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Catalog Trivial

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Catalog Trivial
This catalogue was published as a supplement
to the exhibition of
Bunga Jeruk
23 Januari - 5 Februari 2011
Emmitan CA Gallery
Jl. Walikota Mustajab 76 Surabaya
Opened by
Ibu Melani W. Setiawan
Host
Ibu Semiwati L. Soenaryo
Ibu Erkin Limantoro
Ibu Christine Radjimin
Curator
Hendro Wiyanto
Graphic Design
Arief Setiawan
Photography
Atikha Prastiwi, Santo Umboro
English Translation
Rani Elsanti
Edition : 1000 copies
ISBN 978-602-97015-6-2
published by
Emmitan CA Gallery
Jl. Walikota Mustajab 76 Surabaya 60272
Indonesia
Telp. +62 31 5466611, 5477711
Fax. +62 31 5457185
Contact person : William T
Mobile: +62 81 5523 4567
+62 81 2311 2311
[email protected]
www.emmitancagallery.com
Jakarta Art District No.12
Grand Indonesia Shopping Town
East Mall, Lower Ground #31
Jl. MH. Thamrin No.1 Jakarta Pusat 10310
Contact person : Tirto Sulun / Alun
Mobile: +62 81 2311 70000
+62 81 2311 2311
[email protected]
www.emmitancagallery.com
02 • Bunga Jeruk
Bunga Jeruk • 03
Dari Galeri
From the Gallery
ahun 2002, bersama istri saya Emmy Christina (almarhum) saya melihat
pameran karya Bunga Jeruk. Waktu itu saya dan Emmy tertegun, karya
Bunga Jeruk betul-betul artistik, matang, lucu dan memiliki pesan yang saya
anggap alami. Setelah kami berunding, kami berdua sepakat untuk mengoleksi
sebuah karyanya. Itulah untuk pertama kalinya saya mengenal lukisan Bunga Jeruk.
T
n 2002, along with my late wife Emmy Christina, I saw an exhibition of works by
Bunga Jeruk. We were mesmerized. We found Bunga Jeruk's works truly artistic,
mature, witty, and convey messages that I considered genuine. After we talked
about it, we agreed to collect one of her works. That was the first time I was
introduced to Bunga Jeruk's paintings.
Setelah itu, saya selalu berminat untuk mengoleksi karya Bunga, tapi tak pernah
kebagian. Saya duga, tiap kali pameran karya Bunga sudah direserve paling tidak
oleh tiga orang. Dan saya selalu kebagian nomor urutnya, bukan karyanya.
From then on, I always wanted to collect more of her works, but I never had the
chance to do so as they were all sold out. I presume that every time she held an
exhibition, her works had already been reserved by at least three people. I always had
the calling number, but never the artwork.
Gaya hidup Bunga sederhana. Rumahnya di Yogyakarta merangkap sekaligus
studionya, penuh oleh tumpukan buku seni rupa. Tiap kali William mengunjunginya,
pasti Bunga sedang berkarya atau kalau tidak membaca.
Pernah William bertanya: sebagai perupa perempuan, bagaimana Bunga membagi
waktu untuk pekerjaan sebagai ibu rumah tangga dan berkarya seni?
Jawaban Bunga: “Bro, aku telah memiliki landasan hidup yang jelas untuk kesenian
dan keluargaku. Aku membagi waktu sehari 24 jam menjadi delapan jam untuk seni,
delapan jam untuk keluarga dan delapan jam sisanya untuk istirahat.”
“Sampai kapan?” tanya William lagi. “Sampai detak jantungku berhenti, Bro,” jawab
Bunga.
04 • Bunga Jeruk
I
Bunga Jeruk lives simply. Her home in Yogyakarta, which also serves as her studio, is
full of piles of art books. Every time William came to visit, he will find Bunga working
or reading.
William once asked: as a female artist, how does Bunga divide her time between
working as an artist and as a mother?
Bunga answered, “Brother, I have set a clear basis for my life, for art and my family. I
divide the 24 hours in a day into three: eight hours for art, eight hours for my family,
and the remaining eight hours to rest.”
“Until when?” William further asked. “Until my heart stops beating,” Bunga
answered.
Menurut saya, Bunga memiliki sikap dan tujuan hidup yang matang dan dewasa. Dia
akan menolak order kolektor atau art trader yang datang ke studionya. Ia hanya
akan menjual karyanya lewat pameran yang berkuratorial bagus dan cocok. Ia
hormat dan patuh pada infrastruktur kesenian yang ada. Pada pameran tunggal di
Emmitan CA Gallery ini, Bunga memamerkan lima lukisan dan sepuluh buah
patung.
I think Bunga has a clear and mature attitude and objectives. She rejects orders by
collectors or art traders who come to visit her in her studio. She will only sell her
works through exhibitions with good curatorial quality and ones that suit her. She
respects the existing art infrastructure. In her solo show at Emmitan CA Gallery today,
Bunga presents five paintings and ten sculptures.
Terakhir saya ingin mengucapkan terima kasih dan penghargaan kepada para host
pameran: Ibu Semiwati L. Soenaryo, Ibu Erkin Limantoro, Ibu Christine Radjimin
dan Ibu dr. Melanie Setiawan yang meresmikan pameran ini.
Last but not least, I wish to extend my gratitude and respect to the hosts of the
exhibition: Mrs. Semiwati L. Soenaryo, Mrs. Erkin Limantoro, Mrs. Christine
Radjimin, and Mrs. Dr. Melanie Setiawan, who opens this exhibition.
Selamat menikmati.
Please enjoy the show.
Hendrotan
Emmitan CA Gallery
Hendrotan
Emmitan CA Gallery
Bunga Jeruk • 05
Sampai kapanpun kiranya dia tak akan mengubah namanya,
misalnya menjadi Bunga Mawar, Melati, Kenanga, atau Cempaka.
Nama-nama bunga itu memang lebih populer sebagai judul lagu,
aktris pop, nama real estate, mal atau apalah. Tapi Bunga Jeruk?
Soal nama itu memang ada kisahnya. Di pekarangan luas rumah
eyang putrinya dulu, di Solo tumbuh satu-satunya pohon jeruk
yang konon bunganya berbeda dari pohon jeruk kebanyakan.
Bunga jeruk dari pohon itu bercahaya di malam hari. Seperti apa
cahayanya, hanya intuisi seorang penyair yang bisa
menangkapnya. Maka, diberilah dia nama: Bunga Jeruk. Yang
pasti, sampai dewasa ia belum pernah satu kali pun menyaksikan
ada bunga jeruk bercahaya malam-malam seperti kata sang
penyair, bapaknya dulu. Tapi ia memang bukan bunga jeruk; ia
adalah “Bunga Jeruk” atau BJ!
T
iap kali BJ –entah kenapa dan bagaimana- diam-diam perlu
menengok ke masa kecilnya. Urusan namanya yang ajaib itu,
biarlah ditinggalkan saja di pekarangan rumah eyang di masa yang
sudah lewat. Yang justru tetap bercahaya sampai di masa remaja dan kelak
ketika dewasa adalah masa kanak-kanaknya. BJ sudah menuturkan
warna-warni masa kanaknya di buku Living Colors (diterbitkan oleh Badd
Painting, Solo, Indonesia 2002). 1Kulkas di rumah eyang di Jogja,
beberapa kali boyongan rumah, baju baru, suasana ulang tahun, kucingkucing, tv pertama di rumah, dongeng-dongeng yang dikisahkan
eyangnya, boneka-boneka mahal yang cuma bisa dikhayalkan, sampai
dandanan ibunya, semua itu mewarnai masa kanak-kanaknya.
Pameran tunggal BJ yang pertama muncul pada 1996. Tapi adalah
pameran Animaux! (Lembaga Indonesia Perancis (LIP), Jogja dan
Sculpture Square, Singapura (2000) yang telah melejitkan namanya.
Dengan pameran tunggal yang kedua itu, BJ mulai dikenal sebagai
seniman dengan objek-patung satwa yang menampilkan permukaan halus
patung-patungnya serupa porselen, sebelum boom seniman-seniman
kontemporer Cina datang dan mempengaruhi cara berkarya banyak
seniman di Indonesia. Tidak cuma menghaluskan, BJ bahkan mengecat
sebagian patung-patung itu seperti layaknya melukis. Animaux! seperti
menunjukkan gejala penyimpangan, ketika para perupa -khususnya pasca
1998- tampak sangat tertarik pada tema-tema sosial-politik, sesuatu yang
'besar' dan dianggap lebih berguna. Manusia adalah zoon politikon,
binatang politik, tapi seniman yang tertarik pada gejala politik dan ingin
mengubah keadaan tidak mengurusi satwa atau 'politik satwa'.
Catatan:
1.
BJ menulis melalui surel ke saya (13 Januari 2011), bahwa buku Living
Colors itu sebagian diakui sebagai tulisan Omi Intan Naomi (1970,
kakak kandungnya yang dikenal sebagai penulis. “Ada bagian
bagian yang sebetulnya aku kurang setuju. Tapi buku itu dicetak waktu
aku di New York tahun 2002 dan aku belum sempat baca sebelum naik
cetak,” tulis BJ. Dalam pengantar ini, yang saya maksud dengan masa
kanak-kanak BJ sebagian bersandar pada tuturan dalam buku itu,
ditambah wawancara dengannya melalui email.
08 • Bunga Jeruk
Di tengah kecenderungan seperti itulah, BJ merasa perhatian dan tema
berkaryanya berbeda dengan umumnya para seniman. Di halaman 66
Living Colors -sampulnya gadis cilik menitikkan air mata- saya
menemukan sebuah kutipan dari BJ. Pernyataan itulah yang saya pungut
untuk judul pameran ini. Bagi BJ, tema pokok karyanya akan dipandang
oleh sebagian besar 'seniman politis' sebagai sesuatu yang remeh-temeh
atau sepele. Mereka –para seniman yang ingin mengubah dunia- tidak
cuma melihat karya, tapi menilai apa saja yang telah mempengaruhi
kehidupan seniman. Para seniman yang berpihak pada rakyat, misalnya
bersumpah tak akan menginjakkan kaki di kedai cepat saji McDonald's.
Bagi BJ pandangan semacam itu berlebihan kalau tak dapat disebut
menggelikan.
Di mata BJ, kehidupan seniman sepenuhnya adalah 'living colors'.
Pengalaman masa kanak-kanaknya, macam-macam hobinya yang 'sepele',
kehidupan sehari-hari, barang-barang di pasar maupun pernik-pernik di
toko- semua itu akan membuat kehidupan seniman menjadi lebih
menarik. BJ lebih tertarik untuk menjadi seniman semacam itu ketimbang
seniman politis yang anti nonton MTV, menolak musik pop, tak punya
idola pemain bola atau ogah mengurusi hobinya yang personal. Tautan
antara berbagai kepingan pengalaman keseharian yang penuh warna dan
masa silam yang telah membentuknya justru mempesona BJ. Maka, bagi
BJ masa kanak-kanaknya yang penuh warna bisa bercahaya dan
ditafsirkan lagi di masa sekarang, seperti bunga jeruk yang bercahaya di
halaman rumah eyang putrinya dulu. Suatu ulang-alik rahasia – tak jarang
juga antagonistis- antara berbagai kepingan itu adalah proses kreatif yang
tentunya cuma BJ sendiri yang tahu.
“Makan hati” BJ
BJ melukis taman bunga seluas langit dengan cucuran air terjun jernih,
putri cantik dan gadis mungil yang dikelilingi oleh kupu-kupu dan kucingkucing yang seakan tak kalah cantiknya. Halaman rumah eyang putrinya
atau rumahnya di pinggiran Solo dulu pasti tidak seperti itu.
Pemandangan itu seperti petikan dari sebuah dongeng. Ruang keluarga
dengan jendela-jendela lapang dan gorden tebal serta pelapis dinding
warna cerah -semua mulus tanpa cela- dilukis rata dan terang-benderang
di atas kanvasnya. Di pojok itu kita melihat kulkas dua pintu berwarna
kuning dan abu-abu, lebih gede dibandingkan merchandise-nya seniman
EddiE haRA yang mahal itu. Barang semacam itu dulu begitu ajaib bagi
BJ kecil, kini seakan dijaga oleh sekumpulan anak dan kucing-kucing.
Mereka tengah berpesta-pora “makan hati”. BJ menemukan lagi living
colors-nya sebagai seniman dengan imajinasi yang melambung seperti
kucing-kucingnya yang dilukis jungkir-balik, berakrobat di tepian semesta.
Bagi BJ sebagian masa silam itu memang “makan hati”. Tapi, betapapun
merongrongnya masa itu, ia tak akan tega melampiaskan emosinya
dengan mencemplungkan babi kecil ke dalam mangkuk sup seperti
Bunga Jeruk • 09
dilukiskan oleh Michael Sowa, seniman yang disukainya. Karena tetap
bebas dalam memilih bahasa artistiknya sendiri -yang “sepele” dan
nonpolitis- BJ condong untuk “makan hati”nya sendiri. Irisan-irisan
pengalaman dan pengamatannya yang halus terkadang melahirkan
setengah kiasan dan setengah kenyataan yang dibungkus dengan imajinasi
dan mungkin juga sejenis romantisasi.
Kita dapat mengatakan, untuk berkomunikasi dengan dunia yang “makan
hati”, BJ telah menciptakan semacam alter-ego, rujukan yang membuat ia
atau kita bisa keluar dari kungkungan sempit sang ego sendiri. Alter-ego
adalah aku atau kita yang “lain”, sejawat yang kita percayai dalam
percakapan imajiner, yang mampu membentangkan jembatan-jembatan
rahasia antara kita dan dunia.
Seperti kita lihat pada berbagai rupa karyanya, sosok anak-anak adalah
alter-ego BJ tiap kali ia pergi ke dunia imajinasinya. Bisa jadi, “pergi” di
sini juga berarti “pulang”, atau sebaliknya, “pulang” adalah “pergi'.
Dengan cara itulah rupanya BJ secara tak langsung membuat penilaian
terhadap dunia kaum dewasa, kekuasaan orang dewasa dan paham
kedewasaan. Kita tahu, bahwa sejak zaman Pencerahan dulu menjadi
dewasa artinya lebih kurang adalah percaya pada kedigdayaan nalar,
seberisiko atau seinstrumental apa pun tindakan atau jalan yang disebut
bernalar.
Seniman umumnya tidak menyukai nalar yang serba total. Bukan semata
karena mau mengelak dari risikonya, melainkan karena mereka –secara
intuitif- tak mungkin tunduk pada totalitasnya yang ganjil. Dengan begitu,
para seniman mempunyai paham sendiri mengenai nalar dan paham
kedewasaan yang lebih kontekstual dengan seninya, kalau boleh dibilang
begitu. Kalau anda percaya yang sebaliknya, bagaimana mungkin gambargambar dan patung binatang dari planet ajaibnya Eddie haRA atau
'paspor-paspor Peter Pan terbang' nya Tintin Wulia dapat kita pahami?
“Dunia Sophie” Jostein Gaarder akan semata-mata menjadi teks filsafat
yang menjemukan dan kehilangan kemisteriusannya. Di dalam dunia yang
tak berlaku hukum sebab-akibat – dan itu dia satu-satunya sandaran bagi
nalar- para senimanlah yang pertama-tama akan bersorak gembira,
seperti kata Alan Lightman. Jika BJ senantiasa gemar bertamasya ke alter-
10 • Bunga Jeruk
egonya, agar tidak ter“makan hati” begitu saja oleh hitam-putih nalar
dunia, di dunia imajinatif seperti apa anak-anak dibayangkannya
bermain?
Dunia pasca-sekolah
Bertrand Russel dengan sinis pernah bilang, bahwa tak ada anak yang
dilahirkan sebagai bodoh, adalah lembaga bernama sekolah yang telah
membuat mereka 'berubah' menjadi demikian. Alam, menurut kita adalah
maha-pintar. Tapi semua sekolah tidak dibuat untuk mengakui begitu saja
bahwa alam memang maha-pintar. Maka ada yang bikin buku tentang
anti-sekolah yang kemudian menjadi laris dan sangat terkenal. Sekolah
pendeknya adalah mengandaikan bahwa kita semua akan selalu lebih dan
lebih pintar sehingga kelak mampu bersaing dengan alam, kalau tidak
mempecundanginya. Kira-kira begitu 'iman' orang sekolahan. Belakangan
kita diberi tahu, bahwa kepintaran atau kecendekiaan ternyata tidaklah
satu jenis, dan di antara hampir selusin penggolongan itu kita tak
menemukan ada kategori 'bodoh'.
BJ mengirim surel-nya kepada saya, mengatakan bahwa kita -kaum
dewasa- pada dasarnya tak pernah tahu, akan menjadi apa kelak bayibayi yang sudah terlanjur kita lahirkan. BJ sendiri telah melahirkan dua
bayi. Tentu saja mereka tetap akan menjadi manusia. Tapi, Ted Bandy,
kriminal top atau orang-orang yang suka merampas motor yang melintas
sepanjang jalanan Bantul di tengah malam itu, sehingga membuat
tercekam masyarakat Jogja, kenapakah mereka itu? Sejak kapan anakanak telah menjadi begitu yakin dan bebas memilih untuk 'masa depan'
mereka sendiri, antara gula-gula lolipop, segepok duit atau pistol, dengan
cetakan wajah sumringah yang persis serta ekspresi yang sama tak
berdosanya ? Sambil membayangkan harimau bernama Shela di Kebun
Binatang Taman Rimba, Jambi yang tewas diracun, pikir BJ, apakah tidak
sebaiknya orang-orang jahat di dunia kita dibunuhi saja?
Ada kisah terkenal dari novel karangan Mochtar Lubis (1922-2004)
mengenai kehidupan sang Bromocorah yang sering dikutip oleh sosiolog
Ignas Kleden (1996) untuk menjelaskan hubungan antara gejala
kriminalitas dan struktur sosial. Suatu ketika, seorang Bromocoah telah
Bunga Jeruk • 11
bertekad untuk mengubah hidupnya dari kebiasaan untuk membegal
desa-desa lain. Ia tak lagi mengajarkan ilmu silat kepada anaknya, bahkan
telah memutuskan untuk mengirimnya ke sekolah, dan ia sendiri bergegas
pergi ke kantor transmigrasi untuk mencari kemungkinan kehidupan lain di
tempat yang baru. Beberapa bulan kemudian jawaban yang ditunggutunggunya pun tiba, mengabarkan bahwa permohonan transmigrasinya
telah ditolak karena ia adalah seorang bromocorah.
Mochtar Lubis menulis dalam novel “Bromocorah” (Sinar Harapan,
Jakarta, 1984) itu, antara lain begini: “Dia tidak terkejut. Ia telah menduga
demikian. Sebagai telah dibayangkannya sendiri, bagi orang seperti dia,
tidak ada jalan keluar. Hanya kalau masyarakatnya berubah, baru
hidupnya bisa berubah…”
BJ membenci kemiskinan dan kejahatan karena keduanya seakan
menghukum kita agar kita tak bisa beranjak kemana-mana, seperti
kehidupan sang Bromocorah yang tetap harus bertahan di dunia para
begal. Dalam wawancaranya dengan Omi Intan Naomi (1970-2006) di
buku Living Colors itu, ia mengatakan selalu sedih mengingat masa kanakkanaknya. Tak kesampaian punya boneka kecil, mengenakan baju baru
setahun sekali hanya di saat ulang tahun, tak jarang membuat BJ masih
merasa berang sampai sekarang. Kemiskinan menjerat anak-anak dari
kemungkinan untuk berkembang sepenuhnya, dan membiarkan mereka
bersandar begitu saja pada keajaiban alam atau keniscayaan sosial.
Adapun kejahatan akan menghukum kita bukan sebagai ibunda yang
penuh belas kasih atau guru yang baik, yang menjewer atau menjebloskan
kita ke kamar mandi, supaya kita mendengar tangisan dan sesal kita
sendiri. Kejahatan berpusat pada egoisme, dan egoisme itu selalu ingin
menghukum dengan cara mengakhiri kehidupan yang lain.
Untuk melakukan ulang-alik secara rahasia ke dunia kanak-kanaknya, BJ
menciptakan sosok anak-anak yang begitu real dari masa kininya. Kiranya,
inilah realisme pop-nya BJ, bahkan 'realisme lolipop' yang digarap serupa
pernak-pernik di toko: 'keindahan' yang sepenuhnya ingin dipresentasikan
oleh yang apa yang tampak di permukaan, yang selalu mulus dan
berwarna-warni. Tapi pengalaman dan persepsi manusiawi sebenarnya
menuntut untuk melampaui yang permukaan. Di sinilah BJ membangun
12 • Bunga Jeruk
Bunga Jeruk • 13
makna karyanya dengan menggunakan sejenis alter-ego yang dekat
dengan dunia anak-anak. Kita tahu, BJ telah menciptakan Animaux yang
dibayangkannya sebagai sejenis kesadaran dan kecintaan mendalam pada
diri manusia terhadap (kehidupan) satwa. Dan lebih-lebih lagi, Animaux! sebagai gambaran metaforis BJ- juga ingin mengatakan bahwa “semua
adalah satwa”.
Ada relasi aneh yang menghubungkan anak-anak dan kehidupan satwa.
Yang mengaitkan keduanya adalah semacam kandang imajiner yang tak
nampak. Dari sana sejenis gambaran idealistis BJ mengenai ketulusan
muncul, memantulkan semacam kesadaran akan kesetaraan atau
katakanlah kerinduan akan kesatuan ontologis di alam. Gambaran populer
semacam itu adalah lumba-lumba yang menolong orang tenggelam atau
anjing menyelamatkan tuannya dari kebakaran, kata BJ. National
Geographic yang saya tonton bersama anak saya malam-malam
menyiarkan, tak lama lagi kita akan paham semua bahasa satwa.
Lihatlah satwa pun memiliki sejenis kepekaan untuk membedakan diri
dengan liyan, seperti terbukti melalui uji cermin. Anak kucing berlari ke
arah lain ketika melihat bayangannya di cermin untuk memburu yang
dikiranya teman main. Gajah, kera dan lumba-lumba lebih canggih,
karena mereka langsung dapat bereaksi ke arah diri sendiri ketika
diberikan tanda pada bagian badan tertentu dan dihadapkan ke cermin.
Sejenis burung gagak mencemplungkan batu tepat ke dalam bejana untuk
menaikkan permukaan air. (”What Animals Think”, TIME, 16 Agustus
2010,). Apakah kita masih juga berpikir bahwa binatang hanya punya satu
jenis naluri sederhana saja untuk mempertahankan hidup, yakni dengan
cara memangsa yang lain? Casper (1998-2010) adalah seekor kucing yang
menjadi terkenal karena gemar pulang-pergi dengan Bis Kota No 3,
menunggu di halte bersama penumpang-penumpang lain untuk keluyuran
menikmati pemandangan kota Plymouth di Inggris selatan, sebelum mati
tertabrak motor.
“Itu mungkin dapat disebut sebagai kebaikan binatang. Termasuk misalnya
menyediakan diri sebagai makanan manusia,” kata BJ. Memang ironis
karena binatang bahkan tidak memangsa jenisnya seperti manusia yang
memakan apa saja.
14 • Bunga Jeruk
Kemiskinan itu berat, kejahatan itu kasar. Dengan andaian semacam itu
kita dapat membayangkan atau mengidentifikasi semacam alusi atau
pandangan estetis tertentu –yang entah disadari atau tidak- digunakan BJ
untuk memuluskan semua permukaan patungnya, terutama sejak tahun
2000 dengan pameran Animaux! itu. Kehalusan atau kemulusan semacam
itu seakan tidak mengijinkan kita untuk menyentuh patungnya, kecuali
hanya untuk dipandang-telusuri secara imajinatif dari suatu jarak. Ya,
karena kita datang dari dunia yang selalu terancam oleh kemiskinan dan
niscaya terjerat oleh kejahatan. Kehalusan itu menyenangkan dan
kemulusan tidak menghambat.
Realisme lolipop BJ ini –terutama menyangkut patung- misalnya terasa
sebagai datang begitu saja dari dunia sehari-hari, dunia yang tiap saat
dapat kita amati. Tetapi kita bisa melihatnya sebagai representasi sebuah
dunia yang justru tak langsung kita temukan maknanya karena dunia itu
adalah dunia anak-anak yang bermain, dunia pasca-sekolah. Anak-anak
tidak bermain sesuatu, mereka berada di dalam dan mengalami
sepenuhnya dunia permainan itu sendiri. Dunia permainan itu begitu luas,
seperti gambaran BJ tentang gadis cilik dan kucing-kucingnya- binatang
yang paling sukses menjinakkan diri sendiri di dalam sejarah satwa selama
jutaan tahun- yang riang gembira jumpalitan di tepian gelap semesta.
Sementara itu, bagi BJ anak lelaki lebih sering mendengar isaknya sendiri
dan terjebak di dalam kakus. Bukankah realisme lolipop BJ ini ternyata
bertentangan dengan realisme yang selama ini diajarkan di sekolah? Awas,
bocah laki-laki pantang menangis dan anak perempuan tak patut
keluyuran sendirian…!
Itulah dunia permainan yang ditampilkan BJ untuk membebaskan diri dari
kategori “nalar”, batasan sosial dan cara-cara yang selama ini dianggap
sekolahan.
Dunia permainan itu ajaib seperti dongeng. Dan BJ masih mengingat
sebuah cerita yang kerap didongengkan eyang putrinya dulu:
Kisahnya adalah tentang perempuan bernama Sewidak Loro (Jawa;
dalam bahasa Indonesia, artinya 62). Perempuan itu buruk rupa, jumlah
helai rambutnya cuma 62. Tiap malam ibunya menghibur hati Sewidak
Bunga Jeruk • 15
Loro, dengan selalu bertutur bahwa Sewidak Loro adalah perempuan
cantik. Para tetangga kemudian mendengar hal itu dan menertawakan
ibunya.
Ketika tersiar kabar seorang Raja tengah mencari calon permaisuri, orang
beramai-ramai mendaftarkan Sewidak Loro. Tujuannya tak lain adalah
agar Raja kecewa lalu Sewidak Loro dihukum. Datanglah saatnya Sang
Raja bertandang ke rumah Sewidak Loro, dan dilihatnya raut wajah
Sewidak Loro yang cantik jelita. Demikianlah, tak lama kemudian Sewidak
Loro pun menjadi permaisuri Raja.
“ Para Dewa telah mendengar doa Ibu Sewidak Loro”, kata BJ.
Itulah satu-satunya dongeng yang berakhir bahagia, yang pernah didengar
BJ di masa kecilnya dulu. +++
Jakarta, 13 Januari 2011
Hendro Wiyanto
Kurator Pameran
16 • Bunga Jeruk
Bunga Jeruk • 17
Curatorial
She will never change her name into, perhaps, Bunga Mawar
(Roses), Melati (Jasmin), Kenanga (Ylang-ylang), or Cempaka
(Frangipani). In Indonesia, at least, those flowers are more popular
for song titles, names of pop actresses, real estate or mall names,
etc. But, Bunga Jeruk or Orange Blossom? There is a story behind
the name. In the large yard of her grandmother's house in Solo,
there was an orange tree whose blossoms differed from those of
other orange trees. This particular tree had flowers that glimmered
at night. Only a poet could see them glimmering. And so the baby
girl was named “Bunga Jeruk”, Orange Blossom. Unlike the poet,
her father, to her adult days, she has never seen any glimmering
orange blossom. But she is no orange blossom, anyway; she is
Bunga Jeruk, or BJ!
18 • Bunga Jeruk
Bunga Jeruk • 19
E
very time BJ—somehow and for some reason—feels the need to
return to her past. Let us just leave the story about her peculiar name
at her grandmother's yard, in an era that has gone by. What remains
sparkling through her teenage years and on to her adulthood, however, is the
memory of her childhood. BJ has talked about her colorful childhood in the
book Living Colors (published by Badd Painting, Solo, Indonesia, 2002). 1
The fridge at her grandma's house in Yogyakarta, the frequent relocations,
new clothes, birthdays, cats, the first TV set at home, the stories her grandma
told her, expensive dolls she could only dream of, her mother's make up—all
of them have painted vivid colors to her childhood.
BJ's first solo exhibition took place in 1996, but it was the Animaux! exhibition
at LIP (Lembaga Indonesia – Prancis) Yogyakarta and at Sculpture Square in
Singapore (2000) that propelled her name to people's attention. With that
second solo show, people started to recognize BJ as an artist with porcelainlike animal sculptures. This took place before works of Chinese contemporary
artists inundated Indonesia and influenced the work of many Indonesian
artists. BJ does not only smoothen the surface of her sculpture; she also paints
parts of the sculptures, treating them like canvas surfaces. Animaux! seemed
to reveal a certain deviation at the time when Indonesian artists—especially
the post-1998 artists—seemed to preoccupy themselves with social and
political themes; themes that were considered “grand” and more useful.
Humans are zoon politikon, political animals, but artists who are interested in
the political phenomena and want to change the situation do not concern
themselves with animals or “animal politics”.
1
BJ wrote an email to me (dated January 13, 2011) that the book Living
Colors was in part written by Omi Intan Naomi, her sister who was
known as a writer. “There are parts that I don't entirely agree with, but
the book was published when I was in New York in 2002, and I did not
have the time to read it before it went to print,” wrote BJ. What I write
about BJ's childhood in this introductory essay is partly based on the
narratives in the book, complemented by my e-mail interviews with her.
20 • Bunga Jeruk
With such a prevailing tendency in the Indonesian art world, BJ felt that her
concerns and creative themes differed from most Indonesian artists in
general. On page 66 in Living Colors—whose cover presents a tearful little
girl—I found a quote from BJ, and I use the quote for the title of this
exhibition. To BJ, most “political artists” would consider her themes as trivial
or superficial. They—the artists with a desire to change the world—do not
only concern themselves with the artwork, but will also evaluate everything
that affects an artist's life. The people-orientated artists, for example, swear
that they will never set foot in McDonald's. To BJ, these artists are making a
mountain out of a molehill, if not a bit ridiculous.
To BJ, an artist's life is embroidery of “living colors”. Her childhood
experience, her “trivial” hobbies, her daily activities, things she finds at the
market or the store—all of them contribute to make life interesting. BJ is more
interested in becoming such an artist rather a political artist who refuses to
watch MTV, rejects pop music, has no sport idol or favorite soccer player, or
does not want to be engaged in personal hobbies. The connections between
the various colorful fragments and the past that has shaped her intrigue BJ. To
BJ, her colorful childhood can retain its sparkle and be reinterpreted today,
just like the glimmering orange blossom at her grandmother's backyard. The
secretive—and often also antagonistic—journeys back-and-forth among the
various fragments of life constitute her creative process that only she
understands.
Eating her heart out
BJ paints a garden as vast as the sky, with a crystal-clear waterfall, a pretty
princess, and a little girl surrounded by similarly-beautiful butterflies and cats.
Her grandmother's house or her childhood home on the outskirts of Solo
would certainly not look like that. The landscape seems to be originating from
a fairy tale. A family room with large windows, thick curtain, and brightcolored wallpaper—all impeccable and flawless—painted smoothly and
brightly on her canvas. On the corner we see a two-door refrigerator in yellow
and grey, bigger than EddiE haRA's expensive merchandise. Such an item
was a marvel for little BJ, and now it seems to be guarded by a group of
children and cats. They are having a party and “eating their hearts out”. BJ is
rediscovering her living colors as an artist with leaping imaginations, like the
cats that she depicts as bouncing around, performing an acrobat on the edge
of the universe.
To BJ, parts of her past was indeed disappointing, making her “eat her heart
out”. No matter how distressing that time had been, however, she did not
have the heart to pour out her emotions by painting a little pig in a bowl of
soup, as Michael Sowa, an artist she likes, has done. As she is still free to
choose her own artistic idioms—“trivial” and nonpolitical they might be—BJ
tends to “eat her own heart out”. From time to time, the overlaps between her
experience and her shrewd observations give rise to a mixture between
Bunga Jeruk • 21
metaphor and reality, wrapped in imaginations and perhaps also given a
romantic tinge.
We can say that in order to communicate with the disappointing world, the
one that forces her to “eat her heart out”, BJ has created an alter-ego of sorts,
a point of reference that enables her or us to get out of the restrictive prison of
the ego. The alter-ego is the “other I” or we; a partner we trust in imaginary
conversations, who are able to establish secret bridges between us and the
world.
As we have seen in her various works, figures of children constitute BJ's alterego every time she goes to her imaginary world. Here, “going” might as well
mean “coming home”, or, on the contrary, “coming home” might mean
“going away”. By taking this route, BJ indirectly passes her judgment about
the world of adults, the power of adults, and the understanding of adulthood.
We know that ever since the Enlightenment, to become an adult means to
believe in the supremacy of reason, no matter how risky or instrumental the
action or path that we consider as rational.
In general, artists do not like the overarching supremacy of reason. It is not
only because they wish to avoid the risk, but also because
they—intuitively—find it impossible to submit to its peculiar totality. Artists,
therefore, have their own understanding about reasons and maturity, which
are more relevant to their art. How else can we understand the images and
sculptures of animals from EddiE haRA's extraordinary planet, or Tintin
Wulia's “flying passports of Peter Pan”? Jostein Gaarder's Sophie's World will
become a mere philosophical treatise that is boring and has no mystery. In the
world where no law of cause and effect applies—and it is reason's sole
support—it is the artists who will cheer out first, as Alan Lightman has
predicted. If BJ always enjoys taking a trip into her alter-ego, to avoid being
disappointed by the black-and-white reasoning of the world, in what kind of
imaginary world that she envisions the children to be playing?
A post-school world
Bertrand Russell once said, cynically, that no child was born stupid; it is the
institution called school that makes them so. The nature, we think, is all-
22 • Bunga Jeruk
encompassing, and the smartest of all. No school, however, was built to make
the immediate acceptance that the nature is the smartest of all. Someone then
wrote a book about “de-schooling society”, which became a best-seller and
very popular. In short, the school envisions us to become increasingly smarter,
so much so that we will be able to compete with the nature, if not to conquer it.
That is thus the “belief” of the scholars. Lately we know there is no one way to
be smart or intellectual, and among the different categories—numbering
almost a dozen—there is no category of “stupid”.
BJ sent me an email in which she said that we, adults, will never know what
the babies we have given birth to would end up with. BJ herself has given
birth to two babies. They, of course, will stay as humans. But, Ted Bandy, the
top criminal, or the men who rob people of their motorbikes along the streets
of Bantul in midnight, what is wrong with them? When did the children
become so certain about their lives, free to choose their future, between the
lollipops, piles of money, or a gun, all the while wearing their happy, innocent
expressions? As she thinks about the tiger named Shela at Taman Rimba Zoo
in Jambi, who was poisoned to death, BJ wonders, will it not be better if we
just kill the criminals in the world?
One is reminded of the famous novel, Bromocorah (literally, ex-convict) by
Mochtar Lubis (1922 – 2004) about a thug. The sociologist Ignas Kleden often
uses the novel to explain the relationship between crime and social structure.
One day the thug decides to change his life and stop robbing other villages.
He no longer teaches his son martial art, and even decides to send him to
school. The thug rushes to the Office of Transmigration to find possibilities of a
new life in a new place. Several months later, he receives an answer: his
transmigration plea is rejected because he is an ex-convict.
In Bromocorah (Sinar Harapan, Jakarta, 1984), Mochtar Lubis wrote: “He is
not surprised. He has expected it to happen. He could see how for people like
him, there is no way out. His life will change only if the society changes...”
BJ hates poverty and crime because both seem to punish us, making us
unable to move, like the ex-convict, the bromocorah, who is forced to remain
living in the world of villains. In her interview with her sister, Omi Intan Naomi
(1970 – 2006) in Living Colors, BJ says that she is always sad when she
remembers her childhood. She never had the chance to own dolls, wore new
Bunga Jeruk • 23
clothes only once a year on her birthday, and such experiences embitter her
even to this day. Poverty traps children and robs them from the opportunity to
blossom, leaving them into the hands of nature or social determination.
Crime or violence will punish us not like a loving mother or a good teacher
does, who will reprimand us or send us to our room so that we can cry our
hearts out, listen to our own wailing, and be sorry. Crime is centered upon
selfishness, and such selfishness always wants to punish by ending other lives.
In order to undertake her secret journeys back and forth to the world of her
childhood, BJ creates figures of children of her present who appear very real.
This, apparently, is BJ's pop realism, or even “lollipop realism”, which she
processes to the extent that they resemble souvenirs sold in shops: “the
beauty” that seeks to be shown through its superficial reality, as on the surface
they invariably look beautiful and colorful. Human's experience and
perceptions, however, actually demand us to go beyond the superficial. Here
BJ constructs the meaning of her works by employing a kind of alter-ego that
is closely related to the world of children. We know that BJ has created her
Animaux, which she envisions as being a kind of consciousness and love that
we humans have for animals' lives. Furthermore, as BJ's metaphorical
images, the Animaux wants to say that “everyone is an animal”.
There is a peculiar relationship connecting children and animals. What links
them is a kind of invisible imaginary cage. Thence arises BJ's idealistic
depiction about sincerity, reflecting a kind of awareness about equality or, say,
a longing about ontological unity in the nature. Such a popular depiction is
found in the image of a dolphin that helps a drowning person, or a dog that
save its master from a fire, BJ said. The National Geographic show that I
watched with my kid at night reported that we would soon understand the
language of animals.
Consider this: animals also have a kind of sensibility to differentiate
themselves with others, as evident in the test using the mirror. A kitten runs to
another direction as it sees its reflection on the mirror, trying to seek what it
thinks as a friend. Elephants, monkeys, and dolphins are more sophisticated
as they can immediately react when we indicate points on the mirror
reflections. The rook, a member of the crow family, drops stones into a pitcher
to raise the water surface. (“What Animals Think”, TIME, August 16, 2010.)
24 • Bunga Jeruk
Bunga Jeruk • 25
Do we still think that animals only have one simple instinct to survive, i.e. by
eating others? Casper (1998 – 2010) was a cat who became famous because
it enjoyed going back and forth on No. 3 City Bus, waiting on the bus stop
along with the other passengers, enjoying Plymouth's cityscape in southern
UK, before it was hit by a motorbike and killed.
The world of play is marvelous, like fairy tales. BJ still remembers a story that
her grandmother often told her. It is about a girl named Sewidak Loro, which
is Javanese for sixty-two. The girl was ugly and had only 62 strands of hair on
her head. Every night, however, her mother consoled her and says how
beautiful she was. Her neighbors heard it and laugh at them.
“Perhaps we can call it 'animal's decency', which includes, for example,
submitting themselves to become our food,” said BJ. It is indeed ironical,
because animals do not even eat their own kind, unlike humans who will eat
just about anything.
One day, news spread that the King was looking for a wife, and the villagers
submitted Sewidak Loro's name, expecting the King to be disappointed and
punish Sewidak Loro. When it was time for the King to visit Sewidak Loro, he
saw how beautiful Sewidak Loro actually was. And so Sewidak Loro became
the King's wife.
Poverty is hard, crime is violent. With such a supposition, we can envision or
identify a kind of allusion or certain aesthetic opinions that BJ
employs—deliberately or otherwise—as she smoothens the surfaces of her
sculptures, especially since 2000 with her Animaux! exhibition. Such a
smooth and sheer quality seems to prevent us from touching her sculptures,
making us feel that they exist only to be observed from a certain distance.
Indeed, it is because we come from a world that is invariably threatened by
poverty and will certainly be caught by crime. Such smoothness is pleasing
and the sheerness does not obstruct.
“The gods heard the prayers of Sewidak Loro's mother,” said BJ.
It was the only happy-ending fairy tale that BJ heard in her childhood. +++
Jakarta, January 13, 2011
Hendro Wiyanto
Exhibition curator
BJ's lollipop realism—especially when it comes to her sculptures—seem to
come from our day-to-day world, the world that we can observe every time.
We can, however, view it as a representation of the world whose meaning we
do not immediately grasp, because it is a world of playing children, the postschool world. The children do not simply play something; instead, they exist
within that world and experience the world of play thoroughly. The world of
play is so vast, just as BJ's depiction about the little girl and her cats—the
family of animals who have in the history of animals been most successfully
domesticated, bouncing around cheerfully on the edge of the universe.
Meanwhile, BJ thinks that boys often hear their own cries while being
punished in the room. Doesn't BJ's lollipop realism run contrary to what is
being taught at school? Boys should not cry and girls should not run around
by themselves!
That is the world of play that BJ presents to liberate herself from the categories
of reasons, social boundaries, and manners that have been considered as
“scholarly”.
26 • Bunga Jeruk
Bunga Jeruk • 27
28 • Bunga Jeruk
Bunga Jeruk • 29
LADY WITH LONG HAIR
150 cm x 200 cm
Oil on Canvas
2010
Bunga Jeruk • 31
MAKAN HATI #5
200 cm x 150 cm
Oil on Canvas
2010
Bunga Jeruk • 33
MAKAN HATI #6
150 cm x 150 cm
Oil on Canvas
2010
Bunga Jeruk • 35
MOONLIGHT GIRL
150 cm x 200 cm
Oil on Canvas
2010
Bunga Jeruk • 37
GOOD NIGHT, SWEET HEART
150 cm x 150 cm
Oil on Canvas
2010-2011
Bunga Jeruk • 39
BALLERINA
150 cm x 235 cm x 55 cm
Polyester resin & Auto paint
2010
40 • Bunga Jeruk
Bunga Jeruk • 41
CHA, CHA, CHA...BURN, BABY BURN ! DOR, DOR, DOR...
61 cm x 42 cm x 29 cm (each figure)
Polyester resin & Auto paint
2010
42 • Bunga Jeruk
Bunga Jeruk • 43
AKU DAN PANGERAN
90 cm x 110 cm x 75 cm
Polyester resin & Auto paint
2010
44 • Bunga Jeruk
Bunga Jeruk • 45
LITTLE GIRL AND THE FISH
87 cm x 68 cm x 24 cm
Polyester resin & Auto paint
2010
46 • Bunga Jeruk
Bunga Jeruk • 47
LEAVE ME ALONE!
Dimensions variable
Polyester resin & Auto paint
2010
48 • Bunga Jeruk
Bunga Jeruk • 49
TRULY IN LOVE
40 cm x 40 cm x 40 cm
Polyester resin & Auto paint
2010
50 • Bunga Jeruk
Bunga Jeruk • 51
WAITING FOR MY STAR TO FALL
Dimensions variable
Polyester resin & Auto paint
2010
52 • Bunga Jeruk
Bunga Jeruk • 53
BIRTHDAY WISH
16 cm x 85 cm x 42 cm
Polyester resin & Auto paint
2010
54 • Bunga Jeruk
Bunga Jeruk • 55
Curriculum Vitae
Broken Mirror, Langgeng Icon Gallery, Jakarta.
Draw, Museum dan Tanah Liat, Yogyakarta.
Biennale Jakarta XII, Taman Ismail Marzuki, Jakarta.
Mysterious Dolls, Old Prints, Erasmus Huis, Jakarta.
Galerie Serieuze Zaken, Bilderdijkstraat 66, Amsterdam.
Education
1996 Graduated from Faculty of Fine Arts and Design, Indonesia Institute of Arts
(ISI), Yogyakarta
Solo Exhibitions
2011 what i really love to do is trivial, Emmitan CA Gallery, Surabaya.
2009 Just Bunga, Edwin's Gallery, Jakarta, Indonesia.
2002 Every Dog is # 1, Edwin's Gallery, Jakarta.
Dat Was Now Dis Is Then, Cemeti Art House, Yogyakarta.
2000 Animaux!, Lembaga Indonesia Prancis, Yogyakarta - Animaux!, Sculpture
Square, Singapore.
1994 Solo Exhibition, Kafe Solo, Solo.
Group Exhibitions
2009 Artpreneurship, Ciputra World, Marketing Gallery, Jakarta, Indonesia.
The Birth Of Colors, Syang Art Gallery, Magelang, Indonesia.
Jogja Art Fair, “Indonesian Art Now the Strategies of Being”, Taman Budaya
Yogyakarta Indonesia.
In Rainbow, Esa Sampoerna Art House, Surabaya.
Oemar Bakrie, Jogja Gallery, Yogyakarta.
Reality Bites, Edwin's Gallery, Jakarta.
Exposigns, Jogja Expo Center, Yogyakarta.
Biennale Jogja X-2009, Yogyakarta.
2008
The Highlight dari Medium ke Transmedia, Jogja Nasional Museum,
Yogyakarta, Indonesia
Loro Blonyo Kontemporer, Gedung Tribakti, Magelang,Indonesia
A New Force In Southeast Asia Group Exhibition Of Indonesian
Contemporary Artists, Art Center, Beijing, China.
Animal Kingdom, The Last Chronicle, Jogja Gallery, Yogyakarta, Indonesia.
Renjana, Edwin's Gallery, Jakarta, Indonesia.
69 Seksi Nian, Jogja Gallery, Yogyakarta, Indonesia.
Manifesto, Galeri Nasional, Jakarta, Indonesia.
2007
A Beautiful Death, Bentara Budaya Yogyakarta, Orasis Gallery, Surabaya,
Darga Gallery Sanur Bali, Gedung Perpustakaan Umum dan Arsip Malang.
Common Grounds : A Glimpse of Indonesian Cotemporary Arts, Galeri
Nasional, Jakarta.
Animamix Bienniale: From Modernity to Eternity, Museum of Contemporary
Art, Shanghai, China.
Indonesian Contemporary, 1918 Artspace, Shanghai, China.
2006
56 • Bunga Jeruk
Metafora Metamorfosa 2, Puri Gallery, Malang.
2005
Tanda Kasih, Edwin's Gallery, Jakarta, Indonesia.
Small World, Vanessa Art House, Jakarta.
21st and Beyond – Personality and Variance --, Edwin's Gallery, Jakarta.
Sculpture Expanded, CP Artspace, Jakarta, Indonesia.
Culturen in Contact II, Het Oude Raadhuis Museum, Leerdam, Belanda.
Kecil Itu Indah 13, Edwin's Gallery, Jakarta.
2004
Multi Sub-Culture, Two Dimensional Indonesian Fine Art, Berlin, Germany.
Melbourne Connection Asia, Cemeti Art House, Yogyakarta, Indonesia.
Olimpiade, Nadi Gallery – Pakubuwono Residence, Jakarta.
Equatorial Heat, Sichuan Meseum, China.
Reformasi, Contemporary Indonesian Artists Post 1998, Sculpture Square,
Singapore.
The Eye of the Orient, the Hand of Memories, Urasoe Art Museum, Okinawa,
Jepang.
Objecthood, Taman Budaya, Yogyakarta, Indonesia.
2003
Museum Der Moderne Salzburg, Austria, February– March.
National Museum of Abruzzo L'Aquila, Italy, April - June .
All You Need is Love, Nadi Gallery, Jakarta.
READ!, Cemeti Art House, Yogyakarta.
READ!, Gedung Perpustakaan UGM, Yogyakarta.
CP Open Biennale, National Gallery, Jakarta.
Melbourne Connection Asia, large scale poster format in Melbourne's public
transport stops connecting Australian audiences to art in the region 24 hours a
day, everyday. Countrybution, Yogya Biennale VII, Gedung Societet,
Yogyakarta.
Kecil Itu Indah 11, Edwin's Gallery, Jakarta.
2002
Diobok-Obok, Museum Kueppersmuehle Sammlung Grothe, Duisburg,
Germany.
Awas ! Recent Art from Indonesia, Bentara Budaya, Jakarta.
Alam Hati Kecil, Edwin's Gallery, Jakarta.
2001
Awas! Recent Art from Indonesia, W 139 Gallery, Amsterdam, Holland.
Awas! Recent Art from Indonesia, Ludwig Forum, Aachen, Germany.
Kecil itu Indah 9, Edwin's Gallery, Jakarta.
Bunga Jeruk • 57
Daftar Karya List of Works
Not Just Political, Widayat Museum, Magelang, Indonesia.
Art Singapore, Santec Building, Singapore.
2000
1999
Knalpot, Museum Puri Lukisan, Denpasar, Bali.
Awas! Recent Art from Indonesia, Australian Center of Contemporary Art
Melbourne, Australia.
Contemporary Art Space, Canberra Ivan Dougherty Gallery, Sidney, Australia
Awas ! Recent Art from Indonesia, Hiroshima City Museum of Contemporary
Art Hiroshima dan Hokkaido Asahikawa Museum of Art, Asahikawa, Japan.
Touring Exhibition of Asean Art, Singapore Art Museum, Singapore.
Diobok-obok, Continuities & Contingencies, South East Asia Art Today
Sculpture Exhibition Outdoor, The 30 Anniversary of Erasmus Huis, Jakarta.
Ruang Rupa Foundation, Cemara 6 Galeri, Jakarta - To Rusia with Art,
Moscow, Rusia.
Dunia Luar Dunia Dalam, Edwin's Gallery, Jakarta.
Kecil itu Indah 8, Edwin's Gallery Jakarta.
Yogyakarta 6th Biennale, Purna Budaya, Yogyakarta.
Media dalam Media, Installation Art as Media Expression, National Gallery,
Jakarta.
Proyek Seni Knalpot, Cemeti Art House, Yogyakarta - Makasar Art Forum,
Makasar, Sulawesi Selatan.
Ragam Bahasa Pelukis Muda, Edwin's Gallery, Bali.
Jelang Indonesia Gemilang, Edwin's Gallery, Jakarta.
Awas! Recent Art from Indonesia, Museum Benteng Vredeburg, Yogyakarta.
1997
Bunga and Isa Perkasa Exposition, Cemara 6 Galeri Kafe, Jakarta.
Join Exhibition, Museum Universitas Pelita Harapan dan Sepia Galley Grand
Hyatt, Jakarta.
1996
Fine Arts Exhibition, Taman Ismail Marzuki, Jakarta.
The 10th Biennale,Taman Ismail Marzuki, Jakarta.
Bercermin di Kalbu Rakyat, Pagelaran Kraton, Yogyakarta.
1995
Dual Exhibition, Dimata Gallery, Yogyakarta, Indonesia.
1994
Seni untuk Semua, Ambarrukmo Palace Hotel, Yogyakarta.
Pratisara Affandi Adi Karya, Yogyakarta.
/
LADY WITH LONG HAIR
150 cm x 200 cm
Oil on Canvas
2010
BALLERINA
150 cm x 235 cm x 55 cm
Polyester resin & Auto paint
2010
MAKAN HATI #5
200 cm x 150 cm
Oil on Canvas
2010
CHA, CHA, CHA...BURN, BABY BURN ! DOR, DOR, DOR...
61 cm x 42 cm x 29 cm (each figure)
Polyester resin & Auto paint
2010
MAKAN HATI #6
150 cm x 150 cm
Oil on Canvas
2010
AKU DAN PANGERAN
90 cm x 110 cm x 75 cm
Polyester resin & Auto paint
2010
MOONLIGHT GIRL
150 cm x 200 cm
Oil on Canvas
2010
LITTLE GIRL AND THE FISH
87 cm x 68 cm x 24 cm
Polyester resin & Auto paint
2010
GOOD NIGHT, SWEET HEART
150 cm x 150 cm
Oil on Canvas
2010-2011
LEAVE ME ALONE!
Dimensions variable
Polyester resin & Auto paint
2010
TRULY IN LOVE
40 cm x 40 cm x 40 cm
Polyester resin & Auto paint
2010
WAITING FOR MY STAR TO FALL
Dimensions variable
Polyester resin & Auto paint
2010
BIRTHDAY WISH
16 cm x 85 cm x 42 cm
Polyester resin & Auto paint
2010
Grants
2002 Join International Studio and Curatorial Program (ISCP) at the Elizabeth
Foundation, New York. Sponsored by Asian Cultural
Council (ACC), New
York, April – July 2002.
58 • Bunga Jeruk
Bunga Jeruk • 59
Ucapan T
erima Kasih Acknowledgement
/
Emmitan CA Gallery and Bunga Jeruk
would like to thank individuals who have contributed
in supporting this exhibition:
The Almighty of God
Andang, Akira, dan Keitaro Satyawan
Ibu Melani Setiawan
Ibu Semiwati L. Soenaryo
Ibu Erkin Limantoro
Ibu Christine Radjimin
Hendro Wiyanto
Ibu Noel Susenowati
Bapak Darmanto Jatman
Bapak Suhanto
Sutanto Danuwidjaja
Arief Setiawan
Atikha Prastiwi
My most profound thanks to my dear colleagues who have assisted me in the
making of my three dimensional object:
Sugiono (Ugiek)
Setiawan Suryo Utomo (Eiwand)
Mas Sutriono
Mas Basuki
Nurhadi
Udi Mulyanto dan Fitri Hartatik (Potlot Planet Airbrush)
Iwan Potlot
Didit Sukmara
Mas Mboret
Pak Mono
Mbak Sari dan Mbak Tatik
60 • Bunga Jeruk
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