1 until 31 October 2012
Galeri Chandan @ Publika
About the Show
Nafa’s Residensi was established in January 2012; born with a grand intent to discover a Southeast Asian voice of art. There is much richness in the diverse culture of Southeast Asia, and it is not surprising that its layers of depth could leave one marveled and overwhelmed at the same time.
Located in Yogyakarta – the regional center of classical fine art and culture – the setting provides the resident artists the opportunity to soak in and fully absorb the liveliness of the Yogyakarta art scene, and then to translate them into personal visual expressions.
Since January, Nafa’s has housed four Malaysian and two Indonesian emerging artists, whom had spent varying period at the residency – each between one, three and six months. Although their presence there may be concurrent, they each work independently.
Interestingly though, all works featured in this Cycle One 2012, the first batch of Nafa’s Residensi artists; centers around themes of personal reflections.
In Shahrul Hisham’s works, the artist is portrayed as a traveler in a continuous search of new knowledge. Yet he can never deny his origin and identity thus will still be a Malay and a Muslim wherever in the world he may be.
Hirzaq Harris showed another side of Muslims he finds to be common these days: disgusted by the haram pigs yet gladly opt to ignore other haram aspects in life. Oblivion is unacceptable in lives of Muslims. Rather, a life in search of truth should prevail, one that strives to put halal over haram with no excuses
Anisa Abdullah chose to take her viewers along through her life adventures. She painted snapshots from her stint in the city from her point of view. Yet her quest is one that we can all relate to; of dreams and ambitions and decisions.
Along similar lines, Anissa Abdul Aziz created and manipulated the overlapping baby cloth as a metaphor to represent her newness, freshness and immaturity in the industry. The artwork is an imagination with stuffed fabric suspended from nowhere. To her, the gap between the pieces is as important as the connection, as when viewed in totality, is a mixture of logic and intuition.
Mulyo Gunarso reflected on the negative effects of rapid industrialisation and the lack of control in logging and forestry industry. The impacts not only affect humans but also flora and fauna around us. Should we continue at this pace with little intent to preserve, balance and regenerate, certainly future generations would not carry the same memory of the world as we do.
Imam Santoso’s paintings are a consistent reflection of himself; he communicates through them. He is a symbol of contradiction and is expressive about it. He painted sekaten (fun fair) yet without the usual crowd and noise. He painted the traditional keraton and wonders if teenagers these days would be interested to preserve this iconic culture of the city, or be more consumed by urbanisation and pop culture. His works are vivid yet adaptive, real yet imaginative.
Towards the end of their residency stints, all artists are required to share their experiences. This normally takes place before an audience of peers, academicians and the art public. In addition to their journey at Nafa’s, the artists would share the stories and inspirations behind their works. It is hoped that in the future, such discourse should happen more effortlessly; not only within and from Nafa’s but also amongst members of the industry.
Anissa Aziz feat. Tina Wahyuningsih