Monthly Archives: June 2016

Militant For Happiness :)

Edy Asmara "Melody of the Earth" 2016, 150x200cm Acrylic               Edy Asmara – “Melody of the Earth” 2016, 150 x 200 cm, Acrylic on Canvas

On 21 June 2015 the new Bali collective Militant Art announced its arrival on the scene with a memorable evening at Bentara Budaya Cultural Center in Ketewel. The event was one of the highlights of the year.

The opening performance and presentation involved the skilled work of various technical production teams, along with live music and a captivating installation to produce a visually rich and engaging spectacle. The large audience of art lovers were treated to a professional, tightly synchronized event and the buzz of excitement within the crowd was palpable. We were witness to something a little out of the ordinary.

Putu Bonuz " Tarian Langit" 100x200cm Acylic               Putu ‘Bonuz’ Sudiana – “Tarian Langit” 100 x 200cm, Acrylic on Canvas

The exhibition “Ulu Teben” #1 Militant Art featured 30 paintings, all of uniform size 250 x 130 cm, some of the strongest work displayed by a group in recent memory. The event sent a positive message to the art community of the collective capabilities of Bali artists.

Celebrating one year as a collective Militant Art’s follow up exhibition “Militant For Happiness” #2 opened 21 June at the CLC Education Center in Kerobokan. Curated by Eddie Soetriyono and Arif Bagus Prasetyo, and organized by Nico FK of Zen Nagrisco Utama of Tuban, Denpasar, specialist services in Bali for art cargo and framing.

Gede Jaya Putra 'Rival" 173x155cm Oil                                         Gede Jaya Putra – “Rival” 2014, Oil on Canvas

Artists A.A Gde Agung Jaya Wikrama, Adi Candra, Antok, Atmi Kristiadewi, Dangap Agus Murdika, Kadek Eko, Edy Asmara, Galung Wiratmaja, Gede Jaya Putra, Gusti Buda, Ketut ‘Kabul’ Suasana, Made Supena, Ida Bagus Purwa, Nyoman Diwarupa, Kadek Dwi Adnyana, Ketut ‘Le Kung’ Sugantika, Listya Wahyuni, Made Gunawan, Made Wiradana, Naya S, Ngurah Paramarta, Nyoman ‘Sujana’ Kenyem. Pande Paramartha, Pande Suta Wijaya, Putra Dela, Putu ‘Bonuz’ Sudiana, Somya Prabawa, Teja Astawa, Uuk Paramahita, Wayan Suastama and Wayan Paramarta presented their works over the two floors of CLC to an enthusiastic audience on the opening evening.

Ketut 'Le Kung' Sugantika "Balance #1" 140x220cm Acrylic             Ketut ‘Le Kung’ Sugantika – “Balance” 2016, 140x220cm  Acrylic on Canvas

“Breath of Nature” 2016 by Dangap Agus Murdika (b. 1989, Gianyar) reveals he is abstract style is in the process of development. He introduces textured surfaces along with depth of field to his characteristic style to create a work that is visually engaging. Putu ‘Bonuz’ Sudiana’s “Tarian Langit” captures the artist at his dynamic best, while “Bosan” (Bored), by Putra Dela blends elements of realism and abstract, and the color blue to emphasize emotional potency. This is a captivating and  intriguing work.

Gede Jaya Putra (b.1988 Seminyak) is a young multi disciplined artist who over recent years shows great promised. His solo exhibition in 2014 at Art Verandah in Renon as a part of his final studies examination at the Indonesian Art Institute (ISI) Denpasar proved to be a revelation to many in the Bali art community displaying his high level conceptual and technical abilities. His composition “Rival” features two racing motorcyclist painted onto canvas and fastened to board and the cut out shapes attached directly to a white-painted frame.

Ketut 'Kabul' Suasana "KulKul" 150x170cm Acrylic                    Ketut ‘Kabul’ Suasana – “KulKul” 2016, 150x170cm, Arcylic on Canvas

Edy Asmara  continues to grow as an artist and his “Melody of The Earth” 2016 is strong in concept and execution, while being atmospherically warm and inviting. Edy is an artist with a promising future and his painting is a highlight of the exhibition. Likewise Edy’s wife, Atmi Kristiadewi (b.1990 Denpasar) presents an engaging work in her characteristic colourful and vibrant style, “Persiapan Menyabut Hari Raya” and is consistently exhibiting works of good quality and has a promising future as well.

“Our art will always be creative, never-ceasing to contribute and enrich the Bali art scene. “Militants For Happiness” is an expression of our pride as an art collective,” said Putu ‘Bonuz’ Sudiana, Chairman of the Militant Art Collective. “We are always optimistic, despite the many environmental, social and political struggles humanity must globally endure. We wish to make a statement and emphasize that being happy is an essential, and powerful way of life.”

Anthok S "imajnation" 2016 150x120cm, Oil                               Anthok S – “Imajination” 2016, 120x150cm Oil on Canvas

“Peacefulness” 2016, by Kadek Eko (b.1989 Denpasar)  is refreshing in composition structure, atmosphere and emotional content. One of the only alternatives works on display, outside of the 2 dimensional format  is “Lost Paradise”, by Made Dwi Adnyana (b.1985 Kintamani). An environmental statement that includes small curved branches that frame small snap shots of Adnyana’s colorful landscapes.

Painters Teja Astawa, A.A Gede Agung Jaya Wikrama  and Ngurah Paramarta take their influences from Balinese traditional painting. Paramarta (b.1974 Denpasar) draws from imagery from Batuan paintings circa 1930’s in “Penghuni Pohon” in his light-hearted take on the Balinese world of sekala/niskala (the unseen and the visible) along with animistic beliefs in his stylized composition with the spirit of a tree communicating with a startled woman sitting nearby.

While this years exhibition is not as strong as 2015, it nonetheless sends a powerful message vis its title “Militant for Happiness” that happiness is a wonderful and empowering prerequisite for life especially in this era of the politics of fear .


Made Dwi Adnyana – “Lost Paradise” 2016, Mixed Media

CLC Education Center in Kerobokan, a community education facility, which includes programs art and culture within its curriculum and social activities began its support of the Bali art community in January 2015. The group exhibition “Art as Perspective” curated by Eddy Soetriyono and Arif Bagus Praestyo presented the work of 30 local artists. The urban Kerobokan area has a large residential population yet few cultural venues and the presence of CLC Education Center is very welcomed in the development of the art infrastructure in Bali.

Recent art activities at CLC Education include a series of art lectures “Life As Art Indonesia” on the first Thursday of the month over four months beginning at 6pm.

20160622_105917Atmi Kristiadewi – “Persiapan Menyambut Hari Raya” 2016, 100x135cm Acrylic on Canvas

Galung Wiratmaja "Greaen Soul" 145x130cm Acrylic              Galung Wiratmaja – “Greaen Soul” 2016, 145 x 135cm, Acrylic on Canvas

Kadek Eko "Peacefulness" 130x150cm Acrylic 2016                   Kadek Eko – “Peacefulness” 2016, 130 x 150cm, Acrylic on Canvas


“Militant For Happiness” continues until 21 July 2016

Open Daily 10am – 7pm

Tele: +62 82147488835

CLC Education

Jalan Gunung Salak Utara #79

Kerobokan, Denpasar






Traces Under the Surface: Batuan Painting Exhibition

Taweng, I Wayan - The Unlucky Monkey, 51 x 33 cm, Acrylic on Paper, 2000             Wayan Taweng – “The Unlucky Monkey” 2000, 51 x 33cm, Acrylic on Paper

The teacher pupil relationship has been an essential ingredient within the development of Balinese traditional art. Originating back hundreds of years with the classical wayang style of Balinese painting, through to the individual village styles or ‘schools’ that emerged during the 1930’s, knowledge and techniques have been generously handed down through the ages, and generations.

“Traces Under the Surface: Batuan Painting Exhibition”, open 3 June -31 July at TiTian Art Space in Ubud explores artistic lineage that evolved in the renowned village of Batuan. The teacher/student relationship under investigation follows on from the iconic painter Nyoman Ngendon (1906-1946), a multi talented artist, freedom fighter and probably the first art entrepreneur in the 1930s. An innovator who was quick to experiment with perspectives, creating “unreal” 3 dimensionality within the early rigid framework of the Batuan paintings, Ngendon believed in sharing his techniques and persuaded his students to break with traditions and become art innovators themselves.


Nyoman Ngendon 1906-1946

American author and Bali resident for 30 years, Bruce Gransquist, in his beautifully presented book “Inventing Art, The Paintings of Batuan,” on pages 112-113 carefully documents a chart depicting lineage and tutelage of the historical “family tree” of Batuan painting. Here we can find Ngendon and his association with his students.

Wayan Taweng (1922-2004) learned to paint primarily from Ngendon, beginning at the age of eight, and later taught his sons Ketut Sadia (b.1966), Wayan Diana (b.1977) and Made Griyawan (b.1979), along with others. Taweng learned coloring techniques from Rudolf Bonnet (1895-1978) the Dutch artist responsible for the introduction of portraiture and studies of the human anatomy into the new genre of art that blossomed from the 1930’s onwards – Balinese modern traditional art. It is the paintings by the for mentioned four Balinese artists, and Taweng’s grandson Gede Widyantara (b.1984) on display at TiTian Art Space.

Sadia, I Ketut - Blending of Japanese and Balinese Tradition, 100x 80 cm, Acrylic on Canvas, 2013        Ketut Sadia – “Blending Japanese and Balinese Tradition” 2013, 100 x 80 cm

The single work on display by Taweng, “The Unlucky Monkey”, 51 x 33 cm, acrylic on paper, 2000 is a popular story taken from the Balinese Tantri. Tantri depict animals as guru’s and story tellers in tales designed to teach good moral conduct.

This painting is an extraordinary example of Taweng’s skill, and his attention to the finer details of composition structure and balance. His palette is restrained in the dark greens of the landscape and flora, and the greys of the ocean and bodies of water, in complimenting tones. Nonetheless the work is pulsating with life, in the rhythmic motion of the water, the activity of the numerous animals, and birds in flight. Less is more with Taweng’s choice of lighter, brighter colors which he uses simply to depict small flowers in the trees and shrubs. Juxtaposed against the darker colors, the contrasting flowers immediately catch the eye.

Diana, I Wayan - Eruption, 250 x 90 cm, Acrylic on Canvas, 2015             Wayan Diana – “Eruption” 2015, 250 x 90cm, Acrylic on Canvas

The thirteenth son of Taweng, Wayan Diana was a finalist in the Jakarta Art awards in 2008 and 2010, and presents 2 works in this exhibition. “Eruption” 2015, an enormous 250 cm wide by 90 cm high, and is a spectacular work. Volcanic eruptions are a natural way of life for the Balinese and within the upper right hand corner of this incredibly detailed composition Diana depicts smoke and ash and the explosive blast showering the landscape. Animals and people are depicted both fleeing from the impending disaster and reacting with awe.

Ketut Sadia’s “Blending of Japanese and Balinese Tradition” 2015 depicts two super sized Sumo wrestlers battling it out within the ring. Surrounded by a large and excited audience featuring Japanese tourists complete with cameras, while the Balinese support the show by performing a Kecak dance. Rhythm is an essential facet of Balinese life, and the visual rhythm of Balinese traditional painting is one of the many features that can be read within a work.

Pulsating with life, Sadia structures the composition in order to encourage the observer’s eyes to move quickly around the canvas in circular motion, moving from the exterior into the inner depths of the composition to focus on the wrestlers. An avid observer of domestic and international affairs, often reflected in his narratives, and in this work Sadia emphasizes the element of fun and play, which is also a key ingredient to the Balinese way of life.

Made Griyawan ' The Unlucky Monkey"             Made Griyawan – “The Unlucky Monkey” 2016, 25 x 25 cm, Acrylic on Paper

Made Griyawan exhibits 3 paintings in this exhibition, “The Path to Enlightenment” 2012, is a perfectly balanced and rthymic composition revealing the three different levels of consciousness that can be achieved by increasingly balancing positive and negative human energy according to the Balinese Hindu philosophies. “Bali Buldoser” 2009 presents environmental destruction at the hands of unscrupulous people, yet it is his smaller work, “The Unlucky Monkey” 2016 25 x 25 cm, is a highlight of the exhibition. In contrast to his father work of the same title Griyawan zeroes in on the two main characters the monkey with its tail entwined with the tigers’.

In contrast to his fathers highly detailed, busy composition, as well “The Path to Enlightenment” Griyawan’s composition reveals minimal, controlled use of finely detailed, rhythmic lines, which so much a common feature traditional painting. However his uses of color washes that are uneven and free introduce a modern sense of rhythm to the work that is immediately noticeable. A sense of ‘space’ becomes a feature of the work while the structural forms of trees and flowers are allowed to compliment the focal subjects.

Widyantara, I Gede - Late Hero, 115 x 81 cm, Acrylic on Canvas, 2015               Gede Widyantara – “Late Hero” 2016, 115 x 81 cm, Acrylic on Canvas

At 32 years of age Gede Widyantara is an exciting young talent. “Late Hero” 2015 depicts Superman arriving too late on the scene of the 9/11 NYC twin towers disaster. Yet his painting has been purposely hang upside down by exhibition curator Soemantri Widagdo to reveal an image of Boma, the iconic benevolent spirit, son of the earth that the watches over the Balinese village and is the guardian of temples whose images is often found above the inner temple gates.

Widyantara, I Gede - Late Hero, 115 x 81 cm, Acrylic on Canvas, 2015            Hang Upside Down Widyantara’s Composition Reveals the Image of Boma

Widyantara’s second work “Corruptor Mask” 2016 depects an enormous topeng (Balinese traditional mask) with big eyes and a smiling face, complete with a tiny body garbed in a suit and tie, the uniform of the business man and politician, yet the symbolic face of corruption in Bali. Above the face Widyantara depicts bundles of cash and rats. Politikus is the term in bahasa Indonesia for corrupt politicians, the word being the combination of two – politics & tikus (rat).   Local politicians often  make promisses during an election campaign yet never fulfill any once elected, borrowing and spending a lot of money to buy the votes, makes the winners succumb to corruption to repay their debts.

Widyantara represents the exciting new generation of Batuan artists and is testiment to the vision and mission of the Batuan artists collective, Baturlangan – which is nurturing young talent; the future of Batuan traditional painting.

Widyantara, I Gede - Corruptor Mask, 60 x 40 cm, Acrylic on Canvas, 2016                  Gede Widyantara  – “Corruptor Mask” 2016, 60 x 40cm, Acrylic on Canvas

“Traces Under the Surface: Batuan Painting Exhibition”, continues until 31 July2016.

For further information, contact:

Luh Resiki

TITIañ Art Space

Jalan Bisma, Ubud

Open 10 am – 7 pm
Ph:      0822-14-400-200
Fb:      Titian Art Space












Nitibumi – Managing the Earth

Butus                              Wayan Redika – “Butus 73-93” 2016, 200 x 200 cm, Mixed Media

Open 3 – 11 June at Bentara Budaya Bali Cultural Center, Denpasar, “Nitibumi” (Managing the Earth) presents work from a new association of contemporary artists in Bali who have a distinctive mission.  The Nitibumi collective began after discussions by a group of artists, participants in the 2015 Beijing International Art Biennale, in response to the challenges they face in developing their careers.

In October 2015 Wayan Redika, Made Wiradana, Made Supena, Loka Suara, Teja Astawa, Imam Nurofiq, Galung Wiratmaja, Nyoman ‘Kenyem’ Sujana, Made Gunawan, Uuk Paramahita, Bambang Putu Juliarta, Pande Alit Wijaya Suta, and their journalist friend Ema Sukarelawanto formalized the Nitibumi community. Through this collective they endeavor to not only encourage creativity while raising the quality of their work, yet have an emphasis upon targeted networking with the various levels of local government and institutional agencies, and the broader community, to build relationships, and the foundations of fruitful working collaborations.

Imam Nurofiq_karya OK                  Imam Nurofiq – “Green Dictionary” 2016, 200 x 300cm, Acrylic on Canvas

Wayan Redika has experience in developing art communities with the Komunitas Seni Lempuyang in East Bali. “Butus” highlights his excellence in structure, technique and concept. Depicting environmental desecration caused by earth moving machinery that rip through the landscape that is driven by the modern development of Bali (the building of new hotels, houses and other projects), this work communicates a topic of major concern, not only to Nitibumi, but to locals, expats and visitors to the island.

Trees are an iconic symbol in the Indonesian state emblem and a banyan tree features on the coat of arms upon the chest of the mythical Garuda bird in the Garuda Pancasila. The pohon beringan (banyan tree) is a sacred symbol of the Balinese traditional culture that melds ancient animistic beliefs with local Hindu religious adaptations. Trees are often featured in compositions by Made Wiradana (b.1968 Denpasar), and “Illegal Loging” depicts man and machinery engaging in logging activity, yet tiny by comparison and being dwarfed by the omnipotent banyan tree.

Made Wiradana_karya OK                        Made Wiradana – “Illegal Logging” 2016, 200 x 300 cm, Miixed Media

Made Supena (b. 1970 Gianyar) has defined his name as Balinese abstract painter of note.  In his recent works he has added the aesthetic potency of silver and gold leafing to compliment his choice colors that are at the core of his expressive style. The carefully calculated areas of blank space on the triptych canvas of “Meruwat Cakaralawa” 2016, 200 x 300 cm, painted in soft greys, however, become powerful features of his composition, while bringing a strong sense of balance to the dynamic and rythmic work.

Javanese artist Imam Nurofiq contributes both paintings and an installation to the exhibition. “Bali Map” is a meeting of the rigid building construction forms with the flowing forms of nature and is centrally positioned within the exhibition pavilion being a interesting contrast from the 2 dimensional works displyed on the walls. An expressive painter, always with something to say, his style is a departure from the majority of the works in the exhibition and is both eye-catching and “Green Dictionay” 2016 is the vehicle for potent human emotions.

Galung Wiratmaja_karya ok                                                        Galung Wiratmaja – “Kita=….?”

Nyoman ‘Kenyem’ Sujana’s “To Be C Mining” 2016, 200 x 300 cm is more simplistic composition from his usual well-known signature style that utilizes various motifs to fully occupy his canvas’s. This work however depicts 3 of his trademark human figures ascending a volcanic peak, the landscape barren and extreme. ‘Kenyem’ also contributes an installation, “Bumi Sakit” which became the focus of response for the opening performances of the event by Japanese choreographer and dancer Jasmine Okubo and the rock band ‘MANU’.

“Harmony” 2016, by Made Gunawan, reveals his growing aesthetic and structural sense of composition and is a beautiful work. Uuk Paramahita’s ‘Harmony for the Earth” 2016, also reveals the develop his easily distinquished  and unique compositional style.

Teja Astawa_karya OK                              Teja Astawa – “Dewa Murka”2016, 140 x 300 cm Mixed Media

Bambang Putu Juliarta’s triptych composition “Reflexsi Konservasi” 2016 speaks intimately and directly to the audience. Set on a minimalist, dry and barren landscape the central line of cracked earth draws the observers directly to a cow on three-quarter side profile with one gazing directly out at the audience. Flanked on both sides is the mirror image of a woman holding a hose without flowing water, who also stares directly at the audience. The painting is engaging while expressing essential emotions.

Galung Wirtmaja’s  featured abstract composition “Kita=….?” (Us ?), 2016, 200 x 300cm is a highlight of the exhibition, while his smaller work, “Saksi” (Witness) 80 x 80 cm is equally as potent. Galung has developed a formula within his paintings via the power of suggestion. Not only is his choice of color and abstract forms dynamic, while exuding mystery and allure, the figures that he carefully positions in “Kita=….?” add a special , extra dimension. With their backs facing the audience, his characters seem to be peering into the midst of the unknown, inciting our curiosity, while inducing suggestion. Suggestion is a powerful trigger that opens the audiences mind and leads to possibilities. Both Galung’s paintings utilize the power of suggestion, making them both engaging and in a class of their own.

UUK Paramahita_karya OK                                                Uuk Paramahita – “Harmony for Earth”

In this technology driven modern era, with powerful social media tools and smartphone technology easily available, artists have immediate access to the international arena and growing audiences, while being increasingly empowered. The old paradigm of the middleman taking advantage of the opportunities available to him/her and exploiting both the artist and buyer is changing. The artists are now in the driver’s seat and enormous benefits are available to them.

If the artists, both individually and collectively are willing to engage their mind, learn new skills and approach their career development more strategically, certainly success in various forms is assured. Alternatively, they can engage in trusted professional art management. The future is unknown, yet exciting, and is full of opportunities.

Made Supena_karya OK                    Made Supena – “Meruwat Cakrawala” 2016, 200 x 300cm, Mixed Media





ArtJog9 – Universal Influence

ArtJog9 CEO & founder Heri Pemad - image courtesy of ArtJog9      ArtJog Founder & CEO Heri Pemad in front of commissioned installation by Venzha.

Expect surprises at ArtJog9, Indonesia’s leading, ever evolving international art event opening 27 May at the Jogja National Museum in Yogyakarta. Blurring the line between being an art fair and exhibition gives ArtJog its distinctive flavor, highlighting artists instead of galleries, making it fundamentally different from other art fairs around the world.

“Many outstanding Indonesian artists who exhibit in international galleries and events in are well known for their characteristic works,” said ArtJog9 CEO & founder Heri Pemad. “But take a look at their works at ArtJog9! This year I have challenged them to make their work more fun and fresh, while the new venue offers wonderful opportunities for inspiring presentation.”  A different location earmarks the ninth year of ArtJog while the Jogja National Museum has been partially renovated for the event. The installation of a 36 meter tower capped with a UFO will emphasize this year’s theme of “Universal Influence”.

Commissioned art work by Venzha, "ISSS" (Indonesian Space Science Society) Image courtesy of ArtJog                                           Detail of commissioned work by Venzha

“Based on numerology, nine is the highest number, symbolizing the summit. It’s been a long and tough journey yet I believe ArtJog9 is a great achievement for Yogyakarta and the global art community to observe the strength of Indonesian art,” Pemad said. “The development of the fresh local art discourse is also a great achievement for our artists.”

From humble beginnings over the past 2 decades Pemad has developed close relationships amongst the local art community. With a gift for communication that has been the foundation of successful associations, and a vision for the artist’s needs, in 2004 he launched Heri Pemad Art Management (HPAM), an institution that grew out of his personalized art services.

Galam Zulkifli, "The Beauty of Relatifity II" Image courtesy of ArtJog9, Acrylic on Canvas, 200cm x 600cm 3 panel @200 cm x 200 cm, 2015                                          Galam Zulkifli, “The Beauty of Relatifity II”

While HPAM can take credit for playing constructive roles with many of the leading names to come out of the region who have gone on to greater success, ArtJog as the flagship event has mirrored ­and fostered the parallel development of the local art scene, securely positioning Yogyakarta and ArtJog on both the international art map, and calendar. In 2014 ArtJog welcomed more than 100,000 visitors in three weeks — breaking all attendance records, a feat which no other Indonesian cultural event has achieved.

“ArtJog9 is entrusted to finding and promoting young talent while being an intermediary to link undiscovered artists with the local and international scene,” Pemad said. “This creates opportunities for Indonesian and international galleries needing to introduce fresh names into the market. ArtJog permits them to find new talent easily.”

DSCF5351                                                          Eko Nugroho – “Street Talk”

Showcasing invited Indonesian artists and international artists from Japan, Australia and Liechtenstein exhibition 2 & 3 dimensional works, installations, videos, site specific objects and performances totaling 94 works ArtJog 9 is curated by Bambang “Toko” Witjaksono, and Ignatia Nilu. “Look out for the works from local artists Aditya Novali, Eko Nugroho, Made Widyadiputra, Indiguerillas, Maryanto, Samsul Arifin and Wedar Riyadi. And works by senior artists FX Harsono, Naisrun and Garin Nugroho,” Pemad said.

“ArtJog9 highlights the program of activities during Jogja Art Weeks that invites the entire art community in Yogyakarta to create exhibitions and events during June to celebrate and welcome guests to the region,” Pemad said. “I wish to convey to the leaders of our country that we have enormous art and cultural wealth in Indonesia, abound with potential and opportunities to be realized in the creative economies and tourism sector.”

DSCF5408Arya Pandjalu – ” Maybe its Not Always About Trying to Fix Something Broken, Maybe its About Starting Over and Creating Something New”

For ArtJog9 VIP’s:

“We will hold a special preview for VIP guests on the opening day, 5 hours before the exhibition officially opens,” Pemad said. “Allowing time and space for them to wander through the venue and enjoy, while selecting works.”

Pemad’s Tips For Collectors:

“Meeting and getting to know the artists, and the ideas explaining their works is an essential way to educate buyers about artworks they are interested in. The “Meet the Artists Program” led by the ArtJog9 program manager and the curators team, along with the “Curators Tour” hosted by the curators “Toko” Witjaksono and Ignatia Nilu are excellent opportunities for collectors, art lovers and curious members of the public to gain insights into the unique nature of Indonesian contemporary art.” “Meet the Artists”: 3 June 2PM, 11 June 2PM, 18 June 2PM & 24 June 2PM. “Curators Tour”: 4 June 2 PM, 10 June 2 PM, 17 June 2PM & 25 June 2PM.


Made Valasara – “Konstruksi Semesta, Semesta Yang Teralienasi Mempertanyakan Kediriannya Dalam Ekspresi Tunggal”

Pemad’s Tips for First Time Buyers at ArtJog 9:

“Trust your instincts. Ask yourself, how does the work make you feel? Is it right fro me, and my requirements?”

“Carefully consider the installation of the artwork within the environment in mind. The décor, degree of natural lighting along with the requirements for artificial lighting are also important. How well does it fit into your lifestyle?”

“Know your budget. If you find something you like seek more information and ask questions. Keep your options open and don’t make hasty decisions.”

“Is the artwork for personal tastes or investment? Buying for investment requires sound knowledge of the market.”

DSCF5458                                                               Pintor Sirait – “Brise”

ArtJog9 “Universal Influence”

27 May – 27 June

Jogja National Museum

Jalan Prof. Ki Amri Yahya No. 1,

Gampingan, Wirobrajan, Yogyakarta

Tel: +62 274 586105

DSCF5440                                                     Mohamad Yusuf – “Golden Ticket”

DSCF5438                    Agapetus A. Kristiandana – “MNP Peace” & “Axonometric Space”

DSCF5418                                            Hanafi – “Wedes Gembel” 290 x 340 cm

DSCF5401                         Dhanang Pambayun – “The Darkness Led Me To The Light”



Nyoman Masriadi’s New York Exhibition 2016

                    Images courtesy of Nyoman Masriadi & Paul Kasmin Gallery


Nyoman Masriadi’s story reads unlike any other within the history of Indonesian art. It charts the phenomenal rise of a talented painter, who in 2008 at the age of 36 achieved the prestige of being the first SE Asian artist with works topping USD $1 million at auction. A feat that immediately propelled him into the international art spotlight.

Aspiring Singaporean art dealer Jasdeep Sandhu stumbled across Masriadi in his studio in Yogyakarta in 1996, commenting on the painter’s self-portrait ‘Pulau Bali’ (‘Island of Bali’), “It was a departure from anything else I had ever seen.” Sandhu became instrumental in Masriadi’s career development via his Gajah Gallery in Singapore.

Born 1973 in Gianyar, Bali, Masriadi moved to Central Java to study art at the Institute Seni Indonesia (ISI) Yogyakarta in 1991. In 1999, however, he left before his final assessment due to his interests conflicting with the teachers and curriculum.



In 1997 Masriadi returned to Bali with his wife to be, and for a year worked feverously churning out souvenir paintings of Balinese mythological figures. This led to the development of his first superhero characters. With his new family, he returned to Yogyakarta as Indonesia was undergoing a turbulent transition. Following the 1997 Asian Financial Crisis and the fall of General Suharto in 1998, ushering in the Reformasi movement, the Indonesian art scene’s interests shifted, almost overnight, from conservative expressionist paintings with traditional themes to inspiring socially engaged art. That year Masriadi was enormously productive. His works addressed themes of social injustice, corruption and military abuse, flavoured by his satirical wit and his bold figurative style.

In 2006 a Masriadi painting sold for USD $10,000. It wasn’t until in May 2008 when “Sudah Biasa di Telanjangi” (“Used to Being Stripped”) – depicting a black-skinned, muscle-bound man wearing pink bikini briefs around his ankles, covering himself with hands bound by rope – sold at auction for $540,000 at Christie’s Hong Kong. Prior to this interest in Indonesian art at regional auctions was confined to old masters such as Hendra Gunawan and Affandi.

                                           ‘Piglet’ – bronze



“I don’t understand what all the fuss is about,” the art school dropout said about his rising popularity.

Masriadi’s stratospheric ascent had only begun.

October 4, 2008, at Sotheby’s Hong Kong, “Sorry Hero, Saya Lupa” (Sorry Hero, I Forgot) set another record, at $619,000. Only two days later “The Man from Bantul”(Final Round) sold at Sotheby’s in Hong Kong for US$1,000,725. “Low estimates were a major factor in Masriadi’s initial market acceleration since they paled in comparison with many other Asian artists’ prices at the time,” Sandhu said.

“Masriadi: Black Is My Last Weapon,” his first solo exhibition held at the Singapore Art Museum, 22 August – 9 November 2008 showcased his oeuvre to a growing international audience. Co-organized by Sandhu and spanning Masriadi’s 10-year career and exploring the evolution of his signature black-skinned characters that are inspired by his love of comics and video games, that make satirical and poignant statements about national and global issues. The show not only highlighted his technical excellence, yet his ambivalence toward the art world as well.



During this exhibition, the Paul Kasmin Gallery of New York expressed interests in working with Sandhu to bring Masriadi to the US. Following on from the 2011 “Nyoman Masriadi – Recent Paintings”, his latest exhibition “Nyoman Masriadi” opened 28 April 2016 in New York featuring five new paintings, and never-before-exhibited works from 2012-14 along with a series of five 91.4 x 129.5 x 76.2 cm bronze sculptures -‘Piglet’.

“The gallery has primarily focused on placing Masriadi in American and European collections. The more audiences in the west get to see the paintings in person, the more deeply they engage,” said Senior Director of Paul Kasmin Gallery, Nicholas Olney. “It’s very rare for him to have a gallery show and sales have been excellent. Masriadi’s position as a truly internationally artist has been cemented.”

“There is a growing awareness in the US in Indonesia as a destination, and as a fertile art community,” Olney adds. “I’m looking forward to spending more time in Yogyakarta and Bandung to see what the younger generations of artists are working on.”

Through his success on the global arena, Masriadi draws increasing attention to Indonesia, home to many young artists of international standard yet to be exposed abroad. As technology progressively collapses the borders while facilitating access the artists are in the driver’s seat. Three international events highlight the 2016 Indonesian art calendar, ArtJog9 in May/June, Bazaar Art Jakarta 2016 and Art Stage Jakarta, both in August, all showcasing homegrown names and fresh talent for local and international collectors.


Will Indonesia witness another sensation like Masriadi? Such a meteoric rise may be unlikely, yet art markets are cyclic, and while the future is unknown it is ripe with opportunities.

Nyoman Masriadi continues through to 28 June 2016

Paul Kasmin Gallery

293 Tenth Avenue, New York



Resurrection: From Darkness into Light – Wayan ‘Apel’ Hendrawan

Mangku Apel Hendrawan                 Balinese Jero Mangku Priest Wayan ‘Apel’ Hendrawan


This is a story of Wayan ‘Apel’ Hendrawan:  a painter, family man, tattoo artist and a Balinese Hindu priest, and his amazing battle with the forces of dark and light due to a drug overdose that saw him incarcerated in the Bangli asylum for the insane.

Every person is born into this world from cosmic origins in a mystical union of spirit and flesh. Apel’s journey is of remembering, aligned with soul purpose according to a secret agreement with the divine.


The Child

“As a baby my most prominent features were my big round cheeks, so my father, Ketut Yulig dubbed me Apel (apple) and the name has stuck ever since.” Wayan ‘Apel’ Hendrawan was born 29th May 1974 in Banjar Dangin Peken Intaran, in the seaside village of Sanur, Bali.

“I enjoyed a simple childhood. I had no inclination towards the Balinese cultural expressions of music, performance or ceremony. Yet as I developed I began to acquire an ‘appetite’ for art. Excitement grew while engaged in a process that sparked my curiosity like nothing else I had experienced in life.”

Apel occupied himself by making simple drawings of landscapes and icons from his heritage. “At times I wondered, what was the source of these images I was producing? It was like a poetic mystery, or a secret within me being revealed and each day it would slowly unfold.”   None of his family members are artists, Apel’s creative expressions were driven by a powerful instinctive urge.

“During my SMP school years my artistic abilities developed and I began painting on canvas in my early teens. This was the foundation of what was to become a passion. A creative act that mirrored the true nature of life.”

Apel’s creative journey led him through a process of experimentation until he eventually found his ‘voice’. A settled more mature condition that reflected his personal state of grace. However, this was not achieved without great trial and tribulation.

Apel Hendrawan.Pen Sketch, 1979.                            Apel Hendrawan pen sketch circa 1979


The Rebel

Tattoos next became a passion simply due to Apel’s curiosity. “My first tattoo was an investigation to reveal whether I liked it or not. I was only 12 years old when I got this non descript image inked onto my skin. From then on my fascination grew.”

No more than a year later Apel scribed the first tattoo on his body and soon friends began to line up wanting one too. From meager beginnings emerged a talent that later would provide much sustenance for his family and see him become a successful tattoo artist.

“In my youth I lived life with a rock ‘n’ roll attitude. I loved fast, loud motorbikes and dreamed of owning a Harley Davidson. I was young, foot loose and free.”  Tattoo art and painting soon turned out to be a complementary mode of channeling Apel’s youthful, yet increasingly rebellious energy.

Profile -Wayan 'Apel' Hendrawan                                                    Apel Hendrawan


Crazy Person

During the period between 1997-99 Apel was to encounter the most crucial years of his life. Forced to plumb the depths of his consciousness due to the destructive nature of alcohol and drugs. An overdose of amphetamines sent him spiraling into a world of confusion and a confrontation with the dualistic nature of life.

A family member committed Apel into the infamous Bangli mental hospital to undergo ‘drug rehabilitation’.     The problem was, however,  the people outside of the institution regarded anyone who was treated in there as orang gila – insane.

Apel was suffering from hallucinations and hearing voices inside his head.  “I was undergoing both lucid moments along with the most diabolical. Some of the visions made me believe evil supernatural forces were out to destroy me. It was like I was being led through a labyrinth, my destination unknown. At times I was terrified. I was truly living on a razors edge.”

“The voices I was hearing came from two distinct sources, one of wisdom and love, the other wretched and cruel. This was my account of Rwa Bineda, and an insight into the divine creative forces of life.” (Rwa Bineda – the Balinese philosophy that describes the continuous play between opposing forces).

Apel Hendrawan, 2013, oil on cnavas, 60x120cm                                   Painting by ‘Apel’ Hendrawan 2013


“Despite the fact that what I had to sustain during this time was both horrible, as well as enlightening, I was able to perceive this experience as a virtue. I had a strong inner  knowing that I had to endure this to allow the realization of my journey from the darkness into light.”

During his internment Apel made two escape attempts. On the first he only succeeded tocircumnavigate the township of Bangli, as the bus driver who picked him up was aware of his passengers’ state. He then cleverly proceeded to drop the orang gila off from where he first came.

Apel was then confined in a higher security cell in the hospital’s basement where his condition became extreme. “I was desperate. I had no idea how to protect myself from what I was experiencing so I started to draw believing somehow this would be a solution to my plight. As images of beings from the Balinese philosophy materialized on the paper before eyes I sense they would be a form of relief.”

“The most frightening experience was an episode while I was drawing when I realized that the attack was becoming much stronger, so I tried to protect myself by drawing Nara Simha. Suddenly, the electricity in the hospital blacked out. In the darkness I was then able create light from some oil that I used for cleansing my paint brushes, and a lighter to give me vision. This,however, exploded into an inferno and parts of the hospital were destroyed. After this incident I was moved to maximum security where I was bound and tied to the bed.”

Apel Hendrawan, pen on paper, circa 1979                    ‘Apel’ Hendrawan sketch pen on paper circa 1980


“My logic perceived me as normal and only under a temporary spell. If I stayed here it was a tragic waste of my life. I though that if I returned home all my problems would quickly be solved.   I became increasingly frustrated with my situation and began planning my escape again.”

Apel succeeded and returned to his home, family and wife ,yet his reality became even worse.   There was a much greater obstacle he had to face. He was labeled with an enormous social stigma, and everyone believed that he was truly insane.

Misunderstood and distrusted Apel’s relationships with his family and friends declined. Finding work became impossible. “No one believed in me, and there was a giant void of love in my life. I was broken hearted. The sadness eventually became overwhelming and in desperation I attempted suicide twice.”


The Resurrection

The purpose of all emotional pain is to awaken us out of the dreaming mind and jolt us back into conscious awareness.

The Balinese believe drawing is a sacred method of revealing an individual’s life process and purpose, as well as to explain the nature of life. And as the ancient symbols were divulged in his during process, Apel was both being healed and manifesting a step-by-step methodology to recreate his life.

Apel Hendrawan, 2000, oil on canvas, 50x50cm                                    ‘Apel’ Hendrawan oil on canvas, 2000


“I was learning the codes of the Balinese priesthood and receiving my initiation directly from spirit. I understood this was my higher calling and my future role to fulfill in service as a priest. The sketching that began in Bangli had started my healing and renewal process.”

“My intuition was a rich source of clarity during those periods of great pain. While in my dilemma I listened to my inner voice and was led to prayer, meditation and creating rituals for regaining my health. The wisdom of the Vedic teachings became a daily custom and order was returning to my life.”

“I was equipped with the tools for my rehabilitation and fuelled by my dedication and commitment.   Steadily my life was returning to a normal rhythm and my dreams and intuition confirmed the truth. I was now ready for the special initiation ceremony at Pura Wanasari, Belanjong Sanur for me to become a Jero Mangku Balinese priest.”

After this many hiderances cleared and a new chapter of Apel’s life began. All becam aligned.

“Art is the salvation of my soul and it is my personal healing process, even to this day.”

“A strong sense of community is one of the most grounding and practical fundamentals of life. It also aids me to heal. The Banjar system, my family and friends, as well as art collectives are essential to me. In 1996 I married Ni Ketut Sunarti and we now have 3 young children.”

“All that appears in physical form is maya, an illusion,” apel reveals.   “The human mind is very cunning, it is a master of deception. It has the potential to see clearly, or translate multitudes of input into fantasy.”   (maya – according to the Hindu philosophy, is an illusion of a limited, physical and mental reality in which our consciousness has become entangled, in a veiling of the true Self).

“Maya confirms the phenomena of the individual identity and the ego. In fact, however, we are all one and of the same source.”

Apel Hendrawan, oil on canvas, 2013, 120x60cm                                ‘Apel’ Hendrawan oil on canvas, 2013


The Artist

“I studied art at the Bali Art and Design School and in 1995 and I went on to become one of the founders of the Himpunan Pelukus Sanur, (HPS) the Sanur Painters Association.”

Sanur has its own unique story within the context of Balinese art. After the establishment of Bali’s famous Pita Maha artists association in Ubud in 1936 three important “schools” of art began to flourish.   They were known as the Ubud, the Batuan and the Sanur schools of art.

“The HPS was the catalyst to reviving the collective spirit, and hence we were the heirs to legacy of the forefathers of the Sanur “school” of art. We interacted as a group and held a few exhibitions, however without any real direction the group went into hibernation after 2003.”

From the HPS, 10 Fine Art, a dynamic art collective was born.

10FA consolidated their arrival on the Sanur art scene in 2004 by opening a gallery that was to become the epicenter for the artist community. “10FA is a more than just a meeting of 10 creative spirits to pursue our artistic passions. 10FA has evolved into a vital cooperative and support system that I can rely on during the good times and the bad.”

Apel became known for his images of beautiful women revealed in postures of celestial rapture, in which the subject’s eyes are always depicted closed.   What may appear to the observer as a Goddess,  to the artists , however, there is a deeper symbolic meaning.

“The eyes are the windows of the soul,” says Apel. “However I paint the eyes closed to reveal no hint of expression, or emotion. My desire is to create a sense of mystery, to imply that the subjects are dreaming, or in a meditative state. Yet in fact this is for the observer to decide.”

Perhaps the most potent illusion to beset the human mind is that of beguiling female beauty.   History reveals stories of kings who have engaged in mighty confrontations to steal a woman whose splendor is so hypnotizing that their uncontrollable obsession leads them to war. The Hindu texts tells tales of Gods going into battle, utilizing all their supernatural powers to win possession of a spell-binding beauty.

Apel’s subjects seem to appear out from a swirling mass of energy. From dark or bright colors they become manifest as if born from the depths of the cosmos, or forged from volcanic fires. This movement reflects the fluidity and infinite essence of the universe continually being recreated and renewed.

“My compositions come to me freely and are an expression of daily life – a culmination of the elements that comprise the spirit, body and mind. Through my paintings is wish to express the concept of maya.”

13227016_1166407256757053_6492783267105668247_n                                 ‘Apel’ Hendrawan Tattoo Artwork


The etymological origin of the word tattoo is believed to have two major derivations; the first is from the Polynesian word ta which means to strike something, and the second is the Tahitian word tatau that means to mark something.

Apel’s physique is adorned with tattoos. His arms reveal Maori symbols representing fire and water. On his chest is the Tri Sula, the weapon of the Hindu God Siwa. The three prongs signify the relationship of Brahma, Vishnu and Siwa. His dedication to the artform has led to much success. He now owns 3 tattoo studios in Sanur, Bali: Sanur Ink, Big Rock I & II and a magnificent Harley Davidson motorbike.

Tattoos are found in many cultures around the world; in Japan traditional tattoos are called horimono, while in Taiwan the Atayal tribe call their facial tattoos ptasan, and in Borneo tribal tattoos mark physical journeys, signify important life events,  and some offer protection.

“While my painting and sketching is an intuitive sensation, tattoos are much different and their application requires strict mental discipline.”

“Each client’s body and skin has its own character and demands different approaches as well. Tattoo artwork is in itself a unique artistic journey.”

Apel is a visionary artist whose works convey a universal truth. He is a priest who channels sacred symbols and paints mystical images, yet loves tattoos and powerful motorbikes. A macho biker image is a mental, ego experience, while the sensitivity of the heart allows Apel’s unswerving connection to the divine. If we analyze this relationship seems  contradictory.

Yet here in Bali, a culture that celebrates both the black and the white, what may appear as in opposition is wonderful example of the dualistic nature of life.

apel pameran          ‘Apel’ Hendrawans solo exhibition at Griya Santrian Gallery July, 2013


Words & Images: Richard Horstman