1WWW.MES56.COM

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3WIPS!(WORK IN PROGRESS)

5-15 SEPTEMBER 2014

OPENING

13 SEPTEMBER 201420.00

EXHIBITION

14-22 SEPTEMBER 2014OPEN MON-SAT11.00-17.00

WWW.MES56.COM

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now are related to Indonesia in a unique way, connected and disconnected simultaneously. Sinta Tantra was born into an Indonesian family who moved from Bali to resettle in several other cities, including Singapore and New York, where she was born, and eventually onto London, where she was educated. Adam de Boer was born and raised on the Southern California coast. He also finished his education and began his career as an artist there. Only recently did he visit Indonesia, and that was almost a coincidence. His main motivation on that first trip was to surf Balinese beaches but the occasion also brought him the possibility of being acquainted with the birthland of his father, a half Indonesian-half Dutch, in Purwokerto, Central Java.

The brief background above perhaps brings us to rate that their works--despite being very different in visual, material and iconographical sources--are born from tensions on the issue of hybrid identity surrounding the artists lives. This impression might be true, of course, but it holds a general post-modern or post-colonial bias. In reality, what we are facing here are artists with the present-day socio-cultural background that is no longer necessarily bound to roots and origins, but instead leans more heavily on ones unique growth and a more open and widespread maturity. From recent advances in information technologies to a newfound ease in travel, it seems that the present-day opens up opportunities for people to become cosmopolites like never before.

Thus, should there continue to be a type of cultural identity, it is an ever-changing identity that absorbs and processes several elements gained from inter-cultural intersection

Dua orang seniman yang tampil dalam WIPS! kali ini terkait dengan Indonesia dengan cara yang unik, terhubung dan terpisah sekaligus. Sinta Tantra lahir dari keluarga Indonesia, yang berpindah-pindah dari Bali, lantas beberapa kota lain, kemudian ke Singapore, lahir di New York, Amerika Serikat, lantas menempuh pendidikan di London, Inggris. Adam de Boer, lahir dan besar di wilayah pantai Barat Amerika Serikat, California. Ia lahir dan tumbuh di sana. Juga menyelesaikan pendidikan seni rupa dan membangun karier sebagai seniman di sana. Baru belakangan ini ia berkunjung ke Indonesia, nyaris sebagai peristiwa kebetulan. Niat utama berselancar di pantai di Bali lantas membawanya pada kemungkinan untuk mengenal tanah kelahiran ayahnya, seorang Indo-belanda, di Purwokerto.

Latar belakang serba singkat di atas, mungkin akan cepat membawa kita pada penilaian bahwa karya-karya merekameskipun berbeda jauh secara visual, bahan dan sumber-sumber ikonografisnyaadalah karya-karya yang lahir dari ketegangan di seputar masalah identitas hybrid yang melingkupi kehidupan senimannya. Kesan semacam ini boleh jadi benar, tapi tentu saja punya bias pandangan umum seputar pasca-modernisme, atau pasca-kolonialisme. Kenyataannya, kita sedang berhadapan dengan seniman dengan latarbelakang sosial-budaya masa kini yang tidak lagi terikat pada akar, asal-usul, tapi lebih bertumpu pada daya pertumbuhan dan perkembangan yang serba terbuka dan meluas. Dari teknologi informasi hingga kemudahan untuk bepergian dan berpindah dari satu tempat ke tempat lain, tampaknya masa sekarang membuka peluang bagi semua orang untuk jadi kosmopolit.

Dengan demikian, jikapun ada semacam identitas kebudayaan, maka ia adalah sebentuk identitas yang terus berubah, menyerap dan

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and interaction. Each individual of the present-day both physically and mentally, has the potential to be a homo viator1: a traveler, a wanderer, a nomad. Indeed, a homo viator has a distance with the cultural sphere with whom he is visiting but he also maintains a distance with his original cultural sphere at the same time, allowing him to recognize any existing difference. Each cultural-traveler is equipped with the intention and will to meet and mingle with the other, and even the readiness to absorb elements of the other for them to become a part of himself. Cultural wanderers do not question the validity, authenticity, and origins of culture, but instead create for themselves various possibilities to enrich their cultural experiences. Sinta

1. Marcel, Gabriel (transl. Craufurd, Emma), Homo Viator: Introduction To A Metaphysic of Hope, Henry Regnery Company, Chicago, 1951.

mengolah berbagai unsur yang didapat melalui persinggungan dan pergaulan antar-budaya. Pada akhirnya, identitas orang per orang tidak lagi tetap melainkan berkembang. Setiap individu masa kini, baik secara fisik dan mental, berpotensi menjadi homo viator, pelancong, seorang pengelana, nomad. Homo viator memang punya jarak dengan ranah budaya yang sedang ia kunjungi, sekaligus jarak dengan ranah budaya asalnya. Tapi, pada saat bersamaan ia siap menyerap keberbedaan yang ada. Tiap pelancong budaya dibekali dengan niat dan kemauan untuk bertemu dan bergaul dengan yang lain, atau bahkan siap untuk menyerap unsur yang lain itu untuk kemudian jadi bagian dari dirinya. Pengelana budaya tidak mempersoalkan keabsahan autentisitas dan asal-usul (origin) kebudayaan, tapi menyiapkan diri pada berbagai kemungkinan untuk memperkaya pengalaman berkebudayaan. Sinta Tantra dan Adam de Boer, melalui karya-karyanya, menunjukkan sikap yang

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Tantra and Adam de Boer, through their works, display an open attitude to such possibilities.

Upon observing several documentary materials of work made by Sinta Tantra and Adam de Boer before their Yogyakarta residency, and also from several discussions with them, other issues were revealed that show more altermodern2 symptoms--another type of modernism. Sintas works, for example, oftentimes employ complicated patterns that enable the work to be connected with and interact with the public. Her works are presented as part of an existing public space, oftentimes as a mural, (or painting on an architectural scale, as she has put it) and contribute in shaping new spatial experiences for her viewers that go beyond the existing physical architecture. Her works are built through the arrangement of simple color and shape, with strong roots in the tradition of geometric formalism, and create a kind of hi-key rectilinear camouflage for the buildings and bridges on which she has painted.

Its interesting too because Sinta has experimented with how various visual elements, in the form of geometric shapes in flat color, can exist as a part of the dynamic public sphere; and this is not a result of some rebellion strategy in public spaces like that of common street art. As an intervention, her works are actually are more intent on offering the public the possibility of having different spatial experiences through new visual identifications. If we usually recognize a city as a topography of architecture then Sintas work offers newfound optical and visual recognition for her viewers of that topography. The visual elements can shape

2. Bourriaud, Nicolas. Altermodern: Tate Triennial 2009 : exhibition, London, Tate Britain, 3 February - 26 April 2009. Londres: Tate Publishing, 2009. Print. Also: http://www.tate.org.uk/whats-on/tate-britain/exhibition/altermodern/explain-altermodern/altermodern-explained-manifesto

terbuka pada berbagai kemungkinan seperti itu.

Saat melihat sejumlah dokumentasi karya yang pernah dibuat Sinta Tantra dan Adam de Boer sebelum masa residency mereka di Jogja, dan juga melalui percakapan lebih jauh dengan mereka, terungkap sejumlah soal lain, yang lebih menunjukkan gejala altermodern, modernitas yang lain. Karya-karya Sinta, misalnya, banyak terkait dengan pola-pola yang memungkinkan karyanya terhubung dan terinteraksi dengan publik. Karya-karyanya hadir sebagai bagian dari ruang yang sudah ada, di ruang publik, dan kemudian ikut membentuk pengalaman ruang yang lain, atau baru; pengalaman ruang yang melampaui ruang yang sudah ada. Karya-karyanya dibangun melalui warna dan bentuk sederhana, dengan akar kuat pada tradisi seni rupa formalisme geometris.

Yang menarik adalah karena Sinta menguji bagaimana berbagai unsur rupa yang sekedar warna dan bentuk geometris ini hadir dan menjadi bagian terpadu di ruang publik. Ini bukanlah hasil dari strategi pemberontakan di ruang publik seperti lazimnya seni jalanan. Sebagai intervensi, karyanya justeru lebih berniat pada kemungkinan publik mengalami pengalaman ruang yang berbeda, melalui identifikasi visual yang baru. Jika selama ini kota kita kenali lebih sebagai topografi arsitektural, maka karya Sinta menawarkan pengenalan optis dan visual. Atau, lebih jauh lagi: bagaimana unsur rupa itu dapat membentuk kesadaran dan pengalaman simbolik tertentu di ruang publik. Dengan cara ini, formalisme tidak hanya mengalami revitalisasi visual, tapi juga semacam rekontekstualisasi secara sosial.

Dalam karya-karya mutakhirnya, yang hendak ia tampilkan dalam WIPS! kali ini, Sinta justeru hendak menunjukkan bagaimana bidang warna dan bentuk geometris dapat berpeluang menjadi simbol dengan makna tertentu. Ia merujuk pada cara penataan warna dan bentuk yang sering dipakai dalam

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certain symbolical awareness too. Through this, her formalism not only allows viewers to experience visual revitalization, it also socially recontextualizes the given architectural landscape of a city.

Sintas latest works, and what she is presenting in WIPS! this fall, will show how fields of color and geometric shapes also have the chance to become graphic symbols with certain symbolic meaning. She refers to the way colors and shapes are arranged in banners and flags, particulalry that of the brightly colored diagonal lines of a heraldic sash. In coats of arms--commonly used as a marking/symbol for a group, family, royalty, city, country, etc,--for example, colors and simple geometric shapes can be a part of a symbolic identity construction. In European tradition (especially British) even the direction, from left to right or right to left, can define the way of interpretation.

Meanwhile Adam de Boer, in some of his works, shows a more obvious characteristic as a traveler, homo viator. He adopts batik coloring technique as painting technique. He also adopts the materials, methods, and even visual motifs of Balinese and Javanese woodcarving. Adam did not take these materials to only build a connection with his Indo identity, (he even attempted to avoid those romantic and nostalgia urges) but has actually tried to treat the local techniques and materials as equal to various others already accepted as a part of the tools to create modern visual art. He states that he wants the use of batik and woodcarving in his work to become as invisible as using oil paint or watercolor. The medium is not the entirety of the message.

When he incorporates all these elements into his paintings what is working is a mode of inter-cultural encounter filled with unexpected possibilities, surprises, or even incompatibilities. Local cultural elements in his works are not about the

pataka (bend sinister), berupa garis selempang, garis diagonal berwarna terang. Dalam pataka, atau duaja (coat of arm, heraldry)lazim digunakan sebagai penanda/simbol kelompok, keluarga, kerajaan, kota, negara dan lain-lainmisalnya, warna dan bentuk geometris sederhana dapat menjadi bagian dari konstruksi identitas simbolik. Dalam tradisi Eropa (khususnya Inggris) bahkan arahnya, kiri ke kanan, atau kanan ke kiri, dapat menentukan arah pemaknaan.

Sementara Adam de Boer, dalam sejumlah karyanya, tampak lebih jelas lagi wataknya sebagai pelancong, homo viator. Ia mengambil teknik pewarnaan batik untuk dijadikan teknik melukis. Ia mengambil bahan, teknik dan bahkan citarasa visual ukiran kayu Bali maupun Jawa. Ia tidak mengambil bahan-bahan tersebut untuk membangun asosiasi mengenai identitas. Ia bahkan berusaha menjauh dari dorongan romantis atau nostalgia. Ia ingin memperlakukan teknik dan bahan itu sama dan setara dengan berbagai teknik dan bahan yang selama ini sah diterima sebagai bagian dari alat, bahan, teknik penciptaan karya seni rupa modern.

Saat mengolah semua unsur-unsur ini ke dalam karyanya, maka yang bekerja adalah modus pertemuan antar-budaya yang penuh dengan kemungkinan tak terduga, kejutan, atau bahkan ketidakcocokan. Unsur-unsur budaya lokal dalam karyanya bukanlah soal upaya penemuan identitas, namun lebih pada soal pengakuan bahwa sejumlah keterpelesetan atau identifikasi yang berbeda dapat terjadi. Kebudayan masa sekarang tidaklah cuma bekerja melalui proses akulturasi atau asimilasi, tapi juga dalam berbagai pertemuan dan pergaulan yang berisi salah tafsir, salah terjemah, dalam proses (mis)translasi, (mis)apropriasi. Dengan pemahaman seperti ini, maka kita dapat menyaksikan bagaimana Adam mengolah batik, atau ukiran kayu bergaya Bali atau Jawa, tanpa pretensi untuk menjadi asli, bukan pula sebagai preskripsi untuk membangun narasi visual tentang identitas kultural tertentu.

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efforts of discovering authentic identity but rather acknowledge that a number of slips or different identifications can happen. Culture in the present-day is not just working through acculturation or assimilation but also the various meetings and associations containing misinterpretation and mistranslation within the processes of (mis)translation, (mis)appropriation. By this understanding, we can witness how Adam processes batik and Balinese/Javanese-style woodcarving without the pretention of becoming original. His work is not prescribed to build a social narrative on a particular cultural identity.

That is why in this iteration of WIPS! we also present various artworks of one of Indonesias most prominent artists, Mochtar Apin (1923-1994). His works--only a small number of reproductions were able to be presented hereoffer an interesting comparison to the artistic approaches of both Sinta Tantra and Adam de Boer.

Considering his life experience and education, Mochtar Apin is a cosmopolite. He was born in Minang to a middle class family in Padang Panjang, West Sumatera. In his teens he studied in Jakarta and joined Persagi. He then deepend his visual art education in Bandung (now known as the ITB Faculty of Arts and Design) and received a scholarship to continue learning in Europe. In time, Apin was educated, worked, lived, and exhibited in the Netherlands, France, Germany, and several other European countries and was fluent in English, Dutch, French, and German. After returning to Indonesia, he taught at ITB and contributed to the understanding that printmaking could be an independent art practice unto itself, separate from painting.

In his various works--whether it was drawing, graphic prints, painting, or sculpture-- Apin never stopped with

Itulah sebabnya, dalam WIPS! kali ini, kami tampilkan juga sejumlah karya salah seorang seniman Indonesia terkemuka, Mochtar Apin (1923-1994). Karya-karyanyahanya sebagian kecil reproduksi yang bisa kami tampilkan di sinidapat menjadi pembanding menarik bagi kedua pendekatan yang ada dalam karya Sinta Tantra dan Adam de Boer.

Menilik pengalaman hidup dan pendidikannya, Mochtar Apin adalah manusia kosmpolitan. Ia lahir dari keluarga kelas menengah Minang di Padang Panjang, Sumatera Barat. Di usia remaja ia sudah sampai di Jakarta untuk bersekolah. Ia pernah bergabung dengan Persagi. Lantas ia memperdalam pendidikan seni rupa di lembaga pendidikan seni rupa di Bandung (FSRD-ITB, sekarang). Mendapat beasiswa untuk meneruskan pendidikan ke Eropa, Apin sempat sekolah, kerja, tinggal dan berpameran di Belanda, Perancis, Jerman dan sejumlah negara Eropa lainnya. Ia fasih berbicara dalam bahasa Inggris, Belanda, Perancis, Jerman. Sepulang ke Indonesia, ia mengajar di ITB dan ikut memulai lahirnya studio seni grafis (printmaking) sebagai bidang seni mandiri, terpisah dari seni lukis.

Dalam karya-karyanya yang beragambaik gambar, cetak grafis, lukisan, dan patungdari masa ke masa, Apin tidak pernah menetap pada satu gaya atau media. Dalam soal gaya dan corak seni rupa, ia seorang homo viator yang gemar berpindah dari satu tempat ke tempat lain. Pada masa 1970-an, mungkin terdorong oleh keramaian perbincangan tentang identitas seni rupa modern Indonesia, Apin membuat sejumlah percobaan cetak grafis yang menghadirkan ragam hias batik, dipadukan atau dijadikan unsur utama untuk membentuk komposisi abstrak-geometris. Namun demikian, pada dekade berikutnya, ia justeru kembali pada warna dan bentuk yang murni. Ia membuat sejumlah lukisan yang sepenuhnya menghadirkan bentuk-bentuk geometris, dengan warna yang datar, sekaligus kontras, mencolok mata.

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one style or medium. In terms of artistic style and form he was a homo viator who was keen to move from one place to another. In the 1970s, perhaps inspired by the flurries of debates on the identity of Indonesian modern visual art, Apin created several graphic print experiments that combined various batik motifs into an abstract geometric composition. Nevertheless, in the next decade, he actually returned to pure colors and forms. Apin made a number of paintings that employ geometric shapes with flat, yet at the same time, contrasting colors, conspicuous to the eye.

We hope that the works of these three artists can ignite a hustle of discussion in WIPS! this time, about identity, hybridity, and even modernity, which keeps moving towards various directions simultaneously.

Kehadiran karya ketiga seniman ini kami harapkan dapat membuka perbincangan yang ramai dalam WIPS! kali ini, seputar identitas, hibriditas, hingga soal modernitas yang bergerak ke berbagai arah di masa sekarang ini.

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Ive spent my time in Yogyakarta studying further the Javanese woodcarving and batik traditions that I have been incorporating into my painting practice for the past two years. This summer Ive found myself very interested in the various patterns and textures common in local architecture: rock facades, decorative security bars, birdcages, and painted wooden slats enclosing patios. Incorporating these designs into my more naturalistic compositions has demonstrated tangible evidence for the repeating geometric forms found in both Mochtar Apin and Sinta Tantras work.

Saya menghabiskan waktu di Yogyakarta dengan mempelajari lebih dalam teknik pahat kayu dan tradisi batik Jawa yang sedang saya gabungkan dengan praktik melukis saya selama dua tahun terakhir. Musim panas ini saya menjadi tertar-ik pada aneka pola dan tekstur yang banyak dijumpai pada arsitektur setempat: permukaan batu, teralis besi dekoratif, kandang burung dan bilah kayu yang dicat memagari teras. Menggabungkan rancangan-rancangan tersebut pada komposisi saya yang lebih alami telah menunjukkan bukti nyata pengulangan bentuk geome-tris yang ditemukan baik dalam karya Mochtar Apin and Sinta Tantra.

Adam de Boer (l. Riverside, California 1984) lulus dengan BA untuk Seni Lukis (2006) dari College of Creative Studies di University of California, Santa Barbara dan mendapat gelar MA untuk Seni Murni (2012) dari Chelsea College of Art and Design, London. Beberapa pameran tunggalnya, diantaranya: All is Well (2006) di Santa Barbara Arts Fund, Finca (2010) di Flashpoint Gallery, Washington, DC; Jalan (2013) di Riflemaker, London, UK; Distinto Niveles de Bienestar (2013) di Escuela Taller, Bogot, Colombia, dan Moving Monuments (2014) di University of California, Santa Barbara. De Boer telah memenangi beberapa penghargaan dari berbagai institusi, diantaranya dari DC Commission on the Arts and Humanities, Cultural Development Corporation, Santa Barbara Arts Fund, dan pada tahun 2011, dia mendapat beasiswa dari Arts for India Scholarship untuk menyelesaikan pendidikan jenjang Masternya. Di Musim Gugur 2012, dia berpartisipasi dalam residensi studio dan mengajar di International Institute of Fine Arts di Modinagar, India dan menghabiskan musim gugur 2013 di Bogot, Colombia sebagai seniman residensi di laagenicia.

Adam de Boer (b. Riverside, California 1984) graduated with a BA in Painting (2006) from the College of Creative Studies at the University of California, Santa Barbara and an MA in Fine Art (2012) from the Chelsea College of Art and Design, London. Selected solo exhibitions include All is Well (2006) at the Santa Barbara Arts Fund, Finca (2010) at Flashpoint Gallery, Washington, DC, Jalan (2013) at Riflemaker, London, UK, Distinto Niveles de Bienestar (2013) at Escuela Taller, Bogot, Colombia, and Moving Monuments (2014) at the University of California, Santa Barbara. De Boer has received various awards from the DC Commission on the Arts and Humanities, the Cultural Development Corporation, the Santa Barbara Arts Fund, and in 2011 won the Arts for India Scholarship to support his post-graduate studies. In the fall of 2012 he participated in a studio and teaching residency at the International Institute of Fine Arts in Modinagar, India and spent the fall of 2013 in Bogot, Colombia as a resident artist at laagenicia.

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For the last 25 years or so, Yogyakartas has built up a history of artists concerned with socially engaged and political framed works - from installations, new media, painting and street art; I am interested in the relationship between art and activism and how the citys ever growing topography is a reflection of Indonesias past and future identities. In this exhibition I explore for the first time the relationship between my wall paintings and works on canvas; creating an immersive installa-tion that plays on illusionary space, geometric pattern and the space we occupy as bodies.

Selama kurang lebih 25 tahun, Yogyakarta telah membangun sejarah seniman yang perduli pada kerangka kerja politis yang terlibat secara sosial--dari instalasi, media baru, lukisan dan street art; saya tertarik pada hubungan antara seni dan aktivisme dan bagaimana topografi kota yang terus berkembang adalah cerminan masa lalu Indonesia dan identitas masa depannya. Dalam pameran ini saya meng-gali untuk pertama kali hubungan antara lukisan yang saya buat di atas dinding dan karya saya di atas kanvas; menciptakan instalasi menghanyutkan yang memper-mainkan ilusi ruang, pola geometri dan ruang yang kita tempati sebagai tubuh.

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A British artist of Balinese descent, Sinta Tantra was born in New York in 1979. She studied at the Slade School of Fine Art, University College London 19992003 and at the Royal Academy Schools 200406. Tantra is well regarded for her site-specific murals and installations, many in the public realm. These include works for the Southbank Centre, Canary Wharf Group and Liverpool Biennial. Recent interna-tional show include group exhibitions in New York, Jakarta, Hong Kong and The Hague. A recipient of many awards including research grants from the British Council, Arts Council England and the prestigious Deutsche Bank Award, Tantras work is in the collections of the UKs Government Art Collection and private inter-national collections.

Seorang seniman Inggris keturunan Bali, Sinta Tantra lahir di New York pada tahun 1979. Ia belajar di Slade School of Fine Art, University College London 1999-2003 dan di Sekolah Royal Academy tahun 2004-2006. Tantra dikenal luas untuk karya-karya mural dan instalasinya yang site-spesifik dan banyak bera-da di ranah publik. Ini termasuk karyanya di Southbank Centre, Canary Wharf Group dan Liverpool Biennial. Pameran terbarunya yang berskala internasional di antaranya pameran bersamanya di New York, Jakarta, Hong Kong dan The Hague. Sinta telah menerima banyak penghargaan termasuk hibah penelitian dari British Council, Arts Council Inggris dan Deutsche Bank Award yang sangat bergengsi. Karya Tantra dikoleksi oleh Government Art Collection di Inggris dan banyak kolektor dunia.

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ITH Cemeti Art House was founded by Nindityo Adipurnomo and Mella Jaarsma in 1988, and has since been exhibiting and

communicating the works of both Indonesian and foreign contemporary artists. Cemeti is a not-for-profit organization that works to promote discourse in the field of visual arts in Yogyakarta and operates a robust exhibition platform, hosting regular public discussions and workshops. The Indonesian Visual Art Archive (IVAA) runs parallel to Cemeti Art House, focusing on documentation, education and information. www.cemetiarthouse.com

Ruang MES56 is a not-for-profit arts institution established in Yogyakarta in 2002 by a group of local contemporary artists. The institution places emphasis on photo-based art with an experimental and multidisciplinary approach. The mission of Mes56 is to develop contemporary art discourse and visual culture, while optimizing the South East Asian regional art network through programmes such as residencies, discussions and inter-disciplinary art projects. www.mes56.com

iCAN (Indonesia Contemporary Art Network) works on promoting multidisciplinary dialogue between visual art and another division of art and sciences through art projects, research and education. canmanage.net

Artist International Development Award programme is a 750,000 fund, jointly funded by the British Council and Arts Council England. The programme offers early stage develop-ment opportunities for individual freelance and self employed artists based in England to spend time building links with art-ists, organisations and/or creative producers in another country.

Arts Council England champions, develops and invests in artistic and cultural experiences that enrich peoples lives. They support a range of activities across the arts, museums and libraries - from theatre to digital art, reading to dance, music to literature, and crafts to collections. Between 2011 and 2015, Arts Council England invested 1.4 billion of public money from government and an estimated 1 billion from the National Lottery to help create these experiences for as many people as possible across the country. www.artscouncil.org.uk

British Council creates international opportunities for the people of the UK and other countries and builds trust between them worldwide. We call this work cultural relations. We are on the ground in six continents and over 100 countries bringing international opportunity to life, every day. Each year we work with millions of people, connecting them with the United Kingdom, sharing our cultures and the UKs most attractive assets: English, the Arts, Education and our ways of living and organising society. We have 80 years experience of doing this. www.britishcouncil.org

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