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Gray Would Be The Color, If I Had a Heart

Curated by Tim Hawkinson
June 21 – July 31, 2015

Opening Reception: June 21, 2015 6-8pm

 

Not completely hopeless. Not utterly bleak. Not fully shrouded in darkness.
Gray allows for the possibility of distant optimism.

This show assembles a group of artworks that evoke a particular feeling of lonely listlessness, embedded with the faint glimmer of hope that the idea of improvement might be possible. Laying in the gutter, but staring at the stars. Straining to see into the distance. The reaction to this arrested position of something potentially better just out of reach hovers between thoughtful reverie, heartbroken nostalgia, and helpless sloth. But with an increasingly gnawing discontent under the skin comes a more pressing and fevered need for an undefined change.

Robert Barry’s diptych simply states “Incomplete”, ambiguously a possible question or a declaration, but in either case prompts the inquiry of what then is missing, and can it ever be known or achieved. Jeffrey Gibson’s mostly black adorned punching bag has its title beaded on its surface: “I’m Not Perfect”. This brooding yet elegant work suggests a sadness, yet acceptance of limitations; it shows a determination, a confidence in itself against the odds. Zlatan Vehabovi?’s painting of a beached whale is a moment of utter loneliness and helplessness, the creature, the protagonist we connect to, clinging to its last moments. VALIE EXPORT’s collage of images mixing the faces of Salzburg nurses with the hospital buildings they work in is an examination of the limits of their identity, are they defined only by their profession? Marc Bijl’s corroded silver surfaced painting has a bronze plate affixed – “Gagosian”, the sign plate of the gallery which the artist filched. Is the painting good enough without the imprimatur of the vaunted gallery? In Diana Shpungin’s sculpture, “A Failure of Memory” crumpled pieces of paper, overly saturated with graphite, spill from a gauzed and bandaged trash can. Whatever thoughts or memories that might have been recorded are obliterated, only the fact that they once existed and the wounds they may have inflicted remain.

The exhibition includes work by: William Anastasi (US), Robert Barry (US), Thomas Bangsted (Denmark), Marc Bijl (Netherlands), Daniel Boyd (Australia), Dove Bradshaw (US), Grayson Cox (US), Jessica Dickinson (US), Matt Ducklo (US), Tim Eitel (Germany), VALIE EXPORT(Austria), Eric Freeman (US) Jeffrey Gibson (US), Kristján Gudmundsson (Iceland), Geoff Hippenstiel (US), Ridley Howard (US), Jasper Johns (US), Jim Lee (US), Sol LeWitt (US), Ralph Eugene Meatyard (US), Jong Oh (Korea), Paul P. (Canada), Joyce Pensato (US), Rona Pondick (US), J. Ariadhitya Pramuhendra(Indonesia), Andrew Sendor (US), Diana Shpungin (Latvia/US), Sam Trioli (US), Zlatan Vehabovi? (Croatia)

 

The exhibition can be visited online: http://www.marcstraus.com/exhibitions/gray-would-be-the-color-if-i-had-a-heart/

MARC STRAUS GALLERY

299 Grand Street
New York NY. 10002

Tues – Sat: 11:00 – 6:00

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J. Ariadhitya Pramuhendra and Jian Yi Hong

Michael Ku Gallery is glad to announce the dual exhibition in the early spring of 2015 that features two young artists: J. Ariadhitya Pramuhendra from Indonesia and Yi-Hong Jian, an emerging artist from Taiwan. The exhibition will show Pramuhendra’s latest charcoal drawings made in 2014 as well as few simple, light and refined watercolor paintings on paper. As for Jian who just won the Merit Awards of the Taipei Arts Awards 2014 and whose work is based on ink wash, he will show several selected works

Link:

http://www.randian-online.com/np_event/michael-ku-gallery-j-ariadhitya-pramuhendra-and-yi-hong-jian/

 

 

 

 

 

 

 

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Today and Tomorrow : Indonesian Contemporary Art

Press Release

Yallay Gallery/Jean Marc Decrop Presents
Today and Tomorrow : Indonesian Contemporary Art

Thursday May 15th, 6:00 – 9:00 pm
Exhibition runs until Saturday June 7th

This ambitious exhibition of 18 artists is revealing the specificity of contemporary art practice in Indonesia in its variety, from Post reformation (mid 1990′s) to Post market (the most recent generation).

Works exhibited are not minimal, they don’t follow the trends of international art in Los Angeles, New York or Berlin, they are deeply rooted in the Indonesian psyché, with most of the artists coming from 2 vibrant art scenes in Indonesia: Yogyakarta and Bandung. They have a distinct flavour, and whisper a different voice in this globalized art world.Yogyakarta was centuries ago the glowing spiritual center of South Asia with temples and study centers for both Buddhism (Borobudur) and Hindiusm (Prambanan), a spirituality that can be found today in the work of Albert Yonathan Setyawan, one of the 5 artists from last year Venice Biennale pavilion or in the conceptual works of Wiyoga Muhardanto, and Melati Suryodarmo.

Other works have a strong link with Nature and popular culture, with religious beliefs, divinities and voodoo, with black magic, as in the art of Entang Wiharso, Eko Nugroho, and Agus Suwage. The popular practice of shadow Wayang puppets where in each village social, political, public events of the community are discussed, and represented has been a source of inspiration for many artists in Indonesia. The buffalo skin puttpets of Eko Nugroho, presented in the 2009 Lyon Biennale are featured in the exhibition as well as metal works by Agung Kurniawan and Entang Wiharso based on this shadow theater.

The collective Taring Padi of which artist Ucup is the leader is engraving wood-blocks in an expressionist manner to defend peasants rights or any other oppressed social group. Bambang Toko from the former group Apotik Comic draws scenes with characters from popular culture on top of oil barrels lids while Maryanto scratches plastic panels in his comic-like compositions. Taking her roots from representational Balinese art, the work of Sri Astari, the Frida Khalo of Asia, is based on her very personal autobiographical history, while Christine Ay Tjoe expresses her anxieties, desires and tensions in expressive, semi-abstract oils and dry-point engravings. Arin Sunaryo uses ashes from volcano eruptions of Merapi or Mount Kelud as a medium for his abstract compositions, while Ariadhitya Pramuhendra medium is charcoal on canvas for his dark and futuristic visions. From Bandung, 2 young artists affiliated with the collective Platfom 3, Benzig and Mujahiddin create contemporary works with plexiglass or paper that are related to political and religious propaganda. The exhibition is curated by Rifky Effendy, the curator of the first Indonesia pavilion at last year Venice Biennale, but also the originator of 2 alternative platforms for young artists in Indonesia, one in Jakarta: Inkubatorasia and one in Bandung: Platform3.

The exhibition can be visited online: http://www.yallaygallery.net

Yallay Gallery Unit 3C Yallay Industrial Building 6 Yip Fat Street Wong Chuk Hang, Hong Kong Tues-Sat: 11am – 6pm Or by appointment info@yallay.net +852 3575 9417

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Vox clamantis in deserto


Equator Art Projects is pleased to announce the return of Indonesian artist, J. Ariadhitya Pramuhendra, for a special project. Presented at the gallery is a new body of works that showcase the artist’s continued exploration of working in charcoal on canvas.

The title of the exhibition, Vox clamantis in deserto, is a biblical reference from the Book of Isaiah, meaning “the voice of the one crying out in the wilderness”. Pramuhendra’s work depicts the aftermath of the destruction of the world. Blurred figures emerge into the foreground, their identities concealed by oppressive gas masks. The landscape is a desolate, barren wasteland. Signs from Legoland and Universal Studios, two famous amusement parks, have collapsed into the ground. These amusement parks function both as a centre of social activity, where people congregate, socialise and come to seek entertainment, as well as embodying rapid globalisation and commercialisation. Do these toppled signs signify the fall of capitalism, contemporary consumerism and the disintegration of local communities? What is our bleak fate that lies before us?

Vox clamantis in deserto will be accompanied by a catalogue with a text by Heru Hikayat

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SEA+ Triennale

SEA Triennale Indonesia is triennale art event (three yearly) the first international organized by the Ministry of education and Culture Indonesia. SEA is an acronym for the South East Asia Plus are intended as organizing art exhibitions which are always presenting works by Southeast Asian countries following (plus) the countries to be invited in accordance with special focus theme each year.

In 2013, the SEA will involve Triennale artists who come from a number of countries from the Southeast Asia region and artists in the region around Asia. The themes raised in this year’s Global Art, Ways Around Asia. Curatorial exhibition handled by the Board of curators, headed by Jim Supangkat Suwarno Wisetrotomo, Member and Asikin Hasan, Mochammad Badrolhisham Thahir, Rizki Ahmad Zaelani, a. Rikrik Kusmara.

SEA Trienalle 2013 is planned to be opened by Indonesia’s Vice President, Prof. Dr. Boediono in the National Gallery of Indonesia on November 13, 2010 at 19: 00. The exhibition will last for one month until the December 12, 2013.

http://seaplus-triennale.info/wp/?page_id=12

In this exhibition, Pramuhendra’s presenting the installation work “Elechair”

Elechair, Variable Dimension, 2013

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    • J. Ariadhitya Pramuhendra and Jian Yi Hong

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