Pengantar
3rd Jogja International Miniprint Biennale (JIMB) 2018 hadir ditengah tarikan even-even pameran, artfair, lelang, bazar, kompetisi, bienal/trienal dari berbagai media seni rupa yang dianggap lebih ‘menjanjikan’ buat perupa Indonesia. Harap dimaklumi, persoalan seni rupa di Indonesia setidaknya dalam dua dekade ini memang masih didominasi urusan market ketimbang membuka peluang lain yang menyentuh aspek sosial, edukasi dan kebudayaan secara luas. Media-media yang dianggap popular seperti lukisan, karya 3 dimensi, photography diserbu para perupa termasuk oleh mereka yang sebelumnya cukup militan dan memiliki kekuatan dalam hal membuat karya seni grafis.
Bienal miniprint ketiga ini kehilangan sebagian besar nama-nama ‘pegrafis menjanjikan’ di tanah air yang sempat mewarnai kepesertaan pegrafis dalam negeri di dua bienal sebelumnya. Celakanya pegrafis pendatang baru baik yang masih berstatus mahasiswa di perguruan tinggi seni maupun yang baru saja lulus tidak cukup punya keberanian untuk berkompetisi. Entah apa yang salah dari pendidikan seni rupa di kampus-kampus seni yang membuat mahasiswanya menjadi minder sentris. Atau mengutip pendapat salah satu dosen seni grafis di sebuah perguruan tinggi seni terkenal dengan istilah ‘cuma jago kandang’.
3rd JIMB kali ini total diikuti 178 seniman terdiri dari 149 seniman yang mendaftar sebagai peserta seleksi dan 29 seniman yang berpartisipasi sebagai seniman tamu dimana karya mereka tidak mengikuti seleksi dan kompetisi. Antusiasme peserta luar negeri begitu luar biasa. Tercatat 136 seniman internasional dari 32 negara yang berpartisipasi, meningkat hampir 200 % dari bienal 2016 yang diikuti 77 seniman internasional. Sementara seniman Indonesia diwakili hanya oleh 42 seniman atau menurun 60% dari angka 99 peserta di bienal 2016 lalu. Sebuah catatan yang buruk tentunya buat dunia seni grafis Indonesia.
Juri kali ini diketuai oleh A. Sudjud Dartanto, seorang pengajar dan kurator yang beberapa kali menangani pameran berskala internasional. Pada bienal miniprint kedua lalu ia menjadi juri anggota. Sementara juri anggota ada 2 yaitu: seniman Deni Rahman yang juga sebagai pengajar di ISI Solo dan Malcolm Smith, seniman, pengelola galeri/studio yang tinggal di Australia dan Yogyakarta. Mereka memilih tema “Pesan Dari Matrix / Messages From The Matrix”. Tema ini dibuat sebagai kelanjutan tema pada bienal sebelumnya “Homo Habilis” yang menekankan pada aspek craftmanship dari karya. Kali ini gagasan para peserta ditantang tentunya dengan tetap tidak melupakan aspek teknis yang kuat. Juri ingin karya peserta membuka ruang-ruang baru yang inspiratif bagi penonton lewat permainan idiom/simbol masing-masing yang telah mereka kuasai sebelumnya. Memang tidak begitu mudah menjabarkan tema tersebut secara verbal namun jika peserta membaca hati-hati essay tema tersebut apa yang diharapkan juri dapat terasakan.
Penjurian dilakukan pada tanggal 28 Oktober 2018 dan dilanjutkan sampai tanggal 30 Oktober 2018 karena menunggu beberapa karya peseta luar negeri yang masih tertahan di bea cukai. Tempat penjurian di sekretariat 3rd JIMB di Miracle Prints, Suryodiningratan MJ II/853, Mantrijeron, Yogyakarta 55141. Dari 149 seniman yang mengikuti kompetisi dengan 351 karya yang masuk juri memilih 65 seniman dengan 117 karya sebagai finalis. Mereka terdiri dari 50 seniman internasional dan 15 seniman dalam negeri asal Yogyakarta, Jakarta, Bandung. Sementara seniman tamu terdiri dari 18 seniman China dan 11 seniman Philipina anggota Asosiasi Pynoprintmakers. Total negara terlibat dalam pameran 3rd JIMB 2018 kali ini 29 negara yaitu 27 negara sebagai finalis: Argentina, Australia, Bangladesh, Brazil, Bulgaria, Kanada, Kroasia, Estonia, Finlandia, Perancis, Jerman, Hungaria, India, Indonesia, Italia, Jepang, Malaysia, Belanda, Polandia, Rusia, Serbia, Singapura, Spanyol, Thailand, Inggris, Ukraina dan Amerika Serikat. ditambah 2 negara China Tiongkok dan Philipina sebagai peserta tamu. Juri juga telah memilih 6 pemenang untuk 2 kategori: 3 untuk Best Work dan 3 untuk Exellent Work. Mereka yang terpilih adalah: Antoni Kowalski dari Polandia, Evee Eesmaa dari Estonia dan Maja Zemunik dari Kroasia sebagai 3 pemenang kategori Best Work. Sementara kategori Excellent Work diraih oleh: Thamrongsak Nimanussornkul dari Thailand, Silvana Martignoni dari Italia dan Giri Widananto dari Indonesia. Pegrafis dalam negeri menyeruak diantara dominasi pegrafis luar negeri dalam even internasional ini adalah prestasi yang cukup membanggakan. Ternyata juri masih melihat sacercah harapan dari karya-karya pegrafis dalam negeri. Selamat buat mereka semua!
Akhirnya kami ingin mengatakan bahwa bienal miniprint ini mendapat sokongan berbagai pihak. Ada sebagian bantuan pendanaan dari Dinas Kebudayaan Yogyakarta sebagai wujud fasilitasi program Pameran Kelompok, sebagian dari administrasi peserta, donasi seniman yang dikumpulkan lewat pameran fundrising “Heading JIMB” di Miracle Prints 21 Agustus - 9 September 2018, donatur perorangan, sponsor, pemasang iklan. Kami akui masih sulit untuk mendapat sponsor sampai detik-detik menjelang pelaksanaan acara. Mungkin karena keterbatasan sumber daya kami, mungkin juga para sponsor masih wait and see dalam melihat acara ini sebagai sarana nvestasi.
Kepada penonton, selamat menikmati acara 3rd JIMB 2018.
Yogyakarta, 2 November 2018
Syahrizal Pahlevi/Direktur
Foreword
The Third Jogja International Miniprints Biennale (JIMB) is happening in the midst of the hustle and bustle of many other art events in Yogyakarta, which partly explains the smaller number of local artists participating in the event this year. Several promising artists who joined the first two Biennales are absent. Today we live in an environment in which the more commercial areas of fine arts such as painting, three –dimensional work, and photography are considered more lucrative and attractive. On the other hand, art students and recent graduates of art schools seem to be discouraged from taking part in the event. We also need to do something to overcome the mentality of—as a local lecturer and artist put it —“chickening out” among art students, as well as to broaden perspectives in art-making processes so as to not only meet market-driven demands, but also to respond to cultural, educational, and other social issues.
A total 178 artists consisting of 149 artists registered as candidates for selection in the Third JIMB 2018 and 29 artists who are participating as guest artists and whose work is not in competition. The enthusiasm of international artists is particularly striking. A total of 136 artists from 32 countries submitted work, an increase of 200% from JIMB 2016 where 77 artists participated. However, Indonesia is represented by only 43 artists, a decrease of 60% from the 99 Indonesian artists who participated in JIMB 2016; a sad commentary on the world of Indonesian graphic arts.
The jury is led by A. Sudjud Dartanto, a lecturer at ISI Yogyakarta and an experienced curator who has participated in several international exhibitions. Previously, Mr. Dartanto also served as a jury member of the 2nd JIMB. The other jury members for this year’s event are Deni Rahman, an artist and lecturer at UNS Solo, and Malcolm Smith, an artist and gallery/studio owner who divides his time between Yogyakarta and Australia. The jury has chosen the theme “Message from the Matrix”. It is considered a continuation of the previous Biennale theme, “Homo Habilis” which stressed the aspect of craftsmanship in graphic art. This year’s theme aims to challenge artists to open new spaces of interpretation that will inspire visitors to the show through the manipulation of symbols which they have mastered. It is not a simple thing to do, but with a careful reading, the perspective and expectations of the jury can be understood.
The selection was held from 28 to 30 October at JIMB Secretariat: Miracle Prints, Suryodiningratan, Mantrijeron, Yogyakarta. The jury has chosen 117 artworks from 65 artists as finalists consisting of 50 international participants and 15 Indonesian participants from Yogyakarta, Jakarta, Bekasi, Bandung and Bali. Guest artists, include 18 Chinese artists, and 11 Philippine artists, members of the Pynoprintmakers Association. Artists from the following countries took part in this year’s event: Argentina, Australia, Bangladesh, Brazil, Bulgaria, Canada, China Croatia, Estonia, Finland, France, Germany, Hungary, India, Indonesia, Italy, Japan, Malaysia, The Netherlands, the Philippines, Poland, Russia, Serbia, Singapore, Spain, Thailand, UK, Ukraine, and the USA.
We have six prize winners in the two categories of the competition; three winners for Best Work and another three for Excellent Work. The three Best Works chosen are: Antoni Kowalski (Poland), Evee Esman (Estonia), and Maja Zemunik (Croatia). For the three Excellent Works we have Thamrongsak Nimanussornkul (Thailand), Silvana Martignoni (Italy), and Giri Widananto (Indonesia). It is good to see that there is a local artist among the international winners. Congratulations to all!
We would like to thank everyone whose contributions enabled us to move forward with JIMB 2018. Dinas Kebudayaan Yogyakarta, all JIMB 2018 participants, the artists who participated in the “Heading to JIMB 2018” fundraising event at Miracle Prints from 21 August – 9 September 2018, our donors, event advertisers, and sponsors. Although obtaining sponsorships was difficult up to the last minute but here we are! Our gratitude goes to the participants who kept the faith in the event. Hopefully future Mini-print Biennales will be even better! Please enjoy the 3rd JIMB exhibition!
Yogyakarta, November 2nd, 2018
Syahrizal Pahlevi, Director
English translation by Rira Nurmaidah and Jerry Chamberland
Catatan Penjurian
Begitu sulit untuk menentukan pemenang. Seperti yang dikatakan oleh para juri, proses seleksi berlangsung dengan ketat, dengan pertimbangan teknis, dan tema. Bongkar pasang kandidat pemenang terjadi berkali-kali, dan terjadi diskusi cukup intens antara kami. Mencari yang terbaik dari yang baik sangatlah sulit dan pelik. Namun hasil harus ditentukan, dan dengan pertimbangan aspek teknik, tema dan karisma karya, maka kandidat pemenang telah diputuskan.
Bagi yang tidak menang bukan berarti Anda tidak mencapai keberhasilan teknik, bentuk dan tema penjurian, namun Anda menang dengan sudut pandang yang beragam, sebagaimana relativitas kebenaran dalam Film Matrix yang menunjukkan filosofi dunia simulasi dari dunia nyata. Apa yang justru nyata adalah dunia simulasi itu sendiri, namun bukan berarti ini sebuah surealisme, dunia simulasi menggunakan realisme sebagai dasarnya, dunia simulasi ini mempercepat kita memasuki abad pasca kebenaran(post thruth). Inilah dunia masa kini dimana yang nyata kabur dan yang palsu malah menjadi benar. Bagaimana itu ditafsir oleh peserta JIMB? Inilah yang menjadi bingkai pameran Jogja International Miniprint Biennale 2018 ini.
Selamat menikmati
Sudjud Dartanto
Jury Notes
It was exceptionally difficult to determine the winners of JIMB 2018. As members of the jury stated, the selection process was very strict particularly regarding technical considerations and handling of the theme. Rethinking the wining candidates happened again and again and intense discussions occurred among the jurors. Choosing the best of the best was difficult and complicated. Nonetheless, decisions had to be made and in consideration of technical aspects, realization of the theme, and the particular charisma of the individual works, the winning candidates were selected.
For those artists who did not win it doesn’t mean that they were not technically successful, nor failed in regard to the form and handling of the theme. However the artists were successful from the point of diversity, insofar as the relativity of truth in the film Matrix exemplified a world view or philosophy, a simulation of the real world. What is real is the simulated world itself (although not a kind of surrealism) a simulated world uses realism as a base. This simulated world hastens our entry into the post-truth era. This is the world of today where the real is elusive and the false becomes real. How was this interpreted by JIMB participants? This is the exhibit frame of the Jogja International Miniprint Biennale 2018.
Sudjud Dartanto
English translation by Jerry Chamberland
Thoughts on judging
I don’t really like competitions. There is no right or wrong artwork, so there is no better or worse artwork either. “Beauty is in the eye of the beholder”. An artwork means something different to everyone. So how can a “judge” claim to know what is good for everyone else?
In the process of selecting the finalists and the three final “winners” of this competition, we had certain criteria that we discussed. Firstly we needed to knock out the entries that did not conform to the selection criteria – size, edition, technique etc. Then we chose all the works that we thought engaged technically with the medium of print in interesting ways. This was actually more than half of the works. Then we looked at how these works addressed the theme of the show – the idea of the “matrix”. Then we looked more closely at other criteria; aesthetics, composition, subject matter and so on.
We ended up with a shortlist of works that ticked all of the aforementioned boxes. But the problem is, I wasn’t really excited about many of these works. Just because an artwork ticks all the correct boxes doesn’t make it interesting. Actually, in my opinion, its always the artworks that break the rules, that don’t fit neatly into any category, that annoy me or offend me, that I think in the end are the most interesting ones. These artworks have a kind of transgressive charisma, a “fuck you” attitude that doesn’t really care if they are a “winner” or a “loser” in anybody else’s eyes.
So congratulations to everyone in this show. If you don’t care about winning, then you have already won. And if anyone should be judged, it is the judges.
Malcolm Smith
Sekelumit Pikiran Soal Penjurian
Saya tak suka kompetisi. Bagi saya, tak ada karya seni yang salah atau benar. Karena itu tak ada karya yang lebih baik maupun lebih buruk dari yang lainnya. Ada sebuah pepatah, “beauty is in the eye of the beholder”, indah itu tergantung mata yang memandang. Sebuah karya seni mengandung makna berbeda bagi setiap orang. Jadi, bagaimana bisa seorang juri dapat mengklaim dirinya tahu apa yang bagus untuk semua orang?
Pada proses seleksi finalis dan tiga karya “pemenang” dalam kompetisi ini, tim juri menentukan sejumlah kriteria untuk didiiskusikan. Pertama, kami harus mengeliminasi karya-karya yang tidak selaras dengan ketentuan seleksi—seperti ukuran, edisi, teknik, dll. Kemudian kami memilih sejumlah karya yang mengeksplorasi media cetak yang digunakan dengan cara-cara menarik. Kami menemukannya dalam lebih dari separuh karya yang masuk. Lalu kami mencoba menelaah bagaimana karya-karya ini merespon tema—ide tentang “matrix”. Setelah itu, barulah kami beranjak pada kriteria lain seperti estetika, komposisi, pesan/isi, dll.
Akhirnya kami mendapatkan daftar karya yang mencentang seluruh kriteria tersebut di atas. Hanya saja, saya tidak terlalu antusias dengan kebanyakan dari karya-karya ini. Karena sebuah karya lolos dalam semua kriteria seleksi, tidak otomatis menjadikannya menarik. Sebenarnya, menurut saya, karya-karya seni yang melanggar aturan, yang tidak mesti menepati pengkategorian apapun, yang menyebalkan, atau menyinggung saya, justru yang pada akhirnya saya anggap paling menarik. Karya-karya seperti ini memiliki kharisma “penerjang batas”, bersikap “masa bodoh”, tak peduli atas status pemenang atau pecundang dalam pandangan orang lain.
Baiklah, selamat bagi semua peserta dalam acara ini. Jika anda tak peduli untuk menang, maka anda sudah jadi pemenangnya. Kalaupun ada yang layak dihakimi, mereka adalah para juri itu sendiri.
Malcolm Smith
Diindonesiakan oleh Rira Nurmaidah
Karya Cetak Grafis:
Pesan Jujur dari Matrix
Hal yang paling mendasar yang membedakan seni cetak grafis dengan cabang seni rupa lainya adalah digunakanya matrix atau acuan cetak pada proses pembuatan karya cetak grafis. Matrix dalam seni cetak grafis ibarat rahim pada perempuan. Matrix akan ‘melahirkan’ cetak coba (proof) hingga edisi karya grafis yang identik dan otentik.
Ada banyak teknik dan bahan untuk menciptakan matrix. Para perupa telah mengenal empat prinsip dasar teknik untuk membuat matrix cetak grafis, yaitu: cetak tinggi (relief print), cetak dalam (intaglio), cetak datar (planography), dan cetak saring (serigraphy) . Teknik tersebut berkembang mengikuti capaian teknologi di zamanya. Tubuh manusia pun bisa menjadi matrix. Tubuh manusia adalah matrix paling purba, hal ini salah satunya ditandai dengan gambar cap-cap tangan yang ditemukan di dinding gua Gua Pettae dan Pettae Kere Leang-leang, Maros Sulawesi, yang oleh para ahli arkeologi diperkirakan dibuat 8.000-3.000 SM.
Dalam seni cetak grafis, apa yang dikerjakan orang pada matrix baik itu mencukil, menoreh, mengerok, mengasam dan lain-lain, hasilnya akan terlihat setelah dicetak. Dari hasil cetakan, kemudian dapat diketahui teknik apa yang digunakan oleh si pembuatnya. Apa yang tercetak pada media karya merupakan hasil dari apa yang dikerjakan pada matrix. Lepas dari konteks diluar bentuk karya, hasil cetakan karya grafis secara ‘jujur’ telah ‘bercerita’ sendiri bagaimana kesederhanaan maupun kerumitan proses pembuatan matrixnya.
Menurut saya, karya-karya yang lolos sebagai finalis dalam Jogja International Miniprint Biennale (JIMB) #3 kali ini, adalah karya-karya dari para pegrafis yang mampu memanfaatkan kejujuran matrix dalam menyampaikan pesan.
Salam Cetak
Jogja 11 November 2018
Deni R
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Prints: An Honest Message from the Matrix
The most basic thing which differentiates printmaking from other forms of visual art is the use of a matrix or reference of printing in the process of making a print. A matrix in printmaking is the ‘womb’. The matrix will give birth to proof prints to the point where all works of the edition are identical and authentic.
There are many techniques and materials which can be used to create a matrix. Artists are familiar with four basic technical methods used to create a print matrix: relief print, intaglio, planography, and serigraphy. These techniques developed in the context of other technological developments in different historical periods. The human body itself can become a matrix and in fact the human body is the world’s oldest matrix, as indicated by the hand prints found on the walls of the Pettae and Pettae Kere Leang-leang caves in Maros, South Sulawesi which archeologist estimate were made between 3,000BCE and 8,000BCE.
In printmaking, what artists do to the matrix; whether to cut, incise, scrape, or erode/oxidize the results will be seen after the work is printed. From the results of the printing process, it can be seen which techniques were used by the artist. What is printed on the medium of the work is the result of what was done to the matrix. Apart from the context of the work, the print results of a graphic work in fact quite ‘honestly’ tells its own story of how simple and yet complex is the process of making a matrix.
In my opinion the works which were selected as finalists in the Third Jogja International Miniprint Biennale (JIMB) are works by graphic artists who are capable of using the honesty of the matrix to convey their message.
Deni R
English translation by Jerry Chamberland
3rd Jogja International Miniprint Biennale (JIMB) 2018 hadir ditengah tarikan even-even pameran, artfair, lelang, bazar, kompetisi, bienal/trienal dari berbagai media seni rupa yang dianggap lebih ‘menjanjikan’ buat perupa Indonesia. Harap dimaklumi, persoalan seni rupa di Indonesia setidaknya dalam dua dekade ini memang masih didominasi urusan market ketimbang membuka peluang lain yang menyentuh aspek sosial, edukasi dan kebudayaan secara luas. Media-media yang dianggap popular seperti lukisan, karya 3 dimensi, photography diserbu para perupa termasuk oleh mereka yang sebelumnya cukup militan dan memiliki kekuatan dalam hal membuat karya seni grafis.
Bienal miniprint ketiga ini kehilangan sebagian besar nama-nama ‘pegrafis menjanjikan’ di tanah air yang sempat mewarnai kepesertaan pegrafis dalam negeri di dua bienal sebelumnya. Celakanya pegrafis pendatang baru baik yang masih berstatus mahasiswa di perguruan tinggi seni maupun yang baru saja lulus tidak cukup punya keberanian untuk berkompetisi. Entah apa yang salah dari pendidikan seni rupa di kampus-kampus seni yang membuat mahasiswanya menjadi minder sentris. Atau mengutip pendapat salah satu dosen seni grafis di sebuah perguruan tinggi seni terkenal dengan istilah ‘cuma jago kandang’.
3rd JIMB kali ini total diikuti 178 seniman terdiri dari 149 seniman yang mendaftar sebagai peserta seleksi dan 29 seniman yang berpartisipasi sebagai seniman tamu dimana karya mereka tidak mengikuti seleksi dan kompetisi. Antusiasme peserta luar negeri begitu luar biasa. Tercatat 136 seniman internasional dari 32 negara yang berpartisipasi, meningkat hampir 200 % dari bienal 2016 yang diikuti 77 seniman internasional. Sementara seniman Indonesia diwakili hanya oleh 42 seniman atau menurun 60% dari angka 99 peserta di bienal 2016 lalu. Sebuah catatan yang buruk tentunya buat dunia seni grafis Indonesia.
Juri kali ini diketuai oleh A. Sudjud Dartanto, seorang pengajar dan kurator yang beberapa kali menangani pameran berskala internasional. Pada bienal miniprint kedua lalu ia menjadi juri anggota. Sementara juri anggota ada 2 yaitu: seniman Deni Rahman yang juga sebagai pengajar di ISI Solo dan Malcolm Smith, seniman, pengelola galeri/studio yang tinggal di Australia dan Yogyakarta. Mereka memilih tema “Pesan Dari Matrix / Messages From The Matrix”. Tema ini dibuat sebagai kelanjutan tema pada bienal sebelumnya “Homo Habilis” yang menekankan pada aspek craftmanship dari karya. Kali ini gagasan para peserta ditantang tentunya dengan tetap tidak melupakan aspek teknis yang kuat. Juri ingin karya peserta membuka ruang-ruang baru yang inspiratif bagi penonton lewat permainan idiom/simbol masing-masing yang telah mereka kuasai sebelumnya. Memang tidak begitu mudah menjabarkan tema tersebut secara verbal namun jika peserta membaca hati-hati essay tema tersebut apa yang diharapkan juri dapat terasakan.
Penjurian dilakukan pada tanggal 28 Oktober 2018 dan dilanjutkan sampai tanggal 30 Oktober 2018 karena menunggu beberapa karya peseta luar negeri yang masih tertahan di bea cukai. Tempat penjurian di sekretariat 3rd JIMB di Miracle Prints, Suryodiningratan MJ II/853, Mantrijeron, Yogyakarta 55141. Dari 149 seniman yang mengikuti kompetisi dengan 351 karya yang masuk juri memilih 65 seniman dengan 117 karya sebagai finalis. Mereka terdiri dari 50 seniman internasional dan 15 seniman dalam negeri asal Yogyakarta, Jakarta, Bandung. Sementara seniman tamu terdiri dari 18 seniman China dan 11 seniman Philipina anggota Asosiasi Pynoprintmakers. Total negara terlibat dalam pameran 3rd JIMB 2018 kali ini 29 negara yaitu 27 negara sebagai finalis: Argentina, Australia, Bangladesh, Brazil, Bulgaria, Kanada, Kroasia, Estonia, Finlandia, Perancis, Jerman, Hungaria, India, Indonesia, Italia, Jepang, Malaysia, Belanda, Polandia, Rusia, Serbia, Singapura, Spanyol, Thailand, Inggris, Ukraina dan Amerika Serikat. ditambah 2 negara China Tiongkok dan Philipina sebagai peserta tamu. Juri juga telah memilih 6 pemenang untuk 2 kategori: 3 untuk Best Work dan 3 untuk Exellent Work. Mereka yang terpilih adalah: Antoni Kowalski dari Polandia, Evee Eesmaa dari Estonia dan Maja Zemunik dari Kroasia sebagai 3 pemenang kategori Best Work. Sementara kategori Excellent Work diraih oleh: Thamrongsak Nimanussornkul dari Thailand, Silvana Martignoni dari Italia dan Giri Widananto dari Indonesia. Pegrafis dalam negeri menyeruak diantara dominasi pegrafis luar negeri dalam even internasional ini adalah prestasi yang cukup membanggakan. Ternyata juri masih melihat sacercah harapan dari karya-karya pegrafis dalam negeri. Selamat buat mereka semua!
Akhirnya kami ingin mengatakan bahwa bienal miniprint ini mendapat sokongan berbagai pihak. Ada sebagian bantuan pendanaan dari Dinas Kebudayaan Yogyakarta sebagai wujud fasilitasi program Pameran Kelompok, sebagian dari administrasi peserta, donasi seniman yang dikumpulkan lewat pameran fundrising “Heading JIMB” di Miracle Prints 21 Agustus - 9 September 2018, donatur perorangan, sponsor, pemasang iklan. Kami akui masih sulit untuk mendapat sponsor sampai detik-detik menjelang pelaksanaan acara. Mungkin karena keterbatasan sumber daya kami, mungkin juga para sponsor masih wait and see dalam melihat acara ini sebagai sarana nvestasi.
Kepada penonton, selamat menikmati acara 3rd JIMB 2018.
Yogyakarta, 2 November 2018
Syahrizal Pahlevi/Direktur
Foreword
The Third Jogja International Miniprints Biennale (JIMB) is happening in the midst of the hustle and bustle of many other art events in Yogyakarta, which partly explains the smaller number of local artists participating in the event this year. Several promising artists who joined the first two Biennales are absent. Today we live in an environment in which the more commercial areas of fine arts such as painting, three –dimensional work, and photography are considered more lucrative and attractive. On the other hand, art students and recent graduates of art schools seem to be discouraged from taking part in the event. We also need to do something to overcome the mentality of—as a local lecturer and artist put it —“chickening out” among art students, as well as to broaden perspectives in art-making processes so as to not only meet market-driven demands, but also to respond to cultural, educational, and other social issues.
A total 178 artists consisting of 149 artists registered as candidates for selection in the Third JIMB 2018 and 29 artists who are participating as guest artists and whose work is not in competition. The enthusiasm of international artists is particularly striking. A total of 136 artists from 32 countries submitted work, an increase of 200% from JIMB 2016 where 77 artists participated. However, Indonesia is represented by only 43 artists, a decrease of 60% from the 99 Indonesian artists who participated in JIMB 2016; a sad commentary on the world of Indonesian graphic arts.
The jury is led by A. Sudjud Dartanto, a lecturer at ISI Yogyakarta and an experienced curator who has participated in several international exhibitions. Previously, Mr. Dartanto also served as a jury member of the 2nd JIMB. The other jury members for this year’s event are Deni Rahman, an artist and lecturer at UNS Solo, and Malcolm Smith, an artist and gallery/studio owner who divides his time between Yogyakarta and Australia. The jury has chosen the theme “Message from the Matrix”. It is considered a continuation of the previous Biennale theme, “Homo Habilis” which stressed the aspect of craftsmanship in graphic art. This year’s theme aims to challenge artists to open new spaces of interpretation that will inspire visitors to the show through the manipulation of symbols which they have mastered. It is not a simple thing to do, but with a careful reading, the perspective and expectations of the jury can be understood.
The selection was held from 28 to 30 October at JIMB Secretariat: Miracle Prints, Suryodiningratan, Mantrijeron, Yogyakarta. The jury has chosen 117 artworks from 65 artists as finalists consisting of 50 international participants and 15 Indonesian participants from Yogyakarta, Jakarta, Bekasi, Bandung and Bali. Guest artists, include 18 Chinese artists, and 11 Philippine artists, members of the Pynoprintmakers Association. Artists from the following countries took part in this year’s event: Argentina, Australia, Bangladesh, Brazil, Bulgaria, Canada, China Croatia, Estonia, Finland, France, Germany, Hungary, India, Indonesia, Italy, Japan, Malaysia, The Netherlands, the Philippines, Poland, Russia, Serbia, Singapore, Spain, Thailand, UK, Ukraine, and the USA.
We have six prize winners in the two categories of the competition; three winners for Best Work and another three for Excellent Work. The three Best Works chosen are: Antoni Kowalski (Poland), Evee Esman (Estonia), and Maja Zemunik (Croatia). For the three Excellent Works we have Thamrongsak Nimanussornkul (Thailand), Silvana Martignoni (Italy), and Giri Widananto (Indonesia). It is good to see that there is a local artist among the international winners. Congratulations to all!
We would like to thank everyone whose contributions enabled us to move forward with JIMB 2018. Dinas Kebudayaan Yogyakarta, all JIMB 2018 participants, the artists who participated in the “Heading to JIMB 2018” fundraising event at Miracle Prints from 21 August – 9 September 2018, our donors, event advertisers, and sponsors. Although obtaining sponsorships was difficult up to the last minute but here we are! Our gratitude goes to the participants who kept the faith in the event. Hopefully future Mini-print Biennales will be even better! Please enjoy the 3rd JIMB exhibition!
Yogyakarta, November 2nd, 2018
Syahrizal Pahlevi, Director
English translation by Rira Nurmaidah and Jerry Chamberland
Catatan Penjurian
Begitu sulit untuk menentukan pemenang. Seperti yang dikatakan oleh para juri, proses seleksi berlangsung dengan ketat, dengan pertimbangan teknis, dan tema. Bongkar pasang kandidat pemenang terjadi berkali-kali, dan terjadi diskusi cukup intens antara kami. Mencari yang terbaik dari yang baik sangatlah sulit dan pelik. Namun hasil harus ditentukan, dan dengan pertimbangan aspek teknik, tema dan karisma karya, maka kandidat pemenang telah diputuskan.
Bagi yang tidak menang bukan berarti Anda tidak mencapai keberhasilan teknik, bentuk dan tema penjurian, namun Anda menang dengan sudut pandang yang beragam, sebagaimana relativitas kebenaran dalam Film Matrix yang menunjukkan filosofi dunia simulasi dari dunia nyata. Apa yang justru nyata adalah dunia simulasi itu sendiri, namun bukan berarti ini sebuah surealisme, dunia simulasi menggunakan realisme sebagai dasarnya, dunia simulasi ini mempercepat kita memasuki abad pasca kebenaran(post thruth). Inilah dunia masa kini dimana yang nyata kabur dan yang palsu malah menjadi benar. Bagaimana itu ditafsir oleh peserta JIMB? Inilah yang menjadi bingkai pameran Jogja International Miniprint Biennale 2018 ini.
Selamat menikmati
Sudjud Dartanto
Jury Notes
It was exceptionally difficult to determine the winners of JIMB 2018. As members of the jury stated, the selection process was very strict particularly regarding technical considerations and handling of the theme. Rethinking the wining candidates happened again and again and intense discussions occurred among the jurors. Choosing the best of the best was difficult and complicated. Nonetheless, decisions had to be made and in consideration of technical aspects, realization of the theme, and the particular charisma of the individual works, the winning candidates were selected.
For those artists who did not win it doesn’t mean that they were not technically successful, nor failed in regard to the form and handling of the theme. However the artists were successful from the point of diversity, insofar as the relativity of truth in the film Matrix exemplified a world view or philosophy, a simulation of the real world. What is real is the simulated world itself (although not a kind of surrealism) a simulated world uses realism as a base. This simulated world hastens our entry into the post-truth era. This is the world of today where the real is elusive and the false becomes real. How was this interpreted by JIMB participants? This is the exhibit frame of the Jogja International Miniprint Biennale 2018.
Sudjud Dartanto
English translation by Jerry Chamberland
Thoughts on judging
I don’t really like competitions. There is no right or wrong artwork, so there is no better or worse artwork either. “Beauty is in the eye of the beholder”. An artwork means something different to everyone. So how can a “judge” claim to know what is good for everyone else?
In the process of selecting the finalists and the three final “winners” of this competition, we had certain criteria that we discussed. Firstly we needed to knock out the entries that did not conform to the selection criteria – size, edition, technique etc. Then we chose all the works that we thought engaged technically with the medium of print in interesting ways. This was actually more than half of the works. Then we looked at how these works addressed the theme of the show – the idea of the “matrix”. Then we looked more closely at other criteria; aesthetics, composition, subject matter and so on.
We ended up with a shortlist of works that ticked all of the aforementioned boxes. But the problem is, I wasn’t really excited about many of these works. Just because an artwork ticks all the correct boxes doesn’t make it interesting. Actually, in my opinion, its always the artworks that break the rules, that don’t fit neatly into any category, that annoy me or offend me, that I think in the end are the most interesting ones. These artworks have a kind of transgressive charisma, a “fuck you” attitude that doesn’t really care if they are a “winner” or a “loser” in anybody else’s eyes.
So congratulations to everyone in this show. If you don’t care about winning, then you have already won. And if anyone should be judged, it is the judges.
Malcolm Smith
Sekelumit Pikiran Soal Penjurian
Saya tak suka kompetisi. Bagi saya, tak ada karya seni yang salah atau benar. Karena itu tak ada karya yang lebih baik maupun lebih buruk dari yang lainnya. Ada sebuah pepatah, “beauty is in the eye of the beholder”, indah itu tergantung mata yang memandang. Sebuah karya seni mengandung makna berbeda bagi setiap orang. Jadi, bagaimana bisa seorang juri dapat mengklaim dirinya tahu apa yang bagus untuk semua orang?
Pada proses seleksi finalis dan tiga karya “pemenang” dalam kompetisi ini, tim juri menentukan sejumlah kriteria untuk didiiskusikan. Pertama, kami harus mengeliminasi karya-karya yang tidak selaras dengan ketentuan seleksi—seperti ukuran, edisi, teknik, dll. Kemudian kami memilih sejumlah karya yang mengeksplorasi media cetak yang digunakan dengan cara-cara menarik. Kami menemukannya dalam lebih dari separuh karya yang masuk. Lalu kami mencoba menelaah bagaimana karya-karya ini merespon tema—ide tentang “matrix”. Setelah itu, barulah kami beranjak pada kriteria lain seperti estetika, komposisi, pesan/isi, dll.
Akhirnya kami mendapatkan daftar karya yang mencentang seluruh kriteria tersebut di atas. Hanya saja, saya tidak terlalu antusias dengan kebanyakan dari karya-karya ini. Karena sebuah karya lolos dalam semua kriteria seleksi, tidak otomatis menjadikannya menarik. Sebenarnya, menurut saya, karya-karya seni yang melanggar aturan, yang tidak mesti menepati pengkategorian apapun, yang menyebalkan, atau menyinggung saya, justru yang pada akhirnya saya anggap paling menarik. Karya-karya seperti ini memiliki kharisma “penerjang batas”, bersikap “masa bodoh”, tak peduli atas status pemenang atau pecundang dalam pandangan orang lain.
Baiklah, selamat bagi semua peserta dalam acara ini. Jika anda tak peduli untuk menang, maka anda sudah jadi pemenangnya. Kalaupun ada yang layak dihakimi, mereka adalah para juri itu sendiri.
Malcolm Smith
Diindonesiakan oleh Rira Nurmaidah
Karya Cetak Grafis:
Pesan Jujur dari Matrix
Hal yang paling mendasar yang membedakan seni cetak grafis dengan cabang seni rupa lainya adalah digunakanya matrix atau acuan cetak pada proses pembuatan karya cetak grafis. Matrix dalam seni cetak grafis ibarat rahim pada perempuan. Matrix akan ‘melahirkan’ cetak coba (proof) hingga edisi karya grafis yang identik dan otentik.
Ada banyak teknik dan bahan untuk menciptakan matrix. Para perupa telah mengenal empat prinsip dasar teknik untuk membuat matrix cetak grafis, yaitu: cetak tinggi (relief print), cetak dalam (intaglio), cetak datar (planography), dan cetak saring (serigraphy) . Teknik tersebut berkembang mengikuti capaian teknologi di zamanya. Tubuh manusia pun bisa menjadi matrix. Tubuh manusia adalah matrix paling purba, hal ini salah satunya ditandai dengan gambar cap-cap tangan yang ditemukan di dinding gua Gua Pettae dan Pettae Kere Leang-leang, Maros Sulawesi, yang oleh para ahli arkeologi diperkirakan dibuat 8.000-3.000 SM.
Dalam seni cetak grafis, apa yang dikerjakan orang pada matrix baik itu mencukil, menoreh, mengerok, mengasam dan lain-lain, hasilnya akan terlihat setelah dicetak. Dari hasil cetakan, kemudian dapat diketahui teknik apa yang digunakan oleh si pembuatnya. Apa yang tercetak pada media karya merupakan hasil dari apa yang dikerjakan pada matrix. Lepas dari konteks diluar bentuk karya, hasil cetakan karya grafis secara ‘jujur’ telah ‘bercerita’ sendiri bagaimana kesederhanaan maupun kerumitan proses pembuatan matrixnya.
Menurut saya, karya-karya yang lolos sebagai finalis dalam Jogja International Miniprint Biennale (JIMB) #3 kali ini, adalah karya-karya dari para pegrafis yang mampu memanfaatkan kejujuran matrix dalam menyampaikan pesan.
Salam Cetak
Jogja 11 November 2018
Deni R
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Prints: An Honest Message from the Matrix
The most basic thing which differentiates printmaking from other forms of visual art is the use of a matrix or reference of printing in the process of making a print. A matrix in printmaking is the ‘womb’. The matrix will give birth to proof prints to the point where all works of the edition are identical and authentic.
There are many techniques and materials which can be used to create a matrix. Artists are familiar with four basic technical methods used to create a print matrix: relief print, intaglio, planography, and serigraphy. These techniques developed in the context of other technological developments in different historical periods. The human body itself can become a matrix and in fact the human body is the world’s oldest matrix, as indicated by the hand prints found on the walls of the Pettae and Pettae Kere Leang-leang caves in Maros, South Sulawesi which archeologist estimate were made between 3,000BCE and 8,000BCE.
In printmaking, what artists do to the matrix; whether to cut, incise, scrape, or erode/oxidize the results will be seen after the work is printed. From the results of the printing process, it can be seen which techniques were used by the artist. What is printed on the medium of the work is the result of what was done to the matrix. Apart from the context of the work, the print results of a graphic work in fact quite ‘honestly’ tells its own story of how simple and yet complex is the process of making a matrix.
In my opinion the works which were selected as finalists in the Third Jogja International Miniprint Biennale (JIMB) are works by graphic artists who are capable of using the honesty of the matrix to convey their message.
Deni R
English translation by Jerry Chamberland
TERMS AND CONDITIONS OF SELECTION, 3rd JIMB 2018
REGISTRATION: -
Registration of participants opens 10 May 2018 and closes 26 October 2018.
Participation is open to Indonesian and international artists who have reached their 18th birthday by 26 October 2018.
FEE:
The (non-refundable) administration fee for JIMB 2018 is Rp. 100.000 for Indonesian participants and USD. 35 $ for international participants.
Payment of the registration fee can be made directly to the secretariat or through
1. PayPal to the account: [email protected]
2. Western Union, Money Gram or Wesel Pos Instant payable to:
RIA NOVITRI N, address: Somodaran GP.III/51, Rt.02, Rw.10, Banyuraden, Yogyakarta 55293, Indonesia. Mobile phone: +62 87739315969.
3. Bank Rakyat Indonesia (BRI) Katamso Branch, Yogyakarta. Swift Code: BRINIDJA. Payable to:
RIA NOVITRI N. Account no: 0245-01-051511-50-3.
4. Bank Central Asia (BCA) Sudirman Branch, Yogyakarta. Swift Code: CENAIDJA. Payable to:
RIA NOVITRI N. Account no: 0372432827.
Participants should complete the 1st STEP form FEE SUBMISSION (can be download at www.jogjaminiprint.com) and send to email [email protected] in order to obtain a registration number with subjek: SELECTION 3RD JIMB.
JURY
The three-member jury, a chairperson and two members, are all well-known and well-respected artists.
- Chairperson: A. SUDJUD DARTANTO M.SJ is a lecturer and curator. He lives in Yogyakarta.
- Jury member: MALCOLM SMITH is Artist and gallery owner. Lives in Australia and Yogyakarta.
- Jury member: DENI RAHMAN M.SN. artist and lecturer. Lives in Yogyakarta.
Works:
Works on paper using one of or more of the following conventional printing techniques will be considered: Relief Print (woodcut, linocut, rubber cut, mokuhanga, relief etching, engraving), Intaglio (etching, dry-point, mezzotint, aquatint, photo intaglio, sugar print), Lithography and silk screen/serigraphy.
Artist’s proofs, monotype, monoprint, hand colored works, collagraph, stencil and digital print will not be considered.
Works should focus on the theme “MESSAGES FROM THE MATRIX” which is discussed in detail below Works produced from 2017 to 2018 and which were not included in JIMB 2014 and 2016 are eligible.
Each work submitted must show the signature of the artist on each edition. A maximum of four (4) works and one (1) copy of each work may be submitted.
Maximum size is 20cm. x 20cm. Maximum paper size is 28cm. x 28cm.
The organizing committee reserves the right to reduce the size of the paper in order to fit the frames which have been prepared to display the mini-prints.
THEME
Message from the Matrix
Never send a human to do a machine's job
Agent Smith
The 3rd Jogja International Miniprint Biennale(JIMB) 2018 jury has chosen “Message from the Matrix” as the theme of the Biennale. The theme reflects the jury’s perspective and indicates the importance of the question of character and quality in the practice of reproduction in the graphic arts, where each edition of a work is of the same quality as the original, because each edition of a print is itself an original, not a duplicate. In the vocabulary of graphic arts, matrix is another name for a physical surface where a picture which is drawn, like a woodblock, plate, stone, or screen can be reproduced in multiple quantities. It is from this point of view of that JIMB 2018 invites participants to respond to the issue of matrix, both ‘matrix’ as a term characteristic of graphic arts as well as to the philosophy of matrix itself.
Reproduction through printing, as it developed, gave birth to the printing press which proceeded to change the world. The historian Benedict Anderson has described how the printing press standardized language and formed a new understanding about the notion of community. By the middle of the 19th century, the printing press had made possible the production of newspapers, meaning that news, stories, and pictures could be shared from anywhere in the world to people everywhere. Knowledge was no longer controlled by those in power but became the property of everyone.
In the pre-modern world, those in authority controlled written history. Media magnates controlled the news as well as people’s thoughts through print media. They could influence elections and government policy and could even foment - or halt - revolutions. Today, those who control the ‘matrix’ i.e. the media, including conventional printing presses, but also digital information networks, now control the world. The printing press has become a piece of technology where modernity can be achieved and with that, a new understanding of the nation state, citizenship, and progress realized.
The Matrix is a system, Neo. That system is our enemy. But when you're inside, you look around, what do you see? Businessmen, teachers, lawyers, carpenters. The very minds of the people we are trying to save. But until we do, these people are still a part of that system and that makes them our enemy. You have to understand, most of these people are not ready to be unplugged. And many of them are so inured, so hopelessly dependent on the system, that they will fight to protect it.
Morpheus
Artists can control the making of works of art, though on the other hand, technology can also control the methods of creating art. A matrix makes it possible for a person to produce reproductions of a work and this fact has democratized the image, allowing it to be shared to the entire world, to thousands of viewers, not just an elite few.
The post-modernist theorist, Baudrillard, has suggested that we now live in a culture of simulacrum that is, a situation where the image is primary. People believe in the image more than the reality, the image has already developed its own social world; the image precedes reality and even produces a new category of reality with the practice of reproduction permitting unlimited impressions. This is the post-modern situation which has created new forms of communication
This essay presents the background of the theme and the jury’s perspective as a starting point in the expectation it will be elaborated in the works submitted by JIMB 2018 artists. We are waiting to see outstanding ideas, forms, techniques, and concepts from printmakers everywhere.
*From the film The Matrix, 1999
Yogyakarta, May 2018
Jury JIMB 2018
(English translation by Jerry Chamberland)
SUBMISSION
The application form (FEE SUBMISSION) must be completed and signed and included with all submissions. The form can be obtained directly from the Secretariat or downloaded at www.jogjaminiprint.com
The following information must be included with each work submitted: name of artist, title of work, technique(s) used, year of producrtion.
Works should be submitted unframed and without passpartout. Works should be carefully packed in order to avoid folding or bending and is the sole responsibility of the artist. The Secretariat bears no responsibility for damage occurring in transit. “PRINTED MATTER”, “NO COMERCIAL VALUE” should be written clearly on the outside of the packet or envelope and sent to the following address:
Secretariat 3nd JIMB 2018
d/a. MIRACLE PRINTS,
SURYODININGRATAN MJ II/853, MANTRIJERON
YOGYAKARTA 55141, INDONESIA
Email: [email protected] Web: www.jogjaminiprint.com
Mobile: +62 81328672943
DEADLINE FOR SUBMISSION OF WORKS IS 26 OCTOBER 2018 16:00 Western Indonesian Time
ANNOUNCEMENT
Works selected for inclusion in the Biennale will announced on www.jogjaminiprint.com and individual artists will contacted by email soon after selection.
Works not selected will be returned to the artists by post.
Works selected by the jury will be included in the 3rd JIMB 2018 exhibition and will also be eligible for the following prizes:
The THREE BEST WORKS will receive cash prizes in the following amounts Rp. 4.000.000, a trophy and certificate and an opportunity to participate the 33 PRINTS exhibition to be held in 2019 (3 winners)
Three EXCELLENCE WORKS will receive cash awards of Rp. 1.500.000 and a certificate (3 winners)
And additional pize winner, SPECIAL INTERNATIONAL JURY will receive cash awards of Rp. 1000.000 and a certificate (1 winner)
All finalists will receive a certificate.
Venue
The 3rd JIMB 2018 will be held at
MUSEUM DAN TANAH LIAT Alamat: Ds. Kersan Rt. 5, Tirtonirmolo, Kasihan-Bantul, Yogyakarta 55181, Indonesia
Exhibition dates:
10 – 25 November 2018, 10.00 – 17.00
Opening and announcement of prizewinners
10 November 2018, 15.00
ADDITIONAL INFORMATION
In addition to the main exhibition at theMuseum Dan Tanah Liat, a travelling exhibition will travel to a number of cities in Indonesia during 2016. Locations and exhibition schedule are forthcoming.
The 3rd JIMB 2018 color catalogue will include images of the works as well as short bio-sketches of the artists. Each participant will receive a copy of the catalogue.
Prizewinning works will become property of the Secretariat and included in the permanent collection of the planned Jogja Miniprint Museum.
Works of finalists will be sale for public. Commission for scretariat is 40% .
Works not selected for the 3rd JIMB will be select by organizing for an exhibition at Miracle Prints Art Shop & Studio Yogyakarta.
Work not sold will be returned to the artists by post.
The decision of the jury is final.
Important Dates:
1 May– 10 October 2018 : Open call for submission of 3rd JIMB 2018
10 October 2018 : Deadline registration and received of works
20 October 2018: Selection by jury
22 October 2018 : Announcement of works selected for 3rd JIMB 2018
10 November 2018 : Opening of 3rd JIMB 2018 and announcement of prizewinners
10-25 November 2018 : Exhibition, workshops, discussions and art bazaar
25 November 2018 : exhibition closes
January – December 2019 : Traveling exhibitions of works from 3rd JIMB 2018. Dates and venues to be announced.
ORGANIZATIONAL STRUCTURE, 3rd JIMB 2018.
Advisors: Bambang ‘Toko’ Wicaksono, Dr. Melani Setiawan Msc, Prof. DR. M. Dwi Marianto MFA, DR. Edi Sunaryo
Director : Syahrizal Pahlevi
Secretary/Artistic: Alie Gopal
Operational Manager: Ria Novitri
Treasurer : Jamiatut
Sponsorships : Tina Wahyuningsih
Data Base: TERAS
Media: Moch. Jauhar El Hakimi
Publication : Gunadi a.k.a Uwuh
Graphic Design: Jon Paul_Irwan
Workshops, discussions : Aliem Bakhtiar
Equipment : Tubagus Nikmatullah
Jury Profile:
(Chairperson) A.Sudjud Dartanto
Born in Bangkalan, Java, 1976. Studied at Faculty of Visual Arts, Insitut Seni Indonsia (ISI), Yogyakarta, and finished his Master in Cultural Studies (IRB) from Sanata Dharma University, Indonesia. Besides teaching at Art Management Departement at Visual Art Faculty, ISI Yogyakarta, and as one of board of curators at National Gallery of Indonesia, he is also active in research, writing and curating. He is one of the juror for “2nd Jogja International Miniprint Biennale (JIMB)”, 2016. In 2015, invited to observe Entang Wiharso solo show, “Never Say No" in STPI , Singapore , Heri Dono’s show in Indonesia pavilion at the “56th Venice Biennale"All the World 's Future". Involved in international creative project such: “Pedagogy of the Unknown”, Art and Archaeological Project, an interdisplinary project, on Sungai Batu site, Penang, Malaysia, some of the artists are Ahmad Fuad Osman and Masnoor Ramli Mahmud, “South Project”, the 5th International south-south Gathering organised by the South Project, 2009. As a guest curator for "Trajectory", MAGNT (Museum and Gallery of Northern Territory), Darwin, Australia, 2008, “U(dys)topia”, HfBk (Hochschule für Bildende Künste) gallery, Dresden, Freies Museum, Berlin, Germany, 2010. As co-Curator for "Neo-nation", the 9th Yogyakarta Biennale, 2007. He also won the curatorial residency program, organized by Institute of Modern Art (IMA), Brisbane, Australia, 2013, and Artist Initiative Tokyo(AIT), Japan, 2013.
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(Jury member) Malcolm Smith is an artist from Australia who is now based in Yogyakarta, Indonesia. He is one of the co-founders of Krack, an artist run printmaking studio and gallery in Yogyakarta, that works collaboratively with artists to produce and exhibit print-based works that are visually innovative and respond critically to events, developments and cultural debates in the Asia Pacific region. Since 2013 Krack! has exhibited works in Indonesia, Australia, Singapore and Italy, delivered workshops with local and international artists, and collaborated with senior as well as emerging Indonesian artists. Before moving to Indonesia Malcolm worked in contemporary artspaces around Australia including the Northern Territory Centre for Contemporary art (now NCCA), Object: the Australian Centre for Craft and Design and the Australian Centre for Photography. He has undertaken residencies and presented workshops and projects across Australia and South East Asia. He has exhibited in Australia and Indonesia, and is currently participating in ArtJog 2018: Enlightenment. He has a Masters in Cultural Studies at Universitas Sanata Dharma in Yogyakarta.
More information
www.invisibleman.net.au
www.krackstudio.com
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(Jury member) Deni Rahman
Born in Jakarta, 18 Juni 1979
Address : Gg. Bathik Klithik Mg III/ No.558, RT: 25,RW: 07,
Prawirotaman, Mergangsan, Yogyakarta
e-mail : [email protected], [email protected]
Education:
BFA Printmaking Department of Indonesia Institute of Arts Yogyakarta, 1998 – 2006
MA Indonesia Institute of Arts ,Yogyakarta 2010-2015
He is an artist, lecturer at Indonesia Institute of Arts Solo and member of Grafis Minggiran Printmaking Studio. He has 1 solo exhibition in 2006 in Yogyakarta and many group ehibition in Yogyakarta and other city in Indonesia and abroad. He won the Three Best Works of the 1st Jogja Miniprint Biennale (2014), winner Nokia Arts Awards (2000) Indonesia, finalist Nokia Arts Awards Asia Pacific (2000) and fFinalist poster design competition “Pemuda dan Olah Raga”, IKJ, Jakarta (2002).
He lives with his wife and two kids in Yogyakarta.
His few group exhibition:
2018
Feed To Last with Grafis Minggiran atBentara Budaya Yogyakarta
2017
Pekan Seni Grafis Yogyakarta (Grafis Minggiran) at Jogja National Museum, Yogyakarta, Indonesia
- Peek x Grafis Minggiran Intaglio Exhibition, Dong Po Colonial Cafe, Singapore
- Bergulir! Bergetar! Bartabrakan!, Cemeti Institute for Art and Society, Yogyakarta, Indonesia
- Buku Mini II Juara Dunia, Yogyakarta, Indonesia
- Friends of TPS printmaking exhibition at New Miracle Art Shop & Studio, Yogyakarta, Indonesia
2016
Mag Home, Redbase foundation, Yogyakarta, Indonesia
Art Exhibition : Art by Arnoldii Arts Club Featuring prints by Grafis Minggiran
-Symphony II & III, Level 2, Rendezvous Hotel, Singapore
-Yogyakarta Open Studio (Grafis Minggiran) Kids Workshop Studio Grafis Minggiran, Yogyakarta, Indonesia
-PAPERU (ng)impi(an) FKY 28, Taman Budaya, Yogyakarta, Indonesia
-Collective Society (Grafis Minggiran), BEKRAF SPACE, Art Stage 2016, Sheraton Grand Jakarta, Indonesia
-Print Parade #02, Studio Grafis Minggiran, Yogyakarta, Indonesia
-How x Grafis Minggiran, Reused Studio, Taipei, Taiwan
2015
33 Prints exhibition of 3 winnner of 1st Jogja Miniprint Bienal 2014, Jogja Nasional Museum, Yogyakarta, indonesia
Pameran Revitalisasi Museum Haji Widayat, Magelang, Indonesia
2014
Yogya Open Studio Exhibition, ArsKala Principle Studio,Yogyakarta, Indonesia
Jogja Mini Print Biennale , Musium Bank Indonesia, Yogyakarta
Pameran berssama MANIFESTO, Galeri Nasional, Jakarta
Membaca Kota ( Surabaya ), House Of Sampurna, Surabaya
2013
SEA+ Triennale, bersama Grafis Minggiran Galeri Nasional Indonesia, Jakarta
Pra Jogja Mini Print Biennale, Galeri ISI Yogyakarta, Yogyakarta
Print Parade, Studio Grafis Minggiran, Yogyakarta
OPENING Crack Studio, Crack, Yogyakarta
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