Category Archives: Community Spaces

Bridging traditions with the now through local and cross-cultural activities: Bentara Budaya Bali

BBB Kelas Kreatif with Architect Popo Danes Image courtesy of Bentara Budaya BaliBentara Budaya Bali Kelas Kreatif with leading Balinese architect Popo Danes Image courtesy of Bentara Budaya Bali

 

Bali is a unique meeting point between tradition and modernity. One of its distinctions is its fascinating culture that is, however, under increasing pressure from outside influences and the Indonesian nation-state. Sited in Sukawati, on the main link from Denpasar east to the regency of Karangasem Bentara Budaya Bali Cultural Center plays a vital role in informing the local population, and visitors, on creative and culturally matters, born both of domestic and foreign influences.

Currently at the crossroads of its cultural evolution, the Indonesian, and especially the Balinese people require an interface into the future, and the past. Bentara Budaya Bali (BBB) functions as a hub for not only the preservation of cultural, but also for the introduction of new ideas and forms of expression. It gives the local people the intellectual instruments to understand change, and thus not be overwhelmed by it.

Komponis Kini #5-A Tribute to Wayan Beratha bersama Gde Yudane dan Dewa Alit. Image courtesy of Bentara Budaya BaliKomponis Kini #5-A Tribute to Wayan Beratha with Gde Yudane and Dewa Alit. A performance held in 2019 in the outdoor theater of Bentara Budaya Bali.  Image courtesy of Bentara Budaya Bali

 

The Kompas Gramedia Group of Jakarta owns Bentara Budaya with core business enterprises in the information, communication and education. The largest media conglomerate in Indonesia, with 43 tabloids and magazine titles, it owns Kompas newspaper, the largest circulating printed media in Indonesia. Other interests include radio, television, publishing and Gramedia Bookstores. First opened in Jakarta in 1982 by Jakob Oetama, this cultural institution consists of a museum and an art gallery. Yet, its mission had since expanded to include venues in Yogyakarta, Solo and opening BBB in September 2009.

“As a public cultural space, the name Bentara Budaya means cultural messenger. Its existence is intended to build an atmosphere of creative social interaction, accommodating and representing national cultural vehicles, from various backgrounds and horizons,” says renowned writer and poet, Warih Witsatsana, the head of management and curation at BBB. One of the best-kept secrets on the island, BBB on average holds 85 events a year, even up to 100. It collaborates with various artists, communities, campuses, government agencies, cultural institutions of other countries to present cross-cultural activities, yet unfortunately, it remains under the radar of the tourist masses.

Pameran Apresiasi Perupa Muda Indonesia-Utusan Sosial-Kerja sama dengan Subdit Seni Rupa Kemdikbud RI Image courtesy of Bentara Budaya BaliExhibition  ‘Apresiasi Perupa Muda Indonesia-Utusan Sosial-Kerja’ in conjuction with  Subdit Seni Rupa Kemdikbud RI during 2019. Image courtesy of Bentara Budaya Bali

 

The full spectrum of Indonesian cultural activities, from traditional to modern Indonesian arts, exhibitions of fine arts such as paintings, sculptures and graphic arts, to even hosting performing arts, and concerts, book launches, poetry evenings, film screenings, workshops and classes, make up the core program of BBB events.  It regularly works with collectives as diverse as Keroncong Bali Lovers Community, (Keroncong is a fusion of Portuguese and Indonesian music, and students of the Udayana Science Club (USC), the Universitas Udayana, Denpasar. Now, the group of four Bentara centres have become one of the most important references for the activities and development of art and culture within Indonesia.

BBB accommodates and represents national cultural vehicles, from various backgrounds and horizons, which may be different and even experimental, yet unfortunately, have no place and are not suitable to be represented in other institutions or buildings. It also has a collection of artworks from the Indonesian maestros, including many Balinese classical paintings and works from “the golden years of Balinese painting” 1930 – 1945.

TERRITORIUM-NORWAY Collaborative Performance Image courtesy of Bentara Budaya Bali(1)‘TERRITORIUM-NORWAY’  a collaborative performance  featuring artists from Norway and Indonesia at Bentara Budaya Bali.  Image courtesy of Bentara Budaya Bali

 

RH:  Can you share a little about the educational platform of Bentara Budaya Bali?

WW: Balinese Culture may be said to be a meeting space for young people or artists of various backgrounds and fields so that there is a possibility for cross-border collaboration through the exchange of ideas. Also, through discussions that depart from knowledge, they have the opportunity to experience first hand a process, and this gives birth to understanding, learning by doing.

RH: We are in an era of rapid cultural change, why is Bentara Budaya Bali increasingly important for Balinese people?

 WW: As a public space, Bentara Budaya Bali is not only a place to meet and dialogue but also to accommodate various arts and cultural activities or other forms of creativity. The public sphere also plays a role in building community awareness, primarily through programs that depart from the traditions and values of local wisdom while linking it to the current socio-cultural conditions. Even though the world today is cross-border in the digital era, the public still needs a space to meet directly and personally to understand our “reality” today.  It is a prototype of a cultural laboratory in line with efforts to produce visionary ideas to allow us as a collective to move forward. Via the transfer of knowledge, we empower individuals and communities.

Exhibition Kelompok Seniman Batuan-IBU RUPA BATUAN Image coutesy of Bentara Budaya BaliExhibition ‘Ibu Rupa Batuan’ featuring Batuan artists from Kelompok Seniman Batuan. Image courtesy of Bentara Budaya Bali

 

“Bentara Budaya plays an enlightening role in Balinese cultural life,” says Bali historian and noted art critic Jean Couteau. “Its curatorial policy keeps an intelligent balance between the three layers of cultural life: firstly, the Balinese layer, seen beyond exoticism and toward cultural memory; second, the Indonesian layer, with the melting pot creativity of the national space and the need to transcend local identity; and finally the transnational layer, with all the problematics and creativity of contemporary life.”

For more information on activities and programmed events: https://www.facebook.com/bentarabudayabali09/

 

Words: Richard Horstman

 

 

 

 

 

 

 

 

 

 

 

Overview of the Bali art infrastructure 2019

‘Mahardika’ the group exhibition, featured installation ‘Freedom of Expression’ 2019 by Kadek Kusuma Yatra 200 x 200cm Video installation, open 19 October – 1 December 2019 at TiTian Art Space Nyuh Kuning, Ubud

Overshadowed by the creative hubs of Java, Bandung, Jakarta and Yogyakarta, Bali is often disregarded by international art lovers and this may be due to the tourism-led commodification of art and culture.  However, in the past six years, there has been significant development in the fascinating and distinct Bali art infrastructure.

Bali was not immune to the dramatic decline that occurred after 2008 with the crash of the Indonesian modern and contemporary art markets. The immediate signs of the downturn were the closure of leading contemporary art galleries Gaya in Ubud, and Kendra in Seminyak. Activities at other notable galleries Tony Raka in Ubud and, BIASA ArtSpace in Seminyak wound down as well. Only galleries financially supported by profitable hotels, namely  Komaneka in Ubud, Santrian in Sanur and Ganesha in Jimbaran maintained their exhibition schedules.

During the post-boom period, the established art institutions Museum Puri Lukisan, Neka Art Museum, ARMA and Bentara Budaya Bali continued with consistent programmes. The museum exhibitions were mostly dedicated to the Ubud, Batuan, Keliki and Pengosekan traditional Schools of painting, while representing an array of artists in group and solo shows, including Ketut Madra, Wayan Darlun and Made Astawa. Significant developments in the contemporary art infrastructure occurred with the opening of artist-driven initiatives Luden House in Ubud in 2009, Cata Odata Art Space in Ubud in 2014, and Ketemu Project Space in Batubulan in 2015. 

The large white bamboo installation ‘Not For Sale’ set in rice fields north of Ubud by Balinese landowner, social activist, and artists Gede Sayur and friends, quickly became a unique landmark.  Committed to art with a social and environmental conscience, Sayur founded Luden as an art space and gallery. ‘Not For Sale’ evolved in 2010 in response to the alarming rate of Balinese agricultural land being sold for development and grew to become a social movement. Cata Odata focused their cross-disciplinary programmes towards emerging artists from East Java and Bali, while Ketemu’s model has a strong regional focus on programmes including artists and curators. Their July 2016 group exhibition at Sudakara Art Space, Sanur “Merayakan Murni”(Celebrating Murni), a tribute to the iconic Balinese woman artist IGAK Murniasih (1966-2006), was one of the most anticipated events that year. These initiatives provided a much-needed impetus for the art community.

Developments within the traditional art world were the formation of new collectives Baturlangun in Batuan village and the Werdi Jana Kerti Artists Association in Keliki. Strong leadership dedicated to regeneration of the styles has led to exciting new talent emerging from both of these villages in recent years such as Wayan Aris Sarmanta and Wayan Budiarta from Batuan and Putu Kusuma and Putu Adi from Keliki. Baturlangun’s first exhibition at ARMA in 2012 featured works by emerging, established, and senior artists, including women. Since 2006 Larasati Auctioneers has established an international forum for the trade of high-quality Balinese art, providing strong support in developing the market.  Two yearly auctions are held in Ubud, which expanded to three sales in 2019.

‘Kayu’ a new alternative platform for Indonesian and international contemporary art, opened in 2014, at Rumah Topeng Dan Wayang Setia Dharma (House of Masks & Puppets), in Mas, Ubud. Curated by Ubud based Italian artist Marco Cassani, ‘Kayu’ is an exhibition series that is a part of a global initiative by Lucie Fontaine for the exchange of information and knowledge between the global art world.

The opening of Art Bali 2019 “Speculative Memories” was highlighted by a fashion parade by the Fashion Council of Western Australia (FCWA) which annually holds the Perth Fashion Festival (PFF)

One of the most significant inclusions in the infrastructure TiTian Art Space, after three years in Jalan Bisma, this October moved to larger, more accessible premises in Nyuh Kunning, Ubud. An artist incubator nurturing emerging talent to become art entrepreneurs, it was established by the TiTian Bali Foundation and the vision of Balinese art and entrepreneurial expert Soemantri Widagdo.  The annual TiTian Prize, with sections for children and adult, has quickly attracted the island’s finest talent to participate, propelling the winners Nyoman Arisana and Wayan Aris Sarmanta, into the national spotlight. The recent exhibition “Mahardika” 19 October – 1 December featured works by Wayan Sadu, Nyoman Bratayasa and Kadek Kusuma Yasa.

Bali’s rapidly evolving street art movement is transforming the streets of urban and rural Bali. Swiss urban art enthusiast Julien Thorax opened the gallery and art supplies shop in Canggu, ALLCAPS Store, in 2015. A vibrant sub-culture of social media savvy millennials, and national and international street artists now thrive in the Canggu – Berawa Beach area.

An exhibition highlight of 2019 ‘Drawing Bali Today’ 10 October – 10 November at Sika Gallery, Ubud revealed developments within the context of Balinese technical painting by emerging and mid-career artists. Such developments have been a response to the ‘Neo Pitimaha’ art movement, established in 2013 by art provocateurs Gede Mahendra Yasa and Kemal Ezedine, who have been hosting events and exhibitions in Bali and Java from 2016. The movement reinterprets Balinese traditional technical painting from a contemporary art perspective – retaining the principles involved with the techniques and methods.  By opening this to new viewpoints they awakened a new spirit and introduced a fresh model of possibilities into Balinese art. Ezedine has recently been proactive with exhibitions with some of the core members of the movement, while his “Drawing Lab”, continues on with the Neo Pitamaha ideals influencing the mindset of young Balinese painters.

In just as few years CushCush Gallery, a dynamic and highly active multi-disciplinary platform open in July 2016 in Denpasar and founded by Suriawati Qiu and Jindee Chua, has become the most vital addition to the infrastructure, next to TiTian. An art and design hub dedicated to supporting the many local and international creatives and communities in and around the city, the breadth of their annual DenPasar event, which began in 2017, is always fresh and inspiring.

Artists pose with their works during the opening of during the opening of “Art Exhibition by Children Sanggar Bares – There is no Truth only HONESTY” 12 – 31 October 2019 at the Nyana Tilem Museum, in Mas. Image courtesy Soemantri Widagdo

An international standard exhibition space and contemporary art exhibition has finally arrived in Bali. The major drive for both initiatives that opened late 2018, however, comes from Java. ART • BALI, the exhibition this year in its second edition, and the purpose-built AB • BC Building in Nusa Dua, funded by BEKRAF the Agency for Creative Economy Indonesia, are exciting developments of a global art calibre upon the art landscape. 

Heri Pemad Management from Yogyakarta introduced their ‘ArtJog’ model, highlighting Indonesian contemporary artists with invited internationals. The annual ‘Bali Masters’ exhibition was first held in March 2019; its second edition is due early 2020. External direction over locally based management, and Javanese curators, however, may not be the best mode of capitalizing on Bali’s distinct artistic character and presenting it on the international stage. ‘Balinese Masters: Aesthetic DNA Trajectories of Balinese Visual Art’ featured an array of strong work, the show suffered, however, from confusing curatorial objectives, beginning with a puzzling title, and then including too much work without the benefit of a practical chronological order allowing it to be easily read and understood by the audience.

Tony Raka Art Gallery now merges tribal art with the contemporary, along with the ‘Art Lounge’ activated a few years ago. The venue has recently grown to include the ‘Creative Space’, an expansive event facility at the rear of his gallery. Open 2016 Nyaman Gallery in Seminyak has quickly made its mark, while evolving to include workshop facilities. Uma Seminyak, a new display space open 2017 highlights emerging Balinese and Indonesian contemporary artists and designers.  BIASA ArtSpace has revamped its vision with the new BIASACube, an exhibition space within their Kerobokan boutique open early 2018, and another space BIASA Ubud opened late last year, next door to their boutique in Sanggingan. 

Government support for modern and contemporary art is entering a new era. Gurat Art Project, an arm of the research and curatorial initiative Garut Institute, with the aid of the Badung Regency Administration, has been presenting events now since 2017. The 2019 five-year appointment of artist Dr Wayan Kun Adnyana as the Director of the Cultural Office of Provincial Bali has had an immediate impact ‘Bali Megarupa’ (10 October – 10 November) which featured 103 artists exhibiting at ARMA, Museum Puri Lukisan, Neka Art Museum and Bentara Budaya Bali Cultural Center. “Bali Megarupa” will continue annually for five years with the intention of becoming a yearly long-term fixture on the Bali art calendar consolidated by Provincial law.

‘Ancient Memories’ 2019 – Joel Singer, digital montages from an ongoing series by Singer, some of which were on display at the Tony Raka Art Gallery, Mas, Ubud

2019 closed with two more significant additions to the Bali art infrastructure – Ubud Diary a new gallery opened 30 November with a group exhibition of Ubud School paintings and a book launch “Ubud Diary: Celebrating the Ubud School of Painting – the Diversity of the Visual Language”. Ubud Diary’s mission is to create a new awareness to the historically significant, yet declining Ubud School. BATU Art Space, a Space For Contemporary Art Collection and Research at the House of Masks & Puppets in Mas, Ubud opened 7 December highlighted by “Manifesto” an exhibition by leading Australian artist Sally Smart.

This article was first published:

https://www.artandmarket.net/analysis/2019/12/28/bali-art-infrastructure-2019

Words and Images, unless specified: Richard Horstman

New guidebook highlights artistic & design events in Bali throughout October – December 2019

The "Bali Art+Design Guide X Bali Art Roads" Oct - Dec 2019 Image Richard HorstmanThe first Bali Art+Design Guide X Bali Arts Road, a pocket guidebook that charts a plethora of events around the island, ranging over three months beginning in October, until the end of December 2019.

 

The Balinese Pawukon calendar is not used to measure time; it encompasses smaller cycles within larger ones. Its purpose is to pinpoint certain days that help to provide a cultural framework of how the people may most effectively conduct certain social, religious, agrarian and creative activities on the most auspicious days according to their sacred beliefs. The month of October presents many appropriate dates to hold artistic events; therefore it is crammed full with art and creative happenings; unofficially it is the ‘Bali Art Month’.

The favourable circumstances of timing have provided the unique opportunity, and inspired the creative communities of Bali, along with visiting internationals, to present a diverse program of events of the calibre to rival that from the creative hubs of Java, and the popular JAW (Jogja Art Weeks) held earlier this year throughout the Central Java regency, and Bandung Art Month, that recently concluded in mid-September in West Java.

Opening of "Mahardika" group exhibition 19 October at TiTian Art Space, Nyuh Kunning, Ubud. Image Richard HorstmanOpening of “Mahardika” group exhibition 19 October at TiTian Art Space, Nyuh Kuning, Ubud

 

2019 welcomes the publication of the first Bali Art+Design Guide X Bali Arts Road, a pocket guidebook that charts a plethora of events around the island, ranging over three months beginning in October, until the end of December. These events include exhibitions, film screenings, music, dance and theatre performances, discussions, open studios and festivals complete with the relevant details and appropriate maps.

“When I travel to other cities within Indonesia or abroad, I find having a guidebook focusing specifically on art and design is very helpful for discovering and exploring the local creative scenes,” said Suriawati Qiu, Bali Art+Design Guide X Bali Arts Road co-director and co-founder of CushCush Gallery in Denpasar. “There are many art and creative communities and spaces in Denpasar and Bali that are, unfortunately, relatively unknown to the public. Having Bali’s own Art+Design guidebook will benefit both our creative communities who are doing amazing works, as well as travellers and locals alike who are interested in art and design.”

The opening of Art Bali 2019 "Specultive Memories" was highlighted by a fashion parade by the Fashion Council of Western Australia (FCWA) which annually holds the Perth Fashion Festival (PFF) Image Richard HorstmanThe opening of Art Bali 2019 ‘Speculative Memories’ was highlighted by a fashion parade by the Fashion Council of Western Australia (FCWA) which annually holds the Perth Fashion Festival (PFF)

 

The Bali Art+Design Guide X Bali Arts Road is an evolution from the DenPasar Art+Design Map first published in 2017 in conjunction with DenPasar Art+Design program, a collective effort by the creative communities of Denpasar along with CushCush Gallery as the central activities venue. It set out to mark the city with its distinct character as a hub for contemporary arts, design and culture.

In 2019 CushCush Gallery collaborates with ART • BALI, the second edition of the annual Indonesian contemporary art exhibition organized by Heri Pemad Management of Yogyakarta, Central Java. Themed SPECULATIVE MEMORIES, open 13 October 2019 – 13 January 2020, it is held at the AB • BC Building, Bali Collection, ITDC District, Nusa Dua, Bali. The exhibition presents forty-nine selected works, consisting of paintings, sculptures, installations, photography, multimedia and video from 32 Indonesian and overseas artists who also reside and, or work in Indonesia. It showcases some of the finest established and emerging contemporary artists in Bali’s premiere; purpose-built international standard exhibition space to local and foreign audiences.

Seminyak Design Week -EXHIBITION VIEW PHOTO Courtesy - ANDITO WASI                         Seminyak Design Week – exhibition view

 

Bali Arts Roads (BAR) was an initiative introduced by ART • BALI in 2018 as a side program to highlight and promote the depth of the Bali art community through exhibitions, events and open studios programs throughout the island. This year it combines with the DenPasar Art+Design Map into 180-page booklet helping to consolidate Bali’s diverse array of creativity. This year the guide covers events and programs not only in Denpasar but also in Ubud, Seminyak, Canggu and Nusa Dua, during October – December, with over 130 events listed. The booklet features a QR Code that pinpoints selected event destinations on Google Maps to allow direct and straightforward navigation.

The guide also includes important cultural and institutional locations such as museums, government and cultural institutions, art and design educational institutions, cultural heritage sites, public spaces and monuments within the city of Denpasar. Some of the festivals featured are Seminyak Design Week 2019 18 – 27 October themed “Designing for a Better Community” and runs with a program of exhibitions, talks, pop-up markets, a design trail and workshops at Gallery Vivere and Uma Seminyak. The Ubud Writers & Readers Festival, 23 – 27 October (festival events noted within the booklet), and Kita Lo Gini 5 at ISI Denpasar, a student art party presenting artworks and performances 25 – 26 October.

Artists pose with their works during the opening of during the opening of "Art Exhibition by Children Sanggar Bares - There is no Truth only HONESTY" 12 – 31 October at the Nyana Tilem Museum, in Mas. Image courtesy Soemantri WidagdoArtists pose with their works during the opening of ‘Art Exhibition by Children Sanggar Bares – There is no Truth only HONESTY’ 12 – 31 October at the Nyana Tilem Museum, in Mas

 

Other diverse happenings include tours, Urban Walk Denpasar a free open to the public guided tour of Denpasar heritage sites on 2 November, Herb Walk on 27 October, an investigation into the edible medicinal plants and related practices, Basic Macrame Workshop 12 October at CANAAN X ROU, Seminyak, Curator in Residence, a program initiated by DenPasar Art + Design: In Transition November – December at CushCush Gallery, Denpasar with the curatorial conversation #1 14 December, International Conference ICATUS 2019 the first international conference on architecture, technology and urban sustainability 27 – 28 November at Gedung Pascasarjana, Kampus UNUD, Denpasar, Parade Teater Canasta, 23 – 30 November at Canasta Creative Space Denpasar featuring Balinese theatre communities and the Odyssey Music Art Conference & Day Festival 2019 10 – 13 October at Artotel Sanur and Artotel Beach Club.

Just a few of the art exhibitions during October: Natisa Jones’s Love is Never Lonely 5 October – 9 November at Tony Raka Gallery, Ubud a ‘diversion’ from her signature style paintings. Frequency Balinese Art, Culture and Rerajahan a collection of Balinese amulet inscriptions known as rerajahan by Jro Mangku Badra, displayed within an art context and created without the sacred ritual and mantras to instil the ink drawings with their renown mystical powers, open 9 October at ARMA, in Ubud. From 10 October – 24 November at Artotel Sanur It Isn’t a Whole a solo exhibition by Putu Adi Suanjaya, and an Art Exhibition by Children “Sanggar Bares” There is no Truth only HONESTY 12 – 31 October at the Nyana Tilem Museum, in Mas.

"Jalan - Jalan" Indieguerillas at Art Bali. Image Richard Horstman                         ‘Jalan – Jalan’ Indieguerillas at Art Bali

 

The ongoing mission of Kemal Ezedine and Ketut Moniarta from the Neo Pitamaha art movement is to invigorate Balinese art by inspiring young artists to explore fresh possibilities within the technical context of the Balinese painting traditions. Drawing Bali Today opens at Sika Gallery, Ubud from 10 October 10 November. Sudra Sutra, an iconographical interpretation of the Yeh Pulu reliefs and related history by Dr Wayan Kun Adnyana opened 11 October at Neka Art Museum, Ubud until 19th October is a continuation of his visual representation inspired by the ancient Yeh Pulu stone reliefs in Bedhulu Gianyar.

Megarupa 22 October opens at ARMA Ubud with coinciding exhibitions at two other venues, the Neka Art Museum and Bentara Budaya Bali featuring the works of 103 artists, presented by the Cultural Office of the Provence of Bali. TiTian Art Space in its new premises on Jalan Raya Nyuh Kuning, Ubud present Mahardika a group exhibition 19 October – 24 November. Also open 24 October at Taman Baca, Sanggingan Ubud, Stories from Mt. Agung children’s stories of trauma expressed through drawing and poetry. Maladjustment opens 26 October – 24 November at Neka Art Museum and presents iconic artworks by Indonesian artists Arahmaiani and I GAK Murniasih along with Australian artist Mary Lou Pavlovic who exhibits her landmark, 2004 work Liar!

Audience at the opening of Drawing Bali Today at Sika Gallery. Image by @febrimarleni.           The audience at the opening of ‘Drawing Bali Today’ at Sika Gallery

 

Denpasar and Bali are increasingly developing as exciting and engaging destinations for national and international creatives to visit regularly, or to reside permanently. In recent years its art and design infrastructure has witnessed defining new growth. This provides more opportunities for participants to thrive within the burgeoning 21st – century creative economy while leading to a healthier ecosystem. These developments, importantly become a stimulant in reviving art and cultural tourism on the island of Bali.

Bali Art+Design Guide X Bali Arts Road booklet is available from numerous program participants distributed to more than 70 points throughout Bali and from AB • BC Building, Bali Collection, Nusa Dua.

Or it can be downloaded: http://artbali.co.id/page.php?p=bar

"Sarinin Angkus Prana" by Jro Mangku Badra exhibited at ARMA in "Frequency Balinese Art, Culture and Rerajahan" Image Richard Horstman‘Sarinin Angkus Prana’ by Jro Mangku Badra exhibited at ARMA in ‘Frequency Balinese Art, Culture and Rerajahan’

 

 

Words: Richard Horstman

 

Kulidan Kitchen Space: building community through creativity, education, activism & food

Volunteer art teacher Mega with local children and the outcome of one of her weekly art workshops.The volunteer art teacher at Kulidan Kitchen Space, Ni Nengah Mega Risna Dewi with local children and the outcome of one the regular art workshops.

 

One of the most satisfying phenomenon’s of Bali’s recent modern development has been the birth of an array of art and creative, multi-purpose spaces that serve as platforms for community co-working and engagement. Kulidan Kitchen Space, a new initiative in the rice fields of the Guwung village, Sukawati, fifteen minutes from Denpasar, is one such venue.

Kulidan is the name of the district’s subak, the world-renown historical irrigation structure found throughout the island defined by a system of canals directing the water into terraced rice fields that were developed on Bali during the 9th century. The Balinese Hindu religion, along with specific temples play a vital role within this agrarian management cooperative. The kitchen is at heart of the venues core philosophy, highlighting farming practices and the environment where the local people live, work and grow together in the spirit of community.

Presentation for design students at Kulidan Kitchen        Presentation for design students at Kulidan Kitchen Space during 2019

 

A priority of Kulidan Kitchen is to gather people, family, friends and guests, both local and otherwise, to sit and converse while appreciating good food and refreshments – most of which is produced by the local farmers. Of course, they enjoy the scenery, with magnificent rice fields views, sunsets, and the vista of the majestic volcanic peak of Mount Agung to the east. The multi-purpose public space consists of a large pavilion with a second storey loft, an external long table for dining experiences, the kitchen and gardens set out upon a 120 square meter expansive of land, roomy enough for events catering for up to 300 people.

The project is the vision of activist Komang Adiartha, the land upon which Kulidan Kitchen was built in 2017 belongs to his father, a local rice farmer. Adi, as he is known, is supported by a dedicated and enthusiastic team including Martino, Vifick Bolang, Ni Nengah Mega Risna Dewi, Supriyati along with the kitchen team of Surya, Didi and Wawah and also family, friends, local residents, and members of the Bali art and creative communities. A glance at Adi’s social media portals reveals an energetic and inspiring character committed to cultural and environmental preservation. He shares his relevant opinions on critical and diverse subjects such as fair trade, conscious business, clean energy, and child labour issues.

Kulidan Kitchen Space - Sukawati Image Richard HorstmanKulidan Kitchen & Space, Banjar Wangbung, Jalan Salya, Guwang, Gianyar, Bali

 

“Building community through children’s art and education are just one of our primary directives,” says Adi. “Our art programs often have an emphasis on activism, creating art to raise the local youth’s awareness of the areas farming practices in order to stimulate appreciation and respect for these time-honoured traditions.” Painting large colourful murals depicting environmental and cultural themes on wall spaces on the outside of, and opposite the venue, are ongoing creative projects led by Bali street artists, with the help of the children.

One of their well attended ongoing events “Meet the Creator”, is an inspirational sharing program where the public can meet, hear stories and engage directly with artists, musicians, designers and other creative activists. “We believe in this program as an alternative reference for young people,” Adi says. “To find or further strengthen their choices about possible professions or hobbies they may wish to pursue.”

Mural Project in the rice fields opposite Kulidan Kitchen Space - Image Richard Horstman        Mural Project in the rice fields opposite Kulidan Kitchen Space

 

During August Nele Gruender, a German art therapy student from the HKS Ottersburg University of Fine Art, Theatre, Performance and Art Therapy conducted weekly art workshops for children as a part of an academic research project involving children’s drawings. A regular visitor to Bali she has witnessed the rapid transformation of the landscape and pondered how such transformation impacts upon the living environments of young children, and how they may respond in their pictures.

“The home is the theme of my workshops,” says Gruender. “A home is a special place for growing children to develop their identity and individuality. Through my freely structured workshops, I will gather photographs of the children’s artworks which I will later research in order to discover reoccurring symbols and patterns that arise in the drawings.” Building a model of transcultural research, she plans to repeat this with German children to reveal similarities and differences in their drawings of what home means to them. “At the moment I am not sure of the outcomes,” she says. “Yet what is important is to grant these children opportunities to express their creativity while building more resources.”

20190812_085316During August 2019 Nele Gruender (top left), a German art therapy student from the HKS Ottersburg University of Fine Art, Theatre, Performance and Art Therapy conducted weekly art workshops for children as a part of an academic research project involving children’s drawings.

 

A recent Kulidan event included live music, and DJ’s performances, along with food, art and creative product stalls providing opportunities for creatives to display their products, demonstrate their creative processes, and then facilitate forums giving explanations on developing concepts with marketing plans and building business models.

“The diversity of happenings we can host is limited only to people’s imaginations, we welcome everyone, and new ideas,” Adi says. “Kulidan can be used as a public space for events according to your needs, such as meetings, performances, exhibitions, seminars, collaborations and presentations. People may hire the space and help contribute to the venues running expenses.”

Pentas teater pangeran empasPentas Teater Pangeran Empas theatre performance by children from the Kulidan community

 

Balinese children enjoying research drawing workshop conducted by German art therapy student Nele Gruender at Kulidan Kitchen 11 August 2019- Image Richard HorstmanBalinese children enjoying research drawing workshop conducted by German art therapy student Nele Gruender at Kulidan Kitchen 11 August 2019

 

67506148_696289127476917_6814809954134786048_o An exhibition of urban planning designs at Kulidan Kitchen Space during 2019

 

34579143_444838409288658_419953527016652800_oA community discussion during an exhibition in 2019 at Kulidan Kitchen Space

 

 

Kulidan Kitchen & Space,

Banjar Wangbung

Jalan Salya, Guwang, Gianyar, Bali
Tel: 0813-3866-5862

Follow @ kulidan.kitchen on Instagram

 

Words: Richard Horstman

Images: Richard Horstman & Courtesy of Kulidan Kitchen & Space