Sheraton Grand Jakarta Gandaria City Hotel

4.6 (38 reviews)

Jl. Sultan Iskandar Muda, Kebayoran, Jakarta, Jakarta, 12240, Indonesia   •  Weather:    •   Local Time:     •  Phone: (62)(21) 806 30888  

4.6

LANDSCAPE IN MY HEAD | CHRISTINE AY TJOE

2009| Acrylic on canvas |180 x 260 cm

This works tells about Self as a complex entity with contradictory needs and desires - Self and Ego that should be fed and tamed at the same time.

Self knows that dreams will always be limited by social restrictions and social acts.

 Ay Tjoe Christine places herself among Indonesian artists who define contemporary art. Her abstract paintings can be observed as an existential analysis from the subconscious, a pairing of ego and mind to reveal the depth of her soul. It is a journey of search for self, especially identity within a certain framework.

The abstract form in this painting is harmonized with some representational elements, such as a most conspicuous figure of angel flying in the lower central area of the canvas. With her mastery in deploying the brush and her rigor and pace in painting, she applies different accents of color to the whole semi-abstract painting, creating an abstruse form of imagery.

Landscape in My Head recites an imaginative potency which is represented through the figure of the angel and the abstract form. Throughout her career, Ay Tjoe has always used herself as a guide to reveal hidden mystery inside each individual.

LINDUNG BUMI | RUDI MANTOFANI

2002 | Acrylic on canvas  |140 x 140 cm 

From the very start, Rudi Mantofani’s approach gets one's attention. On his canvas, he reverses logic.

It is simple yet fascinating, with a lingering, deep impression. Through this work of art, Rudi Mantofani tries to develop the classic concepts of “landscape” and “still life” painting. He tries to inject new spirit into this conservative genre.

 “Save the Earth” is a work that developed from the idea of expanding and revealing the significant aspects of the world. It enables the audience to widen their understanding of environmental concerns, which is being thwarted by international collaboration.

Mantofani is not offering specific criticisms or proposals for particular solutions. He just holds out an invitation to re-think our understanding about our existence on Earth, a small, blue-green planet which seems to be alone and fragile in the vastness of the universe.

LOVE - ROBERT INDIANA

1966 - 1999 | Polychrome Aluminum | 244 x 244 x 122 cm

Edition: AP 2/2, from an edition of 5 plus 2 Aps

From the very start, Rudi Mantofani’s approach gets one's attention. On his canvas, he reverses logic.

It is simple yet fascinating, with a lingering, deep impression. Through this work of art, Rudi Mantofani tries to develop the classic concepts of “landscape” and “still life” painting. He tries to inject new spirit into this conservative genre.

 “Save the Earth” is a work that developed from the idea of expanding and revealing the significant aspects of the world. It enables the audience to widen their understanding of environmental concerns, which is being thwarted by international collaboration.

Mantofani is not offering specific criticisms or proposals for particular solutions. He just holds out an invitation to re-think our understanding about our existence on Earth, a small, blue-green planet which seems to be alone and fragile in the vastness of the universe.

DOUBLE LACAN KNOT JEAN-MICHEL OTHONIEL

2012 | Mirrored Glass & Metal 

Othoniel’s interest in glass began in Murano, in 1993. He became enraptured by the irregularity of pearl, its translucent colour, a material that symbolizes man's desire to see something without distraction or obstacle, observation pure and clear.

 This work is created by a compilation of large glass beads, inspiration taken from Lacan. His objective is the creation of a subject which represents a balance between the tangible, the symbolic, and the imaginary.

The ambiguous aspect of the material is processed to show the sacred characteristics of glass exposed to refracted light, as can be seen in the reflection of sunlight penetrating church windows.

 His quest is inspired by entangling endless signs, interlocked with one another, and creating a bond, sealed by the touch of the human hand, not arranged by any machine. By means of these specific products and materials, his work reveals precisely the beauty in a moment that is both present and moving through time. Thus installed, it is well integrated in a space where tinged light radiates sparklingly from the glass.

 Othoniel was born in Saint-Étienne, 1964. He lives and works in Paris.

MEGA MENDUNG | HADIWIRMAN SAPUTRA

2015 | Acrylic on canvas mounted on composite panel 

244 x 495 cm (12 panels)

‘Mega Mendung’ reveals the essence of an object's character and representation by means of an arrangement of composition. By depending on his sensitivity in recognizing the potency of form and material, Handi manifests the structure of objects with proportions based on the balance of the human body. He exposes and reconstructs logical alignments and arranges them into the “sentence” of art. Thus one of the most significant components of this painting is its composition.

 This work can be a good example for those who want to contemplate how an artist actually spends his time and arranges various objects and other elements to get a “magnificent” condition. This arrangement is clearly not a result of mere arbitrary acts, but from calculated decisions. There is integrity when the pieces of individual objects are combined.  Meanwhile, the depiction of various objects in  clear and detailed form shows how this artist truly appreciates the variety of visual elements that actually present those objects.

PAGI YANG CERAH | YUNIZAR

2008 | Acrylic on canvas | 200 x 250 cm

“Sunny Morning” is a view presented by Yunizar of unconscious aspects we usually bother about. His painting gives us hint about the existential nature of humanity  - that which simply gets started in the morning, calmly and peacefully.  

  However, sometimes we sense simple questions, like 'what should we do today' and 'how will we get by something of which we're only sure we know nothing''  Mankind is shown realizing for the first time that its existence as living creatures when the sun rises and facing the question which always teases human consciousness - ‘What do you see?’.

 Yunizar’s works of art certainly never come across as clean and tidy. He believes in the power of “scrabbling”. The impression of crudeness and naivety affirms his attitude as an artist - that “beauty” can be presented from anywhere, in plain scribblings, forms, and colors

TREE OF LIFE | SAMSUL ARIFIN

2008 | Acrylic on canvas | 200 x 150 cm

“Tree of Life” has various meanings, has a variety of meanings which include knowledge, wisdom, and insight into oneself.  It is a symbol used to attain clear focus in our search for awareness and knowledge. “Tree of Life" is also mentioned in the Book of Genesis as a symbol of God’s provision for eternity in the Garden of Eden.

 The work depicts belief in human capabilities. Samsul tries to depict that by departing from the idea of humans as thinking and feeling creatures, because the human mind is composed of three key components, namely IQ (Intelligence Quotient), EQ (Emotional Quotient), and SQ (Spiritual Quotient).

They are considered as intelligence that will develop as people go through the educational process drawn from their surroundings. If those three elements are already integrated in Indonesia's future generation, the future of the nation may hold promise.

This painting is a challenge to observe and realize what is around us, enlightenment and life as the  source of knowledge.

RED STORY | YUNIZAR

2008 | Acrylic on canvas | 200 x 250 cm

Yunizar always puts psychological material into his painting and emphasises intuition when he creates his works of art. He is prominent on the Indonesian art scene. He receives both critical and commercial credit on the international stage. His works are applauded for their mysterious and expressive visual language.

His creative process comes across as one of concentration on his intuitive ability to recognize and interpret various phenomena both in his surroundings and from his experience.

 “Red Story” presents an image of humans, animals, symbols, and other elements too, in the wide expanse of  canvas replete with red pigment.

One of the significant elements involved in perception of Yunizar’s work is understanding the priority he gives to “feeling,” stimulated by the fusion of all our senses. He relies on an audience’s feelings, their sensations, when they see the colour red spilling over the canvas, the presentation of an open fragment of a story which is open to to various possibilities of perception

SEBATAS AROMA (LIMITED TO SCENT) | RUDI MANTOFANI

2008 | Acrylic on canvas | 170 x 250 cm

“Limited to Scent” is an image of a desert landscape encompassing a symbol of conceit. It is a criticique by the artist against the appearance of contemporary society.

The scent represents bodily attraction or charm which affect the mind. By using exotic fragrance, there will arise temptation, adducing a more seductive effect. Fragrance is instinctively considered as a means to soothe the mind.

 By focusing his concept on scent, Rudi Mantofani invites us to take a journey formulated around the route of fragrances flowing from nose to brain, which will directly impact on the deepest recesses of the human mind.

Of mankind’s five senses, more than sight, hearing, taste, or touch, the sense of smell is most directly connected to the limbic cortex that controls the instincts.

The work discusses the relationship between sight and smell criss-crossing. Smell, full of desire, yet reflects the idea of the apparent world as an illusion hiding fundamental reality. Through the perfume’s container, we are invited to observe the illustration on how reality is concealed by from our everyday perceptions.

SERI BIDANG DAN BAYANGAN KAPUK II | HANDIWIRMAN SAPUTRA

2005 | Acrylic on canvas | 190 x 145 cm

Handwirman Saputra is expert in matters of conveying a peculiar perception of reality, translating traces of visual and physical potential from a variety of media and objects. Through his interaction with light, form, texture, color and paper, this work of art evokes the beauty that is all around us from the petty and neglected sphere of everyday life. .

Handiwirman thematic emphasis in painting is the perception issue, how to see things.

The object seen in the painting is a form of visual representation, two-dimensional,an object of he floated and  had created previously.

With due care and consideration he has chosen materials and colors to provoke our perception. From there, we find ourselves carried away into  an imaginative struggle, seeking to associate the forms with things that are familiar in everyday life.

There is no definitive meaning or primary narrative presented here. This is due to the fact that all might be delayed or even thwarted by a variety of associative possibilities stored up by viewers  themselves.

KOKORO | JEAN-MICHEL OTHONIEL

2012 | Mirrored Glass & metal 

Jean-Michel Othoniel was born in 1964 in Saint-Etienne, France. At the beginning of his career, he used many malleable materials, including sulphur, wax and water, until he settled on glass as one of his primary materials for his works of art.

His art has been exhibited in many exhibitions and has formed part of museum collections, including 'Kokoro.'  Some similar works have been displayed in art galleries in South Korea and Japan.

'Kokoro' was created from colored glass, polished to achieve a special shine, attracting and absorbing and reflecting light throughout its surrounding area.

The glass balls resemble beads or even a large string of pearls. The heart shape is a visual icon in popular culture, symbolizing 'love' or 'peace.'

MAIN CORET BEGITU SAJA | SAMSUL ARIFIN

2010 | Acrylic on canvas | 200 x 150 cm

Samsul Arifin is an artist, a graduate of the Indonesian Institute of the Arts in Yogyakarta, who consistently makes education the theme of his work, which presents fragmented stories, fragments of social comment, through his primary fictional character, in the shape of a doll. His figurative work is mostly presented in the form of an eraser and a piece of paper adorned with scribbling.

 The work highlights a structured school system before digital technology becomes an inseparable part of Indonesian students’ life.

Education is closely related to social class. The issue of social class distinction,  once again, is about the advantages enjoyed by the upper classes as against the lot of the poor who are stuck in the lower levels of education.

By using their wealth and influence to gain access to particular schools with a “better” education label, it is obvious that the elite can enrol their children in the superior system. This is a broad and serious indication of how, in our society, education – supposedly available to all – obeys economic logic, becoming an “industrialized education”.

 

PAIX, AMOUR ET LUMIERE | CYRIL KONGO

2014 | Mixed Media on French Linen  | 200 x 600 cm

LOVE IS THE ANSWER | CYRIL KONGO

2016 | Mixed Media on French Linen  | 325 x 178 cm

MENINGGI HARI | RUDI MANTOFANI

2005 | Acrylic on canvas | 150 x 200 cm

AKHIR PEKAN DAN PROJECT ORGANIK DARI TAK BERAKAR TAK BERPUCUK #4 - HANDIWIRMAN SAPUTRA

2013 | Acrylic on canvas | 200 x 300 cm

DIKETINGGIAN PAGI | RUDI MANTOFANI

2005 | Acrylic on canvas | 209 x 210 cm

HOLES ON SCRIBBLED SURFACE | AHMAD SADALI

1968 | Oil on canvas | 100 x 140 cm