Art in the Villa

Eddy Susanto

“2012”
250x250cm
Acrylic and phosphor color on canvas
2011

This work is an artist’s visual interpretation on the heritage of the Mayan people who scandalised the world with their prediction that Armageddon would occur in 2012. This book, which was known as Codek Dresden, and also as the Dresdensis Codex, is a Pre-Columbus Mayan book, written around the eleventh/twelfth century, which explores the idea of astronomy.

The way they saw the relationship between earth and other elements in the cosmos have driven this knowledge of astronomy to the application of how they farmed, managed forests, and even practised medicine. Eddy Susanto emphasises the symbols and code found in this book to remind us of how important local knowledge is, being that which describes the importance of harmony between nature and man in maintaining the sustainability of life.

Eddy Susanto is a Yogyakarta based artist. Hewas the first winner of Bandung Contemporary Art Award in 2012. His solo show, The Old Testament of Java, held in Michael Jenssen Gallery, Singapore, 2014.

Edo Pillu

“Tuan Tambun”
150 cm x 200 cm
Acrylics on Canvas
2011

This work is a quick review of the alterationof how humans consume land on earth. Edo Pillu sees that human beings, especially the ones who use money as a symbol of power, continue to use land to satisfy their desire to own. Edo depicts human behaviour as never satisfied, always chewing and devouring as if there’s no state of satiety. When human use land to build and plant concrete on it, they don’t accept responsibility to nurture the whole earth, and hence this negligence causes various disasters.

EDO PILLU (Edward Pilliang) was born in Bandung, 1969. His education was at Indonesian Institute of the Arts, Fine art department, Yogyakarta. He has numerous solo exhibitions in Indonesia and abroad, as well as being shortlisted as a finalist for many art awards such as the Phillip Morris Award, Sovereign Art Award, among others.

Yudi Sulistyo

“World Without Sea”
Paper, iron pipe, pvc pipe, wood, found object, paint
150 x 244 x 186 cm (small) edition 2/3
2013

Yudi Sulistyo mostly works with the idea of transforming everyday objects into very realistic sculptures, using uncommon materials. He uses a lot of pasteboard to create objects which look heavy like furnace plants, planes, tanks and so on, with amazing detail and neatness. His works show his penchant for ideas about the craftsmanship and diligence of an artist. This work, entitled World Without Sea, is his interpretation of the life of modern-day people, torn apart by the struggle for land, especially in big cities. He imagines a situation when the earth can’t accommodate humans any longer, therefore he creates a temporary room in space in which humans can live. The inspiration was taken from a translation of Bahasa for the word of aeroplane; a flying device. He deliberately uses a literal visual translation, making a device which can fly, to present his notion of another living space for humans. In this installation, we see how Yudi builds a slum, moving ecological earth life to the device.

Yudi Sulitiyo is a full-time artist, who is at heart a practitioner of creative industry, was born in Yogyakarta, on 20 October 1972. He studied Graphic Design at Institut Seni Indonesia Yogyakarta (Indonesia Institute of the Art Yogyakarta). In 2007, he received the Kosasih Award and in 2003 became a Finalist for the Indofood Art Awards. He has participated in group exhibitions in Australia, Indonesia, Korea, and Singapore.

Zico Albaiquni

“Opera Aperta Rite of the Cult”
Mixed media on canvas
120 X 200 cm
2011

In this work, Zico depicts the relationship between modern man and religion. As an institutionalised spiritual rite, religion drives humans to reproduction rituals which they often do as a meaningless routine. Zico depicts human figures with the symbol of an Islamic worshipping mat to show how things used in rituals have also become consumed symbols, without deeper meaning. Generally, Zico sees the significance of various rituals done by man as a stage, and what happens on it as acts in an opera. This also shows how man loves the hustle and bustle, being in the crowd and often losing their own identity.

Zico Albaiquni was born in 1987. Aside from being a visual artist, he also works as an assistant lecturer at the Faculty of Art and Design, Bandung Institute of Technology, where he earlier studied. He is the founder of Galeri Gerilya. He has been actively exhibiting in many group shows in Indonesia.

Patriot Mukmin

“The Presence Of Mind”
93 X 94 cm
Oil, Acrylic On Canvas. Mounted On Boards
2012

This painting takes trance as its theme, a condition which lies between the realm of consciousness and subconsciousness. In Indonesian culture, trance is a condition closely related to a spiritual experience, entering a world in which humans can escape their bodies and meet other forces. Trance, for example, is also found in traditional performance arts like jathilan, angguk, reogand many more.

In the past, this ritual and art became a medium for humans to meet other forces that they believed in. Thus, there is a belief which states that in a process of trance, one can meet spirits from another world. Trance experience is closely related to the ability of humans to delve into a state of contemplation and belief in the idea of ”resignation”.

Nanang Kelik

“Cyber Girl”
Acrylics On Canvas
100 X 120 Cm
2010

Nanang Kelik is interested in exploring the interpersonal relationships which are nowadays heavily affected by the utilisation of technology. Human communication has come to rely on mediums, and not on face-to-face interaction. This also alters their perception of their own identity. Communication technology enables humans to reproduce themselves into various characters and identities, since the body no longer represents the presence of a human.

Nanang depicts such a condition by painting the faces of seemingly expressionless humans, referring to a situation in which humans can change their expressions and feelings based on various virtual realities that they experience at that moment. Even technology, in recent times, can create and control feelings.

I Made Lampung

“Melihat Lebih Dalam”
Silicone, Metal, tin, gauze, leather, leather paint, wood
120 x 50 x 30 cm
2013

This work is inspired by Lampung’s will to picture the beauty of the Indonesian maritime landscape, which is often named as one of the most beautiful in the world. For a long time, these maritime sites have been seen as a commodity for the tourism industry, and have been used by the government to invite foreign tourists to increase Indonesia's economic devisa. The growth of the tourism industry based on ocean activities, in the end, has destroyed the landscape and created pollution since there is no policy to protect the ocean resources. The government has shown incap bility to create infrastructure to protect the maritime landscape. This work captures a diver, an adventurer, who wants to discover the beauty of Indonesian oceans. But instead of finding the magic, he ends up being disappointed by the dirty under water.

Born in 1981, Lampung, South Sumatera. He is a graduate of the Indonesian Art Institute (ISI), Yogyakarta in 2007. He has had a solo exhibition in 2010-White Lotus-at Mon Décor Gallery, Jakarta Art District, Jakarta. He was awarded the Best Young Artist in the Academic Art Awards by the Indonesian Art Institute (ISI), Yogyakarta, Indonesia, and he received the Best Sculpture award at the Dies Natalis the Indonesian Art Institute (ISI), Yogyakarta in 2007. In 2010, his work was selected as one of the 25 Best Artworks at Bandung Contemporary Art Awards (BaCAA).

S. Dwi Stya ‘Acong’

"Suluk Pesisiran”
Oil on canvas
160 x 300 cm
2013

The term for coastal in Bahasa Indonesia (pesisir) doesn’t only refer to the geographical concept of a coastal area, but it also refers to the concept of a unique cultural zone. Maritime culture in Indonesia is close to concepts of trade, industry, working-class culture and a lifestyle which opens itself to foreign cultures (since it is located close to the beach, the interaction with foreigners is more intense). This is what makes it different from the hinterland cultures which are close to agriculture, spiritual and high culture (since its location is close to a kingdom). Coastal Mysticism is a culture of singing in which a human tries to meet his Maker. Usually, it is a part of an art performance ritual like a dance or shadow puppet play.

In this work, Aconk depicts a life which is full of coastal culture, and he uses the figure of a young man to describe a coastal resident. This figure gazes at a distant horizon, a line where the sea meets the sky, a situation in which he imagines a meeting between humans and God can occur.

Guntur Timur

“Brown Moon”
120 cm x 160 cm
Oil Canvas
2011

Guntur Timur’s works deal with layers of reality in our contemporary urban society. He depicts many different aspects of city life and blends them into canvases, from the architectural landscape, human being figures, view of nature, even surrealistic and imaginative capture of human dreams. Guntur Timur’s works guide the audience to the sense of silence, which contrasts with the reality of our urban space. His paintings are a mix of realism and photographic capture, with strong brush strokes that give his individual touch to a particular city phenomenon.

GUNTUR TIMUR was born in Bandung, 1980. He graduated from the Fine Arts Department of Bandung Institute of Technology. His solo show was held at VM Art Gallery, Dhoraji Society, Karachi-Pakistan.

Ronald Apriyan

“Missing Mom”
140 cm x 160 cm
Mixed Media on Canvas
2011

This series of paintings by Ronald Apriyan are inspired by his personal and intimate relationship with a figure of a mother. He made these works after his mother passed away, therefore he wanted to immortalise the memories of his mother through something other than a portrait. Ronald saw how his relationship with his mother had shaped his view of this world, especially how men and women respect each other. Ronald depicts three different figures of women in each of his paintings to state how a modern-day woman can choose to be whatever she wants to be, with diverse identities. Women have gained their independency to be themselves, and Apriyan saw that his own mother had already taught him so.

Ronald Apriyan is a young artist who simultaneously uses performance, printmaking and painting as his medium. He studied at the Faculty of Fine Arts, Institut Seni Indonesia.

Ronald Apriyan

“Moms Calling”
140 cm x 160 cm
Acrylics on Canvas
2011

This series of paintings by Ronald Apriyan are inspired by his personal and intimate relationship with a figure of a mother. He made these works after his mother passed away, therefore he wanted to immortalise the memories of his mother through something other than a portrait. Ronald saw how his relationship with his mother had shaped his view of this world, especially how men and women respect each other. Ronald depicts three different figures of women in each of his paintings to state how a modern-day woman can choose to be whatever she wants to be, with diverse identities. Women have gained their independency to be themselves, and Apriyan saw that his own mother had already taught him so.

Ronald Apriyan is a young artist who simultaneously uses performance, printmaking and painting as his medium. He studied at the Faculty of Fine Arts, Institut Seni Indonesia.

Ronald Apriyan

“Mother and Flute of Peace”
140 cm x 140 cm
Acrylics on Canvas
2011

This series of paintings by Ronald Apriyan are inspired by his personal and intimate relationship with a figure of a mother. He made these works after his mother passed away, therefore he wanted to immortalise the memories of his mother through something other than a portrait. Ronald saw how his relationship with his mother had shaped his view of this world, especially how men and women respect each other. Ronald depicts three different figures of women in each of his paintings to state how a modern-day woman can choose to be whatever she wants to be, with diverse identities. Women have gained their independency to be themselves, and Apriyan saw that his own mother had already taught him so.

Ronald Apriyan is a young artist who simultaneously uses performance, printmaking and painting as his medium. He studied at the Faculty of Fine Arts, Institut Seni Indonesia.

Ronald Apriyan

“When my wife is praying”
140 cm x 160 cm
Acrylics on Canvas
2011

This series of paintings by Ronald Apriyan are inspired by his personal and intimate relationship with a figure of a mother. He made these works after his mother passed away, therefore he wanted to immortalise the memories of his mother through something other than a portrait. Ronald saw how his relationship with his mother had shaped his view of this world, especially how men and women respect each other. Ronald depicts three different figures of women in each of his paintings to state how a modern-day woman can choose to be whatever she wants to be, with diverse identities. Women have gained their independency to be themselves, and Apriyan saw that his own mother had already taught him so.

Ronald Apriyan is a young artist who simultaneously uses performance, printmaking and painting as his medium. He studied at the Faculty of Fine Arts, Institut Seni Indonesia.

Fatchurohman

“Tanpa Tanda Jasa”
133x 180 cm
Kolase Tenun, Kin Lurik dan Batik Lawas
2012

In a communal society like Indonesia, the existence of an individual can not be separated from their connection to organisations or associations. The strongest bonding of this relation is the use of uniforms. The artist is interested in exploring the uniform of civil servants in Indonesia and presenting the dream of Indonesian people to become civil servants. Although many people want to be civil servants since it is an easy job to do, they also have to face the reality that civil servants do not get high salaries. One of the most important civil servants is teachers. The artist himself came from parents who work as teachers, with very low appreciation, therefore he confirms the social opinion saying that a teacher is a hero without medals. Faturachman collected fabrics from old clothes he bought from flea markets and made collages into particular drawings.

Angki Purbandono

Kepiting Betina
Scanograpy UV Print on Acrylic
100 cm X 100 cm
2010

Angki Purbandono started his career as a photographer studying visual arts. As a result, a mixture of fine arts and photography led his approach in a very interesting way. By 2005, he found out that digital technology had changed people's ideas about photography, particularly as a representation of reality. Since everybody now can take pictures and have their own device, Angki decided not to use a camera anymore to produce visual images. He started to develop his approach to scanography and make his photographs using this machine. He is interested in everyday life objects, combining daily tools and equipments with toys and products of popular cultures. The result is striking, interesting imagery of many different visual symbols.

Kepiting Betina (Female crab) comes from his observation of the way people treat animals and how they appear in the market. The sellers put belts on the crabs, making it a form of craftmanship, but as consumers, most of us did not really appreciate this or even ever think of the condition of the crab while we consume.

Angki Purbandono (born in Indonesia, 1970), studied at the Faculty of Media Record, Indonesian Institute of the Arts. He has been exhibiting his works internationally in many international biennales, museums, and galleries in many cities in the world.

Eldwin Pradipta

Portray Jelengkong
Video Projection on White Frame
2012

The artist captures the phenomenon of an art village in West Java which is known for producing many mooi indie paintings. Everyone in the village can make paintings and sell them at art bazaars and their works are hung up at people’s houses. For him, it is interesting the contradictory situation where this kind of painting is not considered something really important in the history of modern art in Indonesia, but at the same time, these paintings are the most familiar style to common people. It can be said this is the idea or the notion of art understood by the people. In the history of Indonesian art, mooi indie painting itself was positioned in the role where artists made artworks to fulfil the taste of colonialists, to create a sense of beauty in the country’s landscape. The artist wants to show this situation where many people in Indonesia, let’s say many artists are still in this gaze of colonialisation and want to portray the ideal concept of beautiful nature.

Elwin Pradipta was born 1990. He studied at the Faculty of Art and Design, Bandung Institute of Technology. He has joined many group exhibitions in Indonesia. His last one was the Southeast Asia Triennale at the National Gallery, Jakarta.

Anusapati

Kotak Pandora
110 x 110 x 160 cm
Wood
2013

This work is inspired by the form of Pandora’s box, which we usually keep as a sacred space to place important things, therefore the door is always closed and is waiting to be opened in the future.For the artist, the metaphor of Pandora’s box fits the situation in Indonesian society where people tend to keep what they inherited from previous generations as if they are something inside the box. Within the heritage, there are contradictions of what is bad and what is good. This encourages people to be critical towards those different values and to adopt and adjust the values so they can be relevant to the current situations. To put them in Pandora’s box means to avoid criticality, and in the end, will lead us to be a puritan and narrow-minded society.

Anusapati’s works deal with the idea of what is natural and what is man-made in the discourse of contemporary sculpture in visual arts. It is interesting to see how he creates ideas of art objects using everyday visuality and forms, and most of the time he chooses natural materials such as wood, bamboo or stones. His forms are simple but contain a very deep concept and wisdom, confronting us with our established perception of objects.

Farid Stevy Asta

First mural in the bedroom

Farid made two narratives of the murals. First, in the mural in the room, he created a story about the comparison between our lifestyle today and the way we lived in the past. For Farid, a generation who lived in the past had lived full of wisdom and peace. Now, people are too proud of being modernised and living an instant lifestyle, or glamorous life. In this series, he draws a goat who becomes a leader for human beings bringing their gadgets, each of them is too busy with their gadget, and some monkeys are sitting next to each other facing the light bulb, trying to find light and warmth. Farid wants the guests who stay in the room to have the feeling of longing for our way of life in the past. He invites the guests to temporarily leave our modern concepts behind, and bring the nostalgia of intimacy and warmth instead of being busy with contemporary technology.

Farid Stevy Asta

Second mural in the kitchen

In the second series, on the wall of the kitchen, Farid portrays his memory towards his loving grandmother. The grandmother was a very special person for him since he was taught by her in his early years. Nowadays, he has been trying to create a better and fuller archival memory about the story of his grandfather and grandmother, who happened to be victims of the black tragedy in Indonesian society around 1965.

Aprilia Apsari

The Moon & Pink Bonsai Trees

Aprilia Apsari draws the memory of fairytales usually told to young girls about the princes dancing under the moon, walking around under the bright sky with friends, and singing a happy song. This mural is an obituary of this childhood memory, of her togetherness with some friends, and also the social situation which enabled them to play around in open space. These days, kids and young people are not used to being close to nature, with no idea of how fun it is to dance under trees, under the moon. She portrays this very melancholic situation by colouring the bonsai tree in a pink colour, something that is not common to find, to underline the idea of illusion.

Prihatmoko (Moki)

Moki’s drawings often show more abstract visual imagery than proposing a clear narrative idea. Especially for murals made for bedrooms, for Moki, it is important to create a calm and inspiring ambiance, to give a relaxing feeling to the guests. This ambiance was mostly supported by his choice of pastel colours, which give the mural a combination of childhood memories and feminine touches. Moki encourages the audience/guest to arrange their own narrative or fantasy of those abstract images, and hopefully, this imagination and fantasy can lead them to sweet dreams while they are staying.

Iswanto JJ

"Red Roaster"
83 x 83 cm
Oil on Canvas
2007

Yogie A Ginanjar

“A Girl and The Swan”
Oil On Canvas
100 X 80 cm
2012

I Made Duatmika

“Bunga Kamboja” Frangipani
Acrylics On Canvas
200 X 150 cm
2009

Agung Surya Wijaya

“Penari Api" Fire Dancer
Iron, Ezer Plate
80 X 105 X 190 cm
2009

Wedhar Riyadi

Bone Shelf
Oil On Canvas
200 X 150 Cm
Unique
2014

Eddy Coethyl

“Bernard"
Collage Of Magazine Prints
150 X 150 cm
2014

Budiman Ong

“Kawung Mobile Chandelier”
Iron
78 X 218 X 120 cm
2014