Category Archives: artist @en

Wael Shawky (EGY)

Wael Shawky (b. 1971) studied fine art at the University of Alexandria before receiving his MFA from the University of Pennsylvania in 2000. With his multidisciplinary practices, Wael Shawky explored political, cultural and religious transitions in the Arab world. This can be seen for example in his video Cabaret Crusades: The Path to Cairo (2012), inspired by Amin Maalouf’s book The Crusades through Arab Eyes (1983). The video uses marionettes of historical figures enacting Wael Shawky’s surreal approach to the time between the two Crusades in the year of 1099 to 1147. The video showed how history of the past can be seen in the current modern context. In 2010 Wael Shawky established the studio space and study program MASS Alexandria, an independent space to for art studies in Egypt.

In this Biennale Jogja XII, Wael Shawky presenting his video installation ‘Al Araba Al Madfuna’ which depicts a group of boys dressed up like grown-up men, complete with fake moustaches. With adult voices the children tells a story written by Mohamed Mustagab, while one of them digging a hole in the room. Al Araba Al Madfuna is a village located in the Upper Egypt. The area has a long history of treasure hunting, using sheikhs, a type of shaman believed to be able to foretell the location of a buried ancient Egypt tomb, as the area is estimated to be on top of the ancient Abydos, one of ancient Egypt prominent necropolises worshipping the god Osiris. The people would invite a sheikh who would point out the place where they have to dig, and they would dig continously with hopes of discovering treasures. Once or twice people discovered treasure, but more often they don’t. Mohamed Mustagab’s story is an interesting parable about a credulous society who permits itself to be manipulated by its spiritual leaders.

Wael Shawky2

Al Araba Al Madfuna
2012
Video, black-and-white, sound, 21 min 21 sec
Video still
Images courtesy of the artist and Sfeir-Semler
Gallery, Beirut / Hamburg

Venzha Christiawan (IDN)

Immortal: The Mind Beyond Self
A research project based on Ancient Alien Phenomenon, Egypt
Biennale Jogja XII, 2013

 

Vincensius ‘Venzha’ Christiawan was born 1975 in Indonesia. He graduated from the Interior Design Faculty (BA) at the Indonesia Institute of the Arts (ISI) in 1996. His works focuses on new media art since 1999 when he founded ‘the House of Natural Fiber’(HONF), a new media art laboratory in Yogyakarta, Indonesia. HONF determined to fuse education, art and technology with local communities, and without cultural limitation. Venzha is interested in exploring local issues of technology and science research while bringing up social and political issues at the same time. Venzha is also the founder of HONF FabLab, 10:05 news project, an electrocore sound project where he produced and organized many projects such as public art installations, media performances, media art festivals, technology research, videowork festival, workshops, discussions, DIY gatherings, electronic and media culture movements and so on. Together with his community, he has presented Indonesian media art projects in many places and countries worldwide. Through HONF, Venzha has produced special projects in the media art field called Education Focus Program (EFP). The goal of the Education Focus Program (EFP) is to build connections and interactions between local/creative communities (whose interest and focus is on new media), scientists, and creators/artists. A second innovative aim is to make a connection between universities with expertise in technology and media artists/ theorists who are interested in new media art and technology.

Here, he tries to reinforce the interest in and analysis of technology in artistic production and theory. He tends to focus on building new bridges between art and technology in Indonesia together with HONF. Venzha is also a conceptor and director for YIVF (Yogyakarta International Videowork Festival) and CELLSBUTTON (Yogyakarta International Media Art Festival), which produced and organized by HONF every year. For Biennale Jogja XII, Venzha will present his findings related to the realtionship between aliens and the pyramids during his residency in Cairo.

Ugo Untoro (IDN)

Deru (Roar)
2013
43 pcs horse feet
Dimensions variable

Ugo Untoro was born in Purbalingga, Central Java, Indonesia in 1970. He graduated from Indonesia Art Institute, Yogyakarta. Ugo Untoro is one of the artists who brought contemporary Indonesian art to a new level. He has been recognized across the archipelago for his strong character and persistence in creating art works that reflect the conditions of existence, both at the level of being an artist as well as a human being, which showcase Indonesian contemporary culture for what it is, turbulent but also a pure and simple part of everyday reality. Over the past decade, Ugo Untoro’s works have encompassed an elaborate collection of paintings, drawings, poems and writings. Among his many solo exhibitions, he was known for his dramatic solo exhibition that explored intricate installation projects, titled “Poem of Blood”. “Poem of Blood” was exhibited in Indonesia (2007), Shanghai (2008), and Italy (2009). Considered one of Indonesia’s key contemporary artists, Untoro has exhibited widely in Indonesia as well as Malaysia, China, Singapore, and France. Hailing from a street background, Untoro’s work is related to the boundless nature of graffiti art, his signature style is raw and spontaneous rather than pleasant. He won several Phillip Morris Award in the 1990s and in 2007, he became one of Tempo magazine’s Man of the Year 2007 and was awarded “Best Artist and Work” by Langgeng Gallery in the Quota exhibition at the National Gallery in Jakarta.

In his work, “Deru”, he explores man’s discovery and conquest of horses as a vehicle, seen as the beginning of human revolution for themselves and civilization. With the fast moving, agile and strong horses, human began to change the world and conquer unknown areas. Civilisations rise and fall, power changes hands. Associations depend on who is capable of conquering and ruling. Later culture is carried and spread as a way to ease the reign and at the same time guard it. The roar of thousands of invading horses might be just as terrifying as the rapid tank movements and fighter jets now. Human have always had the same instinct, now and forever.

UBIK (IND)

Unity is Diversity [Study]
2013
4 Found metal emblems, Enamel paint,
Wooden emblem
Dimensions Variable

Vivek Premachandran was born in Trivandrum, Kerala, India in October 1985. He’s more known as UBIK, a pseudonym he adopted from the namesake Philip K. Dick novel. UBIK grew up between a Communist State [Kerala] and a Monarchical Country [UAE], and this upbringing is an essential and important aspect often addressed in his artistic practice. UBIK has exhibited in India, United Arab Emirates and Europe, including solo exhibition “Dissident” at Galería Sabrina Amrani, Madrid, Spain (2012), “With A Little Help from My Friends” at The Pavilion Downtown, Dubai (2012) and “Satellite Broadcast 001: Tahrir Sq. Satellite” in Dubai (2011). He also exhibited in group exhibitions, among them are Kochi-Muziris Biennale in Kochi, India (2012), “A Most Precarious Relationship” in Maraya Art Centre, Sharjah (2012) and “Text ME” at Lawrie Shabibi, Dubai (2012). UBIK has also participated in various art fairs, among them are Artissima in Turin, Italy (2013), Art Dubai (2011- 2013), Abu Dhabi Art Fair (2012) and Beirut Art Fair (2012).

Ubik’s practice concerns the manipulation and appropriation of text, images and environments, through a variety of forms including print, installation, sculpture, sound and performance. His works explore the possibility of constructing a narrative whose aesthetics sample from everyday objects, so as to further explore the viewer’s relationship with the object. By situating the works within the context of specific sites, they are conceptually framed in a way to address the passing curiosity of the viewer while allowing room for them to question their relationship to the work – this interaction between the viewer and the work eventually disassembles into what the viewer sees as being a spectacle; further morphing the artwork into a performance in which the viewer is involved. His use of humor and irony is an important and deliberate aspect of his practice, allowing him to explore the societal matters that consume our contemporary lives.

Tisna Sanjaya (IDN)

The works of Tisna Sanjaya have always been a re-evaluation of social, moral, religion, politics, ethics and esthetics problems. For him, art must always reflect the critical awareness and provide inspiration on actual matters surrounding the artist. Tisna is scheduled to conduct a residence program in Saudi Arabia for Biennale. The art project that he proposed has something to do with the ‘Samagaha’ and ‘Ngabungbang’ ritual that are still practiced by the muslim people in the village. The first ritual is held whenever there is a moon eclipse, while the second is held during a full moon. Tisna understood both of these two traditions as an effort to achieve balance in life. He often utilizes various idioms in the society, connecting facts with philosophical, textual and utopian ideas and put all of them into wild and even paradoxical associations, merely to provoke our awareness about uneven social matters.

Tisna Sanjaya was born in Bandung in 1958 as the third child of sixteen siblings. He studied Graphic Art in Institut Teknologi Bandung, took his masters degree at Hohschuele Fur Bildende Kunste Braunschweig, and received his doctorate at Institut Seni Indonesia, Yogyakarta in 2011. Tisna Sanjaya’s artworks are characterized by his Sundanese identity besides his graphic art printing techniques, especially etching. Tisna Sanjaya also uses other medium such as installation, performance art, theatre, poetries and etcetera. His art creation process can be considered as “ritualistic public performance” because he often creates his artwork in public, interactively and with ritual-like process. He is known to be critical towards socio-political issues, many of his works speaks of the injustice and oppression by the government towards the people around him, such as the Cigondewah and Babakan Siliwangi case in Bandung, and the Lapindo case in Sidoarjo, East Java.

Earlier in 2013, because of his concerns and efforts in environmental issues regarding Babakan Siliwangi (Baksil), Tisna Sanjaya was awarded the title of Abah Baksil (father of Baksil in Sundanese). When he’s not busy teaching in his campus or creating artworks, Tisna Sanjaya hosts a regular TV show in the local TV station, Kabayan Nyintreuk, mainly discussing about local social-cultural issues. Tisna Sanjaya, an avid soccer fan, lives and works in Bandung. For this exhibition, Tisna is going to present a performance using traditional amusement vehicle, combined with a Javanese syncretic ritual.

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Tiong Ang (NLD)

My Name is Pencil (Potlood! Pensil! Potlot!)
2009 – 2013
3 channel video, HDV video, colour and black-and-
white, sound, wall drawing, vitrine with
erasers, pencil models, seats
Installation view at Biennale Jogja XII, 2013

 

Tiong Ang was born in Surabaya, Indonesia in 1961. He studied at the Rietveld Academy and Rijksakademie of Fine Arts, both in Amsterdam where he now live and work. Using media specific to his topic – whether (veiled) painting, films, video installation, social environments or curatorial projects – Ang poses general and specific questions about how we negotiate our ethically and culturally hybridized world. In a process of ‘playing’ and ‘role-playing’ Tiong Ang uses and recycles images and events in order to open up the practice of the solitary artist, thus exploring themes of identity, community and dislocation. His work has been included in exhibitions all around the world. He participated in Manifesta 8, Murcia 2010, the 2004 and 2008 Shanghai Biennale, the 2001 Venice Biennale, the 1995 Istanbul Biennale and the 1994 Havana Biennale.

His work, “Mijn Naam is Potlood” (“My Name is Pencil”, 2009) returns to Indonesia with a new delivery and context on the theme of homecoming. Tiong Ang combines documentary observation with manipulated imagery to blur the line between fact and fiction. This combination of fact and fiction is an attempt to describe how the mass media filters and distorts reality. He questions how we have become so dependent on this complex technology. “Information flows in invisible ways and seeps into our thinking, taking control over our decisions, with no regard for our youth, our memories,’ he says. Nonetheless, his work continually re-examines the question of how we might stay vigilant to keep our minds open.

Tintin Wulia (IDN)

Babel
2013
16-channel synchronised sound installation
Duration 15 min, at the hour

Tintin Wulia is an artist and film maker. She was born in Denpasar, 1972. Aside of being trained on architecture at Parahyangan Catholic University of Bandung, she also studied music at the Berkley College of Music, USA. Tintin currently receive a PhD on art from the RMIT University of Australia. Tintin Wulia had made an exhibition in Sharjah Biennial, Istanbul Biennial, Yokohama Triennial, Jakarta Biennale, Institute of Contemporary Art London, Liverpool Biennial, Clermont-Ferrand Short Film Festival and the International Film Festival in Rotterdam. Several of her works has become the collection of Stedelicjk Van Abbemuseum of the Netherlands, Singapore Art Museum, and the Queensland Art Gallery / Gallery of Modern Art in Australia. `

Tintin’s project for Biennale Jogja XII was generated from her one month residence program in Sharjah, United Arab Emirates. Verging on sound poetry, ‘Babel’ explores languages and their social perception as a kind of boundary, while peering into the hidden network of global nomadism across the borders which channels thousands of lives. Its starting point is the Egyptian poet Hisham El Gakh’s controversial poem, Al Taashira (The Visa, 2011) recited at the finals of Prince of Poets on Abu Dhabi TV, that criticises the Arab leaders for their sellouts that disunite the Arab states. By way of this poem, Babel creates spaces in which the voices of the modern-day Arabic nomads, the landless/stateless Arabs, are pronounced through other poems including Jawaz Al Safar (Passport, 1971) by the renowned Palestinian poet Mahmoud Darwish (1941-2008), Min Mu’adalat Al Hurreyya (From the Formulas of Freedom, 1986) by the revered Syrian poet Nizar Qabbani (1923-1998), and several short poems by a stateless Sharjah-born poetess of Palestinian origin, Hamsa Yunus. Together with translations and readings by the esteemed Indonesian poet Landung Simatupang and emerging poetess Khairani Barokka, the poems are built into a rich composition of calls and responses that interweaves sentiments, sounds and meanings through different languages. Like these modern- day nomads, a reality of globalisation that forms a strong – but often unacknowledged – undercurrent, the composition is regularly heard but is never seen.

Featuring works by poets: Hisham El Gakh, Nizar Qabbani, Mahmoud Darwish, Hamsa Yunus, Landung Simatupang, Khairani Barokka | Research assistants and translators: Uns Kattan, Nada Al Jasmi | Additional research: Aya El Gergawy, Hanan Arab, Abdullah Mohammed Alomari| Voice talents: Hamsa Yunus, Landung Simatupang, Khairani Barokka, Sataan Al Hassan, Uns Kattan, Nada Al Jasmi, Lana Samman, Hanan Arab, Abdullah Mohammed Alomari, Khairiah Al Kassab, Haia Haj Morad| With thanks for the recordings: Clément Vincent, Abdullah Mohammed Alomari (American University of Sharjah), Marzuki Mohamad (Jogja Hiphop Foundation), Griya Musik Irama Indah Bilad Al Orbi Awtani performed by Hani Mitwasi at Bands Across Borders concert, Amman, Jordan, 2013 The poems, song and music are copyright their respective authors and/or performers Commissioned by the Jogja Biennale Foundation in collaboration with the Sharjah Art Foundation

Take to The Sea (EGY/ ITA/ IND)

The Eastern Telegraph Co. System and its
general connections. Map of submarine
telegraph cable routes, showing the global
reach of telecommunications at the beginning
of the 20th century

 

Take to the Sea was founded by  Nida Ghouse, Lina Attalah and Laura Cugusi. Nida Ghouse is an artist who was born in Bombay and has lived in Cairo; Lina Attalah is a print journalist and audio producer based in Cairo who works in the field of media, culture and technology; and Laura Cugusi is a researcher living between Cairo and Sardinia, working as a freelance photographer and journalist as well as in the field of cultural management and artistic production.

In its beginnings, Take To The Sea sought to explore the phenomenon of ‘irregular’ migration; an ambiguous term that generally refers to the cross-border movement of people through unlawful means with a particular interest in those who choose to migrate via a dangerous seaborne route, made possible by smugglers and under-equipped boats. In 2009, Take To The Sea presented a lectureperformance at the Manifesta Coffee Breaks in Murcia, which took the form of a series letters, some pre-recorded and some readout, some actual and some fictional. Unwilling to resort to mere documentation, unsatisfied by the overuse of academic and artistic forms of cultural production, yet still driven by the desire to disseminate information, Take To The Sea strives to push the boundaries of form and explore alternative ways in which to exhibit their engagement with the concepts they come into contact with.

Syagini Ratna Wulan (IDN)

100 Moving Numbers
2013
100 pcs of steel lockers
40 x 40 x 64 cm each

 

Syagini Ratna Wulan was born in 1979. She finished studying Printmaking at the Fine Art Department of Bandung Institute of Technology in 1997. In 2005, she attained a MA in Cultural Studies from Goldsmith College, University of London. Her works has been known for her non-linear visual idioms. She often plays with issues of fantasies and human unconsciousness that feels idiosyncratic and sometime absurd. This playful side approach is often used to make commentaries on superficial middle-class behavior. Using items that she encounters in her daily life, she creates artworks that feel somehow feminine and are often characterized by criticism of contemporary culture. In her previous solo project, ‘BiblioTea’ (2011) for ArtHK, Hong Kong; she invite the audience to join in and let them enter the fake bookshop/ tea-house where she displayed fictitious art books and flavored teas. In this project, she lead the audience to believe that the content of the art books has been infused into the teas so that one can gain knowledge by drinking the tea. This work portrayed both the Asian scholarly tradition of tea and its relationship to philosophical and aesthetic contemplation while at the same time offerning a critical view on consumerist culture where people expect instant gratification with minimal effort. In 2011, she was granted with a residency at Art Intiative Tokyo. Her works are held in public collections in Singapore Art Museum and Indonesian Exchange.

For this exhibition, Syagini presents ‘100Moving Numbers’ (2013). In this works she invites the audiences are invited to join in to play, let numbered postcards and lockers lead their way, and create their own version of narration. The 100 all-white lockers display different objects and installations that suggest a juxtapostion between numbers and existentialist terms. Syagini plays with various associations of words, numbers and objects, and invite the audience to perform from one exhibition venue to another.

Samuel Indratma (IDN)

Pocung
Banana trees, coal, installation view
Biennale Jogja, 2013

 

Samuel Indratma was born in Gombong, Central Java, Indonesia in 1970. He graduated from Graphic Art in Indonesian Institute of Art, Yogyakarta, in 1996. He is a community based visual artist and also a muralist. He is one of thea prominent members of an artist’s activist group, Apotik Komik, operating between 1997 and 2005, creating public art in Yogyakarta, Indonesia. The group used the public art as a tool of social communication. Samuel also co-founded the Jogjakarta Mural Forum, which established in 2005. He held several solo exhibitions in Indonesia since 1997 to 2012, in Singapore Esplanade (2004), and Australia (2007). In 2003, he received a residency grant in Clarion Alley Mural and in ArtPlay Melbourne and Tasmania from Asia Link and Kelola in 2007. Since 1997 until today, he regularly carry out several prominent group exhibitions, Biennale, and art projects all around the world.

Samuel’s artwork for this Biennale utilizes found objects, mostly construction left over and parts of old Javanese houses that he assemble into a ‘gathering space’. The idea to assemble objects of various sources had something to do with his desire to present a huge collage about diversity. The spaces that he assembled in the exhibition place will function as a space for people to meet, talk, play and other spontaneous activities. Samuel was not only inspired by the public spaces and activities that were organically constructed in the villages, but also by the new spaces created by the social media and virtual communities which aspires the creation of an egalitarian culture.

Salwa Aleryani (YEM)

Sewer Cover
2011
Soil and carpet
55 x 55 x 2.2 cm (soil)
approx. 400 x 350 x 0.5 cm (carpet)

 

Salwa Aleryani was born in 1982. She lives and works in Sana’a, the capital of her native Yemen. Following a BA in Graphic Design from the University of Petra in 2006, she was awarded a Fulbright scholarship and later received her MFA from Savannah College of Art and Design in the US. Aleryani’s recent work explores the intersection of the personal and the public and how the construction and use of public space contributes to the manufacturing of our public self. In 2012, she was artist in residence at the Dar Al-Ma’mûn Foundation in Marrakech, where she created “the workSleeper”

In her work, “Sewer Cover”, a manhole cover is loosely cast in soil and embedded in carpet. As we witness it crumble, it reveals a sequence of thoughts—one being the fact that the very material it is made out of is that from which it sets out to protect us. It is light in weight, but its immobility carries a burden similar to that of a heavy iron cast. Frankly, it suggests that it is no longer reliable, and that at the slightest breeze, it could blow away. Turned upside down, there is a sense of unease that it may spill out of its boundary and recede into the carpet. Although, in every respect, dirt is not alien to carpet, still it intrudes on it. It does so in a way that seems familiar, as it would on a person that neglects to attend to cleaning his household over an extended period of time.

“When the Dust Settles”, follows the traces of road developments, construction, destruction and collapse. Recently witnessing men at work sifting through gravel has often evoked the image of Aleryani’s grandmother conscientously sifting through flour in her kitchen. From the ingredients of dough, Aleryani attempts to knead a mix ashpalt and flour in attempt to unite the two. What remains is the detritus, an impression of the stubborn dough cut into shapes, mapping recent roads that have fell apart and are currently under repair.

Reza Afisina a.k.a. Asung (IDN)

Guerrilla Organic
2013
Installation comprising
video, mirrors and performance
Variable dimension

 

Reza Afisina, better known as Asung, was born in Bandung. He relocated to Jakarta to study Cinematography, majoring in Sound and Documentary at Jakarta Institute of the Arts, but did not complete. As a child he had to struggle with pain caused by allergies. He learned to control and focus on his personal pain and ever since has been able to transform pain into anything. He often explores the theme of pain in his blog, photographs, performance arts and installations. Asung is fully aware of the issues of contemporary art expressions and its relevance to the community daily lives. Thus his performance works, whether recorded in video as a part of an installation or performed live in public spaces, often aim to create spontaneous reactions from the audience; the most basic empathies like pity, fear, upset, disgust, excitement or sadness. Asung uses these empathies as an effective entrance in creating a discussion for bigger and deeper social issues.

For the work titled What, Asung slaps his own face as he recites passages from the Bible, repeatedly and continuously. In Easy Time with Parenthood (2012), Asung has himself tattoed with prose from a book by Julio Cortazar, while a live feed of the close-up tattooing process is projected to a nearby wall for an enhanced viewing experience.

Active in the artists-initiative-space ruangrupa in Jakarta, Asung is also known as an amateur DJ in local parties and art events.

Reza Afisina a.k.a. Asung1

OpeningBJ_16iyong_MG_3725

Restu Ratnaningtyas (IDN)

Restu Ratnaningtyas (b. 1981) studied to be an art teacher in Visual Art Education, Jakarta State University. Aside from her studies she was also active in an alternative art space and worked for a company specializing in excavating treasure. She didn’t finish her studies and moved to Yogyakarta in 2008 at the same time that she had her first solo exhibition in Vivi Yip Art Room, Jakarta. Her works narrate the daily experiences of life, expressed through simple and familiar objects with detailed visual elements. Most often Restu uses watercolor, ink and paper. Restu’s strength of narrative enables her works to find its voice through the every-day objects she often places at the centre of attention. Aside of creating paintings and drawings, Restu creates art videos and installations from watercolor drawings in paper. She chose stop-motion animation technique because of the process and the loop/repetitiveness of layers and its resulting movements. In 2011, she received a residency program from Cemeti Art House Yogyakarta in “Hotwave #1”.

For Biennale Jogja XII, Restu will present a series of drawing and multimedia works about clothes that travel across time and space; clothes without owners that come from many parts of the world, and ends up on the other side of the world. This work shows Restu’s distinct character through bright colors, contrasting with the ‘dark’ images shaped by the colors. The figures in her works are often contorted in awkward manner, fused together at the wrong end, or with animal heads or bodies attached. Sometimes the colors are so pale that the artwork reminds you of a dream; weird but also real at the same time. She described it as a deconstruction of objects, creatures, daily events, past memories and dreams; set and rebuilt as it is given a new form and a new meaning.

Restu Ratnaningtyas3

Fraction
2013
Video installation and print on sticker
Video duration 6 min 29 sec
Dimensions variable

Radhika Khimji (OMN)

Safe Landings
2010
Site-specific installation
Installation view at Biennale Jogja XII, 2013
Dimensions variable

 

Radhika Khimji was born on July 1979 in Muscat, Oman. She graduated from The Slade School of Fine Art in 2002, received a Fine Art Post Graduate Diploma from the Royal Academy of Art London in 2005, and a Master of Arts in Art History from the University College of London in 2007. Radhika Khimji has held five solo exhibitions, the latest being Found Gesture at the Katara art Center, Doha (Qatar) 2012. Radhika’s artwork has been widely displayed in both solo and group exhibitions in the UK, Europe, United States of America, India, and the Middle East, such as in Experiment 2 Immigrants in Venice, Italy, 2013, and Loss for Words in Mumbai, India, 2012. Radhika is a conceptual artist, her artwork mixes various materials; paint, collage, photography, abstract motifs and sculptures, moulded into installations within a physical framework or space. Radhika Khimji’s work is a contemporary fusion of the artists thoughts and feelings concerning identity, inspired by images from popular culture, and influenced by her multicultural, exotic Indian, and Omani heritage.

Safe Landings (2010) is a site specific installation work comprises of cut-out shapes of a body in motion that Radhika Khimji calls ‘shifters’, with additional layers of parachutes. It represents Radhika’s questions around artists’ biographical identity and its relation to the making of artwork. Th shifters in Safe Landings are gestures free from labels, stripped of of contexts, names and cultural values, a description of the inner psychological space. It is neither a drawing, painting nor sculpture, always on the border in between and slipping out of every category. The work engages with contemporary and historical issues while always seeking to be free from specific stereoptypes. The parachute provides a dynamic to Safe Landings, that is, the nuance of arrival and particular adjustment to the space it arrives in. This work has a sense of the process of arriving, rather than that of settling in.

Prilla Tania (IDN)

Prilla Tania was born in Bandung on 1 April 1979. She graduated from Bandung Institute of Technology (ITB), Art and Design Faculty , Fine Art Department, Sculpture Studio in July 2001. Prilla Tania has been actively involved in the local art scene since 2003. She makes soft sculptures, installations, videos and photographs. She is also a performance artist. Prilla Tania tends to use simple material for her artworks; fabric, chalks, paper, or everyday objects, even ingridients from the kitchen, in a seemingly simple visual language. Since the beginning Prilla has explored themes on issues faced by human and discovered that everything comes back to survival. The modern culture has made life so complicated that the simple issue of survival has turned complex, i.e. on the subject of food. Prilla’s exhibition last July 2013 in Selasar Sunaryo was titled “E”, adopted from the symbol of Energy in Physics. Installations from used food cardboard boxes in this exhibition is still within the evolution cycle of Prilla’s concept on human survival issues. Prilla Tania’s artworks began with waste and energy issues, and later shifted its focus to the basic human energy fulfilment; food. Because of her concerns, Prilla had changed her diet into a simple one to reduce waste and save energy.

Prilla Tania is one of Biennale Jogja XII artists who had the chance of going for a residency program. The work she exhibits is her attempt to represent the feeling, experiences and memories of her time in Sharjah. How she moved within the city. Takhtit Al Qaleb, which literally means the Mapping of the Heart in arabic, is a term used to call the machine that records the heart’s activities (Elektrocardiogram), an installation comprises a video projection and a paper installation. Takhtit Al Qaleb is Prilla’s interpretation on the shape of Sharjah citu, both physically that she witnessed as she walked her streets, and the non-physical shapes from the stories of residence and comers on the histories and the future plans of the city. Prilla used a second video projection depicting one side of the city from an unnatural (for human) point of view, to support the Takhtit Al Qaleb installation in conveying her thoughts on people transfers/ movements, mobilities and its relations to the city’s physical form, and how the city grows and its relation with the people living there.

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Minggu–Sabtu (Saturday–Sunday)
2013, Video
Duration 14 min

Pius Sigit Kuncoro (IDN)

Pius Sigit Kuncoro was born April 1974 in Jember. He studied Visual Communication Design at the Indonesian Art Institute, Yogyakarta. At the beginning of his career, Pius Sigit used video and performance art to convey his reaction and ideas regarding the social realities surrounding him. In 1999 together with Bintang Hanggono and Wildan Antares, Pius Sigit co-founded Geber Modus Operandi, an interdisciplinary performance art group combining the complexities of visual, multimedia, theatre and sound art with themes on identity and the body. Geber Modus Operandi has long been disbanded but it eversince inspires the development of multimedia art in Indonesia, especially in Yogyakarta. Pius Sigit then turned to drawing and painting as the medium of his expressions, most notably water colour. Pius Sigit’s realist artworks has satirical critic nuances. He had attended several international residency programs, for example at the CAP house Kobe (2007) and Fukuoka Asian Contemporary Art Museum (2005) in Japan. Pius Sigit has exhibited his works in Indonesia, Japan and the UK. In 2011 he exhibited in Jogja Art Share at the Jogja Nasional Museum, and had two solo exhibitions Nyandhi Wara at Sangkring Art Space Yogyakarta and Jowo Adoh Papan at Via Via Travellers’ Café Yogyakarta.

For Pius Sigit, Art is a meditative activity. Such could be seen in his contemplative and forlorn approach. For the work exhibited in Biennale Jogja XII, Pius Sigit contemplated on the relationship between the Indonesian Workers (TKI) sent to the Arab countries with their family. He responds to the stories telling female Indonesian workers coming home pregnant, giving birth to rape-conceived babies and eventually leaving them under the care of their families in Indonesia to return to work in Arab. The work explores psychological dynamics among the women and their families; alienation and the idea of home, as well as the many changes that must be faced by each and every one of them.

Otty Widasari (IDN)

Jabal Hadroh, Jabal Al Jannah
2013, Video
Duration 10 min

Otty Widasari was born in 1973 in Jakarta. She is about to complete her studies at the Institute of Social and Political Science (Jakarta) majoring in Journalism. Between 1998-1999, Otty worked as a journalist for a daily newspaper and a weekly tabloid, later in the year 2000-2002 as an art director at a private television station. Otty is now a mother of a son and a documentary filmmaker. She founded the Forum Lanteng (Forlen), a community of artists, journalists, film workers and other media works. Forlen projects basically emphasizes on research and introducing communal and experimental approaches towards the medium of moving images. In 2011 Otty was involved in OK. Video – 5th Jakarta International Video Festival. In 2008 she became one of the finalists of Indonesian Art Award 2008 at the National Gallery of Indonesia. She is also active in the Indonesian movies. In 2008 she was involved in the 9808 short film project with some famous Indonesian directors. Her movies has been screened at various international events, such as the Rotterdam International Film Festival; Zinebi International Festival of Documentary and Short Film of Bilbao, Spain; Experimenta, India; Internationale Kurzfilmtage Oberhausen, Germany; Entre Utopia-Dystopia y Palestra Asia at the Museo Universitario Arte Contemporaneo, Mexico. In 2011 she followed the 24 Edition Images Festival (Special Presentation), Toronto Free Gallery, Canada.

Otty Widasari’s works, either in the form of writing, video and documentary movies often came from his experience observing tshelives of everyday people and their surrounding environment. Recently Otty is interested in raising the issue of social relations which gives the character and identity to a certain space. His works; Jabbal Hadroh and Jabbal al Jannah are short films about a village in Bogor, where tourists from the Arabian regions (mostly from Saudi Arabia, Bahrain, Kuwait and Qatar) used to go on vacation. Usually this area had many ordinary restaurant buildings made of metal roofs known as “Warung Kaleng” (Tin eatery). Since 1998, there had been some major changes in this area. Since this place was overrun by Arab tourists, the village architecture has changed imto becoming Arabian style. Stores sells Arab tourist’s special needs, from Arab food, currency exchange, imported tobacco from the Middle East, to the service of women. Cultural changes and modifications in this place happened after the Iraqi War, because many people from the Arabian region went and settled abroad for a while. In addition, a variety of political and economic turmoil after the Asian financial crisis in 1997 and the 1998 Reformation in Indonesia also affected the changes happening in that area.

Nasir Nasrallah (ARE)

Useless Machine
2012
Mix media
30 x 30 x 30 cm each, 7 pieces

 

Nasir Nasrallah was born in Sharjah in 1984. He has been actively exhibiting in Uni Arab Emirates and abroad since he studying art at the Emirates Fine Arts Society. For Nasir Nasrallah, making art is about experimenting through synthesising materials, be it with the physical object, ideas, or theorems. His work is a personal response to his surrounding; people he meets and places he visits. Nasir Nasrallah tends to test new concepts and methodologies and utilise them to enrich his works. He is stimulated by the physical objects which are collected and used in his work, such as toys, small consumer items, buttons, paper, wood, and pieces of hardware. Nasir Nasrallah has had two solo exhibitions in 2009 and 2011. He won the First Prize Award at the Emirates Fine Art Society’s 30th Annual Exhibition in 2012. He is currently the Vice President of the Emirates Fine Art Society and is an ambassador for the UAE Board on Books for Young People (UAEBBY)

The Useless Machines are a series of sculptures inspired by the huge number of machines created in the history of mankind, as well as the shape, texture and colour of the found objects that are incorporated into these works. He feels that we are surrounded by numerous types of machines, many of which has worked wonderfully but are without any real benefit. They look perfect with their advanced features but in fact they are useless and we could live without them easily. In the series, the sculptures all seem to have a function but effectively they do nothing. Rather, they invite the audience to imagine the story behind the objects fixed on the wooden cubes. Why are they here? What links an object with another? And how would they work if the machines were active? The objects used in this project are collected from different places; they include electrical elements, such as switches, buttons, wires, light bulbs, tools alongside objects you would find in a sewing kit or stationary drawer.

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Mohamed Abdelkarim (EGY)

“adornment and beautification of this worldly life”

Untitled
2012
Digital C-prints Dimensions variable

 

Mobius Design Studio is based in Dubai and run by Hadeyeh Badri, Hala Al-Ani and Riem Hassan. The founders graduated from the College of Art, Architecture and Design at the American University of Sharjah in 2009 and they have been balancing their time between studio research and making projects either commercial or independent ever since. Their latest design research explores both Typography and Spatial Design. Mobius is in constant pursuit of collaborations with like-minded designers to engage in diversed design processes and material studies. Mobius initiated and became the curator of the Design House at the Sikka Art Fair in Dubai (2013), a concentrated center for design that shows a selection of chosen works within a space that is carefully examined. The Design House intends to be a catalyst for people to explore design beyond the commercial boundary.

He had attended several international residency programs, among them were UNESCO-Aschberg at Dar Al-Mamun, Morocco (2013), and a residency at the Tokyo Wonder Site, Japan (2012). Mohamed Abdelkarim had exhibited in Egypt, Greece, and Europe, for example at the last 2013 Sharjah Biennalle, Thessaloniki Biennale 2011 and VIDEOAKT International Video Biennale at the Salt Gallery, Barcelona, Spain.

Mohamed Abdelkarim’s work, Untitled, is a series of images and texts, based on a classical in Arabic. He explored its sacred and religious dimension in order to engage to the idea of ‘Capitalism as Religion’ combined with cliché images of natural landscape which are often used as symbols in praising God’s omnibenevolence.

[column]Mohamed Abdelkarim 3“The four animals were considered to be gods that controlled
the world” [myth][/column][column]Mohamed Abdelkarim 2“And they said, this must be what faith is”[/column]

Mobius (ARE) Mobius

Type Hybrids
2013
Ink drawings, digitally printed Dimensions (no
specific dimensions)

 

Mobius Design Studio is based in Dubai and run by Hadeyeh Badri, Hala Al-Ani and Riem Hassan. The founders graduated from the College of Art, Architecture and Design at the American University of Sharjah in 2009 and they have been balancing their time between studio research and making projects either commercial or independent ever since. Their latest design research explores both Typography and Spatial Design. Mobius is in constant pursuit of collaborations with like-minded designers to engage in diversed design processes and material studies. Mobius initiated and became the curator of the Design House at the Sikka Art Fair in Dubai (2013), a concentrated center for design that shows a selection of chosen works within a space that is carefully examined. The Design House intends to be a catalyst for people to explore design beyond the commercial boundary.

This Mobius project in Biennale will be based on the concept that is proposed by The House of Natural Fiber (HONF) on Open City. During their residence in Yogyakarta, Mobius will conduct a research, interpretation and possibly also an intervention on what HONF have started earlier with a number of experts and citizens. This collaboration method makes possible for an art project to be participative, in which the artist plays the role as the facilitator for ideas from various social and cultural references to meet.

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Magdi Mostafa (EGY)

Transparent Existence
2009
Sound and light installation
Dimensions variable

 

Jasmina Metwaly was born in 1982. She completed her education in Poland and practiced as a visual artist in London before moving back to Egypt. Has been growing up both in Warsaw and Cairo, she relocate back to the country of her roots in 2009; finding the situation had changed both personally and politically. It changed the habit of her work and artistic process. She started doing research-based projects responding to the political situation at that time and tries to provide an adequate response to scrape beneath the surface and to address to wider scope audiences by choosing documentary as the closest genre for her specific purpose. She is the co- founder of ‘8784h project’ and XR Gallery in Lubon, Poland and a collective IntifadatIntifadat.

One of her notable work was presented in Cairo Documenta 2, titled “The Donkey that Didn’t Become a Painting”, 2011. This work is comprised of two monochrome yellow canvases facing each other and covered by stains and dust, combined with a single channel video of a dead donkey on the road juxtaposed with quotes from Nietzsche. This work voiced her own frustration sound system emitting recordings, digital sound elements and ambient sounds pre-recorded by the artist. The lights responded to the sound, illuminating, flickering and disappearing according to the intensity of the noise, acting as a visual metaphor for the unstable, wavering mechanics of memory. The unpredictable interaction of the light beams and sound dynamics in the location created a heightened awareness of the viewer’s location in space, a sense of communion with other visitors and a consciousness of the human energies that can travel through history, space and time.

The work was created by Mostafa in 2010, in the basement of Mawlwian Museum Cairo, that has a long history related to the Sufi rituals. The structure is 650 years old, and a team of archeologists discovered that the foundation was once a school for single women and fatherless children. Also discovered were the tombs of five anonymous individuals underneath the structure, estimated to originate from the 15th century. The layers of history of the building inspired the artworks. The latest version of this work is presented in Yogyakarta with various adjustments to the biennale exhibition space, which generates interesting encounter with the local context.

Leonardiansyah Allenda (IDN)

Chapter 0
2013
Installation comprising Rug, pendulum, costume,
fluorescent lamp, helmet, weight scale, cups, zirkun,
water, calculator, table
Dimensions variable

 

Leonardiansyah Allenda was born in Banyuwangi in 1984. Since 2003, in his second year studying sculpture in Institut Teknologi Bandung, Leo Allenda has been actively creating artworks and exhibiting them. In 2011 he participated in HotWave #3 residency progrm in Cemeti Art House Yogyakarta. In 2012 he went to Dhaka, Bangladesh for the Britto Arts Trust residency program. In 2013, Leo Allenda won the Best Artwork in the Bandung Contemporary Art Award #3, Bandung. Leo Allenda’s first solo exhibition was held in the Inkubator-Forme Building, Jakarta in 2012, titled Made in Heaven where he created new objects from industrial or daily domestic objects that give a voice to his concerns.

Chapter O, departing from the idea of home. The complexity of adjustments made by the newcomer naturally create a certain mentality in the next generation. One of the issues that may emerge is when social and economic insecurities cause the newcomer to attempt to build powers, until one day something occurs which causes the loss of that control and power. The second and next generations cannot be considered as newcomers, but they still experience the dilemma of being raised in an environment with newcomer mentality, which is still haunted by the issues of self adjustment. This in turn also affects their social life with indigenous people. Issues rising from this dilemma have no end, and are continuously renegotiated. Leonardiansyah Allenda explores the dilemmas of mobility and cultural hybridityfrom the point of view a families. The narrative presented comes from the environment of family as a representation of the problems negotiated during the meeting of cultures. The narrative emerged from Leonardiansyah Allenda’s meeting with the older generations, and is constructed from objects he prepared for that meeting.

Jasmina Metwaly (EGY)

From Behind the Monument
2013
video
15 min 28 sec

 

Jasmina Metwaly was born in 1982. She completed her education in Poland and practiced as a visual artist in London before moving back to Egypt. Has been growing up both in Warsaw and Cairo, she relocate back to the country of her roots in 2009; finding the situation had changed both personally and politically. It changed the habit of her work and artistic process. She started doing research-based projects responding to the political situation at that time and tries to provide an adequate response to scrape beneath the surface and to address to wider scope audiences by choosing documentary as the closest genre for her specific purpose. She is the co- founder of ‘8784h project’ and XR Gallery in Lubon, Poland and a collective IntifadatIntifadat.

One of her notable work was presented in Cairo Documenta 2, titled “The Donkey that Didn’t Become a Painting”, 2011. This work is comprised of two monochrome yellow canvases facing each other and covered by stains and dust, combined with a single channel video of a dead donkey on the road juxtaposed with quotes from Nietzsche. This work voiced her own frustration with her previous films which she believed have not yet created any substantive changes in terms of art on a revolution. The dead donkey represents the form of sketch that attempts to illustrate reality but fails to do so. The dustcovered painting represents an idle phase when nothing really happens and it collects dust and stains from the surrounding reality overtime. This work is flattened with the frozen image of the decomposed donkey and last quote from Nietzsche, “Mother I am dumb”; which leave the spectator with no further explanations before everything start collecting dusts all over again.

For this exhibition Jasmina showcased his latest film ‘From Behind the Monument’ (2013), which was recorded in Cairo. The detailed and dynamic change of camera perspective connotes a social transformation that started from the bottom.

 

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HONFablab – HONFoundation (IDN)

Micronation/macronation
2012
installation view at Langgeng Art Foundation
Yogyakarta, 2012

The house of natural fiber, Yogyakarta, is a New Media art laboratory, founded in 1999. They concentrate on the principles of critique and innovation. It starts as a young community, with various backgrounds and ideals, they want to do whatever they wish, but with a natural inclination to create by the spirit of togetherness. There is no ambition to work simply for personal profit. They create for themselves, their family, and their environment. This is the basis for the first actions and commitment between them.

Since the beginning, HONF has consistently focused on cultural development and new media art, running numerous new media projects and workshops. In every project they concentrate on interactivity with people and environments. Thinking forward, positive and creative is becoming a vision for this community. In the implementation of this vision, in every program, dengan masyarakat serta lingkungan. Pemikiran they work towards the development of art with yang jauh ke depan, sikap positif dan kreatifitas technology. This desire to contemplate the menjadi visi kelompok ini. Pelaksanaan dari visi future of technology and art, is an important tersebut adalah upaya menuju pengembangan endeavour for the technology itself.

HONFablab2

Hassan Khan (EGY)

Studies For Structuralist Film no 2
2013
Full HD video, silent, black-and-white
23 min 40 sec

Hassan Khan was born in London, 1975. He lives and works in Cairo, Egypt. He studied English and comparative literature at the American University in Cairo. For one of his notable performances, 17 and AUC, he spent every day for two weeks drinking beer and smoking cigarettes in a one-way mirrored and soundproofed glass box in a downtown Cairo flat. This event went without publicity; the viewers went unrecognized and even unseen due to the one-way mirrored wall. A video camera recorded Khan as he was doing his isolated monologue reflecting on memories of his time as a student at the American University of Cairo. The performance was his examination of the individual position against social and political structures; creating an experience of loneliness for both Khan and the audience. He has had solo exhibitions in Egypt (1999), France (2004), and Vienna (2005) and several notable group exhibitions all around the world.

In this exhibition, he presents videos, music, writing and translations attained through theory and instinct. His works explores the margins at which a vernacular attains its stature, somehow journeying back and forth between the individual and the communal, between the revealed and the hidden. The intensity of his hometown, Cairo, may have been influential on this artistic tendency. Cairo, as the largest city in Africa and the center or the Arab world, is populated by somewhere between 16 to 25 million citizen. The streets, where the distinction between public and private space is regarded very casually; have a certain loudness and theatrical energy that inspires Khan’s work. For Khan, his experience in working with various media is born of the effort to define a theoretical position and the impulse to follow an undefined instinct. Khan’s seemingly universal tales are in fact an attempt to let a story tell itself.

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Handiwirman Saputra (IDN)

Tak Berakar Tak Berpucuk (No Roots No Shoots)
2012
Zinc, gold-plated brass, led lights and sounds.
318 x 468 cm

 

Handiwirman Saputra was born in 1975 in Bukittinggi, West Sumatra. In 1996 he began his study at the Indonesian Institute of Arts (ISI) Yogyakarta. Along with several colleagues from ISI, he cofounded and is a member of the Jendela Art Group. Initially known for installation works of objects and found objects, he has an anti-aesthetic tendency because the objects in his work were often presented practically as it were. The same tendency can also be seen in his painting. But in mid-2000 he began to present works with increadible neatness and fascinating realist techniques, both in painting and installation work. Handiwirman view of “beauty” came from his detailed observation to simple things found in his surroundings. This could be seen in his last solo exhibition ‘No Roots, No Shoots’ at the Indonesia National Gallery Jakarta in 2011. Handiwirman reproduced several objects, trash and rubbish that he found along a river near his home. In 2012, Handiwirman exhibited a series work entitled “Ujung Sangkut Sisi Sentuh/ Suspended Forms,” at the Singapore Tyler Print Institute. Handiwirman Saputra lives and works in Yogyakarta.

This time, Handiwirman Saputra’s work is a sitespecific installation that is made specifically to respond to the showrooms in Jogja National Museum. Handiwirman wanted to build an association on the situation that is left from an ‘incident’. We see shapes that resemble boats, trees and trail lines puddles on the wall, but what actual event that he meant is not so clear. There is an enigma, the apparent contradiction and absurdity of the transformation of material and shape. This work rejected stereotypical symbols and metaphors that are common and logical. A sarong that absorbs water is presented as a boat moored to a trunk of the tree. Remnants of garbage scattered and snagged in the gallery space, its origin is not clear. Handiwirman presents it all as a construct that potentially provokes emotion and stories. At the same time, he tested the sensitivity of all of us to see it solely as a ‘visual phenomenon’.

FX Harsono (IDN)

Purification
2013
Video, aluminum kettle, wooden sculpture,
found objects
Dimensions variable

FX Harsono was born in 1949. He is one of the initiators of the radical student movement called “Black December” and also “Indonesian New Art Movement” that got him expelled from STSRI ‘ASRI’ Yogyakarta, where he studied painting. After survived living in the streets, Harsono later successfully completed his degree in 1991 at the IKJ (Jakarta Institute of Arts). Despite having a fairly dark academic record in his youth, since 2005 he became a lecturer at the Faculty of Art and Design of Pelita Harapan University. Harsono works have a political background which is often regarded as a threat to the government. Harsono always attempts to provide socio-political context of the artistic language of choice and can be seen as a reflection of his position as an artist in society.

Recently, questions about identity and family of the Chinese descent have become a main topic, especially in the works that emerged after the reform. Harsono attempted to trace his own personal history, rewrite its Chinese name, explore a collection of family photos, and then found more than he expected, he began to understand the sense of political pressures and racism in Indonesia. Intersection between the personal and political terms is especially apparent in his latest works; not only that it showed his concerns about the hidden history but also touches on the more fundamental issue of identity in a rapidly changing world as it is today.

For this exhibition, Harsono has done an intense research on the lives of people in Cirebon, a port city on the border of Central Java and West Java, which has a specific in terms of mixing different cultures (Javanese, Sundanese, Hindu, Chinese, Arabic, Islam). He collects objects that he found in the market, artifacts and video documentation of the a syncretic ritual that is still practiced in the area.

Eko Nugroho (IDN)

Taman Berbulan Kembar
(Garden with Twin Moon)
2013
Resin sculpture, plastic flowers, Muslim women
praying clothes, dried flowers, embroidery,
mural
Dimensions variable

 

Eko Nugroho was born in Yogyakarta, 1977. He completed his studies in Painting at the Indonesian Art Institute, Yogyakarta in 2006. Nugroho was one of Indonesian street artists to use mural paintings to openly criticize the social situation after the downfall of the Soeharto regime. Maturing during the transition of democracy in Indonesia, he was deeply engaged with cultural practices at the time and committed to making socio-political commentary through his work. His works are often cleverly ironic and sometime provocative without losing their humorous edge. By juxtaposing the images with critical text, he tries to entice young Indonesian generations to deal with political issues. In 2000 he founded a collaborative zine, Daging Tumbuh, which was to become the art movement that brought his to career to the stage it is at now. He has actively undertaken many residencies, group and solo exhibitions, as well as special projects all over the world while staying true to his core.

Eko’s works are deeply anchored in the urban environment with a certain tension between Indonesia and the West, local and global, fine art and street expression, political stakes and intimate reflections. Living in a country with a climate that has been politically charged for decades and is increasingly open also contributes to his humourous and critical wordplay. ”People are lost in freedom and I’ve become interested in situation where there is a kind of social and political background in art,” he said.

Duto Hardono (IDN)

Dina Danish was born in Paris, 1981. After finishing her bachelor degree in The American University of Cairo, she took a masters degree in Painting and Drawing at the California College of the Arts, San Francisco. Her exposure to the contemporary art scenes abroad has inspired her to experiment with alternative artistic practices. She experiments with video, performance, photography and installation. Her works combine conceptual arts with language and nuances of humor, mistranslation and superstition. Dina Danish received the Curator’s Choice Celeste Prize, Rome in 2012, won the Illy Present Future Award Artissima 18 in 2011 and the Barclay Simpson Award, San Francisco in 2008. Her latest solo exhibition “Re-Play: Back in 10 Minutes”, was held at SpazioA, Pistoia, Italy in 2012. While not busy creating artwork, Dina Danish teaches at the Gerrit Rietveld Academy, Amsterdam.

Duto Hardono3  Duto Hardono2

C.C. Records
2013
45 rpm vinyl records, turntable, speakers, camera
& projectors
Dimensions variable

performances were exhibited at Hara Museum of Contemporary Art, Tokyo Japan during the exhibition “Home Again”. His performance utilised several handmade tape loops and sounds that were found and recorded in Tokyo and Bandung in 2011 and 2012.

In the last three years, Duto Hardono’s works have touched upon ideas around the relationship between humans and time, from many different perspectives, often with touches of dark humour, satire and eclecticism, elements that are often found in popular culture. Duto Hardono often utilises combinations of material and techniques, collages and drawings, and also site specific sound installation and performances. During his residency in Cairo, Duto is interested in ‘postrevolution’ Egyptian society, comparing it to the ‘post-reform’ era in Indonesia. In addition to exploring information from local literature and pop culture, especially from film and music, Duto Hardono observes the societies daily life and gathers their whimsical imaginations on the future.

Dina Danish (EGY)

The Sailor Shirt
2011
Single channel video
3 min 7 sec

 

Dina Danish was born in Paris, 1981. After finishing her bachelor degree in The American University of Cairo, she took a masters degree in Painting and Drawing at the California College of the Arts, San Francisco. Her exposure to the contemporary art scenes abroad has inspired her to experiment with alternative artistic practices. She experiments with video, performance, photography and installation. Her works combine conceptual arts with language and nuances of humor, mistranslation and superstition. Dina Danish received the Curator’s Choice Celeste Prize, Rome in 2012, won the Illy Present Future Award Artissima 18 in 2011 and the Barclay Simpson Award, San Francisco in 2008. Her latest solo exhibition “Re-Play: Back in 10 Minutes”, was held at SpazioA, Pistoia, Italy in 2012. While not busy creating artwork, Dina Danish teaches at the Gerrit Rietveld Academy, Amsterdam.

The Sailor’s Shirt is an art video made by Dina Danish in 2011. In the video Dina investigated the elements of time, narration and time based medium. Time was presented through a specifically folded piece of paper, in which generates moving images when moved, thus the camera recorded that moving images while the artist’s hands are simultaneously moving the images (in a piece of paper). The images on the paper are pieces of paper folded into different shapes, sometimes the shape can be recognized and sometimes it’s abstract. The element of narration as a time based tool was also explored, a voice telling the story of the paper transformation can be heard, about a boat that was hit by a storm that it breaks and finally turns into a shirt. Danish intentionally made the narrator’s voice in such a way so when the video is watched, it is as if the audience is the narrator.

Dina Danish attended a short residency period in Yogyakarta prior to Biennal Jogja XII. Alongside with the Sailor’s Shirt video, she also exhibited the result of her exploration with the batik technique.

Basim Magdy (EGY)

Basim Magdy was born in Egypt in 1977. He studied painting in Helwan University, Cairo. But like most artists in Egypt, his development as an artist was influenced more by the society outside the art school. Basim Magdy’s works are shaped by the mixture of various techniques; painting, installation, graphic design, photography and video in expressing his thoughts, such as critics on the information system that are full of propaganda and disinformation, or on war. He uses popular visual language that can be found in the television, cinema or advertisements. Basim Magdy was nominated for the Future Generation Art Prize from Pinchuk Art Center Kiev in 2012, and won the Abraaj Art Prize Dubai 2014. Basim Magdy is now staying and working in Basel and Cairo.

 

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Investigating the Color Spectrum of a Post-
Apocalyptic Future Landscape

2013
80 slides and slide projector
Dimensions variable

“Investigating The Color Spectrum Of A Post- Apocalyptic Landscape” was made by Basim Magdy at Lanzarote, an island formed by an ancient volcanic eruption which has a barren landscape. The photographs of this series of works were processed by exposing many different film brands to a variety of household chemicals, which created different effects and dominant colors in each film roll. It is then made into a slide projector presenting images of postapocalyptic landscape that describes a record of a possible future.

Ayman Yousri (PSE)

Ayman Yossri was born in 1966, spent most of his life in Jeddah and identifies with Saudi Arabia, and is in fact a Palestinian with Jordanian nationality. He studied microbiology in university without finishing, and then he turned to art. Ayman Yossri has actively exhibited his artworks since the 1990s, inclining to more conceptual work in the 2000s. His last solo exhibition was Identity, held at the Selma Feriani Gallery, London in 2011. Yossri’s artwork is characterised by his desire to create situations rather than producing discrete commodities designed to be hung, bought and sold. Ayman Yossri tackles subjects of identity and social collective memories.

In his Subtitles series, Ayman Yossri depicts still photos of non-Arabic language films subtitled in Arabic. A Jordanian national of Palestinian origin living in Saudi Arabia, Yossri is no stranger to alienation and deals with themes of identity and the notion of being an outsider. By using stills subtitled in Arabic, the artist reverses the insider/outsider roles, as only the Arabic speaker is able to understand the text. However, the ability to read the words does not necessarily translate to being privy to their meaning. The viewer must accept the translation presented by the text, leaving both Arabic- and non-Arabic-speakers to reinterpret the significance of the words and phrases.

The monochrome stills at times carry the authenticity and authority of a documentary, while at other times are reminiscent of pop art in their depiction of stars in Western culture. New meaning is given to the words that would have been spoken, as the subtitles play the dual role of scribe and silent narrator.

Check-point

2013

Archival inkjet print 5 pieces, 70 x 120 cm each

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Agus Suwage (IDN)

Agus Suwage was born In Purworejo, Indonesia in 1959. He graduated in 1986 from Graphic Design at Bandung Institute of Technology, Indonesia. The artist often uses his self-portrait in different poses and settings that convey critical messages concerning socio-political issues around him. His work often shows extensive appropriation of works by other artists, as well as his own, which he continuously remakes and develops, repeatedly and on multiple layers. In 2009, he had his retrospective exhibition, “Still Crazy After All These Years” in Yogyakarta, Indonesia. He was also featured in “Awas! Recent Art from Indonesia” (Australia, 1999); “Negotiating Home, History and Nation: Two Decades of Contemporary Art from Southeast Asia, 1991 – 2010” (Singapore Art Museum, 2011); and “SIP! Indonesian Art Today” (Singapore and Germany, 2012-2013).

Both of his works; “Tembok Toleransi” (The Wall of Tolerance, 2012) and “Social Mirror” (2012) reflect the multicultural crisis in Indonesia these days. In both of these works, Agus Suwage

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Tembok Toleransi
2012
Zinc, gold-plated brass, led lights and sounds 318
x 468 cm[/column][column] Agus-Suwage
Social Mirrors #3
2013
Trumpet, copper, wood and car audio systems
118 x 24 x 70 cm[/column]
reveals his daily experience of besiegement by the muezzins’ calls to prayer from the mosques around his home. The muezzins’ calls, intended as an enticing invitation for Moslems to pray, often turns out to be jolting and deafening, blaring from three, four or five speakers from several nearby mosques at almost the same time. This works also alludes to the institutionalization of religion in the daily and political life in Indonesia.
“Social Mirror”, a car audio system concealed in the plinth plays a trumpet-only rendition of the traditional azzan call to prayer, which is heard through a small speaker in the horn of the cornet. The sound level is low, which invites viewers to come close and be enveloped by the tune. The work is a reflection on the role of Islam in contemporary society, in light of the current rise of fundamentalism in Indonesia.

Agung Kurniawan (IDN)

Agung Kurniawan was born in Jember, East Java, Indonesia in 1968. His educational backround includes Archeology at Gajah Mada University and Graphic Art at Indonesian Institute of Arts, Yogyakarta; neither of which he completed. This artist started out with book illustrations, drawings, and comics offering harsh satirical critiques of Indonesian society. In 2006 he started the trellis series, which he prefers to call “iron drawings”.

In his work he often descends to the street and intervenes in bureaucratic structures. Some of his recent works involve performative aspects. One of these works was included in Gwangju Biennale 2012, Agung Kurniawan performed Adidas Tragedy (2012), utilizing shoes as physical connection between the artist and each participant, referring to several cities where massacres have taken place.

Some of his milestone exhibitions include “AWAS! Recent Art from Indonesia” in 1999 and “SIP, Cotemporary Indonesian Art” exhibited in Singapore and Berlin in 2012 and 2013. Both exhibitions marked his position in Indonesian Contemporary art at that time. In 1996, he was awarded the Phillip Morris Indonesian Art Awards, Jakarta, Indonesia for best work and an Honorable Mentioned from the Jurors of the Philip Morris Groups of Companies ASEAN Art Awards. Many of his works are held in public collections and private collections and galleries all around the world. Aside from his role as a studio artist, he is also a socio-cultural activist working and living in Yogyakarta. He was a founder of Yayasan Seni Cemeti (now the Indonesia Visual Art Achieve (IVAA)) and Kedai Kebun Forum (KKF), a small community and artspace established with the purpose of providing an arena of learning in the context of developing sensibility to all phenomena of social change through art.

In the exhibition Agung Kurniawan presents an installation and performance project around the issues of transgenic and sovereignty of food.

Ahmed Mater (SAU)

Pelt Him! (Desert of Pharan Series)
2012
video
1 min 03 sec (loop)

 

Ahmed Mater was born in 1979 in Saudi Arabia. He studied medicine and surgery at the Abha College of Medicine and simultaneously studied art at Al-Miftaha Arts Village, an art community he helped establish. In 2008, he co-founded the Edge of Arabia, a groundbreaking independent art initiative, focusing on the development of appreciation toward Arab art and culture, especially in Saudi Arabia. Since then Ahmed Mater’s work has drawn international attention, collected by the likes of the British Museum and Los Angeles County Museum of Art. Ahmed Mater works with various mediums encompassing photography, calligraphy, painting, installation, performance and video. He often explores the narrative and aesthetics of Islamic culture in an era of rampant globalization, consumerism and transformation. His art is informed by his dailly profession as a medical doctor in Abha and his traditional upbringing in Saudi Arabia.

Ahmed Mater’s recent work delves into the unofficial histories of Saudi sociopolitical life, concerned with the representation of traumatic events of collective historical dimension, and how video and photography can document the physical and psychological violence that accompanies the accelerated transformation of a place rich in history and tradition.

‘Desert of Pharan/Adam’ is the first series of a project exploring the changes in Makkah and was the result of intense collaboration between Ahmed Mater and Robert Kluijver, the curator of Desert of Pharan in 2012. The first series of the project consists of five large scale photography and five videos documenting the movements and personal experience of the 2012 pilgrimage. The mystical experience that Hajj-goers recount is the dissolution of the self in the community of believers, a powerful individual experience. Through the medium of large scale photography, and a combination of wide-angle and closeup videos, Ahmed manages to simultaneously capture the personal and the collective levels of experience.

In the pilgrimage movements there’s a minor narrative of a love story. According to Ibn Abbas, the cousin of Prophet Muhammad, Adam was cast down from heaven into India and Eve in Jeddah. Adam went in search of her until they met and Eve drew near to him at the place now known as Muzdalifah. They then stayed together at a place now known as ‘Arafah’

With this story in mind, the Hajj becomes the shared quest of more than three million people simultaneously for the original love. ‘Desert of Pharan / Adam’ follows the complex movements of these millions through an elaborate ritual, conducted on an infrastructure defying the human scale of the pilgrimage.