PAINT + CANVAS = MONEY
suddenly in the middele of paddyfields (in yogyakarta) there is a brand new gallery.
Langgeng Art Project ( www.langgeng.net)
Re-Form #2
represented artists
some are very well known (in Indonesia)
when you cycle a little further through kampongs and fields you’ll find the
Sankring Art Space
even a bigger gallery with many big paintings.
777777777777777777777777777777
The next day we (Nindityo, Gentong, Wimo, Maarten, Mees, Teide, Benny, Oka, Beiny and Ellen) went to Solo.
Wimo and Maarten and Ellen will give a General Lecture.
Wimo and Gentong (Mes 56 boys) in the becak in Solo
in front of IC SOLO (art academy)
our audience
Ninditio try to wake them up
trainwindow
Ira and Ellen working on the Yakkum workshop
Mees and Bob
7777777777777777777777777777
The next day ( 8 july) we ( Wimo, Ninditio, Maarten, Beiny, Mees, Teide and Ellen) went to Semarang for an other presentation.
Before the presentation we visit one of the few (or less) galleries in Semarang, Semarang Gallery.
strange thing is:
one big gallery and no artscene or artclimate?
what is happening here?
Joseph Beuys in new context?
Marlene Dumas with tattoo?
What has art become here?
Ninditio’s sculptures with work from Mella arround him.
A different sound in this gallery.
Wimo got hungry off all this art
At the Art House Yaitu
The audience was very curious and full off attention.
The discussion afterwards was interesting because of a lot of misunderstanding.
There for we had to explain a lot.
Questions as: Do you have the intention to change the surrounding??
and:
when the proces is so important, why do you make in the end an exhibition.
and:
I am a painter but I don’t understand your work although we are both painters?
and :
your way of working will never be understood by the big audience (This comment came from the owner of Semarang Gallery)
and:
why you work here is so different then in The Netherlands. (this is about the paintings I showed, They liked it a lot. they coudn’t understand that you change your way of working when the paintings are good enough).
So we had to explain a lot.
In the first place Nindityo did as much as he could to explain what the residence program is about.
That being ‘in residence’ doesn’t mean that you can produce finished art works and that the focus is on exploration and information.
The residence period is way to short to expect final results in the end.
What is really valuable is the open mentality from the artists and there effort to make contact with a new society. That they react and respond in a visual way is there nature ( they are educated and focussed on that).
The visual way can be in a way that is not recognized, so you are invited to find out.
of course we couldn’t understand everything Nindityo told the audience.
Most of the discussion was in Bahassa Indonesia, which was a pity for also some foreigners.
Tobagus did his best to translate but when the discussion went in complex state, everybody spoke in bahassa.
But in the end we can conclude that there is a big gap in visual experiences, background and in mentality.
How to question things and how to respond on this in an intelligent way is difficult to discus when you discover that therms are not defind, that theory is missing.
So we think that the approach of Tobagus is a good one. He offers for the community a space were people can discus and exchange about a variety of subjects around art. Philosophy is one of the tools he uses.
77777777777777777777
The next day we visit the Chinese temple complex in Semarang
and we ate the best loempia of the town.
at Kedai Kebun
back home in Yogya after a long drive
We met Rien and Karin (artists from the Netherlands) who arrived two days ago.
So it was nice to share our story in Dutch with them.
777777777777777777777
10 june
At Sakrips Studio.
The Dragon Ball copies are in progress.
