Friday, August 21, 2015

unguarded guards & We Went Wild by Agugn Prabowo

-->

AGUGN PRABOWO

unguarded guards
Jogja Contemporary
opening: 7 pm Thursday 3 September 2015
the exhibition is until 23 September 2015
artist talk 4 pm Friday 4 September 2015

We Went Wild
Krack Studio
opening: 7 pm Saturday 5 September 2015
the exhibition is until 5 October 2015
papermaking workshop 3 pm Saturday 12 September 2015

Curated by Roy Voragen

Jogja Contemporary and Krack Studio collaborate to show new works by Agugn Prabowo (Bandung, Indonesia, 1985; agugn.tmblr.com). He graduated in 2010 from the Institute of Technology Bandung’s art school, where he studied at the printmaking studio. Today, he is well known for his art utilizing the printmaking technique linocut.

In his previous artworks, the artist explored the ambiguous notion of fear; the ambiguity of fear revolves around the issue that fear, while generally unwanted, can have unexpected yet ultimately worthy consequences. The new body of work expands on this concept and centers on the idea of how paradoxical protection actually is. The artist became a father two years ago and fatherhood shed new light on his life and life’s priorities. He wants to protect the infant – named Lino Apta – and keep him safe from harm, however, he knows, in anxious anticipation, that protection has its limits, hence the paradox…

In his solo exhibition unguarded guards at Jogja Contemporary, he shows a new series of works using linocut, photolithography and a combination of the two techniques, printed on hand-made paper. And in his solo exhibition We Went Wild at Krack Studio, he shows a hand-made artist book (in an edition of 10, also available as a digital offset print version, and each page framed as well), which is a collaboration with his child, using linocut and letterpress techniques.

Jogja Contemporary
http://jogjacontemporary.net/
Kompleks Jogja National Museum
Jl. Prof. Ki Amri Yahya no. 1
Gampingan
Yogyakarta 55167
+62 85109881919
+62 818260134

Krack Studio
http://www.krackstudio.com/
Jl.D.I. Pandjaitan
RT42/RW12
Mantrijeron
Minggiran
Yogyakarta 55141
+62081977184678                                 

unguarded guards - exhibition by Agugn Prabowo

unguarded guards is a solo exhibition by Agugn Prabowo at Jogja Contemporary, 3-23 September, 2015. For my catalog essay see here.

Tuesday, August 11, 2015

Wednesday, April 15, 2015

looping loopholes - curatorial essay

Download the curatorial essay for looping loopholes here, looping loopholes is an exhibition by Duto Hardono, Muhammad Akbar and Rizki Resa Utama (aka OQ) at Yeo Workshop, Singapore, 24 April - 15 June, 2015.

Thursday, March 19, 2015

looping loopholes

 
Duto Hardono
Muhammad Akbar

Yeo Workshop, Singapore, 24 April – 15 June 2015

Opening: Friday 24 April, 6-9pm

Talk: Saturday 25 April, 2-3.30pm
moderated by Michael Lee 

Curated by Roy Voragen

Language in all its shapes and forms is what gives us body. We whisper, we yell, we argue, we declare, we state this and that. We listen, we pretend to listen. We look, gaze, stare. We are seen-not-seen. We try to understand. We don’t understand, no, not at all. We paint in lush brush strokes. We scribble notes on the city’s walls, we write dissertations on the fall of the re/public. We read philosophy, poetry and prose. We take, post and like photos. We read out loud. We wink, we show the finger. We contradict ourselves. We fail. We fail again. We start over…

Occasionally, we speak in riddles and tongues, including slips. Our streets are cacophonic. Voices and counter-voices inhabit our cities.

Specters of a past are here to haunt us, through movies or monuments immortalizing our sins.

A city without people is no longer a city. A city would turn quickly into a ruin of asphalt and concrete without us – merely a collection of potholes.

A city means many things. It also means this: to fail, to fail again and then try again.

The exhibition deals with the repetitive, reflexive interaction between people, space/place and time. With flair and a good sense of humor, the artists raise the question whether we can embrace mistakes as a blessing in disguise. Breaks and tears, chance and change are inevitable, even though only slightly visible/audible at first, when an action is – or: has to be – repeated over and over again. Failure and a deviation from perceived standards are common treads to who we are/can be(-come) in particular places and times (including how we are perceived and received by others in public and private instances).

Poster design by Endira FJ.

Tuesday, December 30, 2014

booklet Dear Curator Curate Me/Yogyakarta

Download the Dear Curator Curate Me booklet here.
April/May 2014 Dear Curator Curate Me was organized in Yogyakarta in collaboration with Cemeti Art House and Ruang MES56. In Yogyakarta, three curators participated: Mira Asriningtyas, Pitra Hutomo and Grace Samboh. The booklet is designed by Arthel Tagnipez and handmade by ASNARUPA.


meet-up between curators & artists @ ArtStage '15


January 22, I'll participate at a meet-up between curators & artists at ArtStage '15 in the Latent Spaces booth (no. H1a), which is organized by Michael Lee.

Tuesday, November 25, 2014

manifesto #superduperdecorativeart

manifesto #superduperdecorativeart

1. #superduperdecorativeart comes by many names and in different disguises.

2. We will no longer allow for any more boring art!

3. What cannot be said, should be joked about.

4.

5. #superduperdecorativeart is beyond beauty yet aesthetic.

6. #superduperdecorativeart is artificial and characterized by a high-degree of plasticity.

7.#superduperdecorativeart has no clear-cut genesis, it's and continuous to be the bastard child of a great many artists, with and without talent.

8. No one is an artist until one is an artist.

9. #superduperdecorativeart embraces mimetic desire: that our desires are our own is a wonderful illusion.

10. #superduperdecorativeart has limited use for authenticity. Authenticity can be regarded a useful artifice though.

11. #superduperdecorativeart plays with an infinite feedback loop: reflexive self-plagiarism is called for in our digital modernity.

12. #superduperdecorativeart quotes, samples, pirates, forges, bootlegs, imitates, borrows, mimics, copies transposes, plagiarizes, steals, appropriates and echoes from whatever sources we see fit: nothing is holy.

13.

14.

15. #superduperdecorativeart's interventions are unpredictable and unstable – long live contingency!

16. #superduperdecorativeart does not spell everything out, use your imagination anyway you like to finish works on display.

17. #superduperdecorativeart does not aim to bridge contemporary art and everyday life, whatever the latter might mean, but see statement 12.

18. #superduperdecorativeart does not make statements, let alone statements on factual reality.

19. Pure logics does not apply to the aesthetics of #superduperdecorativeart, which does not mean that #superduperdecorativeart is beyond discourse, but, for a change, lets speak in French tongues, paradoxes, lies, hyperboles and contradictions.

20. Sometimes a shoe is just that: a shoe. Sometimes a shoe does not signify or symbolize a meaningful concept or idea (but sometimes, maybe, it does).

21. #superduperdecorativeart does not care the slightest for democracy, but does care about/for aesthetics as well as ethics (the two sides of the same proverbial coin).

22. #superduperdecorativeart is post-post-colonial art as well as post-identity politics.

23. #superduperdecorativeart offers pleasure: emotional, spiritual as well as intellectual pleasure – but can also cause discomfort in the faint hearted. It is, therefore, best enjoyed in small doses in good company.

24.

25. Every day is a great day for #superduperdecorativeart; no one has the last word on #superduperdecorativeart, not even the artist (nor this author).

26. #superduperdecorativeart does not want to win popularity contests, yet, #superduperdecorativeart might, one day, go viral and become the neo-avant-garde, possibly the new 0.1 percent.

27. None of the above statements have any claim to originality. Moreover, this manifesto is far from complete (like noise, silence can be convenient).

28. The author cannot be hold responsible for the interpretations of this work of fiction.

29. Copyright does not apply to the above statements nor the manifesto as a whole.

30. None of the above statements nor the manifesto as a whole are manifestations of art.

31. Needless to say, the artist does not agree with any of the above statements nor with the manifesto as a whole.

Thursday, November 20, 2014

Unoriginal Sin II - Art in the Expired Field - a solo exhibition by Asmudjo J. Irianto at LAF

Unoriginal Sin II
Art in the Expired Field

Solo exhibition by Asmudjo J. Irianto at LAF, Yogyakarta.

Opening: Friday 28 November 7.30 pm
Artist talk: Saturday 29 November

Exhibition runs until 28 December 2014

My text can be downloaded here.