- Umahseni

AN ARTHOUSE FILLED
WITH PASSION
AN ARTHOUSE FILLED
WITH PASSION
The first idea of umahseni came from Leo Silitonga’s
passion in art. With his educational background in
architecture (MBA in finance) and career in stock market, Leo realized that art needs market to progress.
More than that, art and its artists especially in Indonesia, need to be more appreciated and has to be better
known in bigger society. It said that an advanced
nation is a nation that appreciate its arts and artists,
so in order to actualized those vision, Leo said that a
balance is needed in all elements and infrastructures
of art, those include a balance between market and its
discourse.
So after years of enjoying and collecting arts, Leo and
his wife, Helen Koeswoyo decided to start umahseni
in 2007 with the objective of promoting works of
contemporary art from Indonesia and the Asia Pacific
region. They began their journey collaborating with
other galleries to hold painting exhibitions. In May
2008, for example, umahseni held Tommy Tanggara’s
solo exhibition, titled “A Soul Ever in Motion”, at Kuala
Lumpur Performance Arts Center (KLPAC), Malaysia.
In December 2008, in collaboration with CGartspace,
umahseni held another solo exhibition, also by Tommy
Tanggara, titled “The Covenant of Love”, at CGartspace
Plaza Indonesia. umahseni also took part in presenting a joint-exhibition at CGartspace Plaza Indonesia,
under the theme of “Semarak Biennale” (Biennale
Gaiety) in February 2009, and the subsequent group
exhibition, “Revisiting the Last Supper”, in April 2009.
Not just to serve its main purpose as a gallery, umahseni (art house in english) also provided spaces for
studio and artist’s resident. Living his past as an architecture student in Bandung Institute of Technology in
Bandung (ITB), West Java, Leo aware that many artists
from this city, especially from his almamater have a
great potential. So when umahseni has a place of its
own, at the end of 2009 they held their first exhibition,
a solo exhibition by a Bandung artist, an ITB almamater, who has been in Havana Biennalle 2000, Irwan
Bagja Dermawan (Iweng), titled “Fantasia: Panorama”.
Following the event, in March 2010, umahseni then
held a solo exhibition and accompanying book launching by Ronald Manullang, “The Final Judgement”
alongside a joint exhibition titled “Holocaust Exhibition”.
In July 29 – August 1, 2010, umahseni took part in the
Bazaar Art Jakarta event, held by Harpers Bazaar,
an international fashion magazine known for their
appreciation in art, at the Ritz Carlton, Pacific Place,
Jakarta.
On October 16 – 31, 2010, umahseni Gallery held an
exhibition of graffiti works titled “Wall Street Arts”,
presenting works by graffiti artists from France and
the USA. With that event, umahseni hopes that it will
create a cooperative environment for international artists and Indonesian artists.
umahseni will consistently hold exhibitions and art
events as a manifestation of its appreciation and concerns about the development and advancement of art
in Indonesia, as well as in Asia Pacific in general.
2011 projects:
12 – 16 January 2011, The Final Judgement, Ronald
Manullang Solo Exhibition, Artstage Singapore 2011,
Marina Bay Sands Exhibition & Convention Centre,
Singapore.
23 February – 1 March 2011, Alit Sembodo Solo Exhibition, Galeri Nasional Indonesia, Jakarta, Indonesia.
25 – 29 May 2011, Tromarama Solo Exhibition, Art
HK 11, Hongkong Convention Centre, 1 Expo Drive,
Wanchai, Hongkong.
June 2011, Alit Sembodo Book Launching, umahseni
@MentengArtSpace, Jakarta, Indonesia.
July 2011, Love Never Fails, Tommy Tanggara Solo
Exhibition, umahseni @MentengArtSpace, Jakarta,
Indonesia.
3 – 7 August 2011, Bazaar Art Jakarta 2011, The Ritz
Carlton Jakarta Pacific Place, Jakarta, Indonesia.
RONALD MANULLANG
THE FINAL JUDGEMENT
by Rifky Effendy
Ronald Manullang presents The image Hitler in a
new identity: the despot has the body of a female
who is pregnant and later gives birth to a baby. Here
the painter borrows from the image of the holy lady,
the Virgin Mary, of the Roman Catholic iconography
from the Classic to the Enlightenment era. Numerous
painters have depicted the Virgin in paintings that we
can now see in European churches. To make those
paintings, the painters visually interpreted the biblical texts as well as the images or sculptures of the
previous eras. In this exhibition, Ronald Manullang represents these images in the series of paintings titled
The Final Judgement or, in Indonesian, Penghakiman
Akhir. He started to make these paintings in mid-2009.
The series The Final Judgement serves as a monument to humanity, subjectively produced. Ronald creates the images using the logic of modern technology,
by employing photo-realism. Here he dissects the
Führer’s body, taking advantage of the flexibility of the
digital technology, embedding it into a female body. He
then gives the image the tone of life after death and
provides it with a dramatic and peculiar lighting. The
process to paint the image on the plane of the canvas
constitutes the stage in which he proves his technical mastery, as well as the phase in which his ideas
are perfected. To apply the paint is akin to breathe
life into the post-auratic image, producing a hybrid
image of a new human being in a dramatic moment
full of beauty, sanctity, elegance, and at the same time
also of silence and horror. He presents such images
to remind us constantly about the dark side of our
civilization.
—
Ronald Manullang born in Tarutung, North Sumatra,
Indonesia, 1954. Education: 1974 — 1981 ASRI ( Indonesian Institute of Arts ) Jogjakarta, Indonesia.
Crucifixion. 2009, Oil on Canvas, 200 x 180 cm
Solo Exhibitions
2011 “The Final Judgement”, Artstage Singapore
2010 “The Final Judgement”, umahseni at
MentengArtSpace, Jakarta, Indonesia.
Selected Exhibitions
2010 Art Paris, “The Grass Looks Greener Where You
Water It”, Grand Palais, Champs-Elysees, France |
“Artpreneurship”, Ciputra World Gallery, Jakarta,
Indonesia.
2009 ”Biennale Jogja X”, Jogjakarta, Indonesia | “Revisit Last Supper“, CGartspace & umahseni, Jakarta,
Indonesia | “Objective Border“, Srisasanti Arthouse |
“In Rainbow“, Esa Sampoerna Art House.
2008 “Seksi Nian: 69“, Jogja Gallery, Jogjakarta,
Indonesia | “Manifesto“, Galeri Nasional Indonesia, Jakarta, Indonesia | “Expanding Contemporary Realism“,
Akili Museum, Jakarta, Indonesia.
2007 “Icon – Retrospective“, Jogja Gallery, Indonesia
| “Imagined Affandi“, Galeri Semarang and National
Archive House, Indonesia | “Illusi – Illusi Nasionalisme;
200 tahun, Raden Saleh“ ( Illusions of Nationalism :
Raden Saleh Bi-Centennial ), Jogja Gallery, Indonesia.
2006 “Bulan Purnama“ ( Full Moon ), Galeri Canna,
Jakarta, Indonesia.
2005 “Mata–Mata Jakarta“ ( Jakarta Eyes ), Galeri Nasional Indonesia, Jakarta, Indonesia | “Golden Palette“,
Jakarta, Indonesia | “Syair Pengantin“ ( The Bride’s
Poems ), Galeri Canna, Jakarta, Indonesia.
2004 “Olympics Art“, Nadi Gallery, The Pakubuwono
Residence, Jakarta, Indonesia.
2003 “Indofood Art Awards”, Galeri Nasional Indonesia,
Jakarta, Indonesia.
1982 ”Pameran Pelukis Muda seluruh Indonesia II (Indonesian Young Painters Exhibition)”, Ismail Marzuki Arts
Center, Jakarta, Indonesia
1980 ”Pameran Besar Seni Lukis Indonesia IV (Bienalle
IV)”, Taman Ismail Marzuki, Jakarta, Indonesia | “Pameran Pelukis Muda Seluruh Indonesia (Indonesian Young
Painter’s Exhibition)”, Ismail Marzuki Arts Center,
Jakarta, Indonesia.
1979 “Pameran Besar Pelukis se-Jawa (Java Painting
Biennale)”, Gedung Agung, Jogjakarta, Indonesia.
1978 ”Pameran Besar Seni Lukis Indonesia (Indonesian Painting Exhibition)”, Vredeburg Fort, Jogjakarta,
Indonesia.
1977 ”Pameran Seni Rupa Keabadian Apa ( PIPA ) I
(What Identity Art)”, Seni Sono Building, Jogjakarta,
Indonesia.
IRWAN BAGJA DERMAWAN (IWENG)
IWENG
by Agung Hujatnikajennong
Visually, Iweng’s paintings—both the Rimbaraya Syurganyata (1997) and Fantasia: Panorama (2009)—offer
us an adventure of imaginations about the imaginative world. In there we would be able to find elements
of the natural landscape and the universe—planets,
mountains, waterfall, craters, lakes, “cities”, twinkling
stars—but in their deformed shapes. Unlike the concept of deformation in formalistic paintings, however,
the deformations in Iweng’s paintings do not have the
objective of exploring the formal essence of objects.
Instead, the deformation resembles the effort to present an object it its radical and fantastic manifestation:
the nature in Iweng’s paintings is a cosmos without
a center, without perspectives, and without gravity. It
is full of mysteries. Planets are torn apart; cities are
swept into a vortex, mountains are flying, floating,
sometimes upside-down; islands are shattered, melt,
or wrung, transformed into tendrils that move out
of control, becoming smaller, and disappearing into
chasms. The sky is depicted as layered windows—
even every mountain and hill seems to have its own
sky. In some parts, we can see the irregular shapes
of nature become highly geometrical, but as a whole
they still retain their organic feeling, and even seem
“alive” owing to the rhythmical compositions. All of
them present the natural landscape that is impossible
to find in real life.
A Long Bridge to Another Space in Time. 2009, Oil on Canvas, 190 x 240 cm
We have been accustomed to the idea that painting
is a “representation of reality”. Of course, what we
mean by “reality” here is limited to the “visual reality” that we generally experience and perceive with
our naked eyes.
Armed with imaginations and fantasies, Iweng seems to equip himself with
a supertelescope, or a supermicroscope, in viewing the nature. He seems
to be exploring the space, shape, and visuals in the microscopic world, or
at the same time traversing the boundless universe, the vast galaxies. He
seems to have gained visual experiences from the two different realities of
nature—the microscopic and the macroscopic ones—and then combine and
present them all on his canvases. Rather than arranging everything in a
standardized visual rule, Iweng freely composes and arranges these visual
elements, making them to appear as “resembling something”, but something uncertain. He lays the emphasis on how successful he has been in
freeing his imaginations to ramble and give rise to fantastic shapes, rather
than on the visual elements or forms with direct reference to the natural
reality. Iweng’s wild imagination is the freedom of a music composer who
relies on improvisations to present the fantasia. Iweng’s presentation will
invite us into a panorama of his glimmering paintings.
- Enin Supriyanto
Iweng’s works can be linked to two interrelated issues.
The first one is his obsession for freedom, shaped by
his childhood dreams. Iweng’s experience of witnessing the disappearance of open spaces in the city
where he lives gives rise to an obsession to endless
vastness. The second one is the influence from the
music world, something that also preoccupies him.
His works can be viewed as the visual manifestation
of progressive-rock (prog-rock) music compositions,
which are also identical with fantasies. Prog-rock
music breaks through the usual structural boundaries of lines and chorus in rock music, with elements
of the classical, jazz, and world music that are longer,
wilder, and more dynamic and complex. The lyrics are
often conceptual and abstract. In prog-rock music, the
“marriage” with the harmony of classical music often
gives rise to an impression about a certain cinematic
and symphonic greatness. Iweng’s paintings on display today would not come to being without a profound
understanding about the prog-rock genre.
Irwan Bagja Dermawan born in Bandung, Indonesia
1971. Education: 1990 - 1997 Faculty of Fine Art ITB [
Bandung Institute of Technology ] Indonesia.
Currently lives and works in Bandung, Indonesia.
Solo Exhibitions
2009 ”Fantasia-Panorama” at umahseni gallery, Jakarta, Indonesia.
2008 “Atmosphereal”, Kuta Bali, Indonesia | “A Gift For
My City” Murals Attack at Pasupati Fly Over Bandung,
Indonesia.
2006 “Fantacity II”, Murals Attack at Kebon Kembang
Neighbourhood, Bandung, Indonesia.
2001 “Fantacity”, Murals Attack at Babakan Cianjur
Neighbourhood, Bandung, Indonesia | “Rimbaraya
Syurganyata”, Tebesaya Village, Ubud Bali, Indonesia.
2000 ”Facing the Monster”, Gate of Bandung Institute
of Technology, Bandung, Indonesia | “Traffic Meditation”, Buahbatu Bandung, Indonesia.
1998 “Freemagination”, Braga Bandung, Indonesia.
1997 “Heavenly Jungle”, Centre Culture Of France,
Bandung, Indonesia | “Menerawangi Tembok-Tembok
Gang”, Kebon Kembang Tamansari, Bandung, Indonesia.
Selected Exhibitions
2010 ”Post Psychedelia”, Selasar Sunaryo, Bandung,
Indonesia.
2009 ”Hybridization”, North Art Space, Jakarta, Indonesia | ”Semarak Biennale”, Art Fair at CGartspace,
Jakarta, Indonesia.
2008 ”Global Warming Kunst Kamera”, GWK Jimbaran
Bali, Indonesia.
2001 ”Bandung Art Event [ BAE ]”, R 66 Gallery, Bandung, Indonesia | “Hors Limite”, Workshop & Exhibition With Myriam Cathy [ France ], GSPI, Bandung,
Indonesia.
2000 “7th Biennale of Havana”, Cuba | “Blup Art”, West
Java Cultural Centre, Bandung, Indonesia.
Fantasia Underwater. 2009, Mix Media, Various Dimension
ALIT SEMBODO
by Hendro Wiyanto
Nabi Nuh. 2000-2001, Mixed Media on Canvas, 150 x 300 cm
Boris Series. 2000, Ink on Paper, 30 x 40 cm
“ It is also such atmosphere of darkness and absurdity that so far still enshrouds the event when the
artist took his own life... “
This is the impression that we will gain if we observe
the works by Alit Sembodo: The field of contestation
arising from the struggle between the ego (often
called the principles of reality, objectivity, and rationality) and superego (which we can consider as the principles of ethics and conscience) expands to become
something akin to a chaos in the realm of social reality, in which a variety of elements are challenging or
disrupting one another. The atmosphere of a “war of
all against all” is almost always depicted over a pitchblack background, which seems to harbor a longing
to present some unexplainable or impenetrable layer.
Some of Alit Sembodo’s paintings strongly show such
characteristics.
Amir Urip Alit Sembodo ( 1973 – 2003 ) was born in
Magelang, August 10, 1973. Education: ISI [ Indonesian Art Institute ] Jogjakarta, Indonesia.
It seems that the aesthetic strength of Alit Sembodo’s
works lie in such atmospheric description, which the
artist himself explained as merely a result of “clowning around”.
2001 ”Kelompok Sebelas”, Gelaran Budaya, Jogjakarta.
INA Gallery, Jakarta & Canna Gallery, Jakarta, Indonesia | “Tujuh Pendusta Profesional”, Taman Budaya
Jogjakarta & Rumah Seni AIR, Jakarta, Indonesia |
“Jogja Fine Art Community” (JFAC), Jogjakarta, Indonesia | “Pameran ber-5”, MOM Gallery, Jakarta, Indonesia | “Seni Rupa Campur Sari”, Galeri ISI Jogjakarta,
Indonesia.
The artist, for example, presented a range of peculiar
wayang figures. The wayang identity appears only on
the external attributes, such as the nobility’s crowns
or the king’s headdress that looks satirical. Such
figures are depicted as living in the modern era,
cruising on a surfboard or riding on a big motorbike
in the style of the cross-boys, crammed in a peculiar
atmosphere of struggle with figures that remind us of
thugs or guards. These figures seem to be spreading
out, without a center, existing in a vortex of chaos, a
struggle of no end. They show demonic expressions,
some are wearing sunglasses, appearing like blind
people who find it difficult to locate the right path on
which they must walk. It is such transformation from
an atmosphere of profound conflict to dark, funny,
and absurd visuals that we perceive as we look at Alit
Sembodo’s paintings. It is also such atmosphere of
darkness and absurdity that so far still enshrouds the
event when the artist took his own life...
Selected Exhibitions
2011 Solo Exhibition “In the memory of Alit Sembodo,
Sirkus Politik: Jagat Purba”, Galeri Nasional Indonesia,
Jakarta, Indonesia.
2009 “Solo Exhibition, Sketsa & Lukisan”, Koong Gallery, Jakarta, Indonesia.
2002 “Manusia 2002”, Dirix Art Gallery, Jogjakarta,
Indonesia.
2000 “Phillip Moris Indonesia Art Awards”, Galeri Nasional Indonesia, Jakarta, Indonesia | “Perupa Muda
2000”, Purna Budaya, Jogjakarta, Indonesia | “Shifting
Point”, Gelaran Budaya, Jogjakarta, Indonesia.
1999 “Affandi Prize”, Galeri ISI Yogyakarta, Indonesia |
“Phillip Morris Indonesia Art Awards”, Galeri Nasional
Indonesia, Jakarta, Indonesia | “Kelompok Segi Tiga” (
Azhar, Kiki, Alit ), LIP Jogjakarta, Indonesia.
Awards
2000 Phillip Morris Indonesia Art Awards
1999 Phillip Morris Indonesia Art Awards | 40th Indonesia Winsor & Newton Art Awards | ( Affandi Prize )
Pratisara Affandi Adhi Karya
TOMMY TANGGARA
PRIMITIVE COOL
by Rifky Effendy
The combination and application of colors on stylized
forms, anthromorphic forms, flora or fauna has given
Tommy Tanggara’s work a unique nuance. Reflecting
primitive image with bounding thick lines, it shows
a loose interweaving pattern. The Lay out of these
element remind us of Paul Klee’s works or perhaps
combined with Picasso’s paintings and sculptures. We
would probably see the influence of magical artistic
decorative reflection of H.Widayat. Patterns and motives that are intertwined on his canvases bring back
our memories to Papua’s wooden sculptures or Batik
design.
The talent to put together various artistic and cultural
sources is the key to the power of Tommy’s works. His
subject matters are based on everyday life, whether
social matters or self reflection; about dances, faces,
birds or religious themes and other, Through automatic stylization he creates attractive forms; honest
yet skilled in selecting varieties of colors and filling
empty spaces. Sometimes the spaces are completely
filled, other times he spreads out evenly with strong
yet calming mature colors. Often we can see totemlike shapes or odd creature.
Tommy Tanggara seems to be an artist who is devoted
to the formal force, yet does not discard the power
of representation. He creates a weaving of poetical
existence in his imaginative free world; a perspective
full of primitive passion in the field of symbols which
filled with modern sense.
King’s Heart. 2010, Carpaint on Fiberglass, 150 x 150 x 60 cm
—
The king’s heart is like a stream of water directed by
the Lord, he guides it wherever he pleases.
Proverbs 21:1
Nearly everyone has been hurt by the actions or words of another. These
wounds can leave you with lasting feelings of anger, bitterness and even
vengeance. By embracing forgiveness, you embrace peace, hope, gratitude
and joy. Forgiveness can even lead to feelings of understanding, empathy
and compassion for the one who hurt you. Forgiveness doesn’t mean that
you deny the other person’s responsibility for hurting you and it doesn’t
minimize or justify the wrong. You can forgive the person without excusing
the act. Forgiveness brings a kind of peace that helps you go on with life.
We all have to have a king’s heart, big and shiny heart that is not easily
broken. Even though he is experiencing unpleasant situations, wisdom to
forgive will be with him.
Tommy Tanggara born in Jakarta, July 6, 1969.
Education: Visual Art and Design Faculty, ISI [ Indonesian Art Institute ], Jogjakarta, Indonesia.
Solo Exhibitions
2009 ”Hey God”, Sangkring Art Space, Jogjakarta,
Indonesia.
2008 “The Covenant of Love”, CGartspace, Plaza Indonesia, Jakarta, Indonesia | “Soul Ever in Motion”, Kuala
Lumpur Performance Arts Center ( KLPAC ), Kuala
Lumpur, Malaysia.
2005 “Yaaa…..Itu !!!!”, Museum dan Tanah Liat, Jogjakarta, Indonesia.
2004 ”Form Evolution”, The Japan Foundation, Summitmas, Jakarta, Indonesia.
Selected Exhibitions
2010 “Alternative State”, Festival Seni Surabaya 2010,
Balai Pemuda, Surabaya, Indonesia | “Indonesia Art
Award 2010”, Galleri Nasional Indonesia, Jakarta,
Indonesia.
2009 ”Jogja Jamming”, Biennale X, Public Space,
Jogjakarta, Indonesia | “Exposign, 25 tahun Indonesia
Institut of Art Jogjakarta”, Jogja Expo Centre, Jogjakarta, Indonesia.
2008 “Manifesto”, Galeri Mini, Galeri Nasional Indonesia, Jakarta, Indonesia | “RE-Form”, Langgeng Art
Project, Nitiprayan Jogjakarta, Indonesia | “Indonesia
Art Award 2008”, Galeri Nasional Indonesia, Jakarta,
Indonesia.
2006 “Drawing”, Museum dan Tanah Liat, Jogjakarta,
Indonesia | “Drawing”, Biasa Art Space, Kuta, Bali,
Indonesia | “Homage 2 Homesite”, Jogjakarta National
Museum, Jogjakarta, Indonesia.
2003 “Dolanan”, Museum dan Tanah Liat, Jogjakarta,
Indonesia | “The Beppu Asian Contemporary Art Exhibition 2003”, B-Con Plaza, Beppu City, Japan | “No
Body”, Galeri Mon Décor, Jakarta, Indonesia.
2002 “Indofood Art Award 2002”, National Museum,
Jakarta, Indonesia | “Indofood Art Award 2002”, Agung
Rai Museum of Art, Ubud, Bali, Indonesia.
1991 – 1999 ”Kelompok 91”, Ganesha Art Gallery Jogjakarta, Indonesia | “Jogjakarta Art Festival”, Vredeburg
Place Jogjakarta, Indonesia | “Dies Natalis”, Indonesia
Institute of Art Jogjakarta, Indonesia.
Awards
2008 Indonesia Art Award 2008 | 2003 The Beppu Asia
Contemporary Art Exhibition | Pratisara Affandi Adikarya
| McDonald Price | 2002 Indofood Art Award 2002
UTIN RINI ANGGRAINI
THE INSPIRING WOMAN
by Leo Silitonga
At the end of 2007, as one of the members of Gelaran
group that had given to big artists such as Dipo Andy,
Galam Zulkifly, Alit Sembodo, Utin painted with a different visualization. Using bright colors and shaping
technique or silkscreen. Very attractive with various
bright colors merged in provocative design layout. But
on the other hand, Utin still plays in the area bordering between beauty and gloom.
this projects becomes very interesting to observe in
the context of contemporary popular art.
In the series “The Great Asian and Sensuality”, Utin
uses the Icon portraits of adult film stars as the
subject of her paintings. The facial expression of
these adult film stars are used as a basic in conveying
various problems around the relations between the
shining, the bright and the dazzling, with the gloom
hidden in the life of the models of her artworks. Utin
works on the big theme regarding her explorations
to the sensuality of Asia. Most of the artworks in this
series are already spread out at the hands of foreign
collectors through a gallery in Singapore.
Selected Exhibitions
2010 “Carpe Diem“, Phillo Art Space, Jakarta, Indonesia | “Dua Kota Dua Cerita“, Semarang Gallery,
Semarang, Indonesia | “Room is Mine“, Edwin Gallery,
Jakarta, Indonesia.
Utin developed her artworks to be a part of the daily
popular life, created along side the lives of the socialites of the big cities. Her new series at artwork is
theme “The Inspiring Woman”.
Women who became models in this series of artworks
came from the big cities socialites, the inspiration
source for their partners and their surroundings, from
female leader of an organization, model, to a housewife. Utin tried to captured the sensuality in these
women’s faces in her artworks.
The dark and light colors are the dark and light
aspects of the women in the painting works, while the
colorful dots are the colors of the women’s lives. It is
as if the women in the paintings are expressing their
dreams or fantasy through the layers of the colorful
dots to the people who are appreciating the artworks,
more personally to their life partners. It is hoped they
would love or appreciate more to what these women
had done in their lives.
Chicha. 2009, Acrylic on Canvas, 180 x 160 cm
“ As if the women in the paintings are expressing
their dreams or fantasy through the layers of the
colorful dots to the people who are appreciating the
artworks “.
These artworks series are also an effort of the contemporary art that increasingly needs an audience
base to realistically support and live with. Popular
artworks that are sustained by the socialites themselves; people who are a part of those artworks will
truly becoming a part of the owner’s life. Therefore,
the choices of who the objects are in the paintings in
—
Utin Rini born in Pontianak, Desember 18, 1976.
Education: Graphics Design Dept. ISI [ Indonesian Art
Institute ] Jogjakarta, Indonesia.
2009 “Expo Sign“, Jogja Expo Center, Jogjakarta, Indonesia | “Borderless World“, Taman Budaya, Jogjakarta,
Indonesia | “Hello Print“, Edwin Gallery, Jakarta, Indonesia | “Kunduran Truk“, Kersan Art Space, Jogjakarta,
Indonesia | “Hang Out“, Graphics, Kedai Belakang,
Jogjakarta, Indonesia |“TENGGARA“, Contemporary
South East Asia, Novas Contemporary Urban Centre,
Liverpool, England.
2008 “Singapore Art Fair”, Singapore | “888“, Bale
Black Box, Jogjakarta, Indonesia | “Art Triangle”, Soka
Gakkai, Malaysia | “Komedi Putar“ Jogja Gallery, Jogjakarta, Indonesia | “Untukmu Perempuan Indonesia“,
Gedung Arsip, Jakarta, Indonesia | “Lullaby“ V-Art
Gallery, Jogjakarta, Indonesia.
2007 “iBUMI, Global Warming Kunstkamera“, Garuda
Wisnu Kencana, Bukit Ungaran, Bali, Indonesia | “Ride
The Lighting“, Parking Space, Jogjakarta, Indonesia.
2003 “Age-hibition“, Edwin Gallery, Jakarta, Indonesia.
2002 “Kecil Itu Indah“, Edwin Gallery, Jakarta, Indonesia | “Phillips Morris Indonesian Art Award“, Galeri Nasional Indonesia, Jakarta, Indonesia | “ASEAN Culture
Week“, Siem Reap, Kamboja | “Cerita Kita“ Graphics,
Gelaran Budaya, Jogjakarta, Indonesia.
Awards
2002 The Best Graphic Design ISI Jogjakarta |
Top 100 Finalist Phillips Morris Indonesian Art Awards |
2000 The Best Graphics Design ISI Jogjakarta
EDO PILLU
STORY OF CHILDREN
by Leo Silitonga
I’ve never given much thought before about a child
portrait painting. To me it is just that . . . a painting
- albeit a beautiful one. But recent experience has
changed my perception. Now I see this kind of portrait
painting as a memento. It carries memoir, it tells us
stories, reminds us the importance of the child or
being a child.
Very young children when they interact with people,
they hold no reservation. They see the world with clear
wide open eyes – full of curiosity and hold no judgment. They are ignorant of skin color and economic
classes. However as children get older and acquire
more experience, they seem to build up walls and barriers. They start to treat people differently, based on
their outward appearance or based on other judgmental factors. The lens from which they view the world
has become clouded and discriminative. Innocence
and naivety are soon forgotten. This I notice.
Edo Pillu, an accomplished artist, who won Philip
Morris award and whose works have been exhibited
in so many countries, has an interesting take on this
subject. He’s a voracious reader of philosophy books
and a deeply philosophical person. I found him to be
an engaging person to talk to. Through discussion
with him, I understood that he finds children to be
a source of wonderment. It’s their innocence, their
naivety, their ability to see things a fresh with no judgment. And he is most fascinated by their eyes as he
feels that they are the most expressive. Even as they
are being mischievous, there is always some level of
purity, sense of innocence, freedom of not being burdened by preconceptions or guilt. Through their eyes,
you can see wonders and heaven.
—
Edo Pillu born in Bandung, Indonesia, June 5, 1969.
Education: 1990-1997, ISI Fine Art Dept [ Indonesian
Art Institute ] Jogjakarta, Indonesia.
Kevin. 2009, Mixed Media on Canvas, 200 x 180 cm
Solo Exhibitions
2009 “Between Wall & Sky”, Vanessa Art Link Gallery,
Jakarta, Indonesia | “District 978”, Beijing, China |
“Infinite Juxtaposition ( penjajaran tak terpermanai )”,
Emmitan Gallery, Surabaya, Indonesia.
2007 ”To Whom It May Concern”, KOONG Gallery,
Jakarta, Indonesia.
2000 “Menungso (Human)”, AIR Art House, Jakarta,
Indonesia.
1999 ”Foot Note On Coarseness”, France Cultural Center, Jogjakarta, Indonesia.
Selected Exhibitions
2010 “U(Dys) Topia”, Freies Museum, Berlin, Germany
HFBK Showroom, Dresden, Germany & Koln, Germany | “Let’s Bounce”, Vanessa Art Link, Jakarta Art
District, Jakarta, Indonesia.
2009 ”Biennale Jogja X”, Jogja National Museum,
Jogjakarta, Indonesia | “Kado”, Nadi Gallery, Jakarta,
Indonesia | “A Maze”, Public Art Project, Pacific Place,
Jakarta, Indonesia.
2008 ”Group Exhibition at KupuKupu Art Management”,
Jakarta, Indonesia | “Group Exhibition”, KOONG Gallery, Jakarta, Indonesia | “YA_SIIN”, Jogja Galery,
Jogjakarta, Indonesia | “MANIFESTO”, Galeri Nasional
Indonesia , Jakarta, Indonesia | “Indonesian Contemporary All Star”, Tujuh Bintang Art Space, Jogjakarta,
Indonesia.
2007 “Ivaa Book Aid”, Nadi Gallery, Jakarta, Indonesia |
“Opening New Place”, Koong Gallery, Group Exhibition,
Jakarta, Indonesia.
2006 “Top 30 Finalist”, Sovereign Asia Art Prize, Hongkong | “M.I.A.D VENADO TUERTO 2006”, Digital Art
Internacional, Provincial Museum of Fine Arts Rosa
Galisteo deRodríguez, Museo Municipal de Bellas
Artes Juan b.Castagnino, Argentina.
2005 “Art 4 ACEH”, Societet Militer, Jogjakarta, Indonesia | “Tali Kasih”, Edwin Gallery, Jakarta, Indonesia |
“JAVA FUNDAMENTAL”, Jenggala Gallery, Jimbaran,
Bali, Indonesia.
2004 “Multi Sub Culture”, Berlin, Germany | “Bazart”,
Vredeburg Museum, Jogjakarta, Indonesia | “Group
Exhibition”, YSRI Venue, Jakarta, Indonesia | “Abstain”,
Kucing Kota Gallery, Solo, Indonesia | “Olympiade”,
Nadi Gallery, Jakarta, Indonesia.
2003 “Infatuated”, Sun Jin Gallery, Singapore | “In
Between”, Andi’s Gallery, Jakarta, Indonesia | “Jogja
Fine Art Community Opening Ceremony Exhibition”,
Jogjakarta, Indonesia.
“THE ORNAMENT OF A HOUSE IS
THE FRIENDS WHO FREQUENT IT.”