Tag Archives: Rudolf Bonnet

I Putu Adi – emerging Balinese talent from the village of Keliki

'Gempa Bumi' 2015 Putu Adi Acrylic & ink on Paper, 33 x 18.5 cm Image Richard Horstman.    ‘Gempa Bumi’ 2015  –  Putu Adi Acrylic & ink on Paper, 33 x 18.5 cm 

 

Bali is a dynamic, ever-changing environment where the past and present intersect, and the East and West collide. Art and cultural expressions, the foundations of the island’s first tourism boom 1930 -1942, continue to evolve. Over recent decades however, they have played a secondary, minor role to resort and lifestyle tourism. 

Balinese painting traditions never remains static. The Classical religious paintings with origins dating back to the 13-16th century East Javanese Majapahit Empire, even today, undergo subtle changes as the artists add their specific developments within the strict framework of the two-dimensional narrative works. A new era of creativity is currently sweeping the island, and the millennials are contributing to the development of traditional village styles, or ‘schools’ of painting, namely Batuan and Keliki. These artists reinterpret the popular Balinese narratives and iconography with exciting new flair – a new renaissance in Balinese painting is underway.

One of the catalysts of this new creativity is the vision of the senior artists of the schools who have initiated new art collectives. The Baturulangun Artists Association established in Batuan in 2012 and the Werdi Jana Kerti Artists Association of the Keliki Kawan in 2011 – regeneration and style preservation is at the core of their missions. The recent achievements of emerging Batuan painters have received much attention, especially I Wayan Aris Sarmanta recipient of the 2018 TiTian Prize, awarded for innovative Balinese artistic talent. The regeneration of the Keliki School of Miniature Painting is also making headway.

The Chronology of Balinese Painting

The imagery of the Classical Balinese paintings first expanded into Bali late in the 13th century. During the 16th – 20th centuries the village of Kamasan, Klungkung, East Bali became the epicentre of the Classical style that flourished throughout the island with the royal family patrons and the key supporters. The 20th – century chronology of Balinese painting reveals innovations in the 1920s and the establishment of village styles in Batuan, Ubud and Sanur, occurring almost concurrently.

The Batuan and Ubud styles developed from specific influences, (most famous was the introduction of western painting techniques by Rudolf Bonnet (1895-1978) and Walter Spies (1895 – 1942) to the painters in Ubud and the birth of the Ubud School. The Batuan painters adopted a more sophisticated version of the traditional painting techniques into their works that feature depictions of local philosophies and narratives, often dark and frightening scenarios. The Batuan, Ubud and Sanur genres evolved quickly. They benefitted from new foreign patrons and the development of a new market for Balinese paintings and woodcarvings due to tourism. The Pita Maha Artists Association established in Ubud in 1936 oversaw the development of the village styles presenting the best works to the market along with organising exhibitions in Java and Europe.

After WWII and the dramatic decline in tourism, the art market diminished, and painters had to return to the agrarian economy to maintain sustainable incomes. Nonetheless, painting innovations occurred in Batuan with the second signature ‘crowded miniature’ style developing. The Pengosekan School was established, continuing the conventional Ubud style yet introducing their distinctive colour schemes and an array of art innovators evolved within the school. In the mid-1960s, the Young Artist’s Style developed in Penestanan through the teaching influences upon young local children by the Dutch colourist painter Arie Smit (1916-2016).

'Kang Cing Wi' 2016 Putu Adi 29 x 46 cm, Chinese ink and acrylic paint on paper. Image Richard Horstman‘Kang Cing Wi’ 2016 – Putu Adi Chinese ink and acrylic paint on paper, 29 x 46 cm

The 1970s was the next progressive era of Balinese painting, a period that also witnessed the second wave of international tourism that had a significant positive impact on the economy and the market for paintings and woodcarvings. The new stylistic developments were the Keliki Miniature School of Painting early in the decade and in 1977 the Pengosekan Flora and Fauna style evolved from the Dewa Batuan Community of Painters and Dewa Putu Sena and then later Ketut Ridi both excelled in this style.

The Keliki School of Miniature Painting

Keliki paintings depict on paper a plethora of imagery from romantic interpretations of the daily life activities in the island’s rural villages, to the beauty of the island’s flora and fauna, as well as Hindu myths and local folklore. The maximum size of the works is confined to 30 cm by 50 cm, yet some of the most refined works are captured within the size of 8cm by 8cm. Rich in gradation and extremely detailed, their incredible intricacy, sophistication and beauty are astounding. The style demands powerful and prolonged attention span and high levels of concentration from the artists.

The genre began in the early 1970s in the Keliki Kawan village, 25 minutes north of Ubud, with two artists I Ketut Sana (b.1952), and I Made Astawa (b.1953). Both were students of the grandson of Bali’s most well known modern artist I Gusti Nyoman Lempad (c1865-1978), while also learning from a master of another respected genre, Wayan Rajin of the Batuan School. Inspired by Lempad’s line techniques, the famous Ubud School of Painting and the crowded Batuan ‘signature’ style, Sana and Astawa reduced their compositions in size, and the Keliki School of Miniature Painting was born. Since 2013 the Werdi Jana Kerti Artist’s Association has exhibited annually at Ubud’s historic Museum Puri Lukisan allowing the emerging and senior artists to showcase their work. The community has over 75 members aged from 15-78 years, including women, while one-third of the artists are under 30 years of age.

The Balinese art of creating miniature pictures has a long history, being passed down over generations and dating back to the 9th century. The tiny images originate from the decorated manuscripts, processed on dried leaves and known as the lontars. Skilled artisans used a sharp writing instrument to score text and drawings, cultural information, upon pages measuring 30cm wide by 5cm high. Still in use today, the books reveal knowledge about holy scriptures, prominent rituals, family lineages, laws, medicine, arts, architecture, calendars, literature, and even the rules for cock-fighting.

I Putu Adi

'Kesenagan Ku Derita Ku' 2019 (My Pleasure is my Pain) 2019 - Putu Adi 66 x 46 cm. Image Richard Horstman‘Kesenagan Ku Derita Ku’ 2019 (My Pleasure is my Pain) 2019 – Putu Adi 66 x 46 cm. 

Twenty-one years old Putu Adi, (b. 1998, Keliki Kawan) represents the emerging talent who are competent in the Keliki techniques in a tradition where the master pupil relationship, often father and son/s, plays an essential role. The young artists reinterpret popular Balinese narratives, daily experiences and the island’s spirituality in exciting new ways introducing contemporary iconography along and dynamic colouration. Themes also address critical contemporary issues such as environmental degradation, rampant tourism development, corruption and greed.

Working in Chinese ink and acrylic paint, Adi learns from his father I Made Sutama (b.1977). “Adi is still young and needs time to discover his artistic voice,” said the highly regarded Sutama who is a self-taught artist. “It is important that he experiments with ideas and continues learning, even explore the style in a larger format.” Sutama, on the other hand, has matured and works according to principles and personal philosophies.  “My compositions reflect my spiritual life journey,” Sutama adds. “The Balinese calendar reveals auspicious days to begin and to work on paintings, while I practice certain rituals before starting compositions, and working each day.” Ni Wayan Telage, Adi’s mother, is also an accomplished painter, along with his cousin I Putu Kusuma, another emerging artist, who also lives in the same traditional family compound.

Adi’s themes range from the mythological to the personal, in layered works that mix traditional iconography with the contemporary while highlighting the dualistic nature of life. His colour varies from black ink to combinations of dazzling acrylic hues. ‘Gempa Bumi’ 2015, or Earth Quake is an acrylic on paper, 33 cm by 18.5 cm picture. The central character, large and rotund is the mythological demon Kala who sits upon Empas the turtle that carries the world on his back. Kala’s hair becomes the intricately entwined root system of a tree at the top of the composition in which sits the Hindu god Vishu, guarding the earth. At the bottom people are depicted in chaos falling from the earth.  “The giant upon Empas’ back symbolizes the strong foundation of the earth,” Adi states. “These foundations have begun collapsing, however due to humanity’s inability to protect the universe, and thereby earning the wrath of the gods – earthquakes and disasters.”

'Teknologi Penemuam Yang Membunuh' 2018 Putu Adi, Acrylic and ink on paper, 33 x 25.5 cm Image Richard Horstman‘Teknologi Penemuam Yang Membunuh’ 2018 – Putu Adi, Acrylic and ink on paper, 33 x 25.5 cm 

In ‘Teknologi Penemuam Yang Membunuh’ 2018, or ‘Technological Inventions that Kill’ Adi reveals his concern about modern technology and the threat it poses to his culture. “Everyone wants an easy and carefree life, and there are many modern inventions to facilitate human work – robots can replace people,” Adi explains. “I depict an array of people and creatures riding exhaust pipes symbolizing noise and pollution; some have light bulbs upon their heads, suggesting ideas and innovation.” Two god-like figures, part robotic, chant mantras of materialism into the ears of the central character, a rat in a crown dressed in a suit representing human greed. “The two gods symbolize ancestral traditions that have begun to disappear over time. “Mechanically beasts and demons are revealed throughout the setting, and chaos engulfs the earth.”

Adi’s most recent painting ‘Kesenagan Ku Derita Ku’, or ‘My Pleasure is my Pain’ is a vibrantly colourful 66 cm by 46 cm composition, larger than the conventional framework.  Depicting a fantastic scenario of youthful fantasies, both sexual and otherwise, the central figure, part human part robot, is a decrepit character overcome by the weight of materialistic ideals. Adi’s picture about duality, warning of the pitfalls of human greed has been entered in the 2020 TiTian Prize to be announced in Ubud in early February next year.

Does Balinese painting have a place in the 21st century society?

The new generation of Balinese painters remains faithful to their traditions and cultural philosophies and continue today, along with their seniors to create the Classical paintings for the Balinese ceremonies and rituals. They have now, however a greater awareness than their forefathers to the current challenges facing Bali and the global community. This awareness is transferred into their new paintings that indeed contemporary, with a fresh appeal to both young and old. The 21st – century digital global creative economy allows these works to reach broader international audiences.

The key fundamental is the narrative aspect of these works that are also at the core of the sacred Classical style. The Classical aesthetic language plays a vital role within Balinese society as a story-telling modality with high moral standards that function to encourage peace and harmony within the community. The virtues of the Classical paintings, the positive contributions to humanity and philosophical content have, unfortunately, gone unrecognized for many years within the context of world art.

Balinese paintings are a unique gift to the global society, they teach us good values and give insights into the dualistic nature of life and the divine order of the universe. They offer many ethical and philosophical lessons that can help to redirect society’s moral standards. I Putu Adi, along with his forefathers, remind us that humanity’s path forward requires us to adopt valuable time-honoured wisdom from the past.

 

 

 

Words & Images: Richard Horstman

 

Larasati October 2019 auction report – Balinese art market analysis

Lot # 739 “Berjamur Pakian” 2001 Dewa Putu Mokoh (1934 – 2010 Pengosekan) Acrylic on Canvas, 80 x 60 cm.

The market for Balinese paintings, often labelled ‘traditional’, is a small niche sector in comparison to the broader Indonesian modern and contemporary art market. While Indonesian collectors dominate it there is an upward trend of foreign buyers entering the market that is currently showing signs of growth.

In 2006 Larasati Auctioneers of Jakarta opened up an international forum for the trade of high- quality Balinese art. They began by presenting two auctions per year in Ubud specializing in Balinese paintings and have and helped revived a declining market. Works by some of the masters of the famous Pita Maha Artists Association established in Ubud in 1936; Ida Bagus Made Poleng, Gusti Nyoman Lempad, Anak Agung Gede Sobrat, Ida Bagus Made Nadera and Gusti Ketut Kobot are especially popular with collectors.

Balinese painting has many genres, beginning with the ancient, sacred narrative Classical style displayed in the temples and the houses of the aristocracy. These works are also referred to as Wayang paintings, their iconography and narratives being derived from the Wayang Kulit shadow puppet theatre. They came to be known as Kamasan paintings, from the village in Klungkung, East Bali that was the epicentre of Balinese art, 16th – 20th century.

Other genres evolved in the period 1920 – 1980 from the Classical style. The Batuan paintings developed its distinct visual features and techniques outside of the modern western influences accredited to Walter Spies (1895 – 1942) and Rudolf Bonnet (1895 – 1978) who were instrumental in the birth of the renowned Ubud School of Painting in the late 1920s. Other village styles, or schools developed, Sanur, Pengosekan, Young Artists, and Keliki, along with the woodcarvings from the village of Mas. The golden years of Balinese painting were 1930 – 1945, pre-WWII during an era that witnessed technical and stylistic innovations along with the first tourism boom on Bali. The second wave of tourism began in the 1970s, and the popularity of Balinese painting increased, especially after 1980 aligned with the national government’s policy of cultural tourism.

The critical reasons leading to Balinese art being underappreciated and undervalued has been due to its perception. It is often maligned and referred to as ‘tourist’ and folk art – a craft without a rightful place within Indonesian art history. Yet, on the contrary, some of the finest practitioners of Balinese painting, past and present, are from the Balinese high castes.  Ida Bagus Made Poleng (1915 – 1999) for example, is considered the most influential artist from the 20th – century, and is from the Brahmin high caste. While the most cherished living painter is Anak Agung Gede Anom Sukawati (b. 1966) who is also from the upper caste. Therefore, it is not an art form exclusive to ordinary people.

Balinese art was collected by the Dutch during the colonial occupation (1840 – 1950) and exhibited in anthropological museums of the Netherlands. It was not presented in the renowned art museums of Europe that would have endorsed the relevance and value of Balinese painting within the context of world art. It was, however, displayed within the anthropological museums with demeaning colonial narratives, referred to as art made by the primitive people of Bali.

The above mentioned scenario, however, has recently undergone significant change, and two of institutions with the most important collections of Balinese art have been rebranded – renamed Museums of World Culture (the Volkenkunde Leiden Museum, Lieden, the Netherlands and the World Museum Vienna, Weltmuseum Wien, Austria).  The Volkenkunde Leiden Museum recently began repurchasing Balinese paintings, six works by emerging Batuan artists Wayan Aris Sarmanta and Wayan Budiarta, and exhibited them in a ground breaking exhibition of art and culture “Welcome to Paradise” open May 2019. Importantly, from now on these institutions will present Balinese art free from the old narratives giving special curatorial attention to its significance. These factors will impact positively upon its perception and appreciation internationally, and importantly within Indonesia.

For the first time in its thirteen-year history, Larasati conducted their third auction in Ubud within the year. The recent Modern, Traditional and Contemporary Art Auction was held 12 October at the Larasati Art Space, Tebesaya Gallery, Ubud, Bali.  The painting featured on the cover of the Larasati catalogue incited the most enthusiastic bidding of the day. Lot 792, “Pandwa dalam Pengasingan” (Pandawa in Exile) 1969, by Ida Bagus Rai (1933 – 2007) realised IDR 160 million (hammer prices are quoted without buyers premium) dramatically increasing more than 500% from its estimated price of between IDR 25 – 30 million.  Another strong result was Lot 717 by Wayan Djudjul (1942 – 2008), “Suasana Pasar” (Market Atmosphere) with an estimated price of between IDR 28 – 38 million that sold for IDR 76 million, an increase of around 100%. A work by of one of the distinct innovators within the Ubud School, Dewa Putu Mokoh (1934 – 2010), Lot 739 “Jemur Pakian” (Drying Clothes) 2001 that had an estimated price of between IDR 15 – 18 million sold for IDR 22 million.

The sale, despite 30% of the lots being unsold, revealed the continuing demand for the signature works by the established masters of the Ubud School of Painting, with all significant works selling during the auction.  For example there were four paintings, Lot # 780 – 783 by Anak Agung Gede Raka Puja (1936 – 2016) in the sale. The two works in his older style of daily life village scenarios did not sell, while Lot # 782 & 783, “Mendirikan Menara Bade” (Erecting the Cremation Tower), highlighted on the back cover of the Larasati catalogue, and “Melasti Ke Sakenan”(Melasti Precession to Sakenen) both were sold at just under their estimated values of IDR 130 million and IDR 75 million, respectively.

Two paintings by Wayan Kayun (b. 1954) were offered, yet only Lot # 777, in the artist’s signature culturally themed style “Persiapan Ngaben” (Preparation for a Cremation) was purchased, hammered down at IDR 110 million. Works by the recently deceased master of the Batuan miniature style Ketut Murtika (1952 – 2019) Lot # 785 “Perang Tanding Arjuna Melawan Karna”( Arjuna’s Fight Against Karna) and Lot # 786 “Ramayana Scene”, both mythological narratives, were purchased within their estimated values, for IDR 15 million and IDR 18 million respectively.

Noteworthy factors are impacting on the recent development of Balinese art, a new foundation, and art collectives. TiTian Bali Art Foundation opened in Ubud in 2016 and is an artist incubator specializing in identifying, and nurturing emerging talent and introducing the best artists to the market. Exciting young talent is appearing in the village of Batuan, such as the fore mentioned Sarmanta and Budiarta, along with Pande I Made Dwi Artha and Gede Widyantara, and from Keliki village artists such as Putu Kusuma and Putu Adi. These genres are in exciting new eras of development, driven by well-organized art collectives, Baturlangun in Batuan and the Werdi Jana Kerti Artists Association in Keliki.

The Larasati auctions offer opportunities to purchase Balinese paintings much cheaper than from artist’s studios and galleries, along with many entry points into the market for first-time buyers and those beginners developing their collection on smaller budgets with as little as IDR 1 million. Larasati’s website provides sale data from past auctions, information, and access to online live bidding. The Balinese market is undervalued with strong potential and opportunities available to collectors with a long term view willing to buy and hold for at least 10 -15 years to wait for the market to mature for profit-making.

This article was previous published on Art&Market.Net

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

Words: Richard Horstman

Images Courtesy of Larasati Auctioneers

Rare artworks go under the hammer in the July Larasati Bali auction

Lot 706 "Head of Ayu Ketut" Miguel Covarrubias, lithograph. Image courtesy Larasati                       Head of Ayu Ketut –  Miguel Covarrubias, lithograph

 

The most exciting selection of traditional, modern and contemporary art works for more than a year highlight the second Larasati Bali auction for 2019. Ninety-two items will be offered in the upcoming 20 July, Larasati Traditional, Modern & Contemporary Art Auction to be held at the Larasati Bali Art Space at Tebesaya Gallery, Ubud. The sale has good buying opportunities for those interested in starting a collection, mid level collectors, people with an eye for investing, and of course will attract much attention from the connoisseurs of Balinese painting.

Many distinguished Balinese and international artists are featured in the sale that boasts some unique paintings that are rarely available on the market. The sale, which begins at Saturday 2:30 PM, includes old Balinese masters Ida Bagus Made Poleng, Ida Bagus Made Nadera, Ida Bagus Rai, Wayan Gedot, Anak Agung Gde Meregeg, and Ida Bagus Made Togog, while a rare set of sixteen drawings from the personal sketchbook of the renowned Ida Bagus Nyoman Rai (1915-2000) from Sanur is also available.

Lot 716 "Suasana Pasar Bali" 2006 I Gusti Agung Wiranata. Image courtesy of Larasati                         Suasana Pasar Bali, 2006  – I Gusti Agung Wiranata

 

The works available are in an array of media including sketches in ink and chalk on paper, watercolour, and gouache works on paper, acrylic and oil paintings on canvas, along with mixed media, an etching, lithographs and lithograph reproductions. Some paintings offered come with good local and international provenance.

The sale begins with Indo European Painters of Bali, a selection of nine works by the Willem Gerard Hofker (1902-1981 the Netherlands), Migeul Covarrubias (1904 – 1957 Mexico) and Rudolf Bonnet (1895 – 1978, the Netherlands). Lot 705, Rice Granary, Bali, a lithograph by Covarrubias has an estimated price of between Rp.17 – 12 million. Lot 707 Yogi,1973 by Bonnet is a remarkable watercolour depiction on paper and comes with an estimated price of between Rp30 – 40 million, and Lot 709 by Hofker is an extremely rare oil on canvas self-portrait. A Self Portrait of the Artist, 1961, comes with an estimated price of between Rp. 45 – 55 million.

Lot 753 "Woman with Offering at the Sawah Scene" - Ida Bagus Made Poleng Acrylic on canvas. Image courtesy of Larasati            Woman with Offering at the Sawah Scene – Ida Bagus Made Poleng

 

For those wishing to begin collecting Balinese art there is good, well priced opportunities available. Lot 745 Pementasan Calonarang is an early work by one of the senior and most respected painters of the Yong Artists Style, I Ketut Soki (b. 1946, Penestanan, Ubud). With the distinct, dynamic coloration that defines the genre, this work has an estimated price of between Rp. 7 – 10 million. Another attractive buy, an early work by another senior painter of the same style, I Made Sinteg, is Lot 746 Forest Scene which comes with an estimated price of between Rp 5 – 7 million.

Lot 728, Berburu by I Ketut Regig (Ubud, 1919-2002) has an estimated price of Rp. 5 – 7 million, Mythological Scene, Lot 791 by I Gusit Nyoman Moleh (1918 – 1997) comes with an estimated price of between Rp 7 – 10 million, and Lot 729, Ikan-ikan, a rare small acrylic work by I Made Sukada (Ubud 1945 – 1982) with an estimated price of Rp 2.6 – 3.6 million are also good opportunities for beginners to enter the market.

Lot 728 "Berburu" - Ketut Regig, acrylic on canvas. Image courtesy of Larasati                                        Berburu – Ketut Regig

 

Collecting with an eye for investment? The following lots provide strong investment opportunities especially if purchased within the estimated prices and then matched with a long term view of holding for at least 10 – 15 years before reselling. I Gusti Ayu Kadek Murniashi (Murni) (1966-2006) is agruably Indonesia’s most important female artist and has been recently featured in many exhibitions in high profile Indonesian galleries.

Lot 786, Saya Bahagia Sekali di Hari Itu has an estimated price of between Rp. 15 – 18 million, and also with the same estimated price, Lot 787 Antar Benci dan Rindu dan Tahan Malu Penyayang, 1999, both are good buys from the artist whose work is destined to appreciate in value. An unusually strong colour composition by the influential Dutch painter who spent most of his life in Indonesia, Arie Smit, (1916-2016) Lot 747, Passing the Shrines, 2010, has an estimated price of Rp. 27 – 35 million, and finally Lot 739, Tualen by the colourful Italian-Filipino maestro Antonio Blanco (1911-1999), is a gouache on paper work with an estimated price of Rp. 4 – 5 million, are all good investment grade buys.

Lot 783 "Love Bird" 2007 - Ketut Teja Astawa Acrylic on canvas. Image courtesy of Larasati                                 Love Bird, 2007 – Ketut Teja Astawa

 

For the connoisseurs there are many paintings to choose from, and here are but a few of the highlights, Ramayana Scene, Lot 723 is an early watercolour and ink on paper work by I Made Sukada (Ubud 1945 – 1982) that comes with an estimated price of between Rp. 25 – 35 million.

Ganesha Bertapa, Lot 725, is a beautiful, early ink and watercolour on paper by Wayan Radjin (Batuan 1945-2010) and has an estimated price of between Rp. 20 – 30 million. Lot 748, Bali Life by Ida Bagus Nyoman Rai (1915-2000), is the set of sixteen ink on paper drawings each 34 x 24 cm that comes with an estimated price of between Rp. 70 – 90 million.

Ida Bagus Made Poleng (Tebesaya, Ubud1915-1999) is one of the most highly prized Balinese painters and his two works on offer will attract much attention. Lot 753, Woman with Offering at the Sawah Scene has an estimated price of Rp. 350 – 450 million and comes with strong provenance, and Lot 751 Cremation Ceremony, ca. 1940s, an 51 x 37 cm ink wash on paper, which was exhibited at the Herbert Johnson Museum at Cornell University, USA in 2001 has an estimated price of Rp. 100 – 130 million.

Lot 723 "Wayang Scene" - Made Sukada, watercolour & ink on paper. Image courtesy of Larasati                                    Wayang Scene – Made Sukada

 

Other works of note are Lot 769 by Ida Bagus Made Nadera (1910-1998) of Batuan, Lot 777 is an early painting by one of the pioneers of Balinese modern painting Nyoman Gunarsa (1944-2017), while Lot 783 and 784 are rare early works by Ketut Teja Astawa (b. Denpasar 1970), that were previously in the collection of a Dutch museum. Lot 764, Tari Kecak by I Nyoman Kayun (b. Ubud 1954) is a stunning work featuring all the drama and action of the Kecak dance, and Lot 716, Suasana Pasar di Bali, 2006 by I Gusti Agung Wiranata (b.1969) is also a delightful, yet rare masterpiece, his composition inspired by Walter Spies’ technical Western aspects, that has an estimated price of Rp. 60 – 80 million. Other well-known artists included in the sale are I Gusti Made Deblog, I Wayan Djudjul, Dewa Nyoman Jati, Sewa Putu Mokoh, I Made Wianta and I Ketut Pande Taman.

Potential buyers bidding over the phone, absentee bidders or real-time Internet bidders who are unable to attend the previews days or auction are advised to contact Larasati and enquire about the colour reproduction accuracy of the images contained within the online catalogue to ensure that what they wish to purchase can be realistically appraised. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections, therefore condition reports of the works, outlining the paintings current state and whether it has repairs or over painting, are available upon request.

Lot 764 "Rahwana Menculik Dewi Sita" - Nyoman Kayun, Image courtesy of Larasati                     Rahwana Menculik Dewi Sita – Nyoman Kayun

 

Provenance, the historical data of the works previous owner/s is also important and is provided. An information guide including before the auction, during the auction and after the auction details, including conditions of business, the bidding process, payment, storage and insurance, and shipping of the work is also available. A buyer’s premium is payable by the buyer of each lot at rate of 22% of the hammer price of the lot.

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Saturday 16 February, while viewing begins from 11am Thursday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

Lot 769 "Berburu Campung" - Ida Bagus Made Nadera Acrylic on canvas. Image courtesy of Larasati                           Berburu Campung – Ida Bagus Made Nadera

 

 

Viewing:

Thursday,         18 July      11am – 7.30pm

Friday,              19 July     11am – 7.30pm

Saturday,         20 July     11am – 2pm

 

Auction: Saturday 20 July, from 2:30 pm

 

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneers

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Under the hammer: Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 21 January 2018

lot #579 Ida Bagus Made Poleng "Stone Mason" Image courtesy of Larasati                             Lot # 579 Stone Mason – Ida Bagus Made Poleng

 

Larasati Auctioneer’s continue to provide excellent support in the development of Indonesian art, especially Balinese traditional painting, to growing local and international markets with its upcoming 21 January 2018 Traditional, Modern and Contemporary Art auction to be held in Ubud, Bali.

Eighty lots of fine art will go under the hammer, including paintings, sketches, a woodcarving and one delightful poster, in an array of categories, and with price accessibility for new buyers, intermediate collectors, and the connoisseurs alike. For the third year running real time, Internet bidding is available through the Larasati website opening the auction to a global audience.

lot #533 Bagong Kussudiardjo "Wanita Wanita Bali" Image courtesy Larasati                      Lot # 533 Wanita Wanita Bali – Bagong Kussudiardjo

This is an exciting sale with some absolute gems featured, along with works by renowned Indonesian and foreign artists, including Balinese master Gusti Nyoman Lempad (1862-1978), Ida Bagus Made Nadera (1910-1998), Ida Bagus Made Togog (1913-1969), Wayan Taweng (1922-2004), Antonio Blanco (1911-1999), Dutchmen Rudolf Bonnet (1895-1978) and Arie Smit (1916-2016) and Australian artist Donald Friend (1914-1980). The auction is highlighted by a special selection of works from the collection of one of the most forward thinking private collectors of Balinese art in the United States, Peggy Williams.

For the new buyer, or novice wishing to add to their collections there are many paintings and drawings priced at lower than US $500 that are very good buys if purchased within their estimates. Two, especially glowing works by recognized female painter Ni Gusti Agung Galuh, lot # 545, Pulang Dari Sawah and lot #546 Sunset with Ducks, both have an estimated price of between Rp. 4 million – 5 million. Lot # 548, Sore Hari di Desa by Gusti Agung Wiranata also has the same estimated price, while lot #524, Ocean Village Scene, an early work by the renown Batuan painter Wayan Bendi has an estimated price of between Rp. 5 million – 7 million and is another excellent opportunity to purchase a strong work. All of these works represent buying value not possible when purchasing paintings direct from the artist’s studio or from a gallery.

lot #524 Wayan Bendi "Ocean Village Scene " Image courtesy of Larasati                       Lot #524 Ocean Village Scene – Wayan Bendi

There are two lots of special interest for collectors and those seeking to purchase something unusual. Charming & Beautiful lot # 539 is a 75cm x 48cm advertising poster by the reputed Dutchman Willem Gerard Hofker (1920-1981), which has an estimated price of between Rp. 10 million – 12 million. Lot # 519, Barong by influential Balinese wood carver Nyoman Tjokot (1888-1971) has an estimated price of between Rp. 30million – 40 million and is a rare find from an artist who was at the forefront after the turn of the 19th century of new sculptural interpretations of icons of the Balinese culture.

Works in the mid price range are many and some strong paintings include groups by twoartists Bagong Kussudiardjo (1928-2004) and Dewa Putu Mokoh (1934-2000). Well known as a choreographer Bagong learned to paint from Indonesian masters Hendra Gunawan and Affandi, among others, before studying painting formerly at ASRI Yogyakarta. Of his four works offered, lot #530 Ibu dan Anak has an estimated price of between Rp. 12 million – 15 million, and Wanita Wanita Bali, lot #533, has an estimated price of between Rp. 45 million – 55 million.

lot#564 Anak Agung Gde Anom Sukawati "Suasana Pasar" Image coutesy Larasati             Lot #564 Suasana Pasar – Anak Agung Gde Anom Sukawati

Four works are on offer by Mokoh, noted for breaking with convention and producing compositions that were quirky, lurid, even intimate and highly unusual. The present owner purchased the paintings directly from the artist, and lot #553, Tajen, a delightful scene of an audience watching a cock fight, has an estimated price of between Rp. 22 million – 32 million.

Lots #517, 521, 577 & 580 are by Made Sukada (1945-1982). An artist held in very high esteem, his attention to compositional details and skin tones, set him apart from most and have led to him being a highly sought after painter, especially due to his short career. The idol of Indonesian international contemporary art superstar Nyoman Masriadi, lot #521 by Sukada, Dialog Arjuna dan Kresna has an estimated price of between Rp. 90 million – 110 million. Another beautiful work by Nyoman Kayun, lot #548 Pusupati has an estimated price of between Rp. 40 million – 80 million.

Lot#553 Dewa Putu Mokoh "Tajen" Image courtesy Larasati                             Lot# 553 Tajen – Dewa Putu Mokoh

An early work dated 1989, by Ubud’s most celebrated living painter, Anak Agung Anom Gde Sukawati, lot # 564 Suasana Pasar was painted when he was only 23 years old. While the influence of his father, A.A Gde Meregeg (1912-2000) is obvious, some five years later his work evolved and made a clear departure from his father’s style. With an estimated price of between Rp. 90 million – 110 million, this is an extraordinary piece to collect.

An extremely rare and early masterpiece by, arguably the most talented Balinese painter of the 20th century, Ida Bagus Made Poleng (1915-1999), will receive the attention from connoisseurs. Lot # 579, Stone Mason is offered as the top lot in this auction, with an estimated price between Rp.350 million – 450 million. Probably produced in the early 1940’s as it is painted on Masonite board, the work, which has excellent provenance, reveals his mastery of composition and the strong influence of Rudolf Bonnet is clearly shown in the way he has depicted figures working in the field.

lot #521 Made Sukada "Dialog Arjuna dan Kresna" Image courtesy Larasati                     Lot #521 Dialog Arjuna dan Kresna- Made Sukada

The final lot during the afternoon, lot # 580 by Made Sukada, Bali Life, has an estimated price between Rp. 40 million – 80 million and also comes with excellence provenance. An early work of remarkable beauty, its layered composition reveals fascinating central background features and is another step in Sukada’s journey in the master of anatomy, influenced by Rudolf Bonnet’s signature style of elongated human proportion.

Potential buyers bidding over the phone, or via real-time Internet bidding who are unable to attend the previews days or auction are advised to contact Larasati and enquire about the colour reproduction accuracy of the images contained within the online catalogue to ensure that what they wish to purchase can be realistically appraised. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections, therefore condition reports of the works, outlining the paintings current state and whether it has repairs or over painting, are available upon request.

lot # 580 Made Sukada "Bali Life" Image courtesy Larasati                            Lot #580 Bali Life – Made Sukada

Provenance, the historical data of the works previous owner/s is also important and is provided. An information guide including before the auction, during the auction and after the auction details, including conditions of business, the bidding process, payment, storage and insurance, and shipping of the work is also available. A buyer’s premium is payable by the buyer of each lot at rate of 22% of the hammer price of the lot.

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Sunday 21 January, while viewing begins from 11am Friday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

577                               Lot# 577 Tri Murti – Made Sukada

Viewing:

Friday,         19 January   11am – 7.30pm

Saturday,   20 January     11am – 7.30pm

Sunday,     21 January     11am – 1pm

Auction: Sunday 21 October, from 2:30 pm

 

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneer’s

 

 

 

 

 

The Bali Art Scene 2016: The Final Six Months Overview

15878100_120300001416662373_1113857188_oBudi Agung Kuswara with patient from Rumah Berdaya, a community based psycho-social rehabilitation center utilizing art as a tool for creative solutions.

 

The concluding six months of events on the 2016 Bali art calendar were exceptionally busy; the following are some of the highlights of the closing half of the year:

In late May contemporary artist Budi Agung Kuswara, co-founder of Ketemu Project Space, began his special art project in Denpasar, co facilitated by a professional psychiatrist at “Rumah Berdaya”, a community based psycho-social rehabilitation center utilizing art as a tool for creative solutions. The project continued throughout the year providing activities for people with schizophrenia to encourage social interactions through art making, productivity and independence while expressing their ideas and thinking.

Skizofriends Art Movement will be an ongoing program following on from the success of Budi and colleague’s lobbying of the Denpasar Government to become supporters. In 2017 it will become a part of the Denpasar City Department Health Care Program, while Skizofriends Art Movement was involved in activities at the Denpasar Festival 2016 28-31 December at Lapangan Puputan, Denpasar.   Budi must be congratulated on this initiative aimed at empowering individuals and building community through engaging the public through the potent creative forces of art.

made-valasaraValasara’s Konstruksi semesta, semesta yang teralienasi menpertanyakan kediriannya dalam ekspresi tunggal.

Made Valasara made a conspicuous presence during ArtJog 9’s Universal Influence 27 May opening at the Jogja National Museum in Yogyakarta, Central Java. Being the only Bali based Balinese artist invited to exhibit his work was both an honour and an excellent opportunity for exposure to large national and international audiences. Valasara’s installation, konstruksi semesta, semesta yang teralienasi menpertanyakan kediriannya dalam ekspresi tunggal, a series of 25 individual works of various sizes, overall dimensions of 230 x 520cm stood out for its originality.

Adopting the canvas as a standalone medium, along with sewing techniques, he layers and fills the canvas to create 3 dimensional embossed and debossed compositions. His small white figures, presented behind glass revealed his evolving technique with the innovation of his debossed works. Valasara’s attention to narrative development too, revealed an engaging Balinese narrative.

widyantara-i-gede-late-hero-115-x-81-cm-acrylic-on-canvas-2015Gede Widyantara’s Last Hero 2016 which may be viewed upside down to reveal a demonic face.

Traces Under the Surface: Batuan Painting Exhibition, 3 June -31 July at TiTian Art Space, Ubud explored artistic lineage that evolved in the renowned village of traditional painting, Batuan. The exhibition focussed upon the teacher/student relationship following on from Nyoman Ngendon (1906-1946), a multi talented artist and innovator who experimented with perspectives, creating “unreal” 3 dimensionality within the early rigid framework of the Batuan paintings. Ngendon’s great distinction was that he believed in sharing his techniques, while persuading his students to break with traditions and become art innovators themselves.

Traces Under the Surface featured the lineage of Wayan Taweng (1922-2004) who learned to paint primarily from Ngendon, beginning at the age of eight, and later teaching his sons Ketut Sadia (b.1966), Wayan Diana (b.1977) and Made Griyawan (b.1979), along with others. Paintings by the fore mentioned Balinese artists, and Taweng’s grandson Gede Widyantara (b.1984) proved to be some of the finest examples of the Batuan genre and its process of innovation. Widyantara’s talent, that belies his age, reveals that the future of Batuan painting will indeed by exciting.

imhatthai-suwwathanasilp-murnis-temple-mixed-media-human-hair-thread-wood-glue-31-x-18-x-10-cm-image-courtesy-of-ketemu-project-spaceSleeping Murni by Thai artist Imhathai Suwatthanaslip, made with Murni’s hair.

A unique, palpable buzz welcomed the opening of Merayakan Murni (Celebrating Murni) 16 July at Sudakara Art Space, Sanur. The project, which gathered local and regional artists to create works in response to the legacy of the iconic female Balinese artist I GAK Murniasih (1966-2006) “Murni” proved to be one of the most anticipated Bali art events of recent history. Some of the highlights were works by artists Illa from Singapore, renowned Dutch “Indonesian” artist Mella Jaarsma, Imhathai Suwatthanaslip from Thailand, along with Punia Atmaja and Citra Sasmita from Bali.

Murni was an artist of rare quality, unequalled in Indonesia at least. Along with such reverence comes great emotional attachment to the artist by her many friends and admirers, the exhibition therefore was not without critics. Some critics stated the Sudakara venue was too small and the exhibition included too many international artists, and as a consequence failed grant enough space in order for Murni’s ouvre to be fully appreciated by the audience, many of which had yet to be exposed to her work.

Others thought the exhibition overly ambitious, attempting to achieve too much, too soon, while the film about Murni could have represented a more positive theme. Event organizers Ketemu Project Space, along with their young and energetic team proved, however that their presence on the Bali art scene is indeed exciting, with enormous, yet to be realized potential.

20160703_112528                            At The Point of View#4 – Radwin Nurlatif

At The Point of View opened Friday 1 July at Santrian Gallery Sanur, with Radwin Nurlatif presenting one of the most outstanding photography exhibitions of 2016. Curated by Rifky Effendy, the exhibition captivated not only for its high standards of technical quality and presentation of superbly beautiful aesthetic and conceptual images (giclée prints on Hahnemühle photo rag ultra smooth 305 gsm), yet in the simplicity of some of the digital images that wonderfully contrasted women with nature, or women in surreal compositions.

kemal-ezedine-2016-asj-image-richard-horstmanKemal Ezedine was represented by Edwin’s Gallery Jakarta at Art Stage Jakarta 2016

The presence of Balinese artists at Indonesia’s two international art fairs held in Jakarta, Art Stage Jakarta 5-7 August & Bazaar Art Jakarta 2016 25-28 August help to consolidate Bali’s growing presence on the Indonesian art world, which during recent years has tended to be dominated by artists from Java and West Sumatra. While Art Stage, among its hundreds of exhibitors featured only three Indonesian Bali based artists, Agung Mangu Putra, Made Valasara and Kemal Ezedine (along with Ashley Bickerton), Bazaar Art Jakarta, on the other hand featured the work of 13 artists.

From the traditional genre was Nyoman Meja (b. 1950, Ubud), others artists present were Nyoman Gunarsa, Made Wianta, Nyoman Erawan, Agung Mangu Putra, Gede Mahendra Yasa, Wayan Kun Adnyana, Teja Astawa, Kemal Ezedine, Ketut Moniarta, Tang Adiawan, Putu Wirantawan, Wayan Mandiyasa and Ketut Sumadi. Erawan’s installation at the Mon Décor Art One booth provided a strong contrast to what was on display at the fair, while being deeply engaging.

mangu-putra-pura-puncak-mangu-2016-oil-on-canvas-200x300cm                Pura Puncak Mangu 2016 – Agung Mangu Putra

Paskal Gallery’s acute eye for display, allowing attendees from a distance to be captured by the alluring and mysterious qualities of the 190 x 290 cm oil on canvas composition Pura Puncak Mangu, by Agung Mangu Putra confirmed why he is regarded as one of Indonesia’s most respected painters. His scene of a group of Balinese people praying at the remote mountain top temple in Buleleng was one of the highlights of Bazaar Art. The Neo Pitamaha collective made a strong presence at Bazaar Art with works exhibited by four artists and Jakarta’s Edwin’s Gallery confirmed their confidence in Kemal Ezedine by dedicating their entire booth at both fairs to the Ubud resident artist.

Sanur based Swedish painter Richard Winkler, also present at both fairs represented by Zola Zulu Gallery of Bandung, also enjoyed strong sales with his eye-catching and technically brilliant ‘utopian Bali’ compositions. Sotheby’s presented contemporary works by Mangu Putra and Mahendra Yasa in the preview of their Hong Kong Autumn Sale, while Sidharta Auctioneers presented Gunarsa and Meja, and ISA Art Advisory presented modern works by Arie Smit (1919-2016) and Adrian Le Mayeur (1880-1958).

ida-bagus-made-nadera-fajar-mengjingsing-1949                   Ida Bagus Made Nadera – Fadjar Mengjingsing 1945

A landmark event in the history of Indonesian modern art, held from 2 – 30 August at Jakarta’s National Gallery of Indonesia was 17/71, Goresan Juang Kemerdekaan (Brushstrokes of the Independence Struggle). Presenting 28 paintings from the collection (over 3000 works) assembled by Indonesia’s founding father President Sukarno the exhibition was opened on August 17th, on the 71st anniversary of the proclamation of independence by the Indonesian President Joko Widodo.

Ida Bagus Made Nadera’s (1912-1988) beautiful 188 x 300 cm modern traditional composition Fadjar Mengjingsing made a special presence, along with works by Walter Spies and Rudolf Bonnet in an exhibition featuring scenes of the independence struggle by Indonesian maestros such as Affandi, Sudjojono and Srihadi alongside pictures of iconic Indonesia.

20160827_191628                                                  Arie Smit (1916-2016)

During the 27 August seminar at Ubud’s Neka Art Museum, a gathering of over 100 members of the Balinese art community, and distinguished guests Suteja Neka and Agung Rai, and paid homage to the legacy of the Dutch post-modern colourist Arie Smit (1916-2016). The iconic painter, who left a distinguished mark in the history of art in the region, passed away 23 March, only days short of his 100th birthday.

Renowned for his vibrant landscape paintings and scenes of Balinese village life Smit is a much-loved artist; his work forms part of collections in Indonesia, and throughout the world.

He started teaching painting to young boys in the village of Penestanan in 1960, beginning the “Young Artists Style”, while at its height there were more than 300 practitioners. He helped transform the village, and prosper economically, being both an art teacher and a father figure to the village. Smit’s passing is a monumental loss to the canon of Southeast Asian art, while the Young Artist Style is one of the most exciting developments in Balinese art in the later half of the 20th Century.

made-wianta-receives-the-award-from-bali-governor-mangu-pastikaMade Wianta receives the Bali Mandara Parama Nugraha 2016 Award from the Governor Mangku Pastika.

A special 30 August ceremony at Taman Budaya Cultural Center Denpasar by the Bali Government honoured local figures who have made important contributions to Bali. An icon of Bali contemporary art, internationally renowned, Made Wianta (b. 1949, Tabanan) received the Bali Mandara Parama Nugraha 2016 Award from the Governor Mangku Pastika in highest appreciation of promoting Bali through contemporary art.

14642015_1359257894086482_2982552466485278854_n

Often overshadowed by the southern regencies of Gianyar, Badung and Tabanan, Buleleng is not only home to a unique Balinese art history (Van Der Tuuk in 1845 and his commissioning of Balinese artists work for his research into the first dictionary of the Balinese language), yet a community of talented artists. Exhibitions by artists from Buleleng are held annually in the southern regencies, and on 22 October Qilin – Membaca Social Budaya Warga Pecinan Kota Singaraja (Socio-cultural readings of Singaraja’s Chinatown Residents) opened at Neka Art Museum in Ubud, and continued for one month.

Based upon curatorial research led by Hardiman, from the Art Department of UNDISKHA University in Singaraja, along with his young team of Made Susanta Dwitanaya, Dewa Gede Purwita, Ketut Wisana Ariyanto and Gede Panca Gautama, into the culture of the Chinese Tionghoa community, the group exhibition delved into spiritual and religious practises, artefacts and there traces, stories from their literature, and portraits of figures from the community. Of the many highlights were the eight collective works, including Spreading Qilin, an installation of terracotta Chinese dragon characters.

20161023_161947A Brutal Contrast of Concrete and Kamasan Painting combined street art along with paintings from selected emerging local talent from Batuan, Ubud, Tabanan and Denpasar.

Cahyendra Putra and the Neo Pitamaha Invite You To: A Brutal Contrast of Concrete and Kamasan Painting opened 23 October will be recorded in the annals of Balinese art history. The outsider exhibition, which in many ways was noteworthy, was underpinned by a long-awaited and fresh approach to presenting art in Ubud, outside of the conventional gallery, art space and museum format.

This collaborative project, organized by Kemal Ezedine, features street art by artists from Bali & Jakarta, along with paintings from selected emerging local talent from Batuan, Ubud, Tabanan and Denpasar. Set within the gutted interior of a building, twenty young artists revealed their interpretation of the famous Bali 1930’s Pita Maha artist’s association in dynamic contemporary art that challenges the establishment. Highlights included works by Wayan Budiarta, Wayan Aris Sumanta and street artists Ego, Saf, Ola, and Slinart.

20160817_111722                                      Bali LandscapesWillem Kerseboom

Bali Landscapes by Dutch painter Willem Kerseboom opened at TiTian Art Space, Ubud 28 October (continuing until late January 2017). Kerseboom, who shares his time between Holland/Belgium and his home North Bali presented acrylic landscape compositions of a rare quality. His imaginary, abstract snapshots, are deeply engaging, while being a fine creative contribution to the long line of Dutch artists who have been inspired by Bali.

jiri-kudrna-light-plane-photography                             Light Plain Photographs – Jiri Kudrna

Ubud based Swiss engineer and software developer Jiri Kudrna, a pioneer in experimental photography has made major contributions to the development of contemporary photography. Kudrna’s contributions to Age of Photography #2, open 15 – 28 November at the National Gallery of Indonesia, Jakarta were from his inventions that created Light Plain Photographs (LPP), and his three interactive installations, Space – Time Variations.

 LPP’s are fantastic images using a plain of light and a camera to record photographs with unique optic effects – a fusion of the four-time space dimensions – while the subject is housed within a dark room and participates within their own unique photographic procedure. Kudrna’s Space – Time Variations were very popular with exhibition audience who created over 1800 pictures in four days, and were also able to upload the images onto social media platforms.

Power Playing works by Arum & Ida Adi.jpg                      Power Playing – Images by Arum & Ida Adi at Lingkara

Lingkara Photography Community of Denpasar is an alternative platform for contemporary photographers in Bali. Over recent years Lingkara have presented a range of quality collaborative exhibitions and events. Driven by a small core group of dedicated artists Lingkara not only strive to support the collective, yet seek out professional opportunities by engaging with and representing artists via product development and management.

Power Playing opened 20 November presenting mostly large-scale works by Candra Mpu Glimblond, Christina Arum, Ida Adi, Ismail Ilmi, Rudi Waisnawa and S.R. Awy. While the artists individual techniques involved varying processes, such as re printing images, painting, collage with the help of additional tools, mirrors, candles and magnifying tools to make impressions, the final large-scale results which were applied to the walls were a single photograph without digital enhancement. Lingkara are making important contributions to the development of contemporary photography in Bali and Power Playing was a very strong collective showing, while Arum’s technically labor intensive work was one of the highlights.

mangu-putra-2016-puputan-badung-the-fall-of-badung-kingdom-2-oil-on-canvas-370-x-150-cm         Puputan Badung 1906 (The Fall of Badung Kingdom # 1) – Agung Mangu Putra

Agung Mangu Putra: Between History and the Quotidian ran from 25 November – 12 December at Singapore’s Gajah Gallery. Mangu Putra continues his research into critical Dutch colonial events that shaped Indonesian and Balinese history. Highlights were Puputan Badung 1906 (The Fall of Badung Kingdom # 1& 2) 2016 & 2014, compositions pieced together from archival accounts and images into enormous paintings up 370 x 1590 cm in size. The works reveal the story of the Dutch colonial army’s confrontation with the Kingdom of Badung in Kesiman, Denpasar in 1906 that resulted in the tragic puputan event (act of ritual suicide).

Mangu Putra’s investigation into these events are important because these events occurred during a crucial era of the nation’s history and theses events without more historical examination may become historical myths.

20170103_170338                     Ashley Bickerton‘s sculptures at Follow the White Cube

The Pop-Up gallery concept is new to Ubud, Bali and was successfully adopted by Honold Fine Art twice in 2016. Follow the White Cube opened 26 November at Italian artist Filippo Sciascia’s studio in Nyuh Kuning. The exhibition featured work by artists Jumaldi Alfi, Marco Cassani, Ashley Bickerton, Fendry Ekel, Bepi Ghiotti, Yusra Mantunus, Narcisse Tordior and Filippo Sciascia.

Set within a ‘white cube’ display areas that lent well to strong, yet conventional viewing experience, the works ranged from paintings through to sculpture, installation and video art presented exciting contrasts. While the spontaneity of the Pop-Up concept is a fresh and much-needed addition to the Ubud art scene.

doors-of-perception-made-aswino-aji                              Doors of Perception 2016 – Made Aji Aswino

CROSSING: Beyond Baliseering presented some of the finest emerging contemporary artist from Bali at Forty-Five Downstairs Gallery, Melbourne, Australia, open 6 December. Reflecting upon Bali’s visual and social culture while exploring themes of personal life experiences, environmental, social and political issues in the contemporary society, the exhibition showcased paintings, photography, sculptures, and large-scale installations.

In the most important international group showing of Balinese contemporary art outside of Indonesia that featured Art of Whatever, Made Aji Aswino, Budi Agung Kuswara, Citra Sasmita, Kemal Ezedine, Made ‘Dalbo’ Suarimbawa, Natisa Jones, Slinat, Made Valasara, Wayan Upadana and Yoesoef Olla, highlights included Aswino Aji’s monumental two-sided wood craving installation, Doors of Perception 2016, 250 x 300 x 80 cm, a representation of a candi (traditional Balinese temple entry), along with works by‘Dalbo’ Suarimbawa, Upadana, Slinart and Citra Sasmita.

5-kasper-x-nedsone-teges-ubud                                 Lukas Kasper& Nedsone at work during Way Up

Bali’s ever evolving street art movement is increasingly discovering new sights to enliven along the streets of urban Denpasar and within the villages of the Badung and Gianyar Regencies. Way UpStreet Art Collaboration Project initiated by Cata Odata, Allcapsstore and Lukas Kasper began in November 2016 and will continue through until the end of January 2017.

The project was born through the meeting of Cata Odata and Australian artist Lukas Kasper beginning with the idea to contribute vibrantly to Ubud’s street areas and to collaborate with nine street artists from Bali on 20 walls. Local artists include Nedsone, Kmis3, Lezart, Slinat, Yapstwo, Sleeck, and 1escv. The event included the Way Up online map on the website and the 17 December Spray Jam workshop, and Kelas Belajar sharing session 18 December at Cata Odat, and the #UbudScavengerHunt. 17 December through 11 January which will include a prize to the winner.

http://way-up.cataodata.com/follow-the-map.html

putu-wirantawan-2016                  Contemporary Art from Bali – Installation by Putu Wirantawan 2016

Contemporary Art from Bali opened 15 December at LAF (Langgeng Art Foundation) Yogyakarta, and continues through until 31 January 2017. Curated by Rifky Effendy and Gede Mahendra Yasa the show featured some of the finest contemporary artists currently working in Bali, foreigners, Indonesians and Balinese: Ketut Susena, Ketut Samadi, Made Aswino Aji, Teja Astawa, Natisa Jones, Wayan Mandiyasa, Ketut Suwidiarta, Putu Wirantawan, Ashley Bickerton, Marco Cassani, Filippo Sciascia, Ketut Moniarta, Kemal Ezedine, Wayan Upadana, Made Valasara and Rodney Glick.

Overshadowed by the traditional art scene, and often overlooked within the context of the Indonesian art world contemporary art and the art infrastructure is on the rise in Bali. Making an important statement within the context of Indonesian contemporary art, in the Javanese cultural and creative heartland with its ever-evolving art infrastructure and eco system, this exhibition is the most important collective showing of contemporary art from Bali held in Indonesia in 2016.

20161230_175209                        Inside of Being  – Installation by Pande Ketut Taman 2016

The 30 December opening at the Tony Raka Art Gallery punctuated the end of 2016 and friendship and creative achievement by four Balinese contemporary artists, alumni of the Indonesian Art Insititue SI Yogyakarta. Inside of Being highlighted the talents of Putu Sutawijaya, Made Sumadiyasa, Made Mahendra Mangku & Pande Ketut Taman, artists who have shared friendships for over 30 years, while at the same time during their individual careers making significant contributions to the development of Balinese art. The exhibition, which includes paintings, both small and large-scale, and installations will continue through until 30 January, including an Artist’s Talk from 3pm 5 January at Tony Raka Art Gallery.

Such a report would not be fully complete without highlighting the stoic efforts of Warih Witsatsana and his small army of dedicated assistants at the Bentara Budaya Bali Cultural Center. Their consistent weekly programs throughout the year are a shining light in the support and development of Bali’s thriving creative culture.

With an emphasis upon education via lectures, discussions, presentations and hands on workshops, especially for the younger generations, Bentara Budaya’s one of a kind model is an inspiration to other aspiring art and cultural facilities on the island. 2016’s broad range of events, including numerous collaborations with international artists, institutes, and organizations highlights their open platform to global cultural expressions, while underlining Bali’s internationally renowned welcoming attitude to foreign cultures and creative expressions.

Words: Richard Horstman

Images: Richard Horstman & various photographers

 

 

 

 

Neo Pitamaha – An Art Movement in the Making?

20161023_161947

The outsider event Cahyendra Putra and the Neo Pitamaha Invite You To: A Brutal Contrast of Concrete and Kamasan Painting which opened on Sunday 23 October will be recorded in the annals of Balinese art history. The exhibition, which in many ways is noteworthy, is underpinned by a long awaited and fresh approach to presenting art in Ubud, outside of the conventional gallery, art space and museum format.

Held at the location of former residence of the iconic Bali art influencer, Dutch painter Rudolf Bonnet (1895-1978), this collaborative project features street art by artists from Bali & Jakarta, along with paintings by selected emerging local talent from Batuan, Ubud, Tabanan and Denpasar. In this event, which is set within the gutted interior of a building, twenty young artists reveal their interpretation of the Pita Maha (great spirit, guiding inspiration) in dynamic contemporary art that challenges the establishment.

20161023_161737

The Pita Maha was a famous artist’s collective established in Ubud in 1936 by Tjokorda Agung Sukawati, Prince of Ubud , senior local artist and Bali’s first modern master Gusti Nyoman Lempad and expat Europeans, Walter Spies (1895-1942) and Rudolf Bonnet. Its vision was to develop and preserve a new art genre, labeled Balinese modern traditional art, and to present it outside of Bali.

 

Commercially and culturally, the birth of the Pita Maha, and its legacy had dramatic consequences. Large and new markets began to open for Balinese artists, from the 1930’s the initial wave of European and American tourists began to arrive, and an industry evolved to carter for their needs. Ubud as a consequence became perceived as the epicenter of Balinese Art and Culture.

20161023_161832                                    Painting by Wayan Budiarta

Located opposite the Campuhan Hotel on Jalan Raya Campuhan, for two decades the building that is the venue for A Brutal Contrast of Concrete and Kamasan Painting has remained unused. Stripped back to its core structural form of raw, concrete ceilings and floors, with aging white washed brick walls, it becomes the perfect environment for an underground event that within it’s soul is deeply rooted in ideology, and peppered with controversies from the Dutch colonial past.

Street art by Unclejoy, the Punten, Ego, Saf, Ola, Slinart and Kemalezedine, with potent sociopolitical content rendered in dynamic spray can color brings the tired, forgotten interior into vibrant life. Emerging Balinese contemporary Balinese artist Made Aji Aswino, a.k.a Ego continues on with his theme about the monster that is the human ego. His works makes references to the phenomenon of materialism that is engulfing modern Bali, and he juxtaposes his monsters of the ego identity with popular consumer icons. Kemalezedine meanwhile takes images from Dutch colonialism making reference to the era of the Pita Maha artists collective.

wayan-aris-sumanta                                Painting by Wayan Aris Sumanta

The paintings by emerging young Balinese artists are positioned to create a dynamic contrast with the street art, and igniting the interior walls. The artists include Dewa Gede Sanju, Gede Anton, Wayan Budiarta, Pande Made Di Artha, Made Ariana, Dwi Wayan Eka, Wayan Aris Sumanta, Gede Dwiyantara, Kadek Jutawan, Agus Suputra, Ketut Sumadi & Wayan Mandiyasa.

Batuan artists Wayan Budiarta and Wayan Aris Sumanta reveal that the Batuan School of painting boasts fresh and exciting talent, and that the recent formation of the Baturlangan artists collective in Batuan is reinvigorating this famous genre of Balinese art. Both artists possess a rare talent, while Budiarta’s works, one with powerful surrealistic elements, are especially outstanding.

street-art-by-ego-a-k-a-made-aji-aswino                                   Street Art by Ego, a.k.a Made Aji Aswino

This event is organized by Kemal Ezedine, one of the founding members along with Gede Mahahendra Yasa of the new art movement, the Neo Pitamaha. The Neo Pitamaha is an exciting development in Balinese contemporary art that has it ideology deeply rooted in the historical development of Balinese art during the past century, and began in 2013 with Mahendra Yasa, Ezedine (b.1978 Yogyakarta) and two other Balinese artists.

“We (the members of the Neo Pitamaha) have knowledge of history, culture, narratives and symbols within Balinese art yet we do not use this for our art discourse,” Ezedine says. “We aim to reinterpret this from a contemporary art perspective – retaining the principles involved with the techniques and methods. By opening this to new viewpoints we endeavor to awaken new spirit and introduce a fresh model of possibilities into Balinese art.”

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During the past 3 three years Ezedine and Mahendra Yasa have strategically set out to impact upon the Indonesian contemporary art scene participating in high level events in Java; exhibitions and art fairs in Bandung, Jakarta and Yogyakarta. Their presence was especially visible during August at the two international art fairs Art Stage Jakarta 2016 and 2016 Bazaar Art Jakarta.

A highlight of A Brutal Contrast of Concrete and Kamasan Painting opening was the palpable atmosphere that graced the event. A rare buzz of excitement was alive within the venue adding a fresh dimension to the already extraordinary event.

wayan-budiarta                                   Painting by Wayan Budiarta

Throughout the history of Indonesian art, artist’s collectives have played an essential role in shaping Indonesian modern and contemporary art. The art/anti colonial collectives that evolved last century in Java (PERSAGI 1938, POETERA 1942) played defining roles in the pro nationalism movement, while importantly using art as propaganda. In Bali the importance of organized art communities cannot be overstated.

There some key factors that give birth to art movements and the Neo Pitamaha have already succeeded in striking important targets, along with capturing a lot of attention in the Indonesian art capital of Jakarta. What remains next will play a defining role. One vital element within their ideology involves an important, yet tragic story of one of the true pioneers of Balinese art who was murdered by pro Dutch sympathizers in Batuan in 1946.

This is an anti establishment story.

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Cahyendra Putra and the Neo Pitamaha Invite You To: A Brutal Contrast of Concrete and Kamasan Painting was a part of the 2016 UWRF Art Exhibitions program and is listed in the UWRF Program Book on page 40, as Bali Underground: Pita Maha And Rudolf Bonnet. It was located on Jalan Raya Campuhan, opposite the Campuhan Hotel, upstairs on level 2 of the building that on the ground floor is a Notaris office. Look for the stairway and then head up.

Continuing through until 30 October, open daily 09:00 – 17:00.

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Words & Images: Richard Horstman