Garden of Delight

ARYA PANDJALU
Garden of Delight
January 25, 2014 to March 31, 2014
BIASA ArtSpace Seminyak
“GARDEN OF DELIGHT”
“GARDEN OF DELIGHT”
Not many Indonesian artists create work using a
The bird’s head that is present in Arya’s current works
Tak banyak seniman Indonesia yang berkarya dengan
dicermati. Jika pada karya-karya sebelumnya Arya
humanoid-creature alter ego as Arya Pandjalu does.
appear as though a costume helmet, separate from his
menampilkan alter-ego berupa humanoid-creature,
sering menampilkan karya painting dan drawing yang
In fact, avian-humanoid—a cross between man and
body. There is a kind of “self-maturation” that occurs
sebagaimana yang sering dihadirkan Arya Pandjalu
menunjukkan sang avian-humanoid dengan kepala
bird—has become a singular identity for Arya. This
slowly, allowing Arya to separate himself from this bird-
melalui
Humanoid—yang
burung bermutasi penuh dengan tubuh manusianya,
alter ego creature is a reflection of Arya’s childhood,
personification. In his other works, Arya even appears
adalah sosok campuran antara manusia dan burung—
namun di pamerannya kali ini sosok tersebut nyaris
when he used to hunt for birds with his air shotgun.
confident enough to not wear his alter ego helmet.
memang telah menjadi identitas tersendiri bagi Arya.
tak ditemui (hanya hadir sebagai siluet pada karya
Long afterwards, after Arya entered the art world, he
He appears to be more established in communicating
Sebagaimana pernah diulas di essay pengantar
drawingnya). Kepala burung yang hadir pada
began to feel regret and remorse at his bad treatment
his environmental wisdom without having to position
pameran tunggalnya di tahun 2012, mahluk bagai
karya-karya Arya tampak bagai sebuah kostum-
towards these creatures of flight. He continues to
himself as a green bird.
alter-ego tersebut adalah refleksi dari masa kecil Arya
helm yang terpisah dari tubuhnya. Ada semacam
yang gemar berburu burung dengan senapan angin.
proses “pendewasaan diri” secara perlahan, saat
sharpen his empathy towards birds, and gradually
karya-karyanya.
Avian
Arya has imaginatively mutated into a hybrid of a
“Garden of Delight” is clearly a manifestation of Arya’s
Lama kemudian, setelah Arya mulai masuk dunia seni,
Arya mampu memisahkan dirinya dari personifikasi
“bird-headed” human.
awareness of environmental issues. We must also
tumbuh rasa penyesalan akan sikap buruknya terhadap
sang burung. Dalam beberapa karya lain bahkan
highlight the fact that Arya is not about to identify
fauna terbang ini. Sejak itu, Arya kian mempertajam
figur Arya tampak percaya diri tampil tanpa helm
Arya’s way of empathizing with these birds can be
himself as a mainstream environmentalist. As a matter of
empatinya pada burung, sehingga lambat laun secara
alter-egonya tersebut. Arya tampaknya kian mapan
considered unique. Referring to a Native American
fact, he wants to identify himself as someone who enjoys
imajinatif Arya bermutasi menjadi suatu mahluk
mempertahankan kearifan enviromentalisnya, tanpa
proverb, “You cannot know another man’s feelings,
a connection with nature on a personal level. He enjoys
hibrida manusia “berkepala burung”.
ia harus merujuk pada pemosisian diri sebagai sang
until you’ve walked two moons in his moccasins”, we
gardening, cooking organic foods that have been grown
will find that Arya has indeed positioned himself in the
without pesticides or artificial fertilizer; he also enjoys
Cara Arya berempati terhadap burung-burung ini
moccasins of these birds for more than two moons. He
recycling materials for his art. Through these “microbial”
boleh dibilang cukup unik. Merujuk sebuah pepatah
“Garden
has even permanently composed his alter ego into a
activities, he is confident that he can bring significant
Indian yang menyatakan bahwa “kau tak bisa
pengejawantahan dari kepedulian Arya terhadap isu
sort of bird-man. There’s also an awareness growing
changes to his environment. This is an operative attitude,
merasakan apa yang dirasakan seseorang, sampai
lingkungan hidup. Namun perlu digaris-bawahi juga,
in his mind, that it’s not just his air shotgun that has
something we are rarely conscious of.
kau menggunakan Mocassin (sepatu) miliknya selama
bahwa Arya tak hendak mengidentifikasi dirinya
dua purnama,” maka akan kita temui bahwa Arya
sebagai enviromentalis jalur utama. Ia justru ingin
caused the hardships of other fauna; and it’s not just
burung hijau.
of
Delight”
kentara
merupakan
the birds that bear a terrible fate due to humans. It
Arya’s methods in putting together works for this
telah memposisikan diri dalam “mocassin” para
mengidentifikasi diri sebagai sosok yang menikmati
is here, it seems, where Arya’s seed of environmental
exhibition are strongly connected to his ascribed way
burung ini melebihi dua masa purnama. Ia bahkan
konektivitas dengan alam pada tataran personal.
awareness began to grow.
of life. The use of papier-mâché, natural dyes, and
secara permanen telah menggubah alter-ego miliknya
Ia menikmati kegiatan berkebun; memasak bahan-
materials such as wood, bamboo, and fabrics have
menjadi semacam manusia burung. Tumbuh kesadaran
bahan organik tanpa campuran pestisida atau pupuk
Today, there is an interesting reality to note closely.
more or less reflected Arya’s tendency to preserve
dalam benaknya, bahwa tak hanya senapan angin
buatan; ataupun mencipta material daur ulang
In his past works, Arya often presented paintings and
nature. The dominant use of papier-mâché, appearing
miliknya yang berakibat pada penderitaan fauna lain;
dalam berkarya-rupa. Melalui kegiatan-kegiatan
drawings that fully show the avian-humanoid with its
in almost every work, provides its own unique meaning,
dan tak hanya para burung yang menanggung nasib
“microbial” ini, ia yakin bahwa ia bisa membawa
bird’s head complete with its mutated human body.
especially in the construction of a sculpture. Although
buruk akibat ulah manusia. Dari sinilah agaknya benih
perubahan signifikan untuk lingkungan hidup. Sebuah
This time however, that figure is almost nowhere to be
paper—scrap paper, even—is often considered as
kesadaran lingkungan Arya mulai tumbuh.
sikap yang sangat operatif dan jarang tersadari oleh
found (only appearing as silhouettes in his drawings).
an inferior material that is quite un-monumental (a
Namun ada suatu kenyataan yang menarik untuk
kebanyakan kita.
Garden of Delight, 2013
Papier-mâché, water color plants, teakwood vase, teakwood rack (1 of 2 unique edition)
240 x 42 x 190 cm
tendency that seems to define works created using
his way to subvert the exhibition space, overturning
Metode Arya, dalam menyusun
karya-karyanya di
benda temuan tersebut mewakili realitas domestik
scrap materials), Arya’s papier-mâché works actually
perceptions about the egalitarian and open outdoors,
pameran ini pun tak lepas dari gaya hidup yang
yang diidealisasi melalui interaksinya dengan sosok
appear strong, sturdy, and permanent.
with that of the indoors—often closed and inclined to
dianutnya tadi. Penggunaan papier mache, pewarna
dan benda-benda papier mache. Arya menyebut
take sides. Yet, the field of synthetic grass can also be
alami, serta bahan-bahan seperti kayu, bambu, ataupun
bahwa karya-karyanya berdasar pada gagasan
The inclusion of found objects such as a table, chair, and
construed as the antithesis of an ideal, environmentally-
kain; sedikit banyak merefleksikan kecenderungan
domestikasi, yakni memfungsikan wilayah domestik
electric guitar also provides another layer of special
friendly aspect of domestication. The presence of
Arya dalam upaya preservasi alam. Dominasi material
sebagai pusat kesadaran lingkungan hidup yang
meaning. These found objects represent a domestic
synthetic grass that dominated the exhibition space
papier mache yang digunakan nyaris pada setiap karya,
ideal. Istilah domestikasi ini tentu berfungsi dalam
reality that is idealized through their interaction with
seems to represent the “power” of capitalism, taking
memberi arti tersendiri, terutama dalam pembangunan
pengertian berbeda sebagaimana yang dikenal umum
papier-mâché figures and objects. Arya explained how
people further away from wise utilization of natural
suatu karya patung. Meskipun kertas, terlebih kertas
dalam diskursus feminisme.
his works are based on ideas of domestication, i.e.
resources.
bekas, seringkali dianggap material inferior dan dekat
to use the domestic setting as the center of an ideal
dengan kesan unmonumental (kecenderungan karya
Bagi Arya sikap hidup yang terbangun dari level
environmental awareness. This is certainly unlike the
rumah tangga memainkan peranan penting dalam
concept of domestication often witnessed in feminist
menentukan gejala yang lebih besar, seperti masalah
discourses.
sosial dan lingkungan. Harus disadari, kebutuhan
sehari-hari rumah tangga—terutama di lingkungan
For Arya, an outlook of life built from the household
perkotaan—sangat bergantung pada pasokan industri.
level have a significant effect on greater issues,
Telah menjadi sebuah rahasia umum, jika industri
such as social and environmental issues. We must
pangan seringkali melibatkan bahan berbahaya dalam
admit that the household—especially those found in
proses kultivasinya, seperti penggunaan pestisida
cities—are very dependent upon industrial supplies.
ataupun pupuk buatan. Belum lagi penggunaan bahan
It is an open secret that the food industry often uses
pengawet, pewarna ataupun penyedap buatan yang
dangerous materials in its cultivation processes, such
tentunya membahayakan tubuh jika dikonsumsi terlalu
as the use of pesticide and chemical fertilizers. Not to
banyak. Unit rumah tangga merupakan sasaran utama
mention the use of preservatives, chemical/artificial
para pemilik modal untuk mengkonsumsi produk
seasoning, and coloring that are certainly harmful if
pangan instan dengan berlebihan. Jika semakin
consumed excessively. Domestic households are prime
banyak orang yang memulai gaya hidup ekologis dari
targets for capital owners; they are often induced to
level rumah tangga, Arya yakin perubahan sosial dan
over-consume instant food. If more people take up an
lingkungan kea rah yang lebih baik akan terwujud
ecological lifestyle beginning with their home life, Arya
secara nyata.
is convinced that a positive social and environmental
change can come true.
***
Pada pameran ini, setiap karya Arya yang di-install
***
dalam satu ruang pamer terintegrasi dengan efektif
In this exhibition, each work installed inside the space
“I sing to the music that comes from the madness of
bermaterial bekas secara apa adanya) karya-karya
melalui hamparan rumput sintetis di di lantai galeri.
is integrated effectively with one another by the field of
the heart #2” is a continuation of a work made for his
papier mache Arya justru tampak kuat dan permanen.
Arya sendiri sesungguhnya memiliki sasaran lain
synthetic grass spread out on the floor. Arya also has
previous solo exhibition. If in his preceding work, Arya’s
another target in mind when he rolled out this synthetic
alter ego was monochromatic in color, this time the
Pelibatan found object seperti meja, kursi, dan gitar
hamparan rumput tersebut merupakan caranya
grass. According to him, the field of synthetic grass is
figure appears more realistic in multicolor and fabric
listrik juga menjadi lapis makna tersendiri. Benda-
mensubversi
saat ia menggelar rumput sintetis ini. Menurut Arya,
ruang
pameran
dengan
membalik
Maybe it’s not always about trying to fix something broken,
maybe it’s about starting over and creating something better, 2013
Papier-mâché, water color plants, teakwood table and chair (1 of 2 unique edition)
192 x 89 x 120cm
pieces arranged as pseudo-wings. Perched on a piece
persepsi antara ruang outdoor—yang egaliter dan
of wood, the figure seems to be offering self-criticism,
terbuka—dengan
that it has essentially contributed to the exploitation
tertutup dan berpihak. Namun demikian, hamparan
of nature—a bitter reality of the position taken by each
rumput sintetik juga bisa dilihat sebagai antitesis
person. The absence of sound-elements from this work
dari aspek domestikasi ideal (ramah lingkungan).
seems to emphasize a displacement of what is actually
Hamparan rumput sintetik yang sangat dominan di
the central point of the title (sing--> to create sound).
ruang pamer seperti merepresentasikan “kekuasaan”
However, the absence of sound is yet another layer of
sistem kapitalisme yang semakin menjauhi sikap arif
meaning, an ironic understanding of how Arya feels
dalam memanfaatkan sumber daya alam.
ruang
indoor—yang
cenderung
silenced even when he tries to (just) sing.
Karya“I sing to the music that comes from the madness
Another work that deserves scrutiny is “Maybe it’s not
of the heart #2” merupakan kelanjutan karya Arya
always about trying to fix something broken, maybe it’s
pada pameran tunggal sebelumnya. Jika pada karya
about starting over and creating something better”. Also
predecessor-nya sosok sang alter-ego berlapis warna
featuring a papier-mâché figure of the artist, the work
monokrom, kali ini si figur tampak lebih realistis
is furnished with a set of dining table and chair, made
dengan penggunaan warna lain dan pembubuhan
from teak wood. A personal statement, reflected in the
kain-kain perca sebagai sebuah pseudo-wings. Figur
choice of title, is supported by the figure’s placement:
yang bertumpu pada sepotong kayu ini sepertinya
sitting down, contemplating the leaves growing on the
hendak menyampaikan pesan self-critic bahwa ia
table. A character closely connected to the logic of
pun pada hakikatnya turut ambil bagian dalam
new plants growing out of new seeds, is an analogy of
eksploitasi alam—sebuah kenyataan pahit akan posisi
the choice of human endeavor in life. Often, the choice
yang ditempati setiap orang. Ketidak-hadiran elemen
of starting from zero, instead of following a less-than-
suara dalam karya ini seolah menggaris-bawahi
ideal pattern, is a more logical option for some people.
displacement dari unsur yang justru menjadi pusat
judul karya (sing-->suara). Namun dalam hal ini absensi
In “Garden of Delight”, Arya’s papier-mâché figure
suara menjadi lapis makna tersendiri, yakni dalam
is camouflaged within a row of planting shelves, as
pengertian ironis bahwa Arya merasa terbungkam
though offering an idea about the inherent quality of
bahkan saat berupaya (sekadar) bernyanyi.
man and nature. Domestic life is readily apparent in
this work, through the presence of shelves and pots—
Salah satu karya yang cukup menarik perhatian
objects easily found at home. Through this work, he
adalah karya “Maybe it’s not always about trying to
demonstrates his concern for nature on a domestic
fix something broken, maybe it’s about starting over
sense. His recent appreciation for mundane, every-
and creating something better”. Karya yang masih
day activities such as gardening, cooking, or recycling
menghadirkan sosok papier machie si seniman ini
scrap paper into papier-mâché, is the foundation
dilengkapi dengan satu set furnitur berupa meja
idea of this work. “Garden of Delight” seems to be
makan dan kursi, yang keduanya terbuat dari kayu
the heart of this exhibition. It demonstrates the
jati. Pernyataan personal yang tercermin dari pilihan
artist’s personality while also maintaining a strong
judul saling dukung dengan formasi si figur: terduduk
I sing to the music that comes from the madness of the heart #2, 2013
Papier-måché, fabrics, wooden base, acrylic paint
75 x 45 x 168 cm
Artist’s Plan (after Agus Suwage) , 2013
Garden of Delight , 2013
Papier-måché, watercolor plant, plexiglass, wooden box, lamp
Papier-mâché, water color plants, teakwood vase, teakwood rack (1 of 2 unique edition)
30 x 30 x 32 cm
240 x 42 x 190 cm
relationship with the many layers of meaning he
critiques of, or commentaries on, the oft-destructive
sambil mencermati ragam dedaunan yang tumbuh
bentuk masa depan yang serba tak pasti.
wishes to convey.
modern-day lifestyles, they are nonetheless conveyed
dari permukaan meja. Karakter tanaman yang dekat
Meskipun Arya tampak asyik dalam memproduksi
In parallel to the goal he wishes to achieve in “Garden
in a witty manner, fluid without being patronizing. He
dengan logika tumbuh dari benih baru, menjadi
berbagai objek berbahan dasar papier mache,
of Delight”, through “Brave New World” Arya seems
is able to do this because he has the conviction that
sebuah analogi bagi pilihan jerih payah manusia
namun ketertarikannya dalam performance art masih
to state his belief that an environmentally-friendly
both his lifestyle and artistic style are moving on the
dalam kehidupan. Terkadang memulai suatu upaya
terisisip di pameran ini melalui karya video “Dancing
attitude can be achieved through simple activities. A
right path.
dari nol, alih-alih melanjutkan suatu pola yang tidak
in the Dark”. Pada karya videonya ini alter-ego Arya
ideal, menjadi pilihan yang lebih logis bagi seseorang.
menarikan suatu koreografi unik yang memadukan
sculpture of his alter ego—also created using papiermâché—is layered with pieces of fabric formed into a
keriangan, ketenangan, sekaligus keliaran, saat ia
replica of wings. There is a gesture towards recycling
Asmudjo Jono Irianto
Pada karya “Garden of Delight” sosok papier mache
merespon irama estatis Bambu Wukir—pemusik yang
in the use of scrap fabric as seen on the figure itself.
Dinni Tresnadewi Nf
Arya berkamuflase dengan jejeran rak tanaman,
menggunakan instrumen khusus terbuat dari bambu.
Equipped with its recycled wings and a guitar, the alter
seakan menyampaikan gagasan tentang inherensi
Video ini diinstall pada sebuah fondasi skulptural
ego seems more than ready to face the “Brave New
manusia dengan alam. Aspek kehidupan domestik
yang terbuat dari kayu berbentuk stilasi rumah, seolah
World”, despite an uncertain future.
juga terasa dalam karya ini, dengan hadirnya rak
menyampaikan pesan metaforis tentang keberadaan
dan pot—suatu perangkat yang mudah ditemui dalam
alam sebagai rumah setiap insan manusia.
Although Arya seems to enjoy producing many papier-
keseharian sebuah rumah. Arya justru menampakkan
mâché based objects, his interest in performance art is
kepeduliannya terhadap alam dalam ranah domestik.
***
well-represented here, through “Dancing in the Dark”.
Penghargaannya—belakangan—terhadap
Gaya
In this video work, Arya’s alter ego dances a unique
keseharian
choreography that combines joyfulness, serenity,
mengolah limbah kertas menjadi bahan papier mache
organik dan tentunya berkarya seni, merupakan
and wildness, responding to the ecstatic rhythms
merupakan salah satu fondasi gagasan pameran ini.
sebuah kesatuan “paket” cara hidup Arya. Meskipun
of Bambu Wukir—the artist known for his use of a
“Garden of Delight”, seolah menjadi jantung dari
gagasan Arya ini bukanlah sebuah skema besar
special instrument created from bamboo. The video is
pameran ini; karena menghadirkan personalitas sang
aktivis lingkungan idup yang sering menjadi jargon
installed on a sculptural foundation made from wood
seniman sekaligus juga berelasi erat dengan berlapis
para seniman enviromentalis, namun ia menawarkan
and shaped to look like a stylized house. It seems to
makna yang hendak ia sampaikan.
sebuah solusi mikro yang efektif, dengan memberikan
seperti
berkebun,
kegiatan
memasak,
atau
be communicating a metaphoric message about the
hidup
kegemaran
hijau,
keasyikan
berkebun,
mendaur
mengkonsumsi
ulang,
produk
ajakan nyata untuk melakukan hal kecil dan keseharian
presence of nature as the home of every person.
Sejajar dengan tujuan yang ingin ia capai melalui
(quotidian) dalam rangka preservasi lingkungan hidup.
“Garden of Delight”, pada karyanya yang lain: “Brave
Karena itu, karya-karya Arya kendati merefleksikan
***
New World”, Arya seolah menyuarakan keyakinannya
kritiknya terhadap gaya hidup manusia masa kini yang
A green lifestyle, the joys of recycling, a delight in
bahwa untuk bersikap ramah lingkungan dapat dimulai
cenderung merusak alam, namun persoalan tersebut
gardening, consuming organic products, and of
melalui aktivitas yang sederhana. Karya berupa
disampaikan oleh Arya dengan cara jenaka, mengalir
course, creating artworks, are all part of Arya’s
patung alter-ego dirinya ini—masih berbahankan
dan tidak menggurui. Sebabnya, Arya saat ini telah
lifestyle “package”. Although Arya’s ideas are not to be
papier mache—ditempeli berlapis cercahan kain yang
dibekali dengan keyakinan bahwa cara hidupnya dan
confused with the grand scheme of an environmental
tampaknya merupakan replika sayap. Ada semacam
cara berkeseniannya berada dalam arah yang benar.
activist—often times appropriated as jargons by
“gestur” mendaur-ulang dalam penggunaan kain
environmentalist-artists—nevertheless,
bekas pakai yang digunakan si figur. Dengan berbekal
Arya
does
offer an effective micro-solution through his concrete
invitation to do small, quotidian things to preserve
our environment. Therefore, despite his works being
Dancing in the dark , 2013
Single channel video 11”, wooden house
75 x 51 x 179cm
sayap-daur ulang dan menenteng sebuah gitar, sang
Asmudjo Jono Irianto
alter-ego ini tampak siap menghadapi the “Brave
Dinni Tresnadewi Nf
new World”, meskipun dengan berbagai kemungkinan
ARTIST STATEMENT
ARTIST STATEMENT
‘Garden of Delight’ is part of my research looking into
Instalasi ‘Garden of Delight’ adalah bagian dari riset
tentang
the contradictory nature of the environment and urban
yang saya lakukan dalam mencari relasi pertentangan
penghamburan. Daripada menciptakan sampah, saya
ecology and its effects on social, cultural and economic
antara lingkungan, ekologi perkotaan dengan taktik
lebih tertarik untuk mengubahnya menjadi sebuah
survival today. The core concept of this installation is to
sosial, budaya dan ekonomi yang dilakukan manusia
keindahan. Saya memilih teknik papier-mache untuk
offer people an experience of the appropriation of public
dalam menjaga kelangsungan hidupnya. Konsepsi
membangun instalasi ini karena dengan itu saya akan
spaces, naturally only seen in outdoor areas, by artificially
utama dari instalasi ini adalah memberikan penawaran
selalu diingatkan bahwa kita dapat mengekspresikan
transforming the gallery space into a small public park. This
bagi orang-orang untuk turut merasakan dan mengalami
diri kita diluar kebiasaan dengan memanfaatkan
transformation flips our general understanding of ‘indoors’
atau bahkan beradaptasi dalam apropriasi ruang
berbagai elemen, benda, hal yang sederhana,
as private or personal space, while the ‘outdoors’ remains
public yang sewajarnya berada di luar ruangan dengan
mendasar dan dekat dengan keseharian serta
open and public. People are invited to enter the gallery
merubah ruang galeri menjadi sebuah taman secara
kehidupan kita. Karya saya banyak mengolah tema
and engage in activities that normally would take place
artifisial. Perubahan ini dimaksudkan untuk membalik
kerapuhan, kesementaraan, kesendirian, ingatan dan
outdoors; you can lie in the grass, read a book, enjoy cold
pemahaman umum kita terhadap pemaknaan tentang
pengalaman masa kecil, melankoli, keindahan serta
beer or just to chill with friends in this ‘Garden of Delight’.
ruangan tertutup yang diasosiasikan dengan pribadi
berbagai kebusukan yang berhubungan dengan isu
atau personal dan ruang terbuka yang diasosiasikan
keseharian dan lingkungan.
I am very interested in finding and reliving traditions that
dengan publik atau umum. Pengunjung diundang untuk
seem to be overlooked due to our fast-paced way of life and
memasuki galeri dan terlibat dalam kegiatan yang
our anxiety-pleasure with new things we experience today
biasa di lakukan di ruang terbuka; berbaring di rumput,
(technology, etc.). I get inspiration from things that are not
membaca buku, menikmati bir dingin atau bahkan
common anymore but that I enjoy the most; gardening,
hanya untuk bersantai di dalam instalasi ‘Garden of
cooking, simple day-to-day activities in my household that
Delight’ ini.
mengkonsumsi,
membuang-buang
make my life better and more enjoyable.
Saya
sangat
tertarik
untuk
menemukan
dan
My goal in creating art is to show people that art is not
menghidupkan kembali tradisi yang telah diabaikan
just about consuming, wasting and dissipating. Instead
dikarenakan tuntutan hidup di masa kini yang
of creating garbage, I’m more interested in turning it into
serba cepat dan berbagai kecemasan-kesenangan
something beautiful. My installations are created using
terhadap berbagai hal baru yang hadir didalamnya
papier-mâché amongst other natural elements. It reminds
(perkembangan teknologi, dsb). Dalam hal ini saya
me that we can express ourselves in ‘out-of-the-ordinary
menemukan inspirasi melalui kegiatan sederhana dalam
‘ways, utilizing simple and basic elements, things and
kehidupan sehari-hari seperti berkebun, memasak dan
objects that remain close to our lives. My work explores
berbagai kegiatan rumah tangga yang membuat hidup
I sing to the music that comes from the madness
of the heart #2, 2013
saya menjadi lebih baik dan menyenangkan.
beauty and decay associated with environmental issues in
Papier-måché, fabrics, wooden base, acrylic paint
Bagi
everyday life.
75 x 45 x 168 cm
menunjukan kepada orang bahwa seni tidak hanya
the theme of fragility, temporality, loneliness, memories
and childhood experiences along with the melancholy,
saya,
tujuan
berkarya
adalah
untuk
Untitled, 2013
Gouache and acrylic paint on thick hand made paper
49,5 x 34,5 cm
dan
Maybe it’s not always about trying to fix something broken, maybe it’s about starting over and creating something better, 2013
Papier-mâché, water color plants, woodcut on teakwood table and chair (1 of 2 unique edition)
250 x 89 x 120cm
Garden of Delight , 2013
Papier-mâché, water color plants, teakwood vase, teakwood rack (1 of 2 unique edition)
240 x 42 x 190 cm
ARYA PANDJALU
Arya Pandjalu work focuses on social and personal
Karya-karya Arya Pandjalu memiliki fokus pada narasi
narratives which he tells through installation, print
persoalan sosial dan personal yang ia ceritakan kembali
making, painting, sculpture and performance. Arya
melalui instalasi, karya cetak, lukisan, patung dan seni
uses various media in his work to communicate and
performa. Arya terbiasa menggunakan media dan medium
transform his ideas. Lately,
seni berbeda untuk menyampaikan
his focus has shifted to paper,
dan
a medium he finds simple and
Belakangan ini Arya fokus berkarya
unique, often found in the
dengan
traditional arts and above
sebagai media utamanya. Hal
all, is environment friendly.
ini dikarenakan kertas memiliki
For Arya, working with paper
kualitas tersendiri dalam bentuk
takes him on a journey back
kesederhanaan, dapat ditemukan
to his childhood, a great
di mana saja, memiliki kaitan erat
inspiration in his work.
dengan tradisi serta kaidah seni
mewujudkan
ide-idenya.
menggunakan
kertas
dunia dan yang paling penting
Arya
in
has
several
participated
adalah
local
Bagi
and
ramah
Arya,
lingkungan.
bekerja
dengan
international projects and
menggunakan kertas membuatnya
exhibitions
the
seakan berada dalam perjalanan
Sama-Sama Mural Project
menelusuri memori masa kecil yang
2003 in San Francisco,
menjadi sumber inspirasinya dalam
Landing
proses berkarya.
including
Soon
programme
at
Residency
Cemeti
Art House in Yogyakarta in 2006, and a residency
Arya Pandjalu secara aktif terlibat dalam berbagai
at Kosmopolis in The Netherlands in 2010. He is
proyek kesenian dan residensi di tingkat regional dan
permanently based in Yogyakarta, where he continues
internasional seperti ‘Sama-Sama Mural Project 2003’
to work on upcoming projects including SEA+ Triennale
di San Fransisco, program residensi seniman ‘Landing
2013.
Soon’ di Cemeti Art House Yogyakarta tahun 2006
dan ‘Residency at Kosmopolis’ pada tahun 2010 di
Belanda. Tinggal dan menetap di Yogyakarta kini Arya
sedang mempersiapkan diri untuk berpartisipasi dalam
pameran SEA+ Triennale 2013.
Brave New World, 2013
Papier-måché, auto paint, acrylic paint, fabrics and electric guitar
95 x 37 x 158 cm
The Worl is Yours #1 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #2 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #7 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #3 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #4 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #8 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #5 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #6 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
The Worl is Yours #9 (Drawing Series) - 9 Series, 2012
Watercolor on paper, 42 x 29,7 cm
ARYA PANDJALU
Born on July 26th, 1976, Bandung, West Java, Indonesia.
Lives and works in Yogjakarta, Indonesia
www.aryapandjalu.net
2007
Education:
1995-2000 Print Making Department at the Indonesia Institute of
the Art, Yogyakarta, Indonesia.
Solo exhibitions:
2013
2012
2009
2008
2004
Garden of Delight, BIASA ArtSpace, Jakarta
Soundgarden, ARK Galerie, Jakarta.
“Phone Number My Hand”, O House Gallery, Jakarta.
Lost, Andergrond, Den Haag, The Netherlands
ChiChitChuit, Parkir Space, Yogyakarta
2006
2005
Selected Group Exhibitions:
2013
2012
2011
2010
2009
2008
Steak Daging Kacang Ijo, Museum Dan Tanah Liat.
Art-JOG 2012, Taman Budaya Yogyakarta, Indonesia.
Jogja Agro Pop, Taman Budaya Yogyakarta, Indonesia.
Art Dubai, 2012.
Kembar Mayang, Museum Widayat, Magelang.
Re-Claim, Gallery Nasional, Jakarta.
Biennale Jogja XI – Equator #1
Beyond the East, Macro Museum, Roma
Beastly 2011, Cemeti Art House, Yogyakarta.
Ekspansi, Pameran Besar Patung Kontemporari Indonesia,
Galeri Nasional, Jakarta.
ArtJog #10, Taman Budaya Yogyakarta.
My Garden, The One Minutes Foundation; deBuren Brussel,
Central Museum Utrecht, Kunsthal KadE Amersfoort, Marres
Maastricht, NIMk Amsterdam.
City One Minutes, The One Minutes Foundation; Guangdong
Guagzhou, China.
Pufrok; Theater Zeebelt, Den Haag (NL).
ID-Contemporary Art Indonesia, Kunstraum, Berlin.
Cut 2010, New Photography from South east Asia, Parallel
Universe, Kuala Lumpur, Singapore, Yogyakarta, Manila.
Indonesian Art Now, Strategies of Being, Art Jogja,Yogyakarta
Emerging Wave, ASEAN – Korea, photo Exhibition, Korea.
SPACE and IMAGE, Ciputra World Marketing Gallery.
Art for AIDS, Bentara Budaya Jakarta, Indonesia.
CROSS/PIECE, 8th Gallery Canna, Jakarta.
Andergrond, The Hague, The Netherlands
Exposigns, 25th ISI Yogyakarta, Jogja Expo Center
Deer Andry, MES 56, Yogyakarta.
Jogja Art Fair #2, Spacing Contemporary, TBY Yogyakarta.
Blue Print for Jogja, Tembi Contemporary, Yogyakarta.
Open Daily, Biasa Art Space, Seminyak, Bali.
In Transition, Neme, National Centre of Contemporary Art,
Moscow, Russia.
In Trantition, Neme, Museum of Fine Arts, Ekaterinburg, Russia.
Landing Soon, Erasmushuis, Jakarta.
Red District Project, Koong Gallery, Jakarta.
Utopia Negativa, Langgeng Gallery, Magelang.
Interface, Open Space Gallery, Vienna, Austria.
2004
2003
2002
2001
2000
1999
1998
Jogja Biennale, Yogyakarta.
Kuota, Gallery Nasional, Jakarta.
Interface, Interbiennale, Gallery HIT, Bratislava, Slovakia.
BirdPrayers, with Sara Nuytemans, Sika Gallery, Ubud, Bali.
SISA, UTS Gallery, Sidney, Australia
Fetish, Object art project #1, Biasa Artspace, Kuta, Bali
In Trans Out, Via-Via Cafe, Yogjakarta
Tickle the Power, Erasmus Huis, Jakarta.
‘Landing Soon #1, Artoteek, DenHaag, The Netherlands.
‘Sedulur Gempa’, GoetheHaus, Jakarta.
‘Drawing from the stockrooms’ di Biasa Arts Space.
GANG Festival, New Indonesian visual Art and Single Channel.
Video, at Firstdraft Gallery, Sydney, Australia.
Re-Publik Art Project, Yogyakarta.
Calon Arang, Bilik Marsinah, Yogyakarta.
3in1, Cemara6 Gallery, Jakarta.
Omong Kosong, Cemety Art House, Yogyakarta.
Ruang Per Ruang #2.
3Annual MiniPrint, Lasendra, Bulgaria.
Exploring Medium, Bentara Budaya, Jakarta.
Fusion Strange , Yogyakarta-Singapore Performan Project
Benda Gallery, Yogyakarta.
“SamaSama / You’ re Welcome, An International
Contemporary Art and Cultural Exchange between Indonesian
(Apotik Komik ) and San Francisco ( Clarion Alley Mural
Project ), Intersection For the Art, SanFrancisco.
Street Art Festival at 509 gallery, San Francisco.
Mind Print, Lembaga Indonesia Francis, Yogyakarta.
Struggle& Creation, Erasmus Huis, Jakarta.
Performance Project, Fusion Strange, Indonesia-Singapore.
Mural Kota SamaSama, Yogyakarta.
Taring Padi, 24 Art, Northern Territory
Centre for Contemporary Art, Darwin, Australia.
Palu Art Forum, Palu, Sulawesi.
Festival Memedi Sawah, Delanggu.
Public Art Project, Ruang Rupa, Ciliwung, Jakarta.
Pameran Peduli Petani Organik, Yogyakarta.
PostCard, NGO-KOKO, Tokyo, Japan.
Residencies:
2012
2010
Artist’s Plan (after Agus Suwage) , 2013
Papier-måché, watercolor plant, plexiglass, wooden box, lamp
30 x 30 x 32 cm
Garden of Delight, 2013
Papier-mâché, water color plants, teakwood vase, teakwood rack
(1 of 2 unique edition)
240 x 42 x 190 cm
Bamboo Curtain Studio, Taipei, Taiwan.
Kunstraum Kreuzberg/Bethanien, Berlin, Germany.
KOSMOPOLIS, The Hague, The Netherlands.
2007
Andergrond, The Hague, The Netherlands.
Sika Gallery, Ubud, Bali
2006/07 ‘Landing Soon #1’, Cemeti Art House (program in
collaboration with Artoteek (Heden) Den Haag, Yogyakarta
2003
CAMP ( Clarion Alley Mural Project ) and Apotik Komik,
San Francisco, USA.
AWARD Winner Spilzman Award 2010.
IMAGES FROM THE EXHIBITION
The conception of BIASA ArtSpace was a natural
response to founder Susanna Perini’s many encounters
with young artists in Java, Yogyakarta and Bali. BIASA
ArtSpace’s first gallery in Bali was established in 2005
with the intent to present progressive Indonesian
contemporary artists to the public along with other
international artists inspired by Indonesia.
It’s expansion into the city of Jakarta is an endeavor to
generate an original platform for debate;
an alternative space that could act as a stimulus and
a free port for art practice and a provision for sociocultural understanding. The gallery strives to become
an alternative window intended to redirect and inspire
both local and global art institutions in building
a dynamic cooperation between art, fashion, cultural,
social and political disciplines in both creation and
creative tension.
This catalogue accompanies the exhibition:
GARDEN OF DELIGHT
Arya Pandjalu
January 25th - March 31st, 2014
No rights reserved. All part of this publication may be reproduced, stored
in retrieval system, or transmitted in any form by any means, electronic,
mechanical, photocopying or otherwise, with prior permission
of BIASA ArtSpace
Copyright of artwork images belong to BIASA ArtSpace
and their respective artist, and essays to the respective authors
Catalogue Design BIASA BALI
Exhibition Essay Asmudjo Jono Irianto & Dinni Tresnadewi NF
Artwork Images Antonio Sebastian Sinaga, Obscura Oddities , Arsa Wijaya
Event images Obscura Oddities
Artist Image Rony Wibowo
Published By
© 2014
www.biasaart.comJalan Raya Seminyak 34 Kuta . Bali 80361
Indonesia . t. +62 (0)361 8475766