book design by Endira FJ
published by Langgeng Art Foundation
email me to acquire a copy
for more photos see here
Friday, March 18, 2016
#superduperdecorativeart manifesto
book design by Endira FJ
published by Langgeng Art Foundation
email me to acquire a copy
for more photos see here
Tuesday, March 8, 2016
Saturday, March 5, 2016
What if? - Wiyoga Muhardanto at ABHK'16
Out of Joint - DiaLoGue Art Space, Jakarta
DiaLoGue Art Space is
proud to present the group exhibition Out
of Joint. This show presents the latest works of Yogyakarta-based artists
Rudi – aka Rudi Lampung – Hermawan (http://rudihermawan.weebly.com/), Prihatmoko Moki (http://prihatmokomoki.com/), and Malcolm Smith (he is originally from
Australia but he has been residing in Indonesia for many years, http://www.invisibleman.net.au/). In 2013, the three contemporary artists founded
the studio and exhibition space Krack Studi (http://www.krackstudio.com/) right in the middle of the exciting art
district of Yogyakarta. Krack! focuses on printmaking, specifically silkscreen
printing, and it has been able to push the medium of printmaking to keep it
very alive and kicking. This exhibition aims to show the versatility of the
silkscreen printing technique. Moreover, for the group show at DiaLoGue Art
Space, the three artists show as individual artists – they have created
collective and collaborative works in the past as well (and they will continue
to do so in the future) – they present new works that explore the fluid and
everyday contradictions of modernity and modernization: the contradictions of
modern labor, memory and desire. The show runs from March 16 to April 10, 2016.
For my curatorial essay see here.
Saturday, February 13, 2016
Thursday, February 4, 2016
Quiescent - solo exhibition by Syaiful Garibaldi at ROH Projects
opens Saturday 13 February
I contributed a concrete poem to the catalog, see here
Thursday, December 31, 2015
This is not an apple... artist talk
PLATFORM3
is pleased to present Bandung-based artist Faisal Habibi's artist talk in which
he will shares his thoughts on his first solo exhibition This is not an Apple... at ROH. In the past few years, Faisal
Habibi (Jakarta, 1984; ITB: 2003-2008; faisalhabibi.net) has shown a strong
sense of conceptual progression in terms of what he aims to communicate through
his works. He has an ability to transform objects that people are familiar
with, such as chairs, tables, brushes, hammers, and other things we commonly
determine to be necessarily utilitarian, into sculptures that appear ‘alive’,
or personified through manipulations of structural configurations. In the show
at ROH, Faisal takes his explorations deeper with regards to associations with
material culture. There is a sense of concision in his
work in terms of stripping his works to their most basic of components. It is
no longer the extraction or reduction of function in context of objects that
Faisal is most interested in, but rather an exploration of raw forms, colors,
and more importantly concepts that call for embodied interactions. He deals with the image of everyday
objects by enticing an aesthetic experience of materiality, i.e. material forms
and shapes, and materiality’s formal compositions. And for this formalist
approach, the concept of beauty is significant.
The exhibition is curated by Roy Voragen and runs until January 24, 2016, at ROH Projects, Equity Tower 40th Floor Suite E, SCBD Lot 9, Jl. Jenderal Sudirman Kav 52-53, Jakarta.
The
artist talk is organized by PLATFORM3 on Friday, January 8, 2016, 3 pm at Jalan
Cigadung Raya Tengah 40, Bandung.
Sunday, November 29, 2015
This is not an apple... by Faisal Habibi
This is not an apple...
a solo exhibition by Faisal Habibi
curated by Roy Voragen
for the catalog see here
at ROH Projects, Jakarta
opens 5pm Saturday 19 December 2015
until 24 January 2016
Equity Tower 40th Floor Suite E
SCBD Lot 9
Jalan Jend Sudirman Kav 52-53
Jakarta 12190 Indonesia
Bandung-based artist Faisal Habibi
(Jakarta, 1984) shows a body of new work in his first solo exhibition This is not an apple… at ROH Projects. Since
his graduation from ITB’s art school (2003-2008), Faisal Habibi’s main concern has
been and still is material culture. However, instead of playfully dealing with
the omnipresence and dominance of everyday objects and their functionality, as
in his previous works, he deals with the image of everyday objects by enticing
an aesthetic experience of materiality, i.e. material forms and shapes, and
materiality’s formal compositions. For this, beauty is significant and the
strategy he employs is one of dialog. The new works are spatially configurated
in such a way as to offer visitors an embodied aesthetic experience of the
formal, abstract compositions of each work and the body of works taken together
within the gallery setting. The sculptural compositions are staged to unfold
for all our senses.
Tuesday, October 20, 2015
Dangling Durians by Wiyoga Muhardanto
Dangling Durians
a solo project by Wiyoga Muhardanto
curated by Roy Voragen
Jalan
Suryodiningratan 37, Yogyakarta, Indonesia
opening: Monday 3pm,
November 2, 2015
until: December 2,
2015
Equator Art Projects
presents, in collaboration with Langgeng Art Foundation, Dangling Durians, the latest solo project by Bandung-based artist
Wiyoga Muhardanto (Jakarta, Indonesia,
1984), which is curated by Roy Voragen. Wiyoga, an ITB alumnus, is a prolific
artist who has participated in biennales, art fairs, group shows and residency
programs in Indonesia and abroad.
The artist shows his latest sculptures as a loosely constellated
installation in the subterranean area of Langgeng Art Foundation, as part of
Equator Art Projects, yet not in the actual gallery. For
Dangling Durians, spaces have been
switched: the locked-down gallery remains eerily empty for the duration of the
show, instead the non-exhibition space in front of the basement gallery is utilized, not in
criticism of the white cube but to tease urban questions to the foreground by
means of a subterranean detour.
The contemporary is
urban, and our built environment mediates, constructs, reproduces and,
intersected at certain times, contradicts relationships of power. Our
embodied relationship to objects always assumes a spatial setting and space is
never neutral, always coded by (conflicting) normativities. The sculptures are the miscellaneous fragments, the
discarded shreds, the hacked bits and pieces lifted out of our urban fabric.
With flair and wit,
Wiyoga created seven new sculptures and each combines unlikely, even
contradictory, elements, which is further amplified by grouping these
sculptures together as an installation. Each feature, whether as a ready-made
or remade by using resin, is one of our many urban fetishes, obsessions, fears,
guilty pleasures, anxieties, joys, etc…
For the curatorial essay see here.
Publication design by Endira FJ.
For photo documentation by Anang Saptoto see here.
Publication design by Endira FJ.
For photo documentation by Anang Saptoto see here.
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.
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