Tuesday, September 15, 2015
Wednesday, September 9, 2015
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
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
Tuesday, August 11, 2015
We Went Wild - artist book by Agugn Prabowo
Thursday, July 16, 2015
Wednesday, April 15, 2015
looping loopholes - curatorial essay
Download the looping loopholes catalog 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
Rizki Resa Utama (aka OQ)
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
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
Friday, October 3, 2014
Looking at the Big Sky - video art from Germany
'Looking at the Big Sky' is a traveling program by Goethe Institut (http://www.goethe.de) of 14 videos by students from four art schools in Germany: Braunschweig University of Art, Düsseldorf Art Academy, Academy of Media Arts, Cologne, and Academy of Fine Arts, Munich. The selection was made by Renate Buschmann (http://www.imaionline.de/) and Leonhard Emmerling. The videos range from fictional narratives and stagings to individual assertions and performances, from found-footage montages to pseudo documentaries. At the same time, two major perspectives crystallize in the works: 'The Beauty of the Familiar' aim towards personal introspection that divines meaning in the inconspicuous and unspectacular, 'Departures for Tomorrow' encompasses films seeking to formulate an outlook on the immeasurable and indeterminate. The choice of 'Looking at the Big Sky' is associated with the hope that the ideas and illusions knows no boundaries, that the sky is the limit. At the same time, it sounded like an appeal to the participating artists to venture a look at longings, utopias and great aspirations, and to think the existing concepts of authenticity and beauty beyond the present.
Opening: Friday 10 October, 2014, 7pm
Talk: Saturday 18 October, 2014
Speakers: Melati Suryodarmo & Deden Hendan Durahman
Duration: until Thursday 30 October, 2014
PLATFORM3
Jalan Cigadung Raya Tengah no.42, Bandung
Twitter: https://twitter.com/PLATFORM3_Bdg
At PLATFORM3, organized by Rizki Lazuardi and Roy Voragen
Thursday, August 7, 2014
Bandung Network 11
Sunday, July 20, 2014
Deden Durahman's solo exhibition Amorphous Amours
Amorphous Amours
Deden
Hendan Durahman
The body is to be compared,
not to a physical object,
but rather to a work of art.
Maurice Merleau-Ponty
The
Phenomenology of Perception
For his solo exhibition at RKFA,
Singapore, 17 July – 17 August 2014, Deden Hendan Durahman (Majalaya, Indonesia,
1974) presents his new series Amorphous
Amours (2014): multi-layered choreographies of serial de/re-constructed
and morphed bodies. Reconstruction on the level of
the pixel opens up the possible of the possible; therefore, there is an element
of contingency of what actual forms a concept takes – a pixilated flux of
becoming. The element of contingency of a pixilated flux of becoming
necessitates seriality. If actualizations of disparate fragments is not to
unravel in such a way that all that remains are fractures of the possible then
working in series is needed. A series offers a sense of unity – and meaning –
to fragments. The method of working in/on serial de/re-constructed bodies also
implies repetition. And repetition is key in performativity: body is an
unstable category – body as medium and concept in the work of Deden – over
time, gestural permutations allow for changes to occur. The mediated bodies in
Deden’s work are indexes of performativity. Our bodies are the primary sites of
the expanded field of knowing and remembering – or: ontology of the flesh. Memory
leaves imprints in and on our bodies. One body remembers and reminds another;
memory moves from body to body, re-touching us sensually, re-touching the
unfathomable geography of our bodies – to paraphrase Walt Whitman: For every
pixel belonging to me as good belongs to you…
Roy Voragen
Curator
Saturday, June 7, 2014
Amorphous Amours
--> -->
Amorphous Amours
A solo exhibition by Deden HendanDurahman at RKFA, Singapore
Curated by Roy Voragen
Opening: 17 July 2014
Until: 7 August 2014
Artspace@Helutrans
39 Keppel Road
#01-05 Tanjong Pagar Distripark
Singapore 089065
E info@rkfineart.com
T +65 6221 1209
F +65 6221 1249
For the catalog see here.
Monday, May 19, 2014
Dear Curator Curate Me: postscript - questions raised during the roundtable discussion at Cemeti Art House
-->
The
discussion on Dear Curator Curate Me (a travelling
-->
project by the nomadic
visual artist Kristoffer Ardeña)
at Selasar Sunaryo Art Space, Bandung, Indonesia, 19 May 2013, with
curators Rizki Lazuardi and Chabib Duta Hapsoro, focused on the
artist-curator relationships. The discussion at Cemeti Art House in
Yogyakarta, Indonesia, on the other hand, focused on the curatorial text. For Yogyakarta,
-->
the following curators were
invited: Mira Asriningtyas, Pitra Hutomo and Grace Samboh.
Here
are some of the questions that arose during the discussion at Cemeti Art House
(5 April 2014):
1. Why
ask curators to include all the 15 videos?
2.
Why can’t curators select videos she or he
wants to curate?
3.
Why can’t curators add more videos in the
selection? Curators felt like they were given an assignment instead of a
challenge.
4.
Is Kristoffer Ardeña acting as a
meta-curator? How is Dear Curator Curate
Me an artistic project?
5.
Are different models possible to express
curatorial intentions? Is it possible to make a video as a curatorial discourse
instead of writing a text?
6.
A researcher in the audience posed an
interesting point on the dilemma and difficulties of gathering data from past
exhibitions, if curators would opt to make non-text-based curatorial
discourses, how would this facilitate research on these exhibitions in the
future?
7.
What are the functions of texts within
curatorial practices?
8.
What are the relationships between the
curator and the artist(s)/artworks/exhibitions to the curatorial text? How to
engage with artists and their art as a curator?
9.
Who reads curatorial essays? Who is our
audience? Is there enough of a critical mass?
10. What are
the relationships between the curator and the public in relation to the
curatorial text?
11. Should
curators write curatorial texts that are readily understandable by the general
public?
12. Is
there such a thing as a curatorial art writing style?
Friday, April 11, 2014
Dear Curator Curate Me t-shirts
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