tag:blogger.com,1999:blog-54271673050154480542024-03-05T16:50:52.663-08:00indonesia art and cultureanything abaout Indonesia art and culture | from legend to contemporarysituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-5427167305015448054.post-43423166341381611662011-05-10T02:34:00.000-07:002011-05-10T02:34:33.937-07:00Women’s Facial Expression<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpcf1-MB8Vr1ldOBLI9rV33-kcBappZ_229X_C8Vqwl96X01gimQjI7S97wwRujS595IXMRHIM0DgCy8KBEGwqTg16QrqA79LqwN6fU9LxZUYc06Kvq9N7s4Ald2k5fR2-_uQFbblphoY/s1600/yaya2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpcf1-MB8Vr1ldOBLI9rV33-kcBappZ_229X_C8Vqwl96X01gimQjI7S97wwRujS595IXMRHIM0DgCy8KBEGwqTg16QrqA79LqwN6fU9LxZUYc06Kvq9N7s4Ald2k5fR2-_uQFbblphoY/s320/yaya2.jpg" width="320" /></a></div><br />
Yaya Sukaya demonstrated his expertise in managing space and perspective.<br />
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Teks and Photo by argus firmansyah<br />
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Women’s faces in various styles, forms, expression and having a close-up dimension on canvas seemed to be telling us a story. There is a mystical ambience in the faces of the women appearing in various points of view. Happiness, sadness, loneliness, cheer, hope, sadness, confusion, and other emotions seemed to be expressed to the maximum. <br />
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On the other corner there is an installation. A prototype of a stage that is standing upright at the cat walk of models. There is only one complete figure, a nude figure that wafted out in the dark. Only a little light shone on that figure. While the others, are merely heads with frail and brittle faces. <br />
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The dilemmatic nuance of the paintings sneaked in quietly among the boisterous crowd visiting the opening of Yaya Sukaya’s solo exhibition entitled Close Up in hall C, Indonesian National Gallery (Galeri Nasional Indonesia), Central Jakarta, Thursday (12/3) evening. <br />
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For the first time Yaya Sukaya held a solo exhibition in the National Gallery. It was officiated by Amir Sidharta, a renowned curator and art critic. “ Yaya Sukaya does not use objects that has become icons, a popular practice among other visual artists. Hopefully this will become a new perspective in our current and future visual art world,” said Amir. <br />
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The phrase close up is generally used in photography techniques as well as picture and voice recording, exposing objects from a near distance without becoming too extreme. Presenting close up faces of women, Sukaya tries to elaborate his concern for contem-porary urban women and teenagers. <br />
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Chandra Johan, the exhibition curator, said that Yaya Sukaya’s paintings show his expertise in managing space and perspective. “Those faces represent the current life, with all shapes/forms responding to the life they are celebrating. Another essential thing shown by Yaya, is his strong spirit in creating his art,” said Chandra Johan. <br />
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Close Up is the representation of Yaya Sukaya’s maturity as an artist. His strong back-ground in interior design shown in the form of accurate calculation of line compo-sition, field, color, dimension as well as the quality of expression highlighted in his paintings and installations. <br />
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“In this exhibition all I wanted was to open up a discourse. Even collectors will not be able to tell whether it is a modern or postmodern work,” said Yaya Sukaya. ***<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Xel8NJ-CWLHD6zBUsgyrt-GSkgpzprWKvRHbHdQUysZYM828LaUnMwvGPFOqVnABFCuNhdZb0Tdftv0Id_WFOQcUEXJeMaxcIWm6gD1S18J4JRRqI8prDeYM2xo5-THXBMbnNr3MBls/s1600/yaya.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Xel8NJ-CWLHD6zBUsgyrt-GSkgpzprWKvRHbHdQUysZYM828LaUnMwvGPFOqVnABFCuNhdZb0Tdftv0Id_WFOQcUEXJeMaxcIWm6gD1S18J4JRRqI8prDeYM2xo5-THXBMbnNr3MBls/s1600/yaya.jpg" /></a></div><br />
<br />
<br />
Tittle: CLOSE UP<br />
Artist: Yaya Sukaya<br />
Curator: Chandra Johan<br />
Place: Gedung C, Indonesia National Gallery, Jakarta <br />
Time: 12 – 23 Maret 2009 <br />
<br />
source: arti mag 15th edition, Mei 2009situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com6tag:blogger.com,1999:blog-5427167305015448054.post-33684277591752372662011-05-03T03:34:00.000-07:002011-05-10T01:10:38.058-07:00The Dynamic Change Of Concept Of Architectural Form And Meaning In Sundanese Communities At Kampung Dukuh, Kampung Ciherang, Kampung PalasahAbstract:<br />
<br />
<br />
The phenomenon of globalization that overwhelmed the world implies that everything happened in one particular place will eventually affect events on the other side of the globe significantly. Politicians and economists are forced to respond to the pressure of this change through regulation and competitive advantage to avoid being excluded or shut out from the global system. This pressure has affected culture as well.<br />
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<br />
The response to globalization in the field of architecture is marked by the emergence of interest in local characteristic or features that previously ignored in the discourse of modern architecture. Practitioners and theoreticians are beginning to turn their attention towards local or ethnic elements that are considered unique, specific and full of variations. By raising the local knowledge and the historical aspect which has stood the test of time, it is hoped that local identity will not be swept away by the tide of globalization. One may even rest assured that this kind of knowledge will enable a certain region to play an active role in global culture.<br />
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<br />
This study aims to reveal relationships between the concept of form and meaning in Sundanese architecture in the context of change. The approach used for interpreting form is the typological one derived from De Quincy-Rossi and pattern language from Alexander, whereas the approach used to interpret meaning is structuralism approach derived from Levis-Strauss. These approaches are then elaborated taking into account the world-view of the Sundanese people (“Urang Sunda”) and their concept of place (patempatan) in line with the conditions of the three case studies. Based on these two approaches, specific theoritical framework is developed in order to comprehend the relationship between concept of form and meaning in Sundanese architecture in the context of change.<br />
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<br />
The analysis conducted has depicted the surface-structure of the formal aspects of form and meaning in Sundanese architecture. As for the aspect of form, the following types can be found : the kampong, the musholla, and the house, which are influenced by the concepts of “luhur-handap, lemah-cai, wadah-eusi” and , “kaca-kaca”. As for the aspect of meaning, it was found that activities involving rituals, production-reproduction, socialization and everyday routines are all influenced by the concepts of “nadran, uga, pamali” and “sineger-tegah”. Based on the surface-structure, the concept of deep-structure can be revealed: “kaca-kaca” for the aspect of form and sineger-tengah for the aspect of meaning.<br />
<br />
<br />
Three important findings of this study comprise the following. Firstly, that the dynamic change in the concept of form and meaning of the architecture encountered in three case studies can be differentiated into four categories, (1) the concept is still known and used in accordance with its original meaning, (2) the concept is still known, but used in a different sense, (3) the concept is still known but no longer in use, (4) the concept is unknown or in oblivion. Secondly, that there is “triadic-patterns” which consists of a boundary and of two elements being bounded or separated. Thirdly, that in manifesting the concept of form and meaning into architectural shape, a tendency toward practical and symbolic measures can be observed.<br />
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<br />
There are at least three kinds of contribution that can be offered by this study. Firstly, the enrichment of the vocabulary of theory and methodology of architecture. Secondly, propositions for the empowerment of the Sundanese community in the three case studies. Thirdly, recommendations for policy makers. All in all, it can be concluded that it is impossible to make generalization about an authentic Sundanese architecture, and accordingly the survival strategy for the Sundanese architecture must be treated case by case.<br />
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Copyrights :<br />
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Copyright (c) 2006 ITB Post-Graduate School.situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com2tag:blogger.com,1999:blog-5427167305015448054.post-67230475979321310912011-05-03T03:20:00.000-07:002011-05-03T03:20:37.432-07:00Architects Under the Big 3 #Architects Under the Big 3 # 13 I GST. Ag. NGR. Widianingrat (Jung Yat) and Made Sugiantara (Sugi) GO .....!!! AND FIX IT LATER Go .....!!! And fix it later told of how the experiences of I Gusti Agung Ngurah Widianingrat familiarly called Jung Yat and Made Sugiantara familiarly called Sugi who eventually decided to form an architectural design studio.<br />
<br />
Jung Yat and Sugi started this journey of a landscape architecture project proposals that come between the "vacuum phase." The project eventually led to Jung's Yat, Sugi and a partner, with all its limitations, decided to form a landscape design and architecture studio in 2010 alone. Project that they handle covers the fields of architecture and landscape architecture.<br />
<br />
Much like such as seeds greet the new world. They experienced a sense and experience and a new, unprecedented during the process of architecture in their architectural design studio. Starting to become independent, operational efficiency studios, becoming a solid team, maximizing resources, learn to 'pick up the ball' and find other new things in every inch of growth.<br />
<br />
Jung Yat and Sugi will share more about his journey to open his own architecture studio in the day Friday, May 6, 2011 at 7 pm held at Danes Art Veranda at the Architects Under the Big 3.<br />
<br />
About Jung Yat: Graduated from the Department of Architecture, architecture, Atma Jaya University in Yogyakarta in 2006. Jung Yat first passed almost two years after graduation to work as an architect in architect Popo Danes. Later in the year 2008 joined the architectural team Bensley Design Studios until 2010<br />
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About Made Sugiantara: Graduated from the Department of Architecture, architecture, Gadjah Mada University in Yogyakarta in 2005. Had worked for Architects Indomegah Jakarta in early after graduation, before finally deciding to continue his career in Bali. Previously worked for the developer PT. BSND and Nirvana International.<br />
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About Architects Under the Big 3: Architects Under the Big 3 (AUB3) is an architectural presentation of activities and discussions held on the first Friday of each month hosted by young architects under 30 years of age. In this activity the young architect was given the opportunity to present their thoughts and works of architecture to the public through non-formal presentation followed by discussion relaxed. Located at Danes Art Veranda, participants are given the freedom to choose their own space-in the yard, dining room, rooftop, galleries, wherever the place where they feel most comfortable to share their stories with the audience. Through this approach, young architects and their ideas and works of architecture the opportunity to get a space to communicate with a wider audience, both lay audiences and audiences architecture architecture. AUB3 set the agenda IAI Bali and each participant who works as an architect will get a certificate from the IAI Bali which can be taken on AUB3 in the next month.<br />
<br />
Name of activity : Architects Under the Big 3<br />
Edition : 13<br />
Type of activity : Presentation and discussion<br />
Speaker : I GST. Ag. NGR. Widianingrat (Jung Yat) and Made Sugiantara (Sugi)<br />
Day / date : Friday, May 6, 2011<br />
Time : 19:00 pm - 21.00 pm<br />
Location : Danes Art Veranda Jl. Hayam Wuruk No. Denpasar, Bali, Indonesia 80 235 159<br />
Telefon : +62-361-242659<br />
Fax : +62-361-242588<br />
Contact person : +62852370238 27 (Wira Princess)<br />
Email : ArchitectsUnderBig3@popodanes.com<br />
Blog : http://ArchitectsUnderBig3.blogspot.com<br />
Facebook : Architects Under the Big 3<br />
Twitter : @underbig3situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com5tag:blogger.com,1999:blog-5427167305015448054.post-65457391501155340192011-04-21T06:47:00.000-07:002011-04-21T06:48:44.646-07:00Reverberation Time: Solo Exhibition Alibasyah Abas<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WxtwfwpUsnje5-OZChCha_mWEh36IcZdccA9uK9-rVM8q1AG0uvV1OiJC8XpOaok4P6N2S4xNmj6XbDel6jlOwuBd4EVuPIA9qZ5FoTpVcZs2yYKcp2tQuT8Hqx6INrJdGHxSFaV9Gg/s1600/lukisanabas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WxtwfwpUsnje5-OZChCha_mWEh36IcZdccA9uK9-rVM8q1AG0uvV1OiJC8XpOaok4P6N2S4xNmj6XbDel6jlOwuBd4EVuPIA9qZ5FoTpVcZs2yYKcp2tQuT8Hqx6INrJdGHxSFaV9Gg/s1600/lukisanabas.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Abas work</td></tr>
</tbody></table><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><span lang="EN"> </span><span title="">Senior painter Abas Alibasyah (82 years), held a solo exhibition namely "Reverberation Time", opened on Thursday, November 4, 2010, at 19:00, by Syakieb A. Sungkar (art collector) at the National Gallery of Indonesia, Jl. </span><span title="">Medan Merdeka Tmur 14, Jakarta. </span><span title="">Exhibition be held <span class="hps">until</span></span> November 14, organized by the ARMA (Agung Rai Museum of Art), Bali, ASPI (Association of Indonesian Art lovers, and the National Gallery of Indonesia. Please note that Abas Alibasyah who was once the rector of the High School of Fine Arts "Asri" Yogyakarta, and he is <span title="">one of the founders of the National Gallery of Indonesia.<br />
<br />
</span><span title="">This exhibition <span class="hps">curated</span></span> by Rifky Effendy. <span title="">Along with the exhibition launched the book "Echoes of Time The paintings Abas", 180 pages, the composition Agus Dermawan T. </span><span title="">Paintings include <span class="hps">creation</span></span> held in the 1960s until 2010. <span title="">The exhibition also displayed various masks archipelago that inspired the paintings Abas.<br />
<br />
</span><span title=""><b>Historical Overview Abas</b><br />
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</span><span title="">Abas Alibasyah, or Alibasyah Natapriyatna, born in Purwakarta, West Java 1926. </span><span title="">But because of administrative mistakes in the days of struggle, he had written was born 1928. </span><span title="">For ease of life, in which he continues to use this mistaken. </span><span title="">He is the son of a working ambtenaar Water Bureau.<br />
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</span><span title="">At the time he joined the Japanese Bunka Keimin Sidhoso, associations of Indonesian arts era of Japanese rule. </span><span title="">In 1949 he went to Yogyakarta, Taman Siswa active in college, and joined the People's Artist-led studio Hendra Gunawan. </span><span title="">In this city he entered the ASRI (Academy of Fine Arts of Indonesia). </span><span title="">In 1956 Abas was appointed as a lecturer there. </span><span title="">Outside the ASRI he also became a lecturer at the Teachers' Training College (Teacher Training Institute of Education Sciences) and at Gadjah Mada University majoring in architecture. </span><span title="">Long before he taught art at various high schools. </span><span title="">Abas became Rector of the High School of Fine Arts of Indonesia "Asri" until 1975. </span><span title="">He was also the Secretary-General Director of Culture and as Superintendent of Culture.<br />
<br />
</span><span title="">Abas is known as freedom fighters. </span><span title="">Become the Students' Army, and join the ranks of the leadership AH. Nasution Siliwangi Division that operates in South Bandung to Garut, even in Yogyakarta in 1947 and the Clash Clash I-II-1948.<br />
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</span><span title="">Many awards have been received Abas Alibasyah, both as artists and as a fighter. </span><span title="">Here are some that are listed.<br />
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<b>Award as an artist</b><br />
</span><span title="">- In 1967, received the graphic arts <span class="hps">scholarship</span></span> to The Hague, Netherlands.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXbRhfdj3DnfFrg_wPMLTkxXbMoGN0KY9LaCuuNP0W5yQfXbzS_Vnb-Q6fW1-XyYWKQyzXCEEfqWSyQIE_f9klULBI8mg4idEYHDV4i9xu4_VwowSwrMseD2pXNYzk-V3Gyugxdp26CVs/s1600/abas.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXbRhfdj3DnfFrg_wPMLTkxXbMoGN0KY9LaCuuNP0W5yQfXbzS_Vnb-Q6fW1-XyYWKQyzXCEEfqWSyQIE_f9klULBI8mg4idEYHDV4i9xu4_VwowSwrMseD2pXNYzk-V3Gyugxdp26CVs/s320/abas.jpg" width="320" /></a></div><span title="">- In 1970, received the "Cultural Award Scheme" from the Australian government.<br />
</span><span title="">- In 1984, 1 December, received the "I Gusti Nyoman Lempad Prize" from Studio Dewata Indonesia, Yogyakarta, signed Made Sudibya, Made Jana and Gunarsa.<br />
</span><span title="">- In 1985, 4 May, received a charter "Art Prize" for the field of fine arts from the Ministry of Education and Culture, Professor. </span><span title="">Dr. </span><span title="">Nugroho Notosusanto.<br />
</span><span title="">- In 1998, 15 October, received a charter service culture and art from the Minister of Tourism, Art and Culture of the Republic of Indonesia, Marzuki Usman.<br />
</span><span title="">- In 2002, 18 August, received the charter mark of honor "Satyalancana Culture" from the President of the Republic of Indonesia, Megawati Sukarnoputri.<br />
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</span><span title=""><b>Award as fighter</b><br />
</span><span title="">- In 1958, August 17, 1958, received a charter "Event Satyalantjana Second War of Independence" from the Ministry of Defence of the Republic of Indonesia, was carried out.<br />
</span><span title="">- In 1958, August 17, 1958, received a charter "Satyalantjana Event War of Independence to One", the Minister of Defence of the Republic of Indonesia, was carried out.<br />
</span><span title="">- In 1958, 10 November 1958, received the "Alert Service Heroes" from the President, Commander in Chief of the Armed Forces of the Republic of Indonesia, Sukarno.<br />
</span><span title="">- In 1958, 10 November, accepted the charter "Satyalantjana Bhakti" from the Ministry of Defence of the Republic of Indonesia, was carried out.<br />
</span><span title="">- In 1959, 29 January, received a charter "Military Operations Satyalantjana Movement I" from the Ministry of Defence of the Republic of Indonesia, was carried out.<br />
</span><span title="">- In 1967, 10 November, accepted the charter "Satyalantjana enforcer" of the security minister, Suharto, General military.<br />
</span><span title="">- In 1981, 30 October, received an honorary degree "Veterans Independence fighters" from the Ministry of Defense and Security / Commander of the Armed Forces / Deputy Commander of the Armed Forces, Sudomo, Admiral TNI.<br />
</span><span title="">- In 1989, 2 May, received a mark of honor "Satyalencana Karya Satya Level II" from the President of the Republic of Indonesia, Suharto.</span> </div>situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-77791989416890487042011-04-20T05:53:00.000-07:002011-04-20T05:53:50.470-07:00Urbanities<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvroxbZx4H5N_oM_SBsMpMnTedGhC6pj8RXA_l2D-IV22FulqxoIPFQFrjUqqgrg2aRSW0_nijh8txfroiAK8a0azkK_ApN6b2SzIOIdiZ1pQh4VVMhChTlEy3kJmJRsqbLE-aRdMsRd4/s1600/Urbanities_Rio+Helmi_Page_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvroxbZx4H5N_oM_SBsMpMnTedGhC6pj8RXA_l2D-IV22FulqxoIPFQFrjUqqgrg2aRSW0_nijh8txfroiAK8a0azkK_ApN6b2SzIOIdiZ1pQh4VVMhChTlEy3kJmJRsqbLE-aRdMsRd4/s320/Urbanities_Rio+Helmi_Page_2.jpg" width="320" /></a></div>Danes Art Veranda cordially invites you to the opening of<br />
<br />
Urbanities<br />
<br />
Solo Photography Exhibition by Rio Helmi<br />
<br />
Will be officiated by<br />
<br />
Ir. I Gst. Pt. Anindya Putra, MSP<br />
(Head of Bappeda Kota Denpasar)<br />
<br />
Friday, April 15, 2011. 7 pm<br />
Danes Art Veranda<br />
Jl. Hayam Wuruk No. 159 Denpasar<br />
<br />
Auction and fundraising for street children<br />
at Yayasan Kasih Peduli Anak (YKPA)*<br />
<br />
Discussion<br />
<br />
"Urbanisasi Bali di Masa Depan"<br />
<br />
Saturday, April 16, 2011. 2 pm<br />
<br />
Speaker: Rio Helmi <br />
Moderator: Wayan Juniartha (Senior journalist of The Jakarta Post)<br />
The exhibition will be held until April 29<br />
<br />
*YKPA is a registered Yayasan (Indonesia non-profit organization) starting services <br />
to street children in Bali in mid-2007. our mission is to give loving support, <br />
education, care and skills for disadvantaged children to have the opportunity <br />
of a satisfying and productive life as good citizens. <br />
<br />
Gallery opens daily 8 am – 5 pm<br />
Phone. +62-361-242659<br />
Fax. +62-361-242588<br />
Email. thegallery@popodanes.com<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBT-jejy894zs-IM1ZvpM8BOBALEpc8cCOrjsSIqYpd5bdkUFJrt1njou-z69JnRvgOR4Hq30zG8QhGm4vyFV-jTrFC9mnnp3VGuT9ZEZmNCCdHRdzqdd_4Xt2bCSH3phm5fu55ZzQ5E/s1600/Urbanities_Rio+Helmi2_Page_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBT-jejy894zs-IM1ZvpM8BOBALEpc8cCOrjsSIqYpd5bdkUFJrt1njou-z69JnRvgOR4Hq30zG8QhGm4vyFV-jTrFC9mnnp3VGuT9ZEZmNCCdHRdzqdd_4Xt2bCSH3phm5fu55ZzQ5E/s320/Urbanities_Rio+Helmi2_Page_3.jpg" width="320" /></a></div>situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-3740822652348259282011-04-20T05:03:00.000-07:002011-04-20T05:03:04.546-07:00Architects Under Big 3 -Closing The First Year- "Berarsitektur: Dimanakah Kita?"<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgscX8Am1pyEvrAehS2ryOAJOuNe_XXgrnRRBjVT2JX0qRZ_tCzYHUl9s_P0Ak2wHX5qI1oWVoaX9apWDfNDloYgFSS4IEbCcGTNz3Z1lUZD2dbKW6iW85J5WCwcMmNjtT-fVG2hnkY5MA/s1600/Press+Release_AUB3+12_Page_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgscX8Am1pyEvrAehS2ryOAJOuNe_XXgrnRRBjVT2JX0qRZ_tCzYHUl9s_P0Ak2wHX5qI1oWVoaX9apWDfNDloYgFSS4IEbCcGTNz3Z1lUZD2dbKW6iW85J5WCwcMmNjtT-fVG2hnkY5MA/s320/Press+Release_AUB3+12_Page_1.jpg" width="320" /></a></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;">Dear Media, </span></span></div><div> <div><span style="font-family: Gill Sans MT;"> </span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;">Please kindly find attached Press Release and images of our upcoming event: <strong>Architects Under Big 3 -Closing The First Year- "Berarsitektur: Dimanakah Kita?". </strong>Within the show, we will have Sketch and Architectural Model Exhibition, Architecture Workshop and Talkshow. </span></span></div><div><span style="font-family: Gill Sans MT;"> </span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';">If you have any further questions or concerns, please feel free to contact me. </span></span></span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';"></span></span> </span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';">Best Regards, </span></span></span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';"></span></span> </span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';">Riri Prabandari</span></span></span></div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><strong>Danes Art Veranda</strong>Jl. Hayam Wuruk No. 159<br />
Denpasar 80235 Bali Indonesia<br />
P. +62 (0) 361 242659<br />
F. +62 (0) 361 242588<br />
E. </span><a href="mailto:thegallery@popodanes.com"><span style="color: black; font-family: Gill Sans MT;">thegallery@popodanes.com</span></a> </span><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';"></span></span> </span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';"></span></span><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';"></span></span> </span></div><div><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><span lang="SV" style="font-family: 'Gill Sans MT';"><span style="font-family: 'Gill Sans MT';"><strong><span style="font-family: 'Gill Sans MT'; font-size: 11pt;">--More Upcoming Exhibitions and Events at DAV--</span></strong><span style="font-family: 'Gill Sans MT'; font-size: 11pt;"></span></span></span></span></span></div><div> <div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: 'Gill Sans MT'; font-size: 11pt;"><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><em><span style="font-size: small;">"Urbanities" </span></em></span></span></span><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><i><span style="font-family: 'Gill Sans MT'; font-size: 11pt;">Rio</span></i></span></span><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;"><i><span style="font-family: 'Gill Sans MT'; font-size: 11pt;"> Helmi Solo Photography Exhibition</span></i></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: 'Gill Sans MT'; font-size: 11pt;"><span style="font-family: Gill Sans MT;"><span style="font-family: Gill Sans MT;">April 15 - April 29, 2011</span></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtpcTV-raZN0fuafMVmgvlAsC5xSVTsQNvWK0Wz7-iBIBxjU10L7eDrZBwOcis-gAoSfVHsEu9bTA0E9R-4iTqVb7QpjoK6jSIz3z2JtcOpWMQaYdQU6kUdFlShzy_pxskj1_HVftmnBI/s1600/Press+Release_AUB3+12_Page_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtpcTV-raZN0fuafMVmgvlAsC5xSVTsQNvWK0Wz7-iBIBxjU10L7eDrZBwOcis-gAoSfVHsEu9bTA0E9R-4iTqVb7QpjoK6jSIz3z2JtcOpWMQaYdQU6kUdFlShzy_pxskj1_HVftmnBI/s320/Press+Release_AUB3+12_Page_6.jpg" width="247" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLoJmxe2eJxHTn4A4dGxaoP_2R4krvtg_JInejRcdRH4GhYD4iQ_MiANVU-Q10SnT0EYBzW10Js5IxgkWTM5EivcZKTMr07hv-atils1doKJhXYZldMnVs9PMzsDz0ifrl9bd2AZ5OXS8/s1600/Press+Release_AUB3+12_Page_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO5dnIlbou9ivc4SJr_MsYrH9m0_Ie_3J6rx-BGjtnD9vZ5bJacEspf0xPMx0eXmq5pXgY0B19EFEGC9hgRb5G4fwDMnje4p3b6VFIsj12IQ0iXHh6MlLMkGR6_gDUx6F_F3z72bPMMxs/s1600/Press+Release_AUB3+12_Page_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO5dnIlbou9ivc4SJr_MsYrH9m0_Ie_3J6rx-BGjtnD9vZ5bJacEspf0xPMx0eXmq5pXgY0B19EFEGC9hgRb5G4fwDMnje4p3b6VFIsj12IQ0iXHh6MlLMkGR6_gDUx6F_F3z72bPMMxs/s320/Press+Release_AUB3+12_Page_2.jpg" width="247" /></a></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div></div></div>situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-28763400436496182652011-04-20T04:46:00.000-07:002011-04-20T04:46:33.047-07:00The Lines That Remind Me of You<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqz8RJR2kzq9IUsoX5JaworKgiD0Eg1kw-C_1CFUB8mvMnn-CkNkkzRxNFKmvFNacFIAehWCjEjyJiwfgckcx_rJevYQxN7wspRbnI5iewQWjHnFfCho8k0h6O32GoC14R_kpifFgjUIw/s1600/agung.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqz8RJR2kzq9IUsoX5JaworKgiD0Eg1kw-C_1CFUB8mvMnn-CkNkkzRxNFKmvFNacFIAehWCjEjyJiwfgckcx_rJevYQxN7wspRbnI5iewQWjHnFfCho8k0h6O32GoC14R_kpifFgjUIw/s320/agung.jpg" width="320" /></a></div><span style="font-size: x-large;"><span style="font-family: Arno Pro Bold Italic Display;"><span style="font-size: 24px;"><b>Kendra Gallery <br />
<br />
<br />
cordially invites you to the opening of <br />
<span style="color: #1e487c;"> </span></b></span></span></span><b><span style="color: #1e487c;"><span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"><br />
</span></span></span><span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: large;"><span style="font-size: 17px;"><br />
</span></span></span><span style="font-size: x-large;"><span style="font-family: Arno Pro Smbd Italic;"><span style="font-size: 20px;"> A solo exhibition by Agung Kurniawan<br />
<br />
<br />
Curated by Brigitta Isabella<br />
<br />
Saturday, 23 April, 2011<br />
<br />
at 7.00pm<br />
<br />
</span></span></span></b><span style="font-size: x-large;"><span style="font-family: Arno Pro Smbd Italic;"><span style="font-size: 20px;"><br />
<b>The exhibition runs from 23 April – 22 May, 2011<br />
<br />
</b>Best Regards<br />
<br />
Kusuma</span></span></span><span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"><br />
</span></span><span style="font-size: medium;"><span style="font-family: Times New Roman Bold;"><span style="font-size: 14px;"><b><br />
</b></span></span></span><span style="font-family: Verdana,Helvetica,Arial;"><span style="font-size: 12px;"><br />
</span></span><span style="font-size: 12px;"><span style="font-family: Arial;"><br />
</span><span style="font-family: Times New Roman;">Jl Drupadi 88B Basangkasa<br />
Seminyak, Bali, Indonesia<br />
<br />
P: +62 361 736 628<br />
F: +62 361 736 629<br />
M: +62 81 936 052 678<br />
E: kusuma@kendragallery.com<br />
W: www.kendragallery.com</span></span>situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-12470219252698860922011-04-19T21:49:00.000-07:002011-04-20T04:49:17.397-07:00The Evolution of Fish and Fat Statue<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7-qdyu0PmWrnqR0E7HxpjAtsJWOW9jYUNHc-CDW9rtK_tdtNUlgrazTLIPo86Cy6UIx8ioKWj1dHCpdJRiGCVMi8fxmbzwB9Pi1qdwB7SF3UWVOqgVTo9e2TBh0B2ASvLGfxeXsaKtkc/s1600/page+IX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7-qdyu0PmWrnqR0E7HxpjAtsJWOW9jYUNHc-CDW9rtK_tdtNUlgrazTLIPo86Cy6UIx8ioKWj1dHCpdJRiGCVMi8fxmbzwB9Pi1qdwB7SF3UWVOqgVTo9e2TBh0B2ASvLGfxeXsaKtkc/s320/page+IX.jpg" width="320" /></a></div>The transformation of visual shapes into paintings and into a series of statues depicting urban life.<br />
<br />
How can a fish swim at one time and ends up a carcass at another? Joko ”Gundul” Sulistio-no depicted his own version of fish evolution phases through a series of paintings called ”Evolusi I” to 1 Evolusi V”. He did not adopt the Darwinian way, though. Instead, he presented an evolution of the fish’s body parts. In the series of paintings made from mixed paint materials on canvas, he started by depicting the head of a fish who watched a little blue fish swimming inside a glass jar in front of it. The fish’s head was complete with a set of eyes, fins, gills, mouths and thick scales. The fish’s head seemed to be observing the little creature swimming lightly around the jar seriously. <br />
<br />
In ”Evolusi II”, Joko depicted a fish without tail which was sup-ported by a single beam. The fin was stabbed onto the fish’s back. On its belly was a spinning propeller like that which is used to move boats at sea or on the rivers. Joko seemed to be ”transplanting” a electrical propeller mechanism to a fish’s body. In this painting, the little fish in the glass jar was standing by below it, as if it was ready to swim.<br />
<br />
“Evolusi III” then depicted a fish with a fan propeller tail. It was supported by two beams, enabling it to stand upright. Little fish were swimming around it. “Evolusi IV” depicted a fish being chopped by two ropes coming from above it and “Evolusi V” depicted a fish as a trade commodity. The fish was weighed and helplessly waited for someone to “co-modify” it. The co-modification separated the fish from its original habitat. Ac-cording to the exposition’s curator, Joko was describing the differences between a fish who lives free in his original habitat and a fish as a fossil.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjajw9XFOG7sJBTjwaqrgHKgFKuHFZ2Aty-rBaAiyLN5bR4x2WJR34i419OwlT2Le60bvpkSCndvNnH_X8pfXiRMr2F7nUnx1Lz3-pw-pv3Ea_GdNFOMIBEsmmz8_25VrPKtAbKgDqcvh0/s1600/page+VIII.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjajw9XFOG7sJBTjwaqrgHKgFKuHFZ2Aty-rBaAiyLN5bR4x2WJR34i419OwlT2Le60bvpkSCndvNnH_X8pfXiRMr2F7nUnx1Lz3-pw-pv3Ea_GdNFOMIBEsmmz8_25VrPKtAbKgDqcvh0/s320/page+VIII.jpg" width="320" /></a></div><br />
The copper statue made by artist Putu Adi Gunawan showed figures of men and animals in various expressions. The statue titled “The Blind Man” depicted a man with a large, short body, wearing glasses and holding a cane. He was walking using his cane as guide. The statue “Kid Rock” looked more cheerful. It depicted a little child carrying a guitar on his shoulder with his father in front of him. Both were raising their hands and showed excitement and happiness, whereas “The Kiss” is a statue de-picting a kissing scene between a man and a woman.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"></div><br />
<div class="separator" style="clear: both; text-align: center;"></div><br />
This two-dimensional and three-dimensional art exposition clearly showed that the two ISI Yogyakarta graduates are ar-tists who keep on experimenting and creating interesting wor-ks of art.<br />
<br />
<br />
Title of Exposition : Two Signs<br />
Artist : Joko Sulistiono and Putu Adi Gunawan <br />
Curator : Asikin Hasan<br />
Location : Andi’s Gallery Jakarta<br />
Date : Desember 10-24, 2008<br />
<br />
TEXT AND PHOTOS ahmad nurhasim<br />
Source: arti 13th edition, maret 2009situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-85678402153894432942011-04-19T21:16:00.000-07:002011-04-20T04:48:56.087-07:00Interaction Room<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirScn1UAql7iHBXfQBe9MXnwce0UHGzXtPYB-sgGRnFzrRTb-31DkQ31slVFBFkZNPMg9LSAiEo9h3GoS02_7cO20hTOA_rb_ZMs38tTJeEHbF3X-eabwo3mkT94-lWwNCHpIp0RrrkBI/s1600/page+VI.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirScn1UAql7iHBXfQBe9MXnwce0UHGzXtPYB-sgGRnFzrRTb-31DkQ31slVFBFkZNPMg9LSAiEo9h3GoS02_7cO20hTOA_rb_ZMs38tTJeEHbF3X-eabwo3mkT94-lWwNCHpIp0RrrkBI/s320/page+VI.jpg" width="320" /></a></div><i>By using two space mediums: inside a building and in a garden, “the spirit of interaction” was meant to trigger an interaction between the works of art, the visitors and the space itself. did it work? </i><br />
Like goddesses dancing in the rain on a grassy field, the statue (Suwuk by Yani Sastra Negara) seemed to blend with the nature, as did the statue depicting a house with a person stand-ing beside it (Inside by Awan Simatupang). It was a reflection of a sentiment of realizing the meaning of a bond between someone with his residence. <br />
<br />
Some suitcases were neglected and scattered in so many places: on the chair, on the table and even on the street. There was a crying suitcase (Frankie Menangis – Frankie Crying), a suitcase which opened and closed itself me-chanically (Long Journey), a still suitcase (Travel) which tells a particulary story, a journey, probably his owner’s life journey, through its ragged color and wrinkles on the leather. Suitcases are a loyal company to those who travel a lot. They play a very important role in travels, but they are wasted away when they are worn out. That’s not the case to Hardiman Radjab, though. The worn <br />
<br />
suitcases full of memories were used as mediums for art. <br />
<br />
The silent interaction was extremely obvious on artworks that are placed outdoor (in the garden). The visitors, the artwork and the space (nature) seemed to blend into each other. After the rain, where there were still tiny drops of water fall-ing from the sky, the visitors were still reluctant to explore artworks placed in the garden. Silent atmosphere graced by semiluminous lights made the “Spirit of Dance” statue by Taufan AP looked as if it was truly dancing in the garden. <br />
<br />
Some of the artworks on display indoor maintained its in-teraction with the room, but some didn’t. The installation art “Rakyat + Biasa – Common + People” by Abdi Setiawan which featured two statues, one depicting a common per-son and another depicting a grim-looking policeman with baton on his hand, seemed to describe how common people are always suspected of being up to no good by the authority. It was a beautiful artwork, but it was bizarre when displayed in the room. Maybe, if someone was willing to go a little bit more extreme, the statue can be put in front of Erasmus Huis building or on the roadside. It may create more interaction that way. <br />
<br />
One of the works of art that succeeded in maintaining in-teraction with indoor space is Tita Rubi’s. Cornered in the room, “Vagina Brokat – Lace Vagina” seemed to ooze an enigmatic aura of its own.<br />
<br />
Its meaning is quite obvious. It was an installation art of a lace, shaped into a cone”, suspended from above the wall down into the floor like a mosquito net with a hole in the center as three male statues surrounded it.<br />
<br />
Tita may have been describing the fragility of a female sex organ, as fragile as lace material, easily torn apart by men. It represents the difficulty of guarding such a fragile thing among predators. <br />
<br />
Some interactions succeeded, some did not. However, “The Spirit of Interactions,” interactive scheme is of course worth praising for. <br />
<br />
<br />
Name : The Spirit Of Interaction <br />
Artists : AB Soetikno | Abdi Setiawan | Ade Art | Amalia Radjab | Anusapati | Awan <br />
<br />
Simatupang | Budi Santoso | Hardiman radjab | Innes Indreswari | Taufan AP | Titarubi | <br />
<br />
Yani Maryani Sastranegara<br />
Curator : Dolorosa Sinaga <br />
Location : Erasmus Huis Jl. HR Rasuna Said Kav 3, Kuningan Jakarta<br />
Date : January 14, 2009<br />
<br />
Text and Photo by Darma Ismayanto<br />
Source: arti 13th edition, 2009situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-17478115959423524552011-04-19T06:16:00.000-07:002011-04-19T06:18:12.877-07:00I Love You (3)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO5Q-czNOV0fczvEde3ZuptHrRWQlwQBUiMeuFhT4nivS9UTgYiFwOhqQnVw-QMEadAs6mUCCiG3pxT0xsyhKXS8dhU9TsjTcW4S8GGLnb1v5kSJkgTko4kGLtS3wajq7CEgVQbY3LtNw/s1600/Made+Wianta%252C+2008%252C+Calligraphy+and+Misty%252C+90+X+120%252C+acrylic+on+fragrance+canvas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO5Q-czNOV0fczvEde3ZuptHrRWQlwQBUiMeuFhT4nivS9UTgYiFwOhqQnVw-QMEadAs6mUCCiG3pxT0xsyhKXS8dhU9TsjTcW4S8GGLnb1v5kSJkgTko4kGLtS3wajq7CEgVQbY3LtNw/s1600/Made+Wianta%252C+2008%252C+Calligraphy+and+Misty%252C+90+X+120%252C+acrylic+on+fragrance+canvas.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Made Wianta, 2008, Calligraphy and Misty, 90 X 120, acrylic on fragrance canvas</td></tr>
</tbody></table><b>1<br />
<br />
</b>I wrote this poem<br />
With no on behalf of the people<br />
Because I had people<br />
<br />
You're never promised to accept me<br />
As any. Beloved, know<br />
I love you as poor people<br />
Because the government always betrayed<br />
<br />
But if the sun still rises the following morning<br />
Surely you kusunting<br />
But be prepared to get married in their hearts<br />
For synagogues have been burned people<br />
Diamond wedding weeping orphans victim DOM<br />
Plus screamed Ambon and Timor refugees<br />
<br />
<b>2</b><br />
<br />
For the sake of building a scramble scratch sky<br />
For the demonstrators and the forces which shook the heart<br />
With stones and bullets: I love you<br />
But it was just loving homeland<br />
Led by bandits and robbers<br />
<br />
<br />
<i>Jakarta, 2002</i>situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-77467052536149816742011-04-19T05:54:00.000-07:002011-04-19T05:54:18.402-07:00I Love You (2)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvG7c8rKGi5t-Qoch56mt4-gGrQVuiqHk_oheLRvPpN7RG18xc7wwd2Ycx96FgZpneMbnyEq4qFYjD6CeGISMm62Vrb1gNoRBtrkj42XnF6D0G3D7Hgq-L7diTSo5c2HN3Prr9D7Cia9c/s1600/Di+Ujung+Cakrawala%252C+130x130%252C+acrylic%252C+ink+on+canvas%252C+2011%252C+kecil.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="300" width="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvG7c8rKGi5t-Qoch56mt4-gGrQVuiqHk_oheLRvPpN7RG18xc7wwd2Ycx96FgZpneMbnyEq4qFYjD6CeGISMm62Vrb1gNoRBtrkj42XnF6D0G3D7Hgq-L7diTSo5c2HN3Prr9D7Cia9c/s400/Di+Ujung+Cakrawala%252C+130x130%252C+acrylic%252C+ink+on+canvas%252C+2011%252C+kecil.jpg" /></a></div><br />
This is my life: Quiet<br />
Silent skies<br />
Silent Earth<br />
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Jakarta early days after Idul Fitri:<br />
Universe of silence<br />
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Are there fruitful<br />
When I planted in your heart of hearts<br />
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Kissing me want to rise<br />
Burn your beauty<br />
So that time is not fleeting<br />
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Here there is no autumn<br />
But the leaves are always entire<br />
Moodiness comes swiftly<br />
Then again as usual<br />
We are busy and no matter<br />
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Jakarta, 2000 - 2004situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-75858586952898543322011-04-18T13:51:00.000-07:002011-04-19T06:07:29.813-07:00Badhut<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Wp53UqvlZvVNgOSUttQU_2SU7oR4Ok_jPfAIpp470d05QsmD4lM9ur9YP2jcUUZw94JzhBlNjMzFxHqEteGxEztRNFMqbwYDj9Dzl6pqP6TlhipX_P5sCHfCDh9LrbqQ1Kww4QlcTjg/s1600/badhut1.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Wp53UqvlZvVNgOSUttQU_2SU7oR4Ok_jPfAIpp470d05QsmD4lM9ur9YP2jcUUZw94JzhBlNjMzFxHqEteGxEztRNFMqbwYDj9Dzl6pqP6TlhipX_P5sCHfCDh9LrbqQ1Kww4QlcTjg/s320/badhut1.jpg" /></a></div><br />
Badhut Temple was discovered by archeologists in 1923. Also known as Liswa Temple, this ancient structure is situated in Karangbesuki Village, Dau Subdistrict, Malang Regency, East Java. It is about five kilometers away from Malang municipality. It is believed that Badhut Temple was built long before Airlangga came to reign, an era in which other temples started to be constructed in East Java. <br />
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Thus, Badhut Temple is believed to be the oldest temple in the area. <br />
Some archeologists argued that the construction of Badhut Temple was started as ordered by King Gajayana of Kanjuruhan Kingdom. As recorded in an inscription on Dinoyo stone sculpture (dated 682 Javanese year or AD 760), which was found in Merjosari village, Malang, the epicenter of Kanjuruhan Kingdom was at Dinoyo area. <br />
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Presently, Dinoyo stone sculpture is preserved at Jakarta National Museum. The inscription states that during the rule of King Dewasimba and his son, Sang Liswa, Kanjuruhan Kingdom enjoyed its golden age. The people loved their fair and wise kings. Legend has it that Sang Liswa, later addressed as King Gajayana, enjoyed making jokes (Javanese language: mbadhut), and when he wanted a temple to be built, it was called Badhut Temple. However, no solid evidence that relates Badhut Temple to Gajayana King has known to exist. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo7G_KwYyXJmYYjtB8y-SLJPEdMpFCRURhMOcGQig1jrCz-uoFs5D_Qi1yyiEXs8HnlvfEsTR3tN9fPX5EkzLTTdrbPZHRWSVu_5lHSrsBy9mg21q6EZItXHW7oH5VB6VqRgniVlbdgPg/s1600/badhut2.jpg" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo7G_KwYyXJmYYjtB8y-SLJPEdMpFCRURhMOcGQig1jrCz-uoFs5D_Qi1yyiEXs8HnlvfEsTR3tN9fPX5EkzLTTdrbPZHRWSVu_5lHSrsBy9mg21q6EZItXHW7oH5VB6VqRgniVlbdgPg/s320/badhut2.jpg" /></a></div><br />
Badhut Temple is unique not only because it is much older than other temples in East Java. The Kalamakara, a decorative giant head carving on the entrance, makes this Kanjuruhan Kingdom temple anything but ordinary. Contrary to the common practice at other temples in East Java, the decorative giant head carvings at Badhut Temple were made without a lower jaw, typical of temples in Central Java. The shape of the temple, which is tubbier than other temples in the area, is similar to temples in Central Java. Its shape and its symmetrical relief sculptures resemble Temple Dieng (in Central Java). It is believed that Badhut Temple is a Shiva Temple, although no Agastya statue is found inside it yet. <br />
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This andesite stone structure sits on a shelf, two meters high from the ground. The shelf is very simple in design. It has no relief sculpture and the leftover space makes an open veranda 1 meter in width from the temple building. On the front side of the shelf, to the right, there is a Javanese script (hanacaraka). When the script was made is unknown. <br />
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The stairs leading to the open veranda are placed at the base of the temple, at the west side, right in front of the main entrance. The carvings on the walls flanking the stairs are corrupted, making an incomplete image of vines spiraling around a man playing a flute. The passageway to the garba grha (the inner space of the temple) is adorned with a display 1.5 meters long. At the front of the passageway, there is a wide entrance decorated with a Kalamakara carving. <br />
Through the entrance, there is a room with dimension of 5.53 meters x 3.67 meters. In the middle of the room lie two fertility relics, a lingga and a yoni. On the walls around the room, there are niches that used to hold statues. The walls of the temple are adorned with relief sculptures of man-headed birds and flute players. <br />
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On the four sides of the shrine, there are niches decorated with flowery patterns and man-headed birds. Outside the walls of the temple, in the the niche at the north side, lies a damaged Durga Mahisasuramardini statue. There used to be a statue of Shiva the Guru in the niche at the south side, and a Ganesha statue at the east side. Both statues exist no more. <br />
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The temple was renovated from 1925 until 1926. Yet, it takes more efforts to restore the temple to its original design since lots of fragments of the temple are either missing or unmatched. For instance, the roof of the main building has disappeared, leaving only a flap along the top of the remaining walls. At the west sides of the front yard, lies other untouched foundations. Also, there are stones and debris scattering around temple yard, waiting to be restored.situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com1tag:blogger.com,1999:blog-5427167305015448054.post-88166466578015414172011-04-18T13:44:00.000-07:002011-04-18T13:44:21.988-07:00JawiTemple, Another PerspectiveThis temple is located on the foot of Welirang Hill, Candi Wates village, Prigen Subdistrict, Pasuruan Regency, around 31 km from the city of Pasuruan. The temple is relatively still intact after frequent restorations. The second restoration of Jawi Temple was performed between 1938 and 1941 out of its ruined condition. The work, however, was discontinued because there are many missing stones, and was completed further between 1975 and 1980. <br />
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Verse 56 of Negarakertagama mentions that Jawi Temple was built by the last king of Singasari Kingdom, Kertanegara, as a worship shrine for Shiva-Buddhist followers. King Kartanegara was a Shiva-Buddhist follower. While being a worship shrine, Jawi Temple is also a place where Kertanegara ashes are kept. This is rather strange because Jawi Temple is located quite distant away from the center of Singasari Kingdom. It is probably because of the fact that the people in the area were so loyal to their king and many of them were Shiva-Buddhist followers. The assumption is founded on a reality that as Raden Wijaya, Kertanegara’s son-in-law, fled after Kertanegara was dethroned by King Jayakatwang from Gelang-gelang (Kediri); he had once hidden in this area before taking refuge to Madura.<br />
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Jawi Temple occupies a large area of approximately 40 x 60 m2. The temple is encircled by a ditch, which today has lotus flowers. The temple stands around 24.5 meters high, 14.2 m long and 9.5 m wide. The temple is slim and high like Prambanan Temple in Central Java, while the pointed, pyramidal roof is a combination between stupa and cube.<br />
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Facing the East, Jawi Temple has Pananggungan Mountain on its background, reinforcing the assumption of some experts that this temple is not a shrine or pradaksina, because worship temple usually heads towards mountains where the gods dwell. Some other experts retain their beliefs that Jawi Temple is a place of worship. Entrance position that does not face the mountain is considered to be resulting from Buddhist influence.<br />
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One of this temple’s unique characteristics is the use of two types of stone as its construction materials. From the base to veranda, the temple uses stones of dark colors; the body uses white stones, while the roof combines dark and white stones. This temple was probably built in two period of construction. Negarakertagama mentions that in the Javanese year of 1253 (chronogram: Fire Shooting Day) Jawi Temple was struck by lighting. In the incident, the statue of Maha Aksobaya disappeared. The disappearance of the statue had made King Hayam Wuruk sad when the king visited the temple. A year after the incident, Jawi Temple was rebuilt. It is in this period that the white stones were presumably applied. The use of white stones also stimulates questions, because there are only dark-colored stones in Welirang Mountain. The stones were probably taken from the north coasts of Java or Madura.<br />
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The temple base sits on a shelf 2 m high engraved in relives that depict a story of a meditating woman. The relatively narrow stairs are positioned right in front of the entrance to graba grha (room in temple body). Detailed engravings decorate the left and right handrails of the stairs into veranda, while the handrails of the stairs from the veranda into temple floor are decorated with a couple of long-eared animal figures.<br />
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The temple body is encircled by wide enough verandas. It appears that there used to be a statue inside the temple. The door frame is plain without engravings, but reliefs of kalamakara with a pair of fangs, lower jaw and decoration on its hair are engraved above the door to fill the space between door top and roof base. There is a niche on each of the left and right hand sides of the door to place a statue. Sills above each of the niche are decorated with engravings of fanged and horned creature heads. <br />
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The inner room of temple body is currently in empty. Negarakertagama mentions that inside the temple’s niche there was a statue of Shiva with Aksobaya on his crown. The book also mentions that there are a number of god statues in the Shiva system of belief, such as Nandiswara, Durga, Ganesha, Nandi, and Brahma statues. None of the statues remain in their place. Reportedly the Durga statue is now kept in Empu Tantular Museum, Surabaya.<br />
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The outer walls of the temple body are decorated in reliefs, which to this day none can interpret. It is probably due to the excessively thin engravings, or because there is a lacking in supporting information such as sculptured stone or scripts. Even Negarakertagama, which tells this temple in detail, does not mention anything about the reliefs. According to gatekeeper of the temple, the reliefs must be read using prasawiya technique (counter-clockwise reading), similar to that used in reading Kidal Temple reliefs. Still according to the gatekeeper, reliefs engraved on the west side of the north wall describe the map of temple compound and its neighboring areas. <br />
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A narrow stream separates the temple’s backyard, which is wide and orderly arranged, from settlement area. On the south corner of the yard, there is a ruined construction of red bricks, which probably was a gateway or gapura. However, there is not record available concerning its original shape and function. <br />
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Source from: candi.pnri.go.idsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-33087843637570105462011-04-18T13:41:00.000-07:002011-04-18T13:41:20.663-07:00Jawi Temple's Sort Description<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwK6lIxi3Lok1fKz-1MUxhmYxBjObnS6Cyb2adq6JPuiehyphenhyphenSlwoIMLr2wF0S1JfFD9-9wJzWriU6Maqjb59NKj6_CRhliT8fHF52ljYTt-UVV59FBVvg4OQw2wViOaNEAXsnpPIUdGItg/s1600/jawi.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="250" width="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwK6lIxi3Lok1fKz-1MUxhmYxBjObnS6Cyb2adq6JPuiehyphenhyphenSlwoIMLr2wF0S1JfFD9-9wJzWriU6Maqjb59NKj6_CRhliT8fHF52ljYTt-UVV59FBVvg4OQw2wViOaNEAXsnpPIUdGItg/s320/jawi.jpg" /></a></div><br />
This temple is a holy building of Hinduism and Budhism that has built in 1300 AD by Kertanegara, the last king of Singasari Kingdom. It is located at Candi Wates village Prigen subdistrict on the way Tretes Pandaan, it’s about 40 minutes drive from Surabaya. The height of this temple is about 24,50 meters with the length 14,20 metres and 9.50 metres wide.<br />
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Jawi Temple is one of Pasuruan historical temple that has a unique form. This temple is an old temple in East Java that build for remain the last King of Singasari.<br />
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The temple also said as the last rest place of the King before he finally died. There are many visitor have visited this temple to pray, have meditation activity, or just show its unique form and relief.<br />
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If you interesting to visit this temple, come to Candi Wates village in Pasuruan regency and watch this great temple. <br />
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source from: www.eastjava.comsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-17451126228887059312011-04-18T13:38:00.000-07:002011-04-18T13:38:39.264-07:00Jawi Temple<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHBpSw03UcNdUOKroABHARaGDJGpcT_miIfgYhvkJKCsR0aXQx_ZZLW9G5vR2K9oeg9omUov7Xjy7maqgg42uirkxO9MPLVL6BnKylFb_EbMLpx0RxczSORlYtjPW2LmJh8Jt7N41U83Y/s1600/jawitemple.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="143" width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHBpSw03UcNdUOKroABHARaGDJGpcT_miIfgYhvkJKCsR0aXQx_ZZLW9G5vR2K9oeg9omUov7Xjy7maqgg42uirkxO9MPLVL6BnKylFb_EbMLpx0RxczSORlYtjPW2LmJh8Jt7N41U83Y/s320/jawitemple.jpg" /></a></div><br />
In 1359, on his return from an extended tour of eastern provinces, King Rajasanagara of Majapahit Stopped off at the temple of Jajawa,Located on the slopes of the holy mountain Kumukus. His purpose was to place offerings at the shrine of his great grandfather Kartanagara, Last king of Singosari, in whose memory the monument had been built. According to the Nagarakertagama, which recounts at length the king’s visit to Jajawa, the royal party remainedthere for two or three days, making short excursions into the surrounding countryside. The magnificence of sacred compound was described in detail. The principal monument was said to have been a siwaite sanctuary crowned with the Buddhist ornament, in keeping with the religious philosophy expounded by Kertanagara, who is recorded as having returned, on his death, to the realm of Siwa-Buddha.<br />
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The Jajawa of history can be identified today with Candi Jawi at Pandaan, in the foothills of Mt Welirang. The site was formerly much larger than its present size. Entrance to the inner compound was from the west, via a split gate ( Candi Bentar) built from brick, the remains of which can still be seen in the south western corner of the site. <br />
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The principal monument, which was restored to its present condition between 1976 and 1980, is a tall, slender stone building, consisting of a base made from andesite bloks, upon which rest the body and roof, both constructed of limestone. Surrounding the building is a moat built from brick, measuring 50 metres square an some two metres deep. The walls of the base are decorated with relief carving, displaying a seemingly unbroken narrative, the contents of which may illustrate an historical event connected with the site.<br />
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Built in around 1300, Candi Jawi provides a clear example of classical architecture from the East Javanese period, which saw a move away from the massive structures favoured by the Sailendra dynasty some five centuries earlier, towards more slender buildings displaying tall, spire like roofs. While we do see a foreshadowing of this later style at the Central Javanese comlex of prambanan, a scarcity of remains in stone from yhe intervening period has made it difficult to trace the development which followed. <br />
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Among the earliest monuments in East Java exhibiting this new style is Candi Kidal, which lies to the south east of Malang. Mentioned in ancient literature as the memorial shrine for King Anusapati of Singosari, and thus datable to about 1250, Kidal has undergone partial restoration. Although the roof has been found impossible to reconstruct, the base of the monument displays some exceptionally fine images of the legendary hero Garuda, carved in high relief.<br />
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Other surviving structures which show a similarity of from to Candi Kidal include the gateway of Bajang Ratu at Trowulan and the ‘dated temple’ at Penataran, both of which have been restored. In addition, there are a few buildings whose once towering roofs have long sice collapsed and are no longer retrievable, among them Candi Ngetos, Candi Bangkal, Candi Sawentar and Candi Sumberjati.<br />
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From around the middle of 14th century another type of building appears to have become popular. This consisted of a stone platform, often terraced, upon which rested a structure which was either partially or completely built from perishable materials. At Candi Jago, as well as at Candi Penataran, for example, there is the likelihood that the roof above the main shrine resembled the meru towers found today in the pura of Bali, constructed from wood and palm fibre.<br />
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The temples of Surawana and Tigowangi at Pare, Kediri, both of which date from the late 14th century, likewise display a solid, stone base, yet the type of structure they supported, if any, is difficult to ascertain. In some cases, a rather simple platform of bricks was apparently sufficient for a statue of obvious importance. At Candi Gayatri, transcendental wisdom, possibly representing King Rajasanagara’s grandmother the Rajapatni (d. 1350), sits exposed on a tiered, brick foundation, all evidence of its original, probably wooden shelter having long since disintegrated.<br />
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The classical architecture of East Java is characterized further by a shift of perspective in the formal arrangement of spice. In early Central Java, the layout of a temple complex tended to be symmetrical, with the principal building located in the centre, aligned with the cardinal point. With the temples of East Java, however, there appeared a new orientation, where the most sacred enclosure frequently came to occupy a place at the rear of the building or compound. This idea is perhaps best illustrated at Candi Panataran, where the site is divided into three separate courtyards. The main building, which itself recerdes as it rises on a system of terraces, is to be found at the far eastern end of the complex, closest to the summit of Mt Kelud<br />
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Photo from: www.eastjava.com<br />
Text source: Historic Is Java Remains in Stonessituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-81818639629280188812011-04-18T07:59:00.000-07:002011-04-18T07:59:38.269-07:00Penataran<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHLjKwMYqJn6wQfs6e_PPdvzjTCje5jEMP0om-_drLfmYbXi9kHEloD31sJmbk6uvXpszmU60y9XFOKJdZDpczSjpTP15tYOEKu5hBDEsa2w1CEBU2Lb_l0Qu7pmqhbTDNdsTiip6gC78/s1600/panataran.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHLjKwMYqJn6wQfs6e_PPdvzjTCje5jEMP0om-_drLfmYbXi9kHEloD31sJmbk6uvXpszmU60y9XFOKJdZDpczSjpTP15tYOEKu5hBDEsa2w1CEBU2Lb_l0Qu7pmqhbTDNdsTiip6gC78/s320/panataran.jpg" /></a></div><br />
The magnificent temple complex of Penataran occupies a special position among the stone remains to be found in East Java. Not only is it the province’s largest single archaeological site, but it is further a unique and invaluable historical document, preserving dated inscriptions spanning a period of more than 250 years. Most of the buildings visible today, however, are the work of Majapahit aechitects and craftsmen and date from the 14th century, during which time the complex appears to haveundergone continuous expansion.<br />
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Referred to in ancient literature as Palah, Penataran is situated 450 metres above sea level on the south western slope of the active volcano Mt Kelud, about 12 kilometres from the town of Blitar. The site, Which faces north west , is roughly rectangular in shape, devided into three courtyards in an arrangement similar to that found in contemporary Balinese pura, with the principal building located at the rear of the compound .<br />
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The first courtyard contains the remains of at least four buildings. In the north western corner lies a rectangular stone terrace, which probably once fungtioned as a meeting place ( bale agung) for priests and religious officials. Rising about one and a half metres above tha ground, the terrace appears to have supported a wooden structure, long since perished. <br />
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South east of the bale agung is another, smaller foundation known as the pendopo terrace, which is likewise thought to have served as the base for a building constructed of wood. Dating from 1375, the pendopo terrace may have been used for the placing of offerings during religious festivals. The walls of the foundation are decorated with a sequence of finely carved relief panels depicting popular narratives, among them the stories of Sang Setyawan, Bubuksah and Gagang Akhing, as well as Sri Tanjung.<br />
<br />
Still within the first courtyard, east of the pendopo terrace stands the ‘dated temple’, so named because it displays the Saka date 1291 ( A.D. 1369) carved in stone on the lintel aboved the entrance. Known also as Candi Ganesa, after the image of the elephant headed deity within the temple’s single small chamber, the shape of the building is tall and slender, the roof tapering up to form a truncated spire. Above the entrance is displayed a fearsome image of Kala, or Banaspati, lord of the forest and widerness. Taking the form of a mythical, lion-like creature, his purpose on Javanese temples is to inner chamber is a square, stone slab, upon which is carved the emblematic Surya Majapahit. Other identifiable remains within the first courtyard include some large stone pillar supports which may have formed part of a priests’residance, as well as some isolated brick foundations, whose function is no longer possible to determine.<br />
<br />
Entering the second courtyard, only one building from among sevev of which there is evidence, has survived. This is the Naga temple, named after the carved image of a naga (Mythical serpent deity), whose undulating coils extend around the upper section of the building . Constructed from stone the Naga temple is a small, roughly square structure standing just under five metres in height only the base and body of the building have survived. The roof, no longer visible, was probably made from perishable materials. <br />
<br />
Despite its rather small size, the building is lavishly ornamented. The serpent’s coils, which in the past would have lain under the eaves of the roof., are supported by nine regal figures, portrayed with a priest’s bell in one hand, whilethe other holds up the body of the naga. The walls of the temple are further decorated with medallions carved in relief depicting animals and flowers. As to the original fungtion of the Naga temple, it is possible that it served as a repository for valuable items, such as ancient statues and other pusaka ( sacred heirlooms).<br />
The largest and most important building of the Penataran complex can be found at the rear of the third courtyard, which is the most sacred enclosure. What remains today is just the footof the original structure, consisting of three diminishing terraces rising to a total height of just over seven metres. The base of the building, which is square with wide central projections, measures about 30 metres on each side. Entrance from ground level to the floor of the first terrace is by way of two flights of stairs located on the western side, each flanked by pairs of guardian figures. The first terrace provides a spacious walking area known as selasar, from where visitors can view at some distance the narrative carved in relief on the walls of the second level. A single stairway leads from the selasar to the top of the third terrace, from where the body of the building would originally have risen. The walls of this uppermost section are decorated with carved images of winged lions and serpents. Of interest is the discovery of what appears to be the remains of an earlier building made from brick, beneath the floor of this level. <br />
<br />
In spite of the fact that only the base has survived, the main temple at Penataran displays a wealth of sculpture and relief carving as impressive as any in East Java. The walls of the first and second terraces are covered with carved stone panels depicting scenes from the Kresnayana ( stories og the god Kresna as a youth), as well asan episode from the ever popular Ramayana epic. Further carving showing exceptional detail can be seen on the backs of the guardian figures beside the entrances steps, where a date equivalent to A.D. 1347 is revealed. Another object of importance in the third courtyard lies on the southern side of the main temple. This is the stele of King Srengga of Kediri, dating from 1197. Addressed to Sira Paduka Bhatari I Palah, who is thought to represent the lord of Mt Kelud as well as the god Siwa, this is the earliest known inscription from Penataran.<br />
There still remain two more structures, which lie outside the complex proper but were undoubtedly connected with it. These are the two bathing places situated behind located close to the southern corner of the rear courtyard. Built from a combination of stone and brick and dating from the Indian Panca Tantra.<br />
<br />
Photo source: 3.bp.blogspot.com<br />
Text source: Historic East Java by Nigel Bulloughsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-62496795301703066772011-04-18T04:32:00.000-07:002011-04-18T04:32:55.236-07:00Amorphous<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinPmV4wExV2tbVrtSjORZHwS0iLUYaoTozy1sLx1BapmlxNLgImezpR4k7L0NhnLz-zeR-R1KEZE8CnryVlhFTkOepeCLvH-JlXpHXTfSzs-y15em1zkv65bq-ZxV476RxNi__wzltMg8/s1600/Rieswandi___2011___Bird_Flower_65x50_MP_Large.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinPmV4wExV2tbVrtSjORZHwS0iLUYaoTozy1sLx1BapmlxNLgImezpR4k7L0NhnLz-zeR-R1KEZE8CnryVlhFTkOepeCLvH-JlXpHXTfSzs-y15em1zkv65bq-ZxV476RxNi__wzltMg8/s320/Rieswandi___2011___Bird_Flower_65x50_MP_Large.jpg" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0"><tbody>
<tr><td valign="top">Title </td> <td valign="top"> : </td> <td valign="top">Bird Flower</td> </tr>
<tr> <td valign="top">Year</td> <td valign="top"> : </td> <td valign="top">2011</td> </tr>
<tr> <td valign="top">Size</td> <td valign="top"> : </td> <td valign="top">65 cm x 50 cm</td> </tr>
<tr> <td valign="top">Media</td> <td valign="top"> : </td> <td valign="top">Mixed Media on Paper</td></tr>
</tbody></table></td></tr>
</tbody></table>Title : Amorphous<br />
Artists : Rieswandi<br />
Venue : Edwins Gallery<br />
Duration : 22 Maret 2011 - 3 April 2011<br />
Curator : Heru Hikayat<br />
Preface : Edwin Rahardjo<br />
<br />
<b>Curatorial Note</b><br />
<b><br />
Between Form and Non-form</b> <i>by Heru Hikayat</i><br />
<br />
I am reminded of a work by René Magritte, a picture of a smoking pipe along with the words “this is not a pipe”. In that work, we are presented with the distinction between the image and its reference. Recognized in the image are pipe, chair, trees and so forth because of the similarity in the forms. The similarity in turns associates the image with its reference as something that exists in reality. Thus the image is connected to reality. This is presumably the starting point of our discussion regarding Rieswandi’s works: does his work relates to reality or not?<br />
<br />
You may or may not recognize certain shapes in the works of Rieswandi. This recognition also relates to the imagination. The imagination is not exclusive to the artist, but also the beholder. Hence, works of art become the realm of different imaginations.<br />
<br />
If a painter concentrates on the precision of form, it does not mean that this is purely a mechanistic form of imitation. Imagination remains involved. A number of artistic decisions must be made, and the media becomes the platform that conditioned those decisions. Therefore a picture of a tree is not merely a tree, but a tree that has been filtered with imagination. Thus the beholder, upon seeing the picture, recognizes it based on the experience of seeing trees, referring to the image of trees in mind. The beholder recognizes the tree in the picture because his imagination relates the image of the tree with the tree in reality.<br />
<br />
In Rieswandi’s works, even if there is a recognizable form, the familiarity is not fixed. This is mainly because the image in his works is not solid, not completely similar to something that exists in the world. It does not necessarily mean that his works are abstract works—in the sense that they are created by fully considering the aspects of form. There are figures that within certain limits remind us of something of this world, and this is not a coincidence.<br />
<br />
Or perhaps our recognition is not fixed because the presented images are the forms we are not entirely familiar with, or something we never see?<br />
<br />
There is a story of someone who has never seen a horse all his life, and then he is shown a painting of a horse. Thus the man is not able to recognize the form in the painting. Imagine a microorganism, something that can be seen only through a microscope. Will we ever know its exact shape? Is the form of a lower level organism the same with a multi-cell organism? In fact, we never know. We only know through experiments, but during the times other than when examined by humans, who knows what the organisms look like?<br />
<br />
Rieswandi admits to be interested in this kind of forms of organism, the organisms similar to fungi that always develop in forms. He confesses, when painting, forms appear in his mind which then develop in the drawing plane, along with the process of creation. <br />
<br />
He does not remember exactly where and when he have seen the organism whose image then presents itself in his mind and becomes the idea behind his works. He is not concerned by this connection. Hence there is no access for the beholder to trace it because it is not significant.<br />
<br />
Clive Bell proposed the term “significant form”. There are certain forms that somehow evoke an aesthetic emotion within us, by some mysterious law. Significant form originates from special experience. Experience of beauty requires direct experience, something that is experienced by the subjects themselves without any intermediary. This peculiar emotion is triggered by significant form. This is the experience of dealing with works of art, so that art exhibitions are important, regardless of how sophisticated the digital technology processed visuals, in art exhibitions we have the opportunity to deal directly with works of art. For Bell, significant form is what makes a work of art. A work of art does not determined physically, nor does it because of its success in illustrating something, but because of its ability to awaken that peculiar emotion. Absorbing this emotion is completely different with absorbing descriptive information. Looking at a painting of a tree is not about absorbing information about tree. Even if a representative form is considered successful, it succeeded as a form and not as a representation. This success is a matter of the forming of the visual elements.<br />
<br />
I remember, in Rieswandi’s works years ago are forms reminiscent of something in reality, in a rather surrealist atmosphere. There are images similar to meadows above tree stumps, or a house similar to a giant creature. His works from the previous years often use repetitive pattern. But since then, the forms always look organic, as if tempted to continue to grow, leaving a fixed form and without a definite design. When I started observing his latest works many months ago in preparation for the exhibition, I saw that he followed this “organic” encouragement.<br />
<br />
Because the search for the origin of form in Rieswandi’s paintings becomes unimportant, I focus on the drawing plane. I was tempted to look at his works fully from a formalistic point of view. At a glance, the way he cultivates forms may seem formalistic. But the images that only show abstract forms, Rieswandi always present an accent, usually a small image with a prominent and fixed form. The color is sometimes also stands out amidst his analogous palette. This accent is sometimes similar to plants in nature. In another picture, an image suggests a connection with reality. These correlations create a bridge between the works with the world. The formalistic restriction is skipped. I think Rieswandi can be considered as a middle class, Clive-Bellian form adherent: self-affirming charms within the works as well as leaving a faint trail of the connection to the world.<br />
<br />
In this exhibition Rieswandi also features tri-dimensional works. This is the first project where he showcases tri-dimensional works. As mentioned above, something in his mind triggers the process of creating. It can be considered as a design to compose the tri-dimensional formation. Of course this “design” is organic. The option to execute the “design” in a tri-dimensional form does not render his work to be mechanistic. The display of the tri-dimensional works involves real space, which is the exhibition space itself. Almost all two-dimensional works (painting and drawing) use the background as a vacuum space where the forms manifest themselves. If the drawing plane in that vacuum space is the background, then in the tri-dimensional works the space is the real space, where we are. Tri-dimensional works expand the exploration of space. They expand it to the limited world where the art works are being presented.<br />
<br />
In one painting, he treats the background differently. The background is similar to the sky, thus the overlay becomes the landscape. The connection to reality is much stronger here. Even if it is called a panorama, so as in all his works the position of the beholder remains ambiguous: between familiarity and unfamiliarity. There is consistency, and there is also a shift.<br />
<br />
Finally, the chosen title, Amorphous, is intended to emphasize the uncertainties of form, not only is it not fixed but also not final. In his composition, Rieswandi always highlights the potential development of the form. A force contains within every form. What else but art that is most appropriate to expose these forces?<br />
<br />
(Bandung, 10 Maret 2011)situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-24131878112553898352011-04-18T04:11:00.000-07:002011-04-18T08:10:07.207-07:00Arie Dyanto<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHQxSErF1XGY7b5pDBZvUqFbHjYhJP6Dbq78iBbJ7znWArCa0rPhd-4W7NqlqYPgGVHWpvd7VldzOb-1y14fkYcPDx3nE8lFxxQDkw7GqGL9xbfcOpjDA6ArxKjwxpxBfl_0OFTH0Ea4/s1600/arie2.JPG" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="223" width="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHQxSErF1XGY7b5pDBZvUqFbHjYhJP6Dbq78iBbJ7znWArCa0rPhd-4W7NqlqYPgGVHWpvd7VldzOb-1y14fkYcPDx3nE8lFxxQDkw7GqGL9xbfcOpjDA6ArxKjwxpxBfl_0OFTH0Ea4/s320/arie2.JPG" /></a></div><br />
25th January 1974, Klaten, Central Java, Indonesia.<br />
1992-1999 Faculty of Fine Arts, Indonesia Institute of Arts, ISI, Yogyakarta, Indonesia. <br />
Member of Indonesian Public Art Artists Group Apotik Komik from 1997 – 2004.<br />
<br />
Solo exhibitions:<br />
2006<br />
Egos and Icons, Toimoi Shop and Gallery, Jakarta, Indonesia.<br />
<br />
2005<br />
Choose your own public! – Counter Attract public art project, City of Yogyakarta and Cemeti Art House, Yogyakarta, Indonesia<br />
<br />
2004 <br />
Una Grande Production, Kultur Modell, Passau, Germany.<br />
Eng Ing Eng, Gallery Lembaga Indonesia Perancis, Yogyakarta, Indonesia.<br />
<br />
2003 <br />
Stray Fatigues, Kedai Kebun, Yogyakarta, Indonesia.<br />
<br />
2002 <br />
Parkinsound, Electronic Music Festival, Graffiti Action, Gedung Olah Raga Kridosono, Yogyakarta, Indonesia.<br />
<br />
2001 <br />
Sorry No Artwork, Asien Haus, Essen, Germany.<br />
Sorry Still No Artwork, 88 Der Verein fur Kunst und Kultur e.v., Hamburg, Germany.<br />
Freestyler, La Figuration Narrative, Pusat Kebudayaan Perancis, Yogyakarta, Indonesia.<br />
<br />
2000 <br />
Nachsterhalt, Aquarium Music Café, Passau, Germany. <br />
<br />
Public Art and Murals:<br />
2006<br />
Midnight Mural, Bringharjo Area, Jogjakarta, Indonesia<br />
Babyloni-Ants, Mural on wall, Rimbun Dahan Artist in Resident , Kula Lumpur, Malaysia.<br />
Throwing Dice, Mural on wall, PTPN Radio Station, Bengawan Art Festival, Surakarta, Indonesia.<br />
Rama Bridge, Mural on wall, Punggawan street, Surakarta, Indonesia<br />
<br />
2005<br />
Re:publik art project, Mural on Rolling Door shop, city of Yogyakarta, Indonesia.<br />
News Today, Mural on Wall, Perwakilan Street, Yogyakarta, Indonesia.<br />
Local Superhero, 9th High School park, Yogyakarta, Indonesia.<br />
Choose Your Own Public, poster on the street, City of Yogyakarta, Indonesia.<br />
Anyang, Public Art Project, Digital comic tends, Anyang resort park, South Korea.<br />
<br />
2004<br />
Graffiti Action, Graffiti Mural on four floor Apartement, Kiefernstrasse, Dusseldorf, Germany.<br />
Birdman of Bali, Mural on Wall, Akasia Street, Denpasar, Bali.<br />
<br />
2003<br />
In Dollar We Trust, Mural on wooden Fence, Southern Exposure Gallery /Project Artaud, San Francisco, USA.<br />
Global Passport, Mural on playwood, Haverford College, Philadelphia, USA.<br />
<br />
2002<br />
Melancholy with the city, Mural on Lempuyangan fly over, ‘Sama-sama’ Mural Project, Yogyakarta, Indonesia<br />
<br />
2001<br />
Too much mural is boring, graffiti mural, Graffiti Monument, Jakarta, Indonesia.<br />
<br />
1999<br />
Sakit Berlanjut,Card board Cutting out figure, Perwakilan Street, Yogyakarta, Indonesia.<br />
<br />
1997<br />
Bless me oh lord, Comic on the wall, Apotik Komik base Camp, Yogyakarta, Indonesia.<br />
<br />
Workshops:<br />
2005<br />
Facilitator. Stencil Graffiti workshop for Junior High School teacher, organized by Cemeti Art Foundation. Yogyakarta, Indonesia.<br />
<br />
2004<br />
Facilitator. Stencil Graffiti workshop, organized by Cemeti Art Foundation under the ASURA (Apresiasi Seni Untuk Masyarakat) program. Cemeti Art Foundation, Yogyakarta, Indonesia.<br />
<br />
2003<br />
Facilitator. Mural workshop with high school students, organized by SMU 9 and Apotik Komik, SMA 9 School, Yogyakarta, Indonesia.<br />
Facilitator. Mural workshop with junior high school students organized by SMP 7 and Apotik Komik, SMP 7, Yogyakarta, Indonesia.<br />
Facilitator. Mural workshop with local people of Yogyakarta, organized by Apotik Komik, Kampung Gedong Tengen, Jalan Imaga, Yogyakarta, Indonesia.<br />
<br />
2002<br />
Participant. Comic workshop with Peters Benoit and Francois Schuiten, organized by the French Cultural Center and Apotik Komik, CCF Yogyakarta, Indonesia.<br />
Participant. Lavatory Table Workshop with Arno Oehri, organized by Indonesian Institute of Art Yogyakarta under Indonesian and Lichtenstein artist exchange program, Taman Budaya Yogyakarta, Indonesia<br />
<br />
Groups Exhibition :<br />
<br />
2010<br />
Comical Brothers, Galeri Nasional, Jakarta, Indonesia<br />
<br />
2009<br />
Havana affair, One Gallery, Jakarta, Indonesia<br />
Guru oemar bakrie, Jogja Gallery, Yogyakarta, Indonesia<br />
North Art Space, NAS Gallery, Jakarta, Indonesia<br />
Survey #2, Edwin Gallery, Jakarta, Indonesia<br />
In rainbow, Esa Sampoerna, Surabaya, Indonesia<br />
Borderless World, 2nd Anniversary Sri Sasanti Gallery, Taman budaya Yogyakarta, Yogyakarta, Indonesia<br />
JAF #2, Taman Budaya Yogyakarta, Yogyakarta, Indonesia<br />
Unlimited Portrait. Plaza Indonesia, Jakarta, Indonesia<br />
Topology of flattness, Edwin Gallery, Jakarta, Indonesia<br />
Biennale Jogja X 2009, Taman Budaya Yogyakarta, Yogyakarta, Indonesia<br />
<br />
2008<br />
Apocalypse Now, Ark Gallery, Jakarta, Indonesia<br />
Heroes, Tujuh Bintang Gallery, Yogyakarta, Indonesia<br />
Space/ spacing, Semarang Gallery, Semarang, Indonesia<br />
Lullaby II, Langgeng Galery, Magelang, Indonesia<br />
Manifesto, National Gallery, Jakarta, Indonesia<br />
Boys or Toys, Srisasanti Gallery, Yogyakarta, Indonesia<br />
Boys and Girls, Edwin Gallery, Jakarta, Indonesia<br />
Komedi Putar, Jogja Gallery, Yogyakarta, Indonesia<br />
Lullaby, V art Gallery, Yogyakarta, Indonesia<br />
Capo Toys Show, LIP Gallery, Yogyakarta, Indonesia<br />
<br />
2007<br />
Biennale IX Yogyakarta 2008, Neo-Nation, Sangkring Art Space, Yogyakarta, Indonesia.<br />
Portofolio, 1st Anniversay of Jogja Gallery, Jogja Gallery, Yogyakarta, Indonesia<br />
Boeng Ajo Boeng! 100 Tahun Affandi, Taman Budaya Yogyakarta,Yogyakarta, Indonesia<br />
Force Majeure, International Literary Bienalle, Langgeng Gallery, Magelang, Indonesia<br />
Agraris Koboi, Jogja Gallery, Yogyakarta Indonesia.<br />
Get It (W)all!, Lembaga Indonesia Perancis Gallery, Jogjakarta, Indonesia.<br />
<br />
2006<br />
Fringe, Toimoi Gallery, Jakarta, Indonesia.<br />
Icon Retrospective, Jogja Gallery, Jogjakarta, Indonesia.<br />
Art for Jogja, Taman Budaya Gallery, Yogyakarta, Indonesia.<br />
Come closer! 2nd Anniversary of Maya Gallery, Maya Gallery, Kuala Lumpur, Malaysia.<br />
Anyang Public Art Project, Cemeti Gallery, Yogyakarta, Indonesia.<br />
Nike Airmax Night, Bukit bintang temporary store, Kuala Lumpur, Malaysia.<br />
<br />
2005<br />
Popculture, Maya Art Gallery, Kuala Lumpur, Malaysia.<br />
Biennale VIII Yogyakarta 2005, Disini dan Kini,Taman Budaya Yogyakarta, Yogyakarta, Indonesia.<br />
Anyang Public Art Project, City of Anyang, South Korea.<br />
Re:publik art project, city of Yogyakarta, Indonesia.<br />
Cp open Biennal 2005, (Comical Brothers), Museum Bank Indonesia, Jakarta, Indonesia.<br />
<br />
2004 <br />
Reformasi, (Apotik Komik), Sculpture Square Gallery, Singapore.<br />
Barcode, Festival Kesenian Yogyakarta 2004, Taman Budaya Yogyakarta, Indonesia. Abstain, Galeri Suryo, Surakarta, Indonesia.<br />
Graffiti Action, Schoner Wohnen in der Kiefernstrasse, Dusseldorf, Germany.<br />
Bird-man of Bali, Mural project, Akasia Street, Denpasar, Bali, Indonesia.<br />
<br />
2003 <br />
I’ll Be Your Mirror, Galeri CCF, Jakarta, Indonesia.<br />
Soundgarden, Gelaran, Yogyakarta, Indonesia.<br />
CP Biennale, Galeri Nasional, Jakarta, Indonesia.<br />
15 Tracks, (Apotik Komik), Fukuoka Asian Art Museum, Japan.<br />
Mural Project Sama-sama/ You’re Welcome, (Apotik Komik), Intersection for The Arts Gallery, Southern Exposure Gallery, San Francisco, California, USA.<br />
Global Passport, (Apotik Komik), Haverford Collage, Philadelphia, USA.<br />
<br />
2002<br />
Read! Art Project, British Council exhibition space, Jakarta, Indonesia.<br />
Mural Project, SAMA-SAMA, fly over Lempuyangan, Yogyakarta, Indonesia.<br />
age-hibition, Edwin’s Gallery, Jakarta, Indonesia.<br />
AWAS! Recent Art from Indonesia, (Apotik Komik), Bentara Budaya Jakarta, Indonesia.<br />
36 Ideas from South East Asia, (Apotik Komik), Travelling Exhibition, Germany, Italy, Hungary, Austria, Japan.<br />
<br />
2001<br />
Too Much Mural is Boring, (Apotik Komik), Jakarta, Indonesia.<br />
Comic Indie, Galeri Gelaran Budaya, Yogyakarta, Indonesia.<br />
Four members of Apotik Komik, (Apotik Komik), Frank and Lee Atelier, Singapore.<br />
<br />
2000<br />
Biennale VI Yogyakarta, Art Center, Purna Budaya, Yogyakarta, Indonesia.<br />
KNALPOT, Cemeti Art House, Yogyakarta, Indonesia.<br />
AWAS! Recent Art from Indonesia, (Apotik Komik), Benteng Vredeburg, Yogyakarta, Indonesia.<br />
AWAS! Recent Art from Indonesia, (Apotik Komik), Australian Center of Contemporary Art, Melbourne, Australia.<br />
Bias Sahaja ’99, Seni Cetak Grafis Tiga Kota, Jakarta, Bandung, Yogyakarta, Indonesia.<br />
KNALPOT, Puri Lukisan Museum, Ubud, Bali, Indonesia.<br />
<br />
1999<br />
Sakit Berlanjut, (Apotik Komik), Yogyakarta, Indonesia.<br />
<br />
1998<br />
Four Fresh of Freezer, Benteng Vredeburg Museum, Yogyakarta, Indonesia.<br />
Message from Distortions, 50th anniversary of Human Rights Declaration, Vredeburg Museum, Yogyakarta, Indonesia.<br />
<br />
1997<br />
Comics on Wall, (Apotik Komik), Yogyakarta, Indonesia.<br />
Recovering Stupidity, AIKON’s office, Yogyakarta, Indonesia.<br />
Space of Liberty, a note for Indonesia’s Independence Day, Borden House, Yogyakarta, Indonesia.<br />
<br />
<br />
Residencies<br />
2005-2006<br />
Artist in Residence, Rimbun Dahan Artist-in-residence Programme, Kuang, Selangor, Malaysia.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju47A6_b_5mHqA3NiD3Zt_EizdsbiPQFSTB1bR3uiBFER2DY8a6b9HDxvArxgG0kBi1yx_junI3nqlNS-eTE0zwfpb69J-i68OSZPRR_e-51CM19WuLpu95nxMzsNkOHR_TGnM6e_FpFg/s1600/arie.JPG" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju47A6_b_5mHqA3NiD3Zt_EizdsbiPQFSTB1bR3uiBFER2DY8a6b9HDxvArxgG0kBi1yx_junI3nqlNS-eTE0zwfpb69J-i68OSZPRR_e-51CM19WuLpu95nxMzsNkOHR_TGnM6e_FpFg/s320/arie.JPG" /></a></div>situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-33037865839088507952011-04-18T04:02:00.000-07:002011-04-20T05:11:35.718-07:00Edwin's Gallery Tour<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPkyN1SFYPp_etLPMNrfgB_LISpZ0dzRKl5cjfaCU7zYksrXA9u-Zzc7JkPfBOIBIe-0i0h0Bfr5cD6dJDDnT7R2OO75FwcyWC2TvjZCB1673ySgHNCL7E3BRHoha4p37KJh1HXMSK9I/s1600/edwins3.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLPkyN1SFYPp_etLPMNrfgB_LISpZ0dzRKl5cjfaCU7zYksrXA9u-Zzc7JkPfBOIBIe-0i0h0Bfr5cD6dJDDnT7R2OO75FwcyWC2TvjZCB1673ySgHNCL7E3BRHoha4p37KJh1HXMSK9I/s320/edwins3.JPG" width="234" /></a></div>Edwin's Gallery stands upon a 2000 m2 piece of land in the hip Kemang area of Jakarta. The gallery was established in 1984. The primary aim of the gallery is to provide a meeting ground for artists and art lovers, and to give an up-to-the minute picture of what is happening within the discourse of contemporary art in Indonesia and the world.<br />
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Source: www.edwinsgallery.comsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-82153241326892543062011-04-18T03:56:00.000-07:002011-04-20T05:11:52.869-07:00Nadi Gallery's Profile<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCCMpKygkDZmTlXoG4_drewu0HLIJam61yulrNx2uT1awfMIOql-oLNOHaVzPyV9eyXDYqypDi_pJVWPuS8Haez75u6s3IzFpdYpHMNvbxpq4Tzl8zAR4fR0HjLpGmdfNs8ilj0GZs80E/s1600/nadi.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCCMpKygkDZmTlXoG4_drewu0HLIJam61yulrNx2uT1awfMIOql-oLNOHaVzPyV9eyXDYqypDi_pJVWPuS8Haez75u6s3IzFpdYpHMNvbxpq4Tzl8zAR4fR0HjLpGmdfNs8ilj0GZs80E/s1600/nadi.gif" /></a></div>Based in Jakarta, Nadi Gallery is an art gallery founded by Biantoro Santoso,<br />
a young collector of Indonesian art. His devotion for art and his desire to take part in promoting contemporary art in Indonesia have led to the existence of this gallery.<br />
<br />
Nadi Gallery was officially opened on the 15th of September 2000, marked by the opening of an exhibition showing the paintings of Heri Dono, a celebrated artist.<br />
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The Indonesian word nadi means "aorta", "artery", "vein" that evokes the idea of signaling pulsation. Without pulsation, the aorta soon looses its significance for life. As the name indicates, the Gallery's principal programs of exhibitions have been aspiring to present the pulses of recent developments in contemporary art in Indonesia.<br />
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All the exhibitions held by and at the Gallery are designed in cooperation with guest or independent curators. Exhibitions are scheduled to take place at least six times a year. Those exhibitions are intended to present works by Indonesian artists as well as artists from other parts of the world with highly qualified, unique and innovative achievements.<br />
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While adopting strategic approaches to enhance appreciation of art, exhibitions at Nadi Gallery also give careful consideration to the commercial aspect of the works presented. Therefore, in addition to promoting artistic development and offering to artists a space to show their qualified works, the Gallery also invites collectors for the enjoyment and purchase.<br />
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Of no less importance is the Gallery's attempt to play its role in facilitating programs that involve discussions and exchanges with and among artists, art critics, curators, and collectors while helping with workshops, book publishing, and designing projects related to various possibilities in the field of art.<br />
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Nadi Gallery is always open for dialogues and collaboration with various parties, both individuals and institutions of whatever backgrounds.<br />
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In line with that, Nadi Gallery intends to position itself as a significant "pulsation" amid the currents of the pluralist artistic expressions in Indonesia.<br />
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Source: www.nadigallery.comsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-16385408221213777922011-04-18T03:51:00.000-07:002011-04-20T05:12:09.396-07:00Edwin's Gallery at a Glance<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSXmfXjg1YZ1ZXUbdcGn8doPkUKw6IKQAh-TO6F5UqkzK-cVZ_sBSYUf5gI1c_FavBi1WCqW5qb690_V-2Rhc5M7IgkHlM7SVbbX2WB9mSaurU3A2DpRu7035vwraOcCJYnKaTSc67bTs/s1600/lelehan_emas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSXmfXjg1YZ1ZXUbdcGn8doPkUKw6IKQAh-TO6F5UqkzK-cVZ_sBSYUf5gI1c_FavBi1WCqW5qb690_V-2Rhc5M7IgkHlM7SVbbX2WB9mSaurU3A2DpRu7035vwraOcCJYnKaTSc67bTs/s1600/lelehan_emas.jpg" /></a></div>Edwin's Gallery was founded and established in 1984 by Edwin Rahardjo. On 2009 the gallery celebrates its 25th anniversary. Up to October 2009, there have been 150 exhibitions hosted by the gallery, covering the media of paintings, prints, sculptures, objects, new media arts, as well as tapestries of more than 200 artists of various generations. Among the significant modernists exhibited were S. Sudjojono, Mochtar Apin, Affandi, Srihadi Soedarsono, Djoko Pekik, Sunaryo, Donald Friend, Rudolf Bonet, and Le Mayeur, just to mention a few.<br />
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However, since the early 1990s, the gallery's focus has been to promote young, contemporary and emerging artists. Hence, artists like Heri Dono, Nyoman Masriadi, Sigit Santoso, Entang Wiharso, and even the younger ones such as Ayu Arista Murti, Ay Tjoe Christine, Bunga Jeruk, Bambang BP, Gusmen Heriadi, Rieswandi, Rudi Mantofani, Sekar Jatiningrum, Taufik, and Tommy Wondra, have shared their histories with the gallery.<br />
<br />
As early as 1989, the gallery had pioneered the production of exhibitions that are seriously curated, involving distinguished independent curators and art critics, namely Sanento Yuliman, Jim Supangkat, and Suwarno Wisetrotomo even though that was not yet a common practise in Indonesian art scene then. Younger curators and art critics such as Farah Wardhani, Agung Hujatnikajennong, Enin Supriyanto, and Rifky Effendy have also regularly worked on the various gallery projects. Strong curatorial tradition is important for the production of quality exhibitions. By doing so, Edwin wishes that he would be able to continually give essential contribution to the Indonesian contemporary art discourse.<br />
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Source: edwinsgallery.comsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-2223552473811224712011-04-18T03:44:00.000-07:002011-04-20T05:12:29.878-07:00Gallery Profile<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSGRPAc_f34QTSKxFyLReWf12we_L3RLmNhTIKGmmA7ki8V0yCG63hRnXM0lMSRGZdZKcbsE1L5aO1sLJRoBUfJyPLfxeVpJy4pCMcj90FciyXKK0Tot6X1i3ZZcSIXDJoW4Nu40E14D8/s1600/edwins.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSGRPAc_f34QTSKxFyLReWf12we_L3RLmNhTIKGmmA7ki8V0yCG63hRnXM0lMSRGZdZKcbsE1L5aO1sLJRoBUfJyPLfxeVpJy4pCMcj90FciyXKK0Tot6X1i3ZZcSIXDJoW4Nu40E14D8/s1600/edwins.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div>As recognized by many, Edwin's Gallery (EG) is one of the most active and the longest-running private art galleries in Indonesia. Founded in July 1984, it constantly maintains its existence and activities in the art scene and never ceases to develop ever since.<br />
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Starting from a small gallery space and photography studio in his garage, the gallery now stands on an area of 2000 m2 which consists around 500 m2 solely for exhibition spaces, at Kemang, Jakarta. To this date, the gallery has hosted more than 150 exhibitions that presented more than 200 established artists, from Indonesia and across the globe.<br />
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The highlighted list of prominent Indonesian contemporary artists who have taken part in EG's exhibitions are namely: Sunaryo, Nyoman Nuarta, Heri Dono, Dolorosa Sinaga, Agus Suwage, Rudy Mantofani, Handiwirman, Ivan Sagita, S Teddy D, and Yani Mariani Sastranegara. Many of these artists have been presented in the international art scene by EG, such as at Sichuan Art Museum in China, NUS Museum in Singapore and Open Asia 2004 at Lido, Venice.<br />
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Apart from promoting Indonesian artists abroad, the gallery has also plays a major role in introducing international artists and hosting a significant number of exhibitions presenting their works in Indonesia. One of EG's most significant initiatives in this part is in 2003 with the exhibition From China with Art at the Galeri Nasional (National Gallery) Indonesia, curated by Johnson Chang and showing works of the famous names of Chinese contemporary artists, such as Zhang Xiaogang, Tang Zhigang, Wang Guangyi, Yue Minjun and Fang Lijun.<br />
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Furthermore, as a part of its participation in developing Indonesian art history, the gallery also shown a number of exhibitions showing historically important works of Indonesia's maestros, particularly Ahmad Sadali, Mochtar Apin, S Sudjojono and Affandi. Many of the works are a part of the gallery's permanent collection that will be preserved in its presently developing museum, which will be opened in the short future.<br />
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Edwin's Gallery journey proves itself as one of the most consistent frontrunners in this country's art scene. Its accomplishment is a result of the founder's motivation to share and create, to build the local art scene together with the art communities and art lovers, something that has been continuously growing, becoming a legacy.situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-17334061130800944152011-04-17T23:51:00.001-07:002011-04-18T03:58:41.221-07:00Developing the Creative Industry<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguH4Dl252sLG9XKEXFdZgAj-ZLG_ZRFQ7MMUP3nRv4zEtIRwTzqRejL5DQgzRfVckQgDNR1BrU65MRDyR0qm0JVp39dxo_vX8Pzp-uNgiaZCzgL0d74y4yAyIGfj7FEcmKbjT3xA6hZcs/s1600/page075+Rev.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguH4Dl252sLG9XKEXFdZgAj-ZLG_ZRFQ7MMUP3nRv4zEtIRwTzqRejL5DQgzRfVckQgDNR1BrU65MRDyR0qm0JVp39dxo_vX8Pzp-uNgiaZCzgL0d74y4yAyIGfj7FEcmKbjT3xA6hZcs/s320/page075+Rev.jpg" width="317" /></a></div>Mid of November 2007; most of the Indonesian citizens, especially the public of Ponorogo, East Java; responded hard to the claim Malaysia made on the Barongan art for its similarity to the Reog Ponorogo. Various demonstrations were even held at that time. Among them is the one did by the Reog Ponorogo artists and enthusiasts from East and Central Java; assembled in front of the Malaysian Embassy on 29 November 2007.<br />
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This has not happened once or twice. We surely still remember what a calamity it was when Malaysia claimed batik, and how sensational it went when the pendet dance from Bali was used in the Discovery Channel program titled Enigmatic Malaysia. Actions by the neighbouring country that often times are considered claiming the arts originated from Indonesia are quite “tickling” for the Indonesian society.<br />
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How should we react to such inappropriate act? And what mitigations can be done to protect and also develop our culture? The following is the thought by culturist Taufik Rahzen, summarized from the interview held with the man, Monday, 7 June 2010 in the Newseum Cafe, Veteran Street 1 No. 33, Paseban, Central Jakarta.<br />
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Firstly; it is globalization that drives the entire nation to building self identity, the identity that will distinguish us from other nations, that is an internal movement, to the inside. But on the other hand there is also the demand to be a shared culture, to be a culture that is collectively owned. That is why there is the choice on what is called collective heritage or global heritage, that the cultural responsibility is not only the nations, but also the worlds. Now, the understanding of a collective possession is then manifested in the acts of respecting copyright, cultural right, and selfimprovement right of people from certain cultures. That is the basic frame.<br />
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Then, how does Indonesia play in those two sides? On one hand we have been panicking much on the claims of other countries towards our culture, when on the other hand, we sometimes don’t pay enough attention to the culture itself. Even if there are those that care for it, that is one form of affirmation that cultures can be a collective possession.<br />
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The clearest example is the Reog. Malaysia claimed Reog also. What needs to be known is that the people that develop Reog there are the Javanese people who have resided in the country, and they have the right to do just so. There should be no problems. Same thing as jazz. America owns jazz, so why would Indonesia have the biggest jazz festival in the world? That is called shared culture. However, when made an icon, that’s when the limits set it. That was the mistake that happened with the pendet dance case. When pendet dance is used as an icon by a country for commercial purposes, in this case tourism that should be fought against.<br />
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But when pendet does evolve in Malaysia in the future; that should be supported. Also, when gamelan progresses in America and becomes a study, the same thing must be done. And sasando, when enlisted as the world music, people will wtill know that ssando is from the East of Indonesia, from Rote; because there is no way that the country that does And so, how fas can a culture be improved in the name of advancing a country? In America, their largest industry is thecultural industry, especially pop culture. Music and film are big values. And what’s more expanded is the software, as it contributes the higest deal in entertainment. Culture has ultimately been made into a creative industry.<br />
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In reality, at this point the entire cultural improvement has lead to the direction of creative industry. It is now how far we can fo in offering, exploring, and integrating it to our daily routine.<br />
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America was successful in doing so. In Europe, they’re building a classic tradition, and that is why the museums, conservatories, and cafes are established, to show the real cultural industry. We should possess the planning for cultural use or benefitting especially towards the creating of creative industry.<br />
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Indonesia can refer to both. This means that using the background of traditional heritage, plurality, biodiversity that have already been in the society, a lengthy historical journey, can be for the purpose of creating new works. The most genial example from the Indonesian people is actually the Indonesian language. Indonesian language was invented and new, standing from the support of other ancient languages, that vertically is from ancient Malayan, Sanskrit, Deutsche, and also spreads horizontally to traditional languages. Aside from that on one hand it is the duty of the country to preserve existing cultures. Such as the ketoprak tobong that is now gone because it got no appreciation from the government. The government’s duty is to preserve, even though there is no benefit from the financial aspect, but it is from there that the sources of creativity and inspiration are from and it originated from those kinds of folk shows. The step to improve our culture in order to make it competitive to other countries is that first we should create an infrastructure. The most significant infrastructure is one environment that allows the emergence of creative industry, creative economy, and that is also related to the lifestyle.<br />
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The second infrastructure is government policy. How the innovation management is integrated to the government policy, so not to let bureaucracy come in the way or give issues on the occurrence of innovations.<br />
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The justice system should also not make people feel reluctant to conduct new experiments. Thirdly the management and marketing of the creative industry system. I personally feel that those three things could make our culture and creative industry to improve.<br />
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Teks Darma Ismayanto<br />
Interview with Taufik Rahzen<br />
Source: arti special editionsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-75417503621042799012011-04-17T14:49:00.000-07:002011-04-17T15:06:28.515-07:00SAMAN: The Magical Dance<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVab_eUrrqb1-KF29kXaVk9wt621JaSwJr3m1NGw7o2mKxMNsEZt2yT8PElTr7Ishb_voJ70lAR_eixqHip-IKi9PbtE1J9al5y2LNgwJqEEvqfXnp-OoUxcvap_TD-ahYHx_gelMeiTo/s1600/saman+page100.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVab_eUrrqb1-KF29kXaVk9wt621JaSwJr3m1NGw7o2mKxMNsEZt2yT8PElTr7Ishb_voJ70lAR_eixqHip-IKi9PbtE1J9al5y2LNgwJqEEvqfXnp-OoUxcvap_TD-ahYHx_gelMeiTo/s320/saman+page100.jpg" width="320" /></a></div><br />
<i>Harmonizing the rhythm of strikes to the hands, chest, thighs, floor, and also body movements in the midst of religious lyrics citing.</i><br />
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The humidity sets in immediately upon entering the Meurah Silu Hall of Malikussaleh University in Lhokseumawe, Aceh; one night on last of May. A number of air conditioner attached on several corners was silent with no coolness. Nobody knows if they were deliberately turned down to save the energy, or the available power was just unable to simultaneously light and cool the hall. In that state, even sitting still already brought sweat down the body, moreover to do fast movements on a wooden floored stage.<br />
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However, that was exactly what eight teenage girls in hijjab did on that stage. The heat in the hall located on the third floor did not cease their movements. Those girls sat cross-legged in one row, but not motionless. They moved their hands, shoulders, and heads rhythmically. At first it was soft movements following the lyrics chanted by one of the girls at the center of the row. The lyrics contain praises to Allah, tribute to the audience (there were no audience), and the teachings to do good deeds. The lyrics are actually short, but was chanted with certain rhythm and repeated over and over; making one line of lyrics to be done in several minutes.<br />
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As the lyrics chants went faster, the hand strikes of the girls also become fast. They bend left and right, stroke their hand with the person next to them, striking their upper left and right chest, striking their thighs, striking the wooden floor (that was probably why the stage floor was made of wood), and shook their head to the left, right, front, and back. That is the Saman.<br />
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“Saman means eight. Usually it is carried out by eight dancers, but there are also more. Commonly in odd numbers, because one of them must be the lyrics chanter,” revealed Bira Agustin (24). The fair-skin man is a saman dancer who that night served as the dance coach for the Malikussaleh University of Lhokseumawe students to perform in an art and culture event.<br />
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The lyrics and movements in Saman dance, explained Bira, could also distribute religious messages. In the rhythmic movements there are several mandatory movements and there are those modified with modern moves. In the progress, Saman has been improvised in a way that it has become different with the basic Saman movements introduced in Gayo of Central Aceh.<br />
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Bira has been studying Saman since 2001 when he was still a member of the Cut Meutia Art Studio in Pendopo Bupati Aceh Utara. It was M Rizal who introduced him to Saman dance and several other dances. They were not just Acehnese, but also dances from other regions in Indonesia. In his numbers of cultural visits to various cities in and out of Indonesia, Bira feels his competence in performing dances other than Saman to be very useful.<br />
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On the hands of M Rizal, tens – even maybe hundreds - of dance artists in the wester and eastern parts of Aceh have been produced. Unfortunately, when visited to the Pendopo Bupati Aceh Utara in Lhokseumawe, it is said that M Rizal has now reside in Banda Aceh, along with the fading of support to the dance art development from Northern Aceh District government.<br />
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Bira who is now finishing his thesis at the Tarbiyah Faculty of English Major at the Malikussaleh National Islamic Academy (STAIN); is trusted to coach at the Ratu Malikah Nur Ilah Dance Studio that comprise of 15 dancers and eight musician. Whether there is an event or not, they continuously practice daily, except for Saturdays and Sundays, or when the students have exams at their campus. That is why, they not only learn Saman, but also several other Acehnese dances such as the Poh Kipah, Likok Pulo, Ranup Lam Puan, and some dances from out of Aceh such as Serampang Dua-Belas.<br />
“Although, when performing out of the region, Saman and Seudati dances are the most appreciated by the audience. Maybe because those two dances are the most popular,” said Bira. <br />
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Maybe that is not the only reason. Saman has also become an amazing performance because of the uniformed and swift movements; making it seems smagical. The harmonization of strikes to the hands, chest, thighs, and also the stage floor, plus the body movements are those that captivate the audience; resulting in a prolonged ovation after the performance. The audience does not seem to care much for the lyrics chanted in the Gayonese language they don’t understand (although in some performance, the lyrics can also be presented in English or any other language as requested).<br />
In the cultural activity of Peyasan Pase in Northern Aceh, 11 Saman dancers brought the lyrics chant in Gayonese language that is not understood by most of the audience, but the entire attendance seemed to have been cast under a spell, thus not moving their concentration from the stage. And at the end, with no delay, they immediately stood up and gave a standing and loud ovation. <br />
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The Saman dance that has always been the favorite show at the Peyasan Pase, was performed by 11 Saman dancers dressed in traditional Gayonese costumes dominant with red and black colors. The motives of clothes they have on are similar to the Batak Ulos from Northern Sumatra and Tana Toraja ofSouthern Sulawesi. Those Saman dancers are from the Rempelih Gayo Studio of the Gayo Luew District, Aceh Province. According to Samsul Bahri, the head of the Rempelih Gayo Studio, dancing Saman is like everyday meal to his pupils. Dancing can be done anytime and anywhere, so it comes off as no burden. It is no wonder that Rempelih Gayo was successful in becoming the best performed dance group in 2005, 2006 and 2007 at the Tourism Festival in Jakarta.<br />
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“They only take breaks for praying and eating,” added Alamsyah Ariga (24), the head of Seulawet Art Studio of IAIN Ar-Raniry Banda Aceh.<br />
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Saman dance has also been known since the 14th century. The lyrics that is chanted to accompany the dance – also a term in Saman – are mostly in Gayonese. Word is that the dance was invented and developed by an Islamic Religious Figure namely Syekh Saman. Saman dance is the evolution from the dance art originally called the “Pok Pok Ane” which was the lyrics chant accompanied by strikes to the hands, chest, and thighs. Syekh Saman then beautifies the Pok Pok Ane dance by various movements like the now well-known Saman dance.<br />
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According to Alamsyah, Saman is one of the media to spread religious advices. The dance itself reflects education, divinity, politeness, heroism, harmony, and togetherness. “At times of yielding the pddy-field, or when celebrating Islamic religious days such as the Birth of Prophet Muhammad, Aidil Fitr or Aidh Adh, Saman competition is often held.”<br />
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He explains that Saman can be divided into two important parts which are the lyrics chanted by the Sheik and the dance movements. The opening of lyrics chant is usually the rengum, which is the opening or beginning of the Saman dance. “Rengum usually contains the greeting or praises to Allah and Prophet Muhammad,” Alamsyah said.<br />
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Rengum is usually followed by dering, which is the chanting of lyrics by the sheikh that is repeated by the dancers, making it seems like a continuous call-outs. The dancer at the middle of the row often answers the chanting with short sounds call the redet. And then there is the syae, that is the song sung by a dancer with highpitched voice, usually as a sign for movement changes. Lastly, the chant is repeated by the entire dancers and that is called the saur. <br />
The movements in Saman use two main motion elements; strikes to the hands and strikes to the chest. That is why in Rempelih Gayo Studio, Samsul Bahri does not accept girls, for there is the chest strike movement. Several regions try to combine male and female dancers or play the rapai (hand percussions) to accompany the Saman dance. “We don’t want to do those also. We maintain the true Gayonese Saman to keep its originality preserved,” affirmed Samsul Bahri.<br />
Saman is a traditional dance of the Gayonese people that can be said as the secluded society in the Aceh Province. The people in Garo region such as the Central Aceh, Bener Meriah, Gayoe Lues, and several other regions, uses Gayonese language in their daily routines. Gayonese language is very much different from the Acehnese language used by the coastal people. For instance, Bireuen District that is only two hours land trip away from Takengon, the capital of Cental Aceh, has a different language. Not just language, but the cultures in specific also differ.<br />
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However, Saman dance also evolves outside of Gayo. The coastal Acehnese societies such as those in Lhokseumawe and Northern Aceh also study and perform the Saman dance. Bira Agustin (24), one of the dancers who is now coaching the Saman, admitted to have been performing the Saman dance in Medan, Padang, Riau, Batam, Manado, Jakarta, NTT, Bali, and Semarang. Bira has also introduced Saman dance to foreign countries such as Singapore, Brunei, Australia, and Malaysia. “For Malaysia even, we perform Saman almost every year, besides Seudati that is also very famous abroad,” said the STAIN Malikussaleh Lhokseumawe student.<br />
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Alamsyah Ariga (24) has another view on the Saman that is widely known especially outside of Aceh. According to Alamsyah, the people outside only knows the Daman dance, so many other dances those are similar are also called the same. “They could well be Likok Pulo or Rapai Geleng dances, but since they are performed by dancers from Aceh then it is called the Saman. When actually, the real Saman dance originated from Gayo,” he elaborated. He revealed that Saman dance has now been very much improved with modern dance, whether in lyrics or movements. However, he wishes that such does not eliminate the originality of Saman dance from the Gayo region. “Saman is not just a dance, but it is also the media to spread religious advices for Gayonese people. It has also become the event of socializing amongst dancers and also between dancers and the audience,” he added.<br />
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It is a certain pride for Alamsyah when Saman becomes global society’s cultural wealth. That is why he highly supports Unesco’s effort in achieving patent for Saman as the traditional dance of Gayonese society that has become a part of global culture. “I also dream that one day there would be Saman dance schools in foreign countries,” he smiled. The young man has also been performing Saman in various major cities in Indonesia, and also in Malaysia, China, and the United States of America. “By the end of June we will also perform again in China,” he confirmed.<br />
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Teks by Ayi Jufridar<br />
Source: arti special edition, 2010.situseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0tag:blogger.com,1999:blog-5427167305015448054.post-83006205452630242702011-04-17T10:26:00.000-07:002011-04-17T10:26:46.618-07:00The Fascinating Borobudur Temple<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRTcBGm8S7wUo5zQP31_DJ2SwqWkUUl83vKHNylRQZQv2tbtLKimgvOqpOAATeTeQZRtgzp4KPxL2JjZ8g8rDViAu-TkpRVyvLJJMCZl1uJdpOCT2BqyWcLAZjL-3FZBkYJD6ZXXA-S8I/s1600/Borobudur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRTcBGm8S7wUo5zQP31_DJ2SwqWkUUl83vKHNylRQZQv2tbtLKimgvOqpOAATeTeQZRtgzp4KPxL2JjZ8g8rDViAu-TkpRVyvLJJMCZl1uJdpOCT2BqyWcLAZjL-3FZBkYJD6ZXXA-S8I/s1600/Borobudur.jpg" /></a></div>Overlooking the fertile valley of Magelang and facing the volcano Merapi, 40 km north from the province of Jogjakarta, stands a breathtaking monument that was built during the 8th century by the Bouddhist dynasty of Sailendra.<br />
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This is the most prestigious monument in Indonesia, and the world’s largest Buddhist temple. The different levels of the monument symbolizes the different levels of wisdom we have to go through during life until reaching the enlightenment of Buddha, symbolized by the spectacular upper terraces.<br />
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The global architecture (obvious when seen from the air) is actually a mandala (sacred diagrams initiating people with spiritual awareness). Borobudur is the place where you may find a new vision of the world…and yourself.<br />
The “discovery” and “restauration”<br />
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Some said the monument was discovered by the Dutch Cornelius De Houtman in 1817 with most of its side covered with soil but the people of Jogjakarta were well aware of its existence… The Dutch military engineer was deputed by Raffless to investigate this discovery but the first major conservation step was taken in 1874 by draining the sunken area with sand by Kinsbergen. The major conservation action took place in between 1907-1911 leaded by the Thedar van Earp. He reconstructed the upper round terrace by using many new stones. But still, the monument was deteriorating and it was only in 1975-1984 that UNESCO came to rescue and sponsor the restoration and conservation of the monument. This was a huge work: millions stones were taken piece by piece and cleaned carefully. New foundation was put on as well. The result is one of the most ambitious and successful restoration ever. A must to see for any serious traveler!<br />
Escape from the illusory world<br />
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The lowest level of the monument exposes the “realm of desire”, a state of mind with a lack of morality, previous to the teachings of the Buddha. The second level shows the “realm of forms”, which is the stage when humans get wiser about the meaning of life and are trying to get virtuous. The third and highest level is the “realm of formlessness”, where one understands already that the visible world is illusory and the real aim of life is in the inside of oneself: purification in order to escape from the circle of reincarnations, meaning sufferings… Are you ready?<br />
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* MAHAKARMA BINANGGA: Relief numbering of 160 panels<br />
* MAHAKARMA VIBANGGA: Relief the opt of laws, punishment and various sins.<br />
* ELEPHANT: relief that tells the queens dream to Lumbini park in the preparation of the birth of budda (see panel 28)<br />
* JATAKA: The lowest relief of the main wall which shows the prince who married a nymph.<br />
* GANDARYUHA: Sudhana the merchant client who made pilgrimage by searching for spiritual knowledge.<br />
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Realm<br />
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The visit or who reaches the upper most of the monument experiencing the start link physical transition of great marvels of Borobudur. The Gallery bellows completely cut off from the outside world. To reach the round terraces one enters the large open space giving a magnigicent values of 72 stupas with the diameter of 9,9 meters. The smallest one has lattice structure which makes it possible to see Buddha’s images set inside and all of these Buddha’s display a Mudra with posture that symbolizes Sakyamuni’s first service. It is believed who ever touches the stupa will obtain good fortune. The massive stupa in the centre of the monument has no openings but it is not solid. Unfortunately there are two hollows in this tombs at his centre, one above other and found the chambers had been broken into by man searching for treasures and the unfinished Buddha is now rest in the base beneath tree about one hundred meters to the west side of the monument.<br />
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* RUPADHATU: man enlighten by the meaning of life, to sacrifice oneself for others.<br />
* KAMADATU: realm of desire represents t state of man before acquired knowledge of morality before the teaching of Buddha.<br />
* ARUPADATU: Realm of formlessness in this world of the invisible and the highest to the 3 upper terraces of the monument.<br />
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Panels<br />
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The first panel shows, second he informed the assembled deities that he will be born as human till the next live, concern the activities of the heaven.<br />
Panel 8: queen Maya as the future mother of Buddha with her husband king Sudhodanna.<br />
Panel 28 the preparation for the birth of Buddha. Panel 49 Archery, Panel 56 encounter old age, sickness panel 57, death 58, monk 59, Gautama escape from his father place 65, cuts off his hair and attacked by demon Mara 94, he is attempted by mara,s daughter 95, Buddha enlightment 96, Buddha crosses the gangga 115. the first sermon in deer park of Benares16 and Nymph are taking water from pools, prince and his spouse are serenaded 19.<br />
The Position of Buddha<br />
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Aksodhya in the East, Ratna Sembova position in the South, Amitabha in the west and North Amanghasidda. Each position on the top wall with Vairocana as the guardian of the centre of the zenith.<br />
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Source: www.differentbaliindonesia.comsituseni.comhttp://www.blogger.com/profile/07775240950803717444noreply@blogger.com0