Galerie Perrotin, Hong Kong present

J. Ariadhitya Pramuhendra’s solo show “Religion of Science”

from August 22nd to September 14th 2012.


Remarkable for his realistic black and white charcoal paintings, J. Ariadhitya Pramuhendra (b. 1984 in Semarang, Indonesia) creates uncanny realistic portraits and theatrical figurative scenes that evoke Christian iconography, surreal science, and the empowering of self. His works question the spiritual validity of authoritative organisational structures such as organised religions and the medical corps in their search for truth and the divine in man.

Pramuhendra investigates the question of one’s core identity, expanding from his own traditional catholic upbringing within the context ofpracticing Christianity in a Muslim country – the largest Muslim country in the world in fact – visually expressing his search through monochrome aesthetics that draw from figural representation, personal and cultural symbolism, tradition, renaissance, and pop art – in opposition to Islamic religious art aniconism.

Pramuhendra’s work defy elitism, in art and in culture, his youthful approach is grave – to nearly comical extends at times due to an extreme staged dramatisation of his characters – and bold: he stages himself as pope, or stages his relatives in surrendering postures, such as when the females in his family are represented partially nude, crucified yet strong.
There are no simple and quick ways to interpret meanings in Pramuhendra’s works, and there should not be since they are the result of a visceral response to the human condition that the artist interprets through images that contain multiple associations. He gives himself entirely to the canvas, devotedly, using a disarmingly simple and potent visual language that
evolved from his research into his own spirituality, literally diving within the notion of identity – but really creating a world for itself, staging the artist as a seer, as a surgeon into the soul, researching the unknown, surrendering to his own power.



Pramuhendra Headlined on Frankfurter Allgemeine Zeitung

“The Godfather in jeans and flip-flops”

“I also like when the soldiers standing in the door and ask me: Why do you paint yourself almost always”



Pramuhendra at Indonesian Eye

Major Exhibition in Jakarta and London Showcases Contemporary Indonesian Art

Ciputra Artpreneur Center, Jakarta, 9 June to 10 July 2011

Saatchi Gallery, London, 1 September to 9 October 2011


Indonesian Eye, presented by Prudential, is Europe’s first major exhibition of Indonesian contemporary art.Following its successful launch in Jakarta, this unique and exciting collection will now travel to the Saatchi Gallery in London. This exhibition offers the opportunity to view works by Indonesian artists and provides a platform for the country’s contemporary art scene to reach an international audience.


Indonesian Eye: Fantasies and Realities comprises a selection of paintings, sculptures and installations by 17 Indonesian artists. The theme of the exhibition, Fantasies and Realities, pays tribute to Indonesia’s ancient myths and legends, while also reflecting the influence of modern Indonesia. Satirical paintings will be shown alongside works offering comment on present day Indonesian society. Several works employ traditional materials to highlight the country’s rapidly changing society. Some of the works also refer to the influence of Indonesia’s Dutch colonial past.
Works from the following emerging and established artists will be exhibited in London: Nindityo Adipurnomo, Samsul Arifin, Ay Tjoe Christine, Andy Dewantoro, Heri Dono, Eddie Hara, Mella Jaarsma, Jompet Kuswidananto, Rudi Mantofani, Wiyoga Muhardanto, Edo Pillu, Julius Ariadhitya Pramuhendra, Angki Purbandono, Haris Purnomo, Agung Mangu Putra, Wedhar Riyadi and Farhan Siki.


Artworks in the exhibition have all been selected by an independent, international curatorial team comprising Serenella Ciclitira, curator and Co-founder of Parallel Contemporary Art; Tsong-zung Chang, Guest Professor of China Art Academy in Hangzhou and Director of Hanart TZ Gallery in Hong Kong; and Nigel Hurst, CEO of the Saatchi Gallery. Three Indonesian curators: Jim Supangkat, critic and chief curator of CP Foundation, Jakarta; Asmudo Jono Irianto, an independent curator; and Farah Wardani, Executive Director of Indonesian Visual Art Archive (IVAA) collaborated with the curatorial team.



Pramuhendra at The Glass Magazine Online

June, 2010

The Hong Kong Art Fair drew over 45,000 visitors to the Hong Kong Convention and Exhibition Centre, with 155 galleries from 29 countries presenting works by more than 1,000 artists. Its success signalled that the art market is booming again after being dragged down by the global
recession. White Cube sold (yet another) Damien Hirst’s The Inescapable Truth formaldehyde for £1.75m. Heavy hitters such as Pace Beijing, Hauser & Wirth, Gagosian, Lisson, and Marianne Boesky galleries happily parted with works by Richard Prince, Kusama Yayoi, Jeff Koons, Yoshitomo Nara, Anish Kapoor, Julian Opie and others.

In one corner, under the glare of camera lights, Baz Luhrmann, director of epics such as Romeo + Juliet, Moulin Rouge!, and Australia expounded the concept behind The Creek 1977, his new art project with Australian artist Vincent Fantauzzo.

Among the mostly colourful and showy artworks at the fair this year, an understated monochromatic installation by J. Ariadhitya Pramuhendra stood out. The young artist from Indonesia made a big splash at the vernissage despite the big gallery presence peddling the usual big names.
In Pramuhendra’s installation, Ashes to Ashes, a burnt clock and a photo-realistic charcoal drawing surrounded a charred table. In the drawing, The Reunion (Ashes to Ashes), the artist and his family were seated according to da Vinci’s The Last Supper. The piece served as a memento mori for the postmodern age, reminding us of the transience of life and operation of religion in a ulticultural world.

Pramuhendra grew up in Semarang, a northern city in western Java, and was raised in a devout Catholic family in predominantly Muslim Indonesia. He studied printmaking at the Bandung Institute of Technology and formed Platform 3 as an artistic collective drawing on the energy of emerging Indonesian artists and curators.In Platform 3’s artist statement, Pramuhendra states that the connection “to issues of religiosity is precisely where the uniqueness of contemporary art practice in Asia stands.” He wants his works to interrogate “the practice of freedom of appropriating other artists’ works”, while asking the question: “Does being an artist make me free to recreate even the images of my own God?”



Spacing Identities

9-31 May 2009

NUS MUSEUM –Singapore

Co-organizers: NUS Museum, Bandung Institute of Technology and Gajah Gallery
Emerging from various explorations linked to conceptions of the philosophical “Self”, J. Ariadhitya Pramuhendra in his most recent series dissects the seemingly monumental appeal of Spacing Identities. Informed mostly by the artists’

biographical interests, the charcoal works present momentary petitions for recognition by constantly emphasizing on re-assessing the Self in relation to what constitutes identity, the moral and the social in contemporary Indonesia. The Self simultaneously becomes a subject and object of observation and study for the artist, a liminal philosophical category, developed through investigations into artifactual constituents of memory and placed conjunctive to idealizations of artistic labour and its accompanying predicaments.



Honorable mention in “The 12th International Biennial Print and Drawing Exhibition, Taiwan”.

June, 2006

Amidst the reverberation of globalization across the world, how should art communicate the affection for the native land, search for local characteristics, and promote the people’s self-understanding so as to realize the potential of each place, make our world more colourful, and enrich our lives?

The International Biennial Print and Drawing Exhibition opens the door of art to the outstanding artists from all around the world, inviting them to apply their creative energies, enthusiasm, wisdom, new concepts, new visions, and new techniques towards enriching the future development of printmaking and drawing.

The forthcoming exhibition brings the world’s print art practitioners and experts together to exchange views and experiences in Taiwan in order to help spread the seeds of art and firmly plant the fine creative traditions of printmaking and drawing around the globe.



Revisiting The Last Supper: Opening Night.

An exhibition curated by Rifky Effendy. Tuesday, 31 March 2009 at 7 p.m. , CGartspace: Plaza Indonesia 3rd floor #119. Opens until 12 April 2009.


” Refresh is a presentation of works by a generation of young Indonesian artists – mostly in their twenties – Showcasing a new attitude and approach to artistic production that will probably define the Indonesian art practices in the years to come. Or perhaps they won’t but why bother now?
More importantly, these works suggest that there was a time when art was just something that we want to do, want to make, and be happy with it. ”

Taken from the writing on the wall of the exhibition.
Support Your Local Artists!

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