also more depressing, while the men are obviously dominative. But especially for Nana, such condition is no longer too problematic. Public domain of today is melting and the domestic domains are no longer under the feminine domination.
In her painting 'Glorious' we can clearly see Nana's description on today's reality specifically the existence of the world of urban people. Space and time has almost totally done away with gender division but symbols of civilization such as gold, money, justice scale, trunk, bag, and so on. All are now within a packaging of competition triggered by information technology. Both the urban men and women move in unison as if they are programmed by the same rhythm, which is productivity for capital. It is an optimistic depiction of a civilization, though we might pause to really indulge in it and dive into it to see that such condition would truly happen without any hindrance?
Nana seems to be progressive-thinking but she is also not blind with what are behind. The rapid progress in human's life as a result of reflection, science, and contemporary technology still gives us a problem; that if the passion to go forward is pushed hard, there is a hidden danger to us. That human may lose their feeling of spiritness, their original wildness, their beauty in playing and being one with nature. Human that are uprooted from their nature would be a human that are uprooted from their on humanity. We can see this plainly in the emerging of modern human who, some, no longer give concern to their origin in nature. Modern human reject their humane social relation when they enter and are trapped in the constraint of competitive relation in exploiting nature.
Nana strictly suggests us to see back to nature in her own way. In 'Green Guardian' she palpably shows the togetherness of nature and women. It is a classic interpretation that categorizes nature to be a feminine aura and therefore a woman's body as its representation. Nature produces life through her wombs, hence provides all the possibility in the world. Women become a figure who is concerned about all things living and growing, and they care for them gladly. It is no surprise that related to this concern and care, Nana presents us with the painting 'Blessing in the Days'.
Culture and nature, no matter how they seem to be almost torn apart by capitalism exploitation, are not contrasted by Nana in their connection to the sexual relations of the human man and the human woman as a dichotomy. Though it is quite a clear problem that modern cultural subject points to the responsibility of the exploitative masculine attitude, we need to delve into the depth of the values of humanity that are apparent in men. 'The Mask' and 'Fantastic Jacko' paintings confidently greet us with the hope of the depth of masculine value that would bring us comfort though the presentation of 'The Mask' is hideous and frightening.
On the other hand, Utin Rini points at the basic concept that we have stated in the beginning: the history. The work 'Rewriting the Past' challenges us to criticize trough two figures of women presented by Utin that remind us to the characters in Michaelangelo painting, 'Creation of Adam'. The painting depicts two male figures, one an older person floating that extend his index finger to a male figure that was reclining who also extend his index finger making those two fingers almost touching each other. What Michaelangelo meant with the floating male figure was personification of God while the younger male was Adam. In short, the painting told that the history of theology especially the Christian theology was built by males. Where were the females, then?
In feminine discourse, such history is important to be questioned. Where is women constructs the question of whether women need to make their own story as 'herstory'?
Paint, paint women!
Utin seems to not intentionally paint the history of women opposite the dominant masculinity; her way is more to understand the world of femininity itself. Nature and its entity as a woman merge in its longing to be intimate again with nature body-ness or with earth whose intimacy has been spread thin as a result of exploitative competitions. Human exploits nature. That is a fact that happens everywhere. Ironically, the exploitation that makes human worry is actually for the sake of the very human to have a place to live, food to eat, and to have the most comfortable social relation. Nature exploitation has contributed to the complete relations rift.
Utin paints the body-ness of women and the body-ness of earth as an entity which is in their serious endeavor to be rejuvenated. She decides to re-enter her understanding of her own body-ness to experience deeply the externality dimension or the social-culture of the body-ness. There is an apprehension in the painting 'Great Renewal Rite'; on how the body of women are deemed petty or even dirty every time women are on their 'period' (menstrual cycle). The rite is produced each time in each generation and is immortalized without any awareness of their importance; that the life itself, bios, comes biologically from the complex process in the women body; without any acknowledgement on how reproduction takes place. The women body, often considered frail and small, harbor a great power to ensure the continuity of life.
Nature body with its femininity is a secret to the greatness of humanity that has been etched into the history of civilization. Women, to Utin Rini, seem to have a rather pitiful view of themselves as far as the secret of this wealth is not realized and cultivated by their own. There is no winning recipe to get out of this situation apart from for women to be aware and to be an active agent of preserving this secret treasure and utilize it with their own way – as depicted in the painting 'Blue Luxury'. Only nature can give the answer to life's problems, and it needs a form of relational awareness, a 'synchronization' of whether a woman could see and recognize her own face in the mirror of nature?
There is a notion that emphasizes the attitude that women must fight; at least to fight against their own self and be aware of their own potential and to be ready to reach for a win every time. The painting 'Awareness' tickles us with various symbols of such self-battle. This is also connected to the painting 'Justice, Cursed and Blessed' – a reflection of the return of women social body-ness issue.
To Nana Tedja and Utin Rini, happy exhibitioning!
Dalam sejarah dunia penulisan, seorang feminis Prancis, Helene Cixou, beranggap perempuan tidak punya sejarah dibandingkan laki-laki. Mereka terdiam karena hanya laki-laki yang diakui memiliki kisah hdupnya. Karena laki-laki yang dianggap layak menulis kisahnya. Anggapan yang lalu suka diplesetkan oleh simpatisannya bahwa disiplin sejarah, tepatnya dalam bahasa Inggris, "history", mengacu pada sejarah laki-laki (his)-story. Tak ada disiplin (her)-story.
Helene Cixou menegaskan agar perempuan eksis dalam sejarah maka hanya satu hal yang bisa dilakukan: menulislah dan menulislah perempuan!
Bagaimana dalam dunia lukisan? Tak jauh beda dari sejarah menulis di atas.
Melukislah! Melukislah perempuan!
Kendati baik dalam sejarah menulis maupun lukisan perempuan terbilang subordinat namun kesadaran untuk bangkit sekarang ini memperlihatkan kenyataan yang optimistik. Perempuan dalam dunia lukis memang masih terlilit oleh kesan bahwa mereka adalah mahluk yang indah dan dengan demikian lebih layak menjadi objek lukisan daripada menjadi subjek-pelukis. Tak bisa disangkal di sini, laki-laki lebih menguasai tubuh perempuan sebagai objek keindahan.
Philo Art Space dalam kesempatan ini menghadirkan dua perempuan pelukis, Nana Tedja dan Utin Rini dengan tema Ketubuhan Alam.  Mereka melukis tentang apa yang menjadi perhatian dan keinginannya sendiri. Dengan dua gaya yang berbeda, Utin Rini dengan gaya ekspresionis dan Nana Tedja dengan gaya realis, keduanya bertemu dalam kepedulian yang sama yakni persoalan perempuan dengan dunianya. Namun kepedulian yang sama dari kedua pelukis ini tidak sertamerta  lebur dalam tema yang tunggal.
Nana Tedja sebagaimana kita simak dari semua lukisannya di sini lebih terbuka menampilkan problematik perempuan masa kini berhubungan dengan humanitas yang bisa membuka pertanyaan menantang, sudah sampai di manakah sebenarnya perjuangan perempuan?
Narasi lukisan Nana memperlihatkan perempuan yang terbangun dari jalannya kebudayaan secara umum tentang keberadaannya dalam ruang dan waktu. Bukan sebuah kebetulan jika seorang perempuan misalnya menghadapi tantangan khas dalam persimpangan. Konstruksi kebudayaan modern menempatkan laki-laki sebagai subjek progresif dan pada hematnya jika kebetulan ia berada dalam sebuah persimpangan maka hal itu bukanlah sesuatu yg signifikan baginya untuk lanjut  melenggang ke depan Ketika hal ini dialami oleh perempuan, ada persoalan psikologis yang cukup serius yang harus dia atasi yakni latar belakang eksistensinya terlanjur ajeg di wilayah domestik. Kompetisi di wilayah publik bagaimanapun sedikit-banyak mendatangkan sikap bimbang bagi perempuan karena kurang terbiasa atau terlatih untuk itu.
Secara optimis para analis budaya sependapat bahwa ada tingkatan emosi yang berbeda pada perempuan dan laki-laki ketika sama-sama menghadapi realitas perkembangan jaman. Budaya merupakan konstruksi dari subjek-subjek yang lebih bersifat maskulin dan antara diri laki-laki dengan realitas masih bisa kita temui spasi objektif. Ruang ini memungkinkan bagi laki-laki untuk memperlakukan realitas atau alam sebagai hal yang perlu dideskripsikan, bahkan ditantang, sementara perempuan lebih melihat realitas atau alam sebagai sesuatu  bagian dari dirinya untuk dipahami.
Pembagian wilayah antara laki-laki dengan perempuan menjadi zona kekuasaan publik dan domestik memberikan corak khas bagaimana cerita relasi seksualitas berlangsung. Perempuan mendapatkan tuntutan wacana yang lebih variatif namun lebih menekan daripada laki-laki yang jelas dominatif. Namun khususnya bagi Nana kondisi ini nampaknya tak lagi begitu problematik. Ruang publik sekarang nampak sudah mencair dan demikian pun dengan ruang domestik bukan lagi semata dominasi feminitas.
Dalam lukisan "Glorious" kita bisa melihat dengan transparan bagaimana jabaran Nana tentang realitas kekinian khususnya keberadaan dunia manusia urban. Ruang dan waktu nyaris tak lagi mengenal batas jender kecuali simbol-simbol peradaban seperti emas, uang, timbangan keadilan, koper, tas, dan sebagainya. Semuanya kini berada dalam kemasan kompetisi yang dipicu oleh teknologi informasi. Manusia urban baik laki-laki maupun perempuan sama-sama bergerak laksana diprogram oleh satu irama yakni produktivitas demi kapital. Ini sebuah gambaran optimis mengenai sebuah peradaban yang kendati masih butuh ditunda untuk sungguh-sungguh dinikmati apabila kita mau menyelami lebih dalam lagi apakah kondisi ini akan berjalan semulus mungkin?
Nana nampaknya berpikiran progresif namun tak buta dengan apa yang ada di belakang. Kemajuan pesat manusia dengan hasil refleksi, ilmu pengetahuan dan teknologi kekinian tetap menyisakan problem bahwa jika semangat terus dipicu ke depan maka ada bahaya yang sewaktu-waktu mengancam yakni manusia bisa kehilangan suasana kesunyatan, keliaran awal, keindahan bermain dan menyatu bersama alam.  Manusia yang tercerabut dari alam akan pula berakibat tercerabut dari nilai kemanusiaannya sendiri. Hal ini bisa diselidiki bagaimana manusia modern muncul sebagian tak mengindahkan lagi asal muasalnya bersama alam.  Manusia modern menampik relasi sosial secara manusiawi ketika mereka memasuki dan terjebak ke dalam kungkungan relasi kompetisi mengeruk alam.  
Nana dengan jelas mengajak kita kembali melihat alam itu sendiri sesuai caranya. Dalam "Green Guardian" secara gamblang ia memperlihatkan kebersamaan alam dengan perempuan. Adalah cerita klasik yang membuat kategori bahwa alam merupakan aura feminin yang menunjuk  tubuh perempuan sebagai representasinya. Alam memproduksi kehidupan lewat rahimnya yang memang menyediakan segala kemungkinan bagi dunia kehidupan. Perempuan menjadi sosok yang peduli dengan berbagai benda yang tumbuh dan hidup – merawatnya dengan suka cita. Tak mengherankan jika dalam hal peduli dan merawat ini Nana menyuguhkan lukisan "Blesing in the Days".
Budaya dan alam (nature) betapapun jelas dalam dunia modern dipandang nyaris tercabik-cabik oleh eksploitasi kapitalisme namun Nana tidak mengkontraskannya dengan keterkaitan relasi seksualitas manusia laki-laki dengan perempuan secara dikotomik. Kendati problem cukup jelas bagaimana subjek budaya modern menunjuk pada tanggungjawab sikap maskulinitas yang eksploitatif namun kita perlu menyermati kedalaman nilai-nilai kemanusiaan yang nampak pada laki-laki. Lukisan "The Mask" dan "Fantastic Jacko" tak ragu menyapa kita tentang harapan akan adanya kedalaman nilai maskulin yang membikin kita nyaman walau tampilan "The Mask" buruk dan sangar. Atau simak saja sindiran Nana bahwa subjek maskulin budaya modern  sudah cukup kelabakan dengan kejaran bayangannya sendiri, "Chased by Shadow" tapi tak lupa juga ia seimbangkan dengan bagaimana gundah dan tegang bahkan bahayanya bila seorang perempuan berada dalam pilihan eksistensial, "Between Two Hearts".
Sementara Utin Rini membidik konsep yang sangat mendasar yang sudah disinggung di atas yakni soal sejarah. Karya "Rewriting the Past" sangat menantang kita untuk mengkritisi lewat figur dua perempuan yang ditampilkan Utin yang mengingatkan kita pada lukisan Michelangelo, "Creation of Adam". Lukisan itu menampilkan dua sosok laki-laki, seorang laki-laki tua yang melayang sambil mengulurkan tangannya dengan memberikan jari telunjuk pada sosok laki-laki yang setengah rebahan yang juga mengulurkan tanggannya sama memberikan jari telunjuknya tapi  kedua jari itu tidak sampai bersentuhan. Maksud Michelangelo adalah laki-laki tua itu personifikasi dari Tuhan sedang laki-laki muda itu adalah Adam. Singkatnya lukisan itu menunjukkan bahwa sejarah teologi khususnya kekristenan dibangun oleh laki-laki. Lalu di mana perempuan?
Dalam wacana feminisme, sejarah seperti ini memang dianggap penting untuk dipertanyakan, manakah peran perempuan sebagaimana pertanyaan apakah perempuan perlu membuat sejarahnya sendiri sebagai "herstory"?
Melukislah, melukislah perempuan!
Utin nampaknya bukan bermaksud melukis sejarah perempuan berhadap-hadapan dengan maskulinitas yang dominan namun cara dia adalah berupaya memahami dunia feminitasnya sendiri. Alam dan kediriannya sebagai perempuan menyatu dalam kerinduannya untuk kembali akrab dengan ketubuhan alam atau bumi yang telah terpisah kurang mesra akibat kompetisi-kompetisi yang eksploitatif. Manusia mengeksploitasi alam dan itu terjadi di mana-mana. Ironinya eksploitasi yang terjadi dan membuat kekuatiran bagi manusia itu sendiri adalah bertujuan agar kita bisa mendapatkan tempat tinggal yang layak dan makanan serta relasi sosial yang senyaman-nyamannya. Eksploitasi alam mengakibatkan keretakan relasi secara lengkap.
Utin melukiskan ketubuhan perempuan dan ketubuhan bumi adalah sebuah entitas yang tengah serius untuk kembali perlu diperbaharui. Dia memilih untuk masuk kembali pada pemahaman ketubuhannya agar kemungkinan mampu lebih dalam untuk menghayati dengan dimensi eksternalitas atau relasi ketubuhan sosial-kulturalnya. Ada kerisauan dalam lukisan "Great Renewal Rite" tentang bagaimana tubuh perempuan dianggap remeh bahkan kotor pada setiap apa yang disebut "datang bulan".  Ritus itu diproduksi setiap generasi untuk tujuan diabadikan tanpa menyadari bahwa kehidupan, bios, datangnya secara biologis yang rumit dalam tubuh perempuan untuk penghormatan bagaimana reproduksi itu terjadi. Tubuhnya yang sering dianggap lebih kecil dan sering ringkih itu ternyata memiliki sebuah kekuatan dahsyat untuk meneruskan kehidupan.
Tubuh alam dengan sifat feminitasnya merupakan sebuah rahasia bagi keagungan kehidupan manusia yang telah tertoreh dalam sejarah peradaban. Perempuan bagi Utin Rini nampak lebih cenderung memprihatinkan selama rahasia kekayaan ini tak disadari dan digarap sendiri olehnya. Tak ada resep yang paling diandalkan selain bahwa perempuan harus menyadari dan menjadi agen yang aktif untuk merawat rahasia kekayaan ini dan memanfaatnya dengan caranya sendiri, sebagaimana dilukiskannya dalam "Blue Luxury". Hanya alam yang bisa menjawab problem kehidupan ini dan hal itu membutuhkan semacam kesadaran relasional, "synchronicity" apakah perempuan mampu melihat dan mengenali wajahnya sendiri di depan cermin alam?
Ada lontaran yang menguatkan sikap bahwa perempuan bagaimanapun harus melawan. Paling tidak melawan dirinya sendiri untuk bisa menyadari potensi diri dan setiap waktu siap untuk meraih kemenangan. Lukisan "Awareness" menggelitik kita dengan berbagai simbol perlawanan diri tersebut. Hal ini terkait dengan lukisan "Justice, Cursed and  Blessed" sebuah refleksi tentang kembalinya soal ketubuhan sosial perempuan.
Pada Nana Tedja dan Utin Rini, selamat berpameran.

Tommy F Awuy

The artworks can also be seen at
Philo Art Space
Jl Kemang Timur 90 C
South Jakarta 12730

Amir Sidharta
follow me on twitter: @senirupa

SARASEHAN Nasirun di Museum Nuarta

Nasirun di Museum Nuarta : Carangan
'Nilai-nilai Tradisi dalam Seni Rupa Kontemporer'

Kamis, 26 Januari 2017
Pukul 09.00-12.00

Pembicara :
Mohamad Sobary
Prof. Jakob Sumardjo
Asmudjo J. Irianto

Dr.Irma Damajanti

Ruang Audiovisual
Nuart Sculpture Park, Lantai 4
Jl. Setraduta Raya no. L-6
Sarijadi, Bandung 40559

Gratis dan terbuka untuk umum
E-mail :
Instagram : @nuartpark

*RSVP : Mardiyan (081380674110)

Amir Sidharta 
follow me on twitter & instagram: @senirupa

Wednesday, January 18, 2017

TEATER KOMA "OPERA IKAN ASIN" (The Threepenny Opera) Karya: Bertolt Brecht Disadur dan Disutradarai oleh: N. Riantiarno

Menyambut 40 Tahun
Produksi ke-147 

(The Threepenny Opera)

Karya: Bertolt Brecht 
Disadur dan Disutradarai oleh: N. Riantiarno

"Nomor satu perut, baru kemudian moral!"

2 s/d 5 Maret 2017
Lotte Shopping Avenue
Kamis s/d Sabtu (pukul 19.30 WIB)
Minggu (pukul 13.30 WIB)

Penjualan tiket dimulai 20 Januari 2017


Info Tiket :

Promo Early Bird 1: Periode pembelian 20 s/d 22 Jan 2017, disc 40% (tiket terbatas).

Promo Early Bird 2: Periode pembelian 23 s/d 31 Jan 2017, disc 20% (tiket terbatas).

Kat 1 : 550 k
Kat 2 : 850 k (best view)
Kat 3 : 450 k
Kat 4 : 300 k
Kat 5 : 200 k
Kat 6 : 150 k

Dapatkan Promo khusus Kartu Kredit BCA Visa dan Mastercard (khusus pembelian online di

Disc. 15% : Periode pembelian 1 Februari s.d 1 Maret 2017 (tiket terbatas)

Disc. 10%: Periode pembelian 2 s.d 5 Maret 2017 (tiket terbatas)

Tuesday, January 17, 2017

Pameran Senirupa 'INDONESIA 2017'

Pameran Senirupa


23 Pebruari -05 Pebruary 2017

Galery Tembi Rumah Budaya Yogyakarta


Perupa :

Lanjar Jiwo

Garda Suku Langit   

Joko Supriyono


Petrus Chrisna Wijaya



Pembukaan: 23 January 2017,Pukul 19.00Wib  

Pameran Kurasi dan Dibuka oleh :Bapak Petro Benny   

Dimeriahkan Tarian Tumbuk Tanah (Pelajar dan Mahasiswa Kabupaten TAMBRAUW Papua Barat)  


 Bentangan karya seni rupa bergambar dan Patung-Patung yang terpajang dalam panel-panel itu mengekspresikan eksekusi nuansa Indonesia saat ini. Baik itu potret masa lalu maupun masa kini. Suasana hiruk pikuk berita, warta lingkungan dan rasa  tersampaikan di pameran ini. Kanvas bergambar dan patung itu seperti memetakan nuansa Indonesia 2017 dalam hiruk pikuknya peradaban sekarang ini.


Munculnya berbagai karya seni rupa menyebabkan terjadinya komunikasi apresiasi untuk memahami makna yang tersirat di balik karya-karya para seniman Indonesia tersebut. Apresiasi adalah penghargaan atau penilaian. Seperti yang sudah kita pelajari, masyarakat Indonesia sangat beragam. Ada banyak suku, bangsa, bahasa, adat istiadat, dan kesenian di Indonesia.  

Budaya menghargai menjadi sikap langka dan mahal untuk dilakukan di negeri ini. Lemahnya budaya menghargai tidak terlepas dari miskinnya pendidikan karakter yang tertanam pada masyarakat kita. Terutama karakter yang ditanamkan oleh orang tua kepada anak-anaknya semenjak dini. Seringkali kita lebih fokus pada kesalahan dan kekurangan orang lain. Hal ini menyebabkan kita sulit sekali menghargai mereka. Sebaliknya, karena kita selalu memperhatikan kekurangan orang lain, orang lain pun menjadi enggan berinteraksi dan bekerja sama dengan kita karena mereka merasa enggan jika selalu merasa "dipermalukan".

Yang perlu kita ubah adalah fokus kita : coba fokuskan perhatian kita terlebih dulu pada kelebihan orang lain, kita akan mendapatkan hasil yang luar biasa. Kita harus menghargai antar umat beragama, antar budaya orang lain agar timbul persatuan dan kesatuan.

Yang sesuai dengan "Bhineka Tunggal Ika" meskipun berbeda-beda namun tetap satu. Semoga kita bisa menjadi manusia yang saling menghargai, bukan hanya menghargai orang lain, tetapi juga menghargai budaya sendiri, menghargai karya orang lain, menghargai pahlawannya, menghargai keyakinan orang lain, menghargai bangsanya sendiri, dan menghargai agama serta Tuhannya.

Mari kita budayakan sikap menghargai, karena menghargai itu mudah, semudah kita ingin dihargai orang lain. Peserta pameran ini antara lain : Joko Supriyono, Garda Suku Langit  , Lanjar Jiwo, Radillah, Petrus Chrisna Wijaya, semua memiliki keberagaman budaya, konsep pemikiran berkarya dan karakter tetapi berusaha menyatukan perbedaan semua itu dalam sudut pandang etika dan estetika.


Karya seni rupa bisa bicara banyak berdialog pada pemirsanya, untuk itu saya mengapresiasi dengan baik apa yang dilakukan Pameran Seni Rupa INDONESIA 2017.

Dengan pameran ini diharapkan dapat menggugah kesadaran masyarakat akan khasanah kekayaan budaya lokal yang patut dibanggakan.


Harapannya pameran ini tidak semata memberikan wacana apresiasi seni lukis semata tapi juga sarana informasi dan kepedulian tepo seliro.


Salam Budaya



                                                                              Petro Benny

                                          Staf Pengajar Dinas Pendidikan Kota Yogyakarta  

EXHIBITION : Al HIRSCHFELD- An American artist in Bali (1932) , Duta Fine Arts Foundation .


Jl. Kemang Utara 55A

Jakarta, Indonesia 12730

Tel : +62 21 799 0226

Fax: +62 21 719 7528





Thursday, January 12, 2017

Obrolan Heritage Edisi 11:2017

Era klasik, pendirian bangunan-bangunan monumental menapaki jaya perdana kurun abad 8 - 9. Kukuhnya para bangunan monumental itu kembali mengusung keemasan zamannya pada abad 13 - 14. Dalam kedua poros peradaban ini karya arsitektural ditandai oleh hebatnya identitas langgam. Mencakup segala pencapaian ekspresi karya seni, bagi ciri elemen dan komponen bangunan. Tak luput seni ornamen, relief, dan arca. Melalui pranata kepercayaan Buddha dan Hindu, keselarasan bhineka mencapai puncak keterampilan cipta karsa. Langgam pun menyiratkan 'jiwa lokal' bagi bangunan, melanjuti makna tradisi.

Tahun baru semangat baru..
Yuk! Jangan sampai ketinggalan
catat di agenda mu & hadiri:

Obrolan Heritage #11 | 2017
Rabu 18 Januari 2017
Pk.17.00 di kantor [pda]

Pembicara: Mitu M. Prie

@ [pda]
jl. tebet dalam 4-i no.30
Jakarta 12810
Rsvp 021-8291932 jam kerja
Biaya sukarela & potluck

Wednesday, January 11, 2017

#Singapore | [RKFA] Art Stage Singapore 2017 | #SingaporeArtWeek #SGartweek

Richard Koh Fine Art (RKFA) is pleased to showcase a group presentation of emerging and established artists at Art Stage Singapore 2017, Singapore from 12-15 January 2017.
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Art Stage Singapore 2017
12-15 January 2017


Booth C8
Level B2, Sands Expo and Convention Center,
Marina Bay Sands,
10 Bayfront Avenue,
Singapore 018956


  +6 03 2283 3677
F   +6 03 2283 4677

Richard Koh Fine Art (RKFA) is pleased to showcase a group presentation by Anne Samat, Faizal Yunus, Hasanul Isyraf Idris, Haffendi Anuar, Hings Lim, Liew Kwai Fei, Liu Hsin-Ying, Melissa Tan and Yeoh Choo Kuan at Art Stage Singapore 2017, Booth C8, Level B2, Sands Expo and Convention Center, Marina Bay Sands, 10 Bayfront Avenue, Singapore 018956 from 12 – 15 Jan 2017. The artists will be showing recent works in a variety of media, ranging from wall-mounted mixed media works, free-standing sculptures, print works, drawings and paintings.

This year presentation at Art Stage Singapore 2017 aims to highlight a breadth of divergent practices illustrating a broad range of material concerns and conceptual focus. The artworks demonstrate the dynamic artistic and creative energies from Malaysia and Singapore in practices that tackle varying issues such as, abstraction in painting, unconventional printmaking techniques, the Malaysian identity and the transient nature.

The Malaysian identity is explored in Anne Samat's wall-mounted mixed media sculptural works that bridge the foreign and exotic to the everyday. Through assemblage and a host of weaving techniques, she mixes domestic objects with traditional craft to create works that draw influence from Malaysia's tribal culture and life in the suburb. Also exploiting materials from the everyday, albeit its traces, Faizal Yunus's mono-prints record the contours and silhouettes of everyday materials, creating ghostly abstract printed paintings on canvas. The young artist works in an economical manner, recycling bits of cardboard and other fragments of leftover packaging to become wobbly 'matrixes' or printing surfaces for his images.

The urban landscape serves a source of inspiration for a number of artists working in urban areas. Taking the form of drawing as a method of contemporary story-telling, Penang-based Hasanul Isyraf Idris's mixed media drawings recycle and remixes regional myths, local folktales with street and graffiti art. Popular culture and urban life in Malaysia are re-interpreted through a personal lens and articulate narratives which address existential issues such as life and death, sin, reward and love. While Haffendi Anuar's sculptures and wall-works are informed by the urban fabric and vernacular architecture of Kuala Lumpur with the collective idea of progress as a fleeting and unstable notion. Modular and geometric in their forms, when the singular painted panels are playfully constructed in groupings, they visually echo recognizable figures and objects.

Also approaching geometric abstraction but through minimal means, Liew Kwai Fei's block color acrylic on paper in shaped frames works were executed in 2010 as part of his Colour, Shape, Quantity, Scale series. Initially exhibited in a derelict structure in Kuala Lumpur, installed to complement the architectural interiors, hanging above doors, clinging side walls or arranged on the floors, the works playfully opens the opaqueness of abstract art as approachable artistic genre through vibrant colors and simple shapes. Also sensitive to the way works are installed, Melissa Tan's intricate reliefs inspired by the internal structures of rocks and minerals are presented in a grouping almost like an installation. Composed of handcut watercolor paper and metal sheets, these works by the young Singaporean artist are an extension from her recent solo exhibition Arc of Uncertainties. Though the visual language sourced from within, Liu Hsin-Ying's mixed media paintings attempt to personify thinking, giving the cerebral exercise or thought, fluid mysterious forms. She finds poetic inspiration from a variety of sources in the physical world, intergalactic objects, curves in nature and the idea of the whole and its individual parts.

Working in the veins of gestural abstraction, Yeoh Choo Kuan's self-coined "Fleshing Abstraction" paintings display tactile surfaces and luscious expressive brushwork. The paintings are framed within crate-like custom produced boxes. The scratched surfaces of the paintings allude to the collective frustration felt by the artist and some of the people in Malaysia over the nation's current social and political climate. Finally, Hings Lim will also be presenting gestural abstract paintings that are by-products of collaborations with different urban communities. The artist engages marginal communities to contribute in the painting process for example using a bicycle wheel as a mark-making tool to smear painting on a canvas with a group of migrants on an urban curbside or collaborating with domestic cleaners to erase and create marks in home setting.

Anne Samat (b. 1973, Malaysia) is a fibre textile artist who graduated in 1995 from Mara Institute of Technology, in Malaysia. She holds a Bachelor Degree in Art and Design (textile design) with a major in Weaving and a minor in Print and Resist. Anne is the first prizewinner in the PNB/ National Art Gallery of Malaysia Contemporary Young Artist competition held in 1997. She was also selected by the National Art Gallery to represent Malaysia at the International Art and Craft Fair in Bangkok in 1999. Known to inject traditional Malaysian woven techniques and decorative designs with contemporary aesthetics and conceptual ideas, Anne's work addresses issues of identity and nationhood by pushing the boundaries of weaving techniques infused with everyday materials.

Faizal Yunus (b. 1989, Malaysia) graduated from Mara University of Technology (UiTM) with a bachelor degree in Fine Art in 2012, majoring in printmaking techniques. He recently mounted his first solo exhibition Matrix at Richard Koh Fine Art , Kuala Lumpur in the late 2016 and has participated in a number of group exhibitions in Malaysia since 2010. Originally from Pahang, he now lives and works in Kuala Lumpur, Malaysia.

Haffendi Anuar (b. 1985, Malaysia) is an artist based in Kuala Lumpur. He produces sculptures, paintings, installations and drawings. He initially studied at Rhode Island School of Design in Providence and completed his BA Honors at Central Saint Martins College of Art and Design in London. In between his studies, he worked as a model maker at T.R. Hamzah and Yeang in KL, studied Mandarin in China, worked in art galleries in London and Kuala Lumpur and assisted artists in studios in London. Haffendi's multidisciplinary practice mines history of art, digital technology, nature and local contexts to create object-based works that recycle found images, objects and artistic styles from digital and physical sources.

Hasanul Isyraf Idris (b. 1978, Malaysia) was trained at Mara University of Technology (UiTM), in Perak. He has received a number of awards, including the Young Contemporary Arts Award in 2007 at the National Visual Arts Gallery, Kuala Lumpur, the Incentive Award at the Open Show held at the Shah Alam Gallery and the Consolation Prize for the Young Talent Art Exhibition at the Penang Art Gallery, Penang. Hasanul produces works in a variety of media, from paintings and meticulously crafted drawings to painted oven-baked clay sculptures. Mining inspiration from within and well as local folklore and regional myths, he articulates his personal struggles as an artist by personifying them as strange characters that inhabit his invented universes. Influenced by the graphics of underground comic books, 1960s science fiction, fast food, street art and fashion, he juggles pop-culture references with a personal viewpoint. Recurring topics in his practice are the meaning of life and death, memories and fantasies, sin and reward.

Hings Lim (b. 1989, Malaysia) studied Fine Arts at the Universiti Malaysia Sarawak, Malaysia. In 2012, he was awarded the chair of P. Ramlee from Petronas Award. He is a multidisciplinary artist based in Kuala Lumpur and works in a wide range of materials. He is interested in the fusion of social experience between art and life while also attempts to challenge the conventions of art and explore its social, cultural and political functions. He was active in running community art project and worked collectively in organizing workshops with National Visual Arts Gallery since 2013. He recently mounted his first solo exhibition Reciprocity at Richard Koh Fine Art in the early part of 2016.

Liew Kwai Fei (b. 1979, Malaysia) is an artist trained at the Malaysian Institute of Art (MIA) graduating with a diploma in Chinese ink painting. A well-exhibited artist, he has contributed works in many exhibitions locally and abroad as well as participated in various residencies in Malaysia, Pakistan, Australia and India. His works, which exude a DIY aesthetic include paintings, drawings, multimedia pieces and sculptural installations and explore the construction of meaning through cultural symbols along with mono and multilingual textual references. He lives and works in Selangor, Malaysia.

Liu Hsin-Ying (b. 1991, Taiwan) and was trained at the Art Students League in New York, New York in 2013 and at the Department of Fine Art, Taipei National University of the Arts, Taipei, Taiwan, graduating in 2015. She works in a variety of medium and approaches such as painting, drawing, video and performance art, drawing inspiration from the personal and cerebral. She is currently based in Kuala Lumpur, Malaysia.

Melissa Tan (b. 1989, Singapore) is an artist based in Singapore and received her BA (Fine Arts) from Lasalle College of the Arts, Singapore in 2011. Her works are based on nature, themes of transience and beauty of the ephemeral. Her recent projects revolve around landscapes and the process of formation. Interested in geography and textures of rocks, she explores to translate the visual language through different mediums. Employing processes such as paper cutting, painting and silk-screen techniques, she is interested in materiality and how the medium supports the work. Though trained as a painter, she also works with video, sound and objects. She was included in The Singapore Show: Future Proof, Singapore Art Museum at 8Q in 2012 and An Atlas of Mirrors, Singapore Biennale 2016, Singapore in 2016. She also participated in the National Art Council and Dena Foundation Artist Residency program (Paris, France) in 2013.

Yeoh Choo Kuan (b. 1988, Malaysia) lives and works in Kuala Lumpur, Malaysia. His work constitutes a unique synthesis of disintegrating working method, known for his self-coined "Fleshing Abstraction", a process that focuses on the characteristics of color, texture, surface and construction materials. Choo Kuan works with imageries that both engage the hedonistic and disastrous, in which the results are sculptural whilst appearing painterly.


Copyright © 2016 Richard Koh Fine Art, All rights reserved.

Our galleries are located at:

Lot No. 2F-3, Level 2, Bangsar Village II,
Jalan Telawi 1, Bangsar Baru,
59100 Kuala Lumpur, Malaysia

T: +60 (03) 2283 3677
F: +60 (03) 2283 4677

229, Jalan Maarof,
Bukit Bandaraya, Bangsar,
59100 Kuala Lumpur, Malaysia

T: +60 (03) 2095 3300

Singapore corresponding office:

10 Ubi Crescent,
No. 04 - 99, Ubi Techpark,
Lobby E, Singapore 408564