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Seasonal Selection

In this program, we invite curators, to curate the collection of artworks that we have in the stockroom, with different themes and different contexts, the aim is to open opportunities for artworks to be re-read, re-viewed and re-contextualised for both educational and market purposes.

Seasonal Selection, February 2024, 18 Artwork

Curated by Arlingga Hari Nugroho

A verified amateur writer. He runs an alternative media based on citizen journalism called Sudut Kantin Project. Also member of artist collective Ruang MES 56 in Yogyakarta. He is interested in collective arts work practices, figuring out the alternative media scene, and spending time talking about music

Playlist #2: Lebih Baik di Sini, Rumah Kita Sendiri

A busker at an intersection has barely finished singing the refrain of God Bless "Rumah Kita" when the green light turns on. Behind him, party flags and billboards of candidates are still attached to trees and electricity poles.

The recent democratic party was like rainwater that flooded the streets, flowed into the house, and seeped onto the screen of a cellphone at every snippet of time. Some things then feel out of place, making it difficult to distinguish between personal matters, privacy, and public consumption in the torrent of information. Quite often, we find ourselves in an in-between situation: between the domestic space and the public space; the quiet and the noise; the defense or the surrender; the choice or the abstention.

Just like a country, a home has always had a unique political form. It is full of various interests, biases, and loyalties of each family member that often collide. There are times when fiery debates about the history of the nation, political figures, and conspiracies a la messages in the family Whatsapp group are not spared at the dinner table. Without realizing it, we find that the state - in whatever form - seeps into the fabric of the home shaping everyone's thoughts and behavior.

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

The exhibition Playlist #2: Better Here, Our Own Home is the second series initiated by the Stockroom 56 unit as a rotating exhibition of MES 56 artists. The selected works in this exhibition show fragments of events in domestic and public spaces that are scattered from time to time. Political fanaticism, public lies, stories of nationalism cum militarism, and feelings that linger in the domestic space become stories that are never finished. However, we always have a way to feel okay in a house full of murky history.

If only the busker at the crossroads had finished the refrain, "it's better here / our own home", are we sure all favors and graces are here?

Selected Works

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

High Five, 2024

3 minutes
Single channel video

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Jenderal Besar Soedirman #1, 2018

From War and Heroes series
Image 40 x 48.5 cm Paper 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Jenderal Besar Soedirman #2, 2018

From War and Heroes series
Image 40 x 48.5 cm Paper 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Pemimpin Besar Revolusi Ir. Soekarno #1, 2018

From War and Heroes series
Image: 40 x 48.5 cm Paper: 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Pemimpin Besar Revolusi Ir. Soekarno #2, 2018

From War and Heroes series
Image: 40 x 48.5 cm Paper: 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry

Curator's Note

The recent democratic party was like rainwater that flooded the streets, flowed into the house, and seeped onto the screen of the cellphone at every snippet of time. Some things then feel out of place, making it difficult to distinguish between personal matters, the realm of privacy, and public consumption in the torrent of information. Quite often, we find ourselves in an in-between situation: between the domestic space and the public space; the quiet and the noise; the defense or the surrender; the choice or the abstention.

Arlingga Hari Nugroho, February 2024

Selamat Tinggal Privasi ! No. 1, 2021

From Selamat Tinggal Privasi series
40 x 60 cm
Photography Print On Photo Paper

Rp6.750.000

Inquiry

Curator's Note

The recent democratic party was like rainwater that flooded the streets, flowed into the house, and seeped onto the screen of the cellphone at every snippet of time. Some things then feel out of place, making it difficult to distinguish between personal matters, the realm of privacy, and public consumption in the torrent of information. Quite often, we find ourselves in an in-between situation: between the domestic space and the public space; the quiet and the noise; the defense or the surrender; the choice or the abstention.

Arlingga Hari Nugroho, February 2023

Selamat Tinggal Privasi ! No. 3, 2021

From Selamat Tinggal Privasi series
70 x 70 cm
Photography Print On Photo Paper

Rp5.400.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Suharto.jpg, 2015

From LIE series
40 x 36,5 cm
Silk screen on canson paper

Rp2.000.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Tifatul Sembiring.jpg, 2015

From LIE series
40 x 36,5 cm
Silk screen on canson paper

Rp2.000.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Nazril Ilham.jpg, 2015

From LIE series 40 x 36,5 cm Silk screen on canson paper

Rp2.000.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Tahun-Tahun Yang Berbahaya #1 series, 2022

From Tahun-Tahun Yang Berbahaya series
40 x 40 cm
Digital print on photo paper

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Tahun-Tahun Yang Berbahaya #2 series, 2022

From Tahun-Tahun Yang Berbahaya series
40 x 40 cm
Digital print on photo paper

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Tahun-Tahun Yang Berbahaya #3 series, 2022

From Tahun-Tahun Yang Berbahaya series
40 x 40 cm
Digital print on photo paper

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Tentara Keamanan Rakyat #1, 2018

From War and Heroes series
Image 38.5 x 50 cm Paper 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Tentara Keamanan Rakyat #2, 2018

From War and Heroes series
Image 38.5 x 50 cm Paper 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry

Curator's Note

Quite often, we find ourselves in an in-between situation: between the domestic space and the public space; the quiet and the noise; the defense or the surrender; the choice or the abstention.

Arlingga Hari Nugroho, February 2024

Theater Object (Glass), 2024

From Theater Object series
Image 18 x 18 cm Frame 38 x 38 cm
Archival inkjet print on Ilford Smooth Cotton 310 gsm

Rp1.800.000

Inquiry

Curator's Note

Quite often, we find ourselves in an in-between situation: between the domestic space and the public space; the quiet and the noise; the defense or the surrender; the choice or the abstention.

Arlingga Hari Nugroho, February 2024

Theater Object (Toothpick), 2024

From Teather Object series
Image 18 x 18 cm Frame 38 x 38 cm
Archival inkjet print on Ilford Smooth Cotton 310 gsm

Rp1.800.000

Inquiry

Curator's Note

Pieces of history come to show us something of the past. Devastation, defeat, irregularities, and so on are duplicated in forms and events that sometimes feel close but vague in recent times, even at home. At that point, there is always the belief that it is better here, our own home after all.

Arlingga Hari Nugroho, February 2024

Pangeran Diponegoro, 2018

From War and Heroes series
Image 40 x 48.5 cm Paper 50 x 60 cm
Archival Inkjet Print on Watercolor Paper
Edition: 2/5, Signed on the back

Rp3.500.000

Inquiry
Download e-Catalog

Seasonal Selection, Summer 2023, 22 Artwork

Curated by Anang Saptoto

Anang Saptoto is an artist, designer, and activist living in Yogyakarta, Indonesia. He completed his education at the Visual Communication Design Department, Yogyakarta Vision Design Academy (2000-2005), and at the Television Department, Faculty of Record Media Arts, Yogyakarta Indonesian Art Institute (2002-2009).

Playlist August 2023

“It is not the strongest that survive, nor the most intelligent, but the ones most responsive to change.” I heard that sentence being quoted during a public lecture some time ago. I quickly wrote it down in my notebook at the time, because I felt that quote was spot on. I was now reminded of the quote as I was preparing this exhibition. The above-mentioned sentence can perhaps describe what I think about the form that we need to bring about, both as individuals and as a collective. Being responsive is one the ways we deal with what we encounter, which is then manifested in the form of thoughts and actions. It is also the case with Ruang MES 56. It was born and grew from a response. Up until today, a journey of 21 years, MES 56 has done numerous responses to mark as well as to surpass its time, from initiating an exhibition space in the reception room of a dorm, running its programmes and activations over the years without financial support from a donor, legalising its entity by forming a foundation, developing its network, to creating and running a business unit names Agensi 56. These responses are our attempt to adapt to the things we encounter since 2002 until today.Six artist-members of MES 56 collective are participating in this exhibition. They are Alam Rafif Alfa, Anang Saptoto, Edwin Roseno, Fransisco Edwardo, Muhammad Alfariz, Vincentious Ola Lamapaha, and Yudha Kusuma Putera. The works included in Playlist August 2023 are specific photography works that are processed from images found in the internet to images that are retouched after the shoot. Various skills are applied by each artist as they respond to different contexts, by playing with darkroom printing technique also creating digital collages with computer softwares.

Selected Works

Curator's Note

Physical presence in the production of photography works can be seen in Anang Saptoto’s works. The artist has often worked with urban farming groups in Yogyakarta city as well as other regencies in the province. Anang has a way to adapt his social space. On the other hand, he also has sensitivity to process what he found around the farming areas. He sometimes brings grated coconut, coconut seeds, soybeans, and manure in producing photography works. In this exhibition, Anang responds the objects he found by turning them into abstract facial forms using some old print techniques such as photogram, lumen, and cyanotype. The resulting work, Wajah-wajah Ekologis (Ecological Faces), reflects what sort of face we imagine for our environment.

Anang Saptoto, August 2023

Ecological Faces: Coconut Seeds, 2018

85 x 87.5 cm
Scan from Photogram Oldprint, Coconut seeds, Print on photo paper, Wooden frame with glass.
5 Edition, 3 Artist proof

Rp10.000.000

Inquiry

Curator's Note

Physical presence in the production of photography works can be seen in Anang Saptoto’s works. The artist has often worked with urban farming groups in Yogyakarta city as well as other regencies in the province. Anang has a way to adapt his social space. On the other hand, he also has sensitivity to process what he found around the farming areas. He sometimes brings grated coconut, coconut seeds, soybeans, and manure in producing photography works. In this exhibition, Anang responds the objects he found by turning them into abstract facial forms using some old print techniques such as photogram, lumen, and cyanotype. The resulting work, Wajah-wajah Ekologis (Ecological Faces), reflects what sort of face we imagine for our environment.

Anang Saptoto, August 2023

Ecological Faces: Goat Manure Fertiliser, 2023

60 x 85cm
Scan from Cynotype Oldprint, Goat Manure Fertiliser (Pupuk Kambing) Print on photo paper, Wooden frame with glass.
5 Edition, 3 Artist proof

Rp10.000.000

Inquiry

Curator's Note

Physical presence in the production of photography works can be seen in Anang Saptoto’s works. The artist has often worked with urban farming groups in Yogyakarta city as well as other regencies in the province. Anang has a way to adapt his social space. On the other hand, he also has sensitivity to process what he found around the farming areas. He sometimes brings grated coconut, coconut seeds, soybeans, and manure in producing photography works. In this exhibition, Anang responds the objects he found by turning them into abstract facial forms using some old print techniques such as photogram, lumen, and cyanotype. The resulting work, Wajah-wajah Ekologis (Ecological Faces), reflects what sort of face we imagine for our environment.

Anang Saptoto, August 2023

Ecological Faces: Grated Coconut, 2018

85 x 87.5 cm
Scan from Lumen Oldprint, Grated coconut, Print on photo paper, Wooden frame with glass
5 Edition, 3 Artist proof

Rp10.000.000

Inquiry

Curator's Note

Physical presence in the production of photography works can be seen in Anang Saptoto’s works. The artist has often worked with urban farming groups in Yogyakarta city as well as other regencies in the province. Anang has a way to adapt his social space. On the other hand, he also has sensitivity to process what he found around the farming areas. He sometimes brings grated coconut, coconut seeds, soybeans, and manure in producing photography works. In this exhibition, Anang responds the objects he found by turning them into abstract facial forms using some old print techniques such as photogram, lumen, and cyanotype. The resulting work, Wajah-wajah Ekologis (Ecological Faces), reflects what sort of face we imagine for our environment.

Anang Saptoto, August 2023

Ecological Faces: Soybeands, 2020

70 x 87.5 cm
Scan from Photogram Oldprint, Soybeans, Print on photo paper, Wooden frame with glass.
5 Edition, 3 Artist proof.

Rp10.000.000

Inquiry

Curator's Note

Alam Rafif Alfa collects online images of fancy food, which are spread across social media. The selected images are then digitally montaged. Alam seeks the relation between the images and areas where ecological disasters took place. For example, traditional food from one place, plants that grows there, and conditions of the conflict that is happening there. In the process, Alam often visits the places to observe and take some documentary photographs.

Anang Saptoto, August 2023

Grilled Chicken Feet On Fly Ash, 2021

From Eat Dish Myth series
40 x 60 cm
Photographic prints
10 Edition

Rp3.500.000

Inquiry

Curator's Note

Alam Rafif Alfa collects online images of fancy food, which are spread across social media. The selected images are then digitally montaged. Alam seeks the relation between the images and areas where ecological disasters took place. For example, traditional food from one place, plants that grows there, and conditions of the conflict that is happening there. In the process, Alam often visits the places to observe and take some documentary photographs.

Anang Saptoto, August 2023

Lontong kupang with black hot ice cream, 2021

40 x 60 cm
Photographic prints
10 Edition

Rp3.500.000

Inquiry

Curator's Note

Alam Rafif Alfa collects online images of fancy food, which are spread across social media. The selected images are then digitally montaged. Alam seeks the relation between the images and areas where ecological disasters took place. For example, traditional food from one place, plants that grows there, and conditions of the conflict that is happening there. In the process, Alam often visits the places to observe and take some documentary photographs.

Anang Saptoto, August 2023

Look, I found trash in this turtle's entrail, 2021

From Eat Dish Myth series
40 x 60 cm
Photographic prints
10 Edition

Rp3.500.000

Inquiry

Curator's Note

People’s perspectives in seeing things around them didn’t go unnoticed by Yudha Kusuma Putera or Fehung. The work stems from the awareness towards objects around us and their relations with people’s perseption. In this work, Fehung positions himself with a reversed point of view, that is from the inside looking out, “borrowing the subjects’ eyes and being in their positions”. For example, a long distance bus driver spends half his life seeing the world through the frame of the vehicle’s windshield. A chicken seller, who waits for customers for hours, has their view blocked by their chicken as a kind of frame, which becomes a part of their daily life. It is important to understand what can always be seen and perhaps felt by others in their daily lives.

Anang Saptoto, August 2023

Meminjam Mata dan Melihat Ruang, 2012

from Meminjam Mata dan Melihat Ruang series
40 x 60 cm
Photography print on paper, Wood frame
3 Edition + 1 Artist proof

Rp7.000.000

Inquiry

Curator's Note

People’s perspectives in seeing things around them didn’t go unnoticed by Yudha Kusuma Putera or Fehung. The work stems from the awareness towards objects around us and their relations with people’s perseption. In this work, Fehung positions himself with a reversed point of view, that is from the inside looking out, “borrowing the subjects’ eyes and being in their positions”. For example, a long distance bus driver spends half his life seeing the world through the frame of the vehicle’s windshield. A chicken seller, who waits for customers for hours, has their view blocked by their chicken as a kind of frame, which becomes a part of their daily life. It is important to understand what can always be seen and perhaps felt by others in their daily lives.

Anang Saptoto, August 2023

Meminjam Mata dan Melihat Ruang, 2012

from Meminjam Mata dan Melihat Ruang series
40 x 60 cm
Photography print on paper, Wood frame
3 Edition + 1 Artist proof

Rp7.000.000

Inquiry

Curator's Note

People’s perspectives in seeing things around them didn’t go unnoticed by Yudha Kusuma Putera or Fehung. The work stems from the awareness towards objects around us and their relations with people’s perseption. In this work, Fehung positions himself with a reversed point of view, that is from the inside looking out, “borrowing the subjects’ eyes and being in their positions”. For example, a long distance bus driver spends half his life seeing the world through the frame of the vehicle’s windshield. A chicken seller, who waits for customers for hours, has their view blocked by their chicken as a kind of frame, which becomes a part of their daily life. It is important to understand what can always be seen and perhaps felt by others in their daily lives.

Anang Saptoto, August 2023

Meminjam Mata dan Melihat Ruang, 2012

from Meminjam Mata dan Melihat Ruang series
40 x 60 cm
Photography print on paper, Wood frame
3 Edition + 1 Artist proof

Rp7.000.000

Inquiry

Curator's Note

People’s perspectives in seeing things around them didn’t go unnoticed by Yudha Kusuma Putera or Fehung. The work stems from the awareness towards objects around us and their relations with people’s perseption. In this work, Fehung positions himself with a reversed point of view, that is from the inside looking out, “borrowing the subjects’ eyes and being in their positions”. For example, a long distance bus driver spends half his life seeing the world through the frame of the vehicle’s windshield. A chicken seller, who waits for customers for hours, has their view blocked by their chicken as a kind of frame, which becomes a part of their daily life. It is important to understand what can always be seen and perhaps felt by others in their daily lives.

Anang Saptoto, August 2023

Meminjam Mata dan Melihat Ruang, 2012

from Meminjam Mata dan Melihat Ruang series
40 x 60 cm
Photography print on paper, Wood frame
3 Edition + 1 Artist proof

Rp7.000.000

Inquiry

Curator's Note

The use of oldprint technique in producing works can also be seen in the practice of Edwin Roseno or Dolly. In the past few years, Dolly has often used photogram in producing his works. He recorded objects from his daily life, such as carpentry tools, household utensils, etc. The limited sizes of the available photo paper pushes him to be more creative. He puts together 8×10 sized photo papers so he can make a bigger work. One of the initiators of Afdruk 56, Dolly sometimes responds the found objects by composing them into the forms of imaginative portraits as photograms.

Anang Saptoto, August 2023

Mr and Ms Choosey, 2023

160 x 100 cm (diptych)
Lumen print, Kodak BW photo paper, Wooden frame with glass.
Monoprint

Rp15.000.000

Inquiry

Curator's Note

The use of oldprint technique in producing works can also be seen in the practice of Edwin Roseno or Dolly. In the past few years, Dolly has often used photogram in producing his works. He recorded objects from his daily life, such as carpentry tools, household utensils, etc. The limited sizes of the available photo paper pushes him to be more creative. He puts together 8×10 sized photo papers so he can make a bigger work. One of the initiators of Afdruk 56, Dolly sometimes responds the found objects by composing them into the forms of imaginative portraits as photograms.

Anang Saptoto, August 2023

Mr. Morning Zombie, 2023

80 x 125 cm
Lumen print, Kodak BW photo paper Wooden frame with acrylic glass
Monoprint

Rp10.000.000

Inquiry

Curator's Note

Care is the base act in the practice of Vincentius Ola Lamapaha or Ventus. Departing from his interest in analogue photography, Ventus begins to collect a few documentations of his father operating an analogue camera. Here we see some of the negatives that he keeps after he managed to treat them from almost damage due to unideal storage. Some films are unsalvageable, but some can still be treated. Ventus treats his family archives by re-soaking the films in stopbath and fixer solutions, rinsing them with water, and then storing them in a dry place. The photos from his family archives that are exhibited here are like a reminder to us of how a medium can reconnect the disconnected time.

Anang Saptoto, August 2023

Rescue & Treatment Negative Film (Family Archive), 2022

29,7 x 42 cm Print on photograph paper 9 Edition 1 Artist Proof

Rp2.000.000

Inquiry

Curator's Note

Care is the base act in the practice of Vincentius Ola Lamapaha or Ventus. Departing from his interest in analogue photography, Ventus begins to collect a few documentations of his father operating an analogue camera. Here we see some of the negatives that he keeps after he managed to treat them from almost damage due to unideal storage. Some films are unsalvageable, but some can still be treated. Ventus treats his family archives by re-soaking the films in stopbath and fixer solutions, rinsing them with water, and then storing them in a dry place. The photos from his family archives that are exhibited here are like a reminder to us of how a medium can reconnect the disconnected time.

Anang Saptoto, August 2023

Rescue & Treatment Negative Film (Family Archive), 2020

30 x 45 cm Print photography on paper, dimensions vary, wood frame

Rp2.000.000

Inquiry

Curator's Note

Care is the base act in the practice of Vincentius Ola Lamapaha or Ventus. Departing from his interest in analogue photography, Ventus begins to collect a few documentations of his father operating an analogue camera. Here we see some of the negatives that he keeps after he managed to treat them from almost damage due to unideal storage. Some films are unsalvageable, but some can still be treated. Ventus treats his family archives by re-soaking the films in stopbath and fixer solutions, rinsing them with water, and then storing them in a dry place. The photos from his family archives that are exhibited here are like a reminder to us of how a medium can reconnect the disconnected time.

Anang Saptoto, August 2023

Rescue & Treatment Negative Film (Family Archive), 2020

30 x 32.5cm Print photography on paper, dimensions vary, wood frame

Rp2.000.000

Inquiry

Curator's Note

Care is the base act in the practice of Vincentius Ola Lamapaha or Ventus. Departing from his interest in analogue photography, Ventus begins to collect a few documentations of his father operating an analogue camera. Here we see some of the negatives that he keeps after he managed to treat them from almost damage due to unideal storage. Some films are unsalvageable, but some can still be treated. Ventus treats his family archives by re-soaking the films in stopbath and fixer solutions, rinsing them with water, and then storing them in a dry place. The photos from his family archives that are exhibited here are like a reminder to us of how a medium can reconnect the disconnected time.

Anang Saptoto, August 2023

Rescue & Treatment Negative Film (Family Archive), 2020

30 x 32.5cm Print photography on paper, dimensions vary, wood frame

Rp2.000.000

Inquiry

Curator's Note

In terms of observation, Fransisco Edwardo, or Edi for short, has a unique way in expressing his love of natural landscapes. Edi often photographs mountains, beaches, paddyfields, etc. Edi finds a great joy when he manages to immortalise the amazing landscape. The deep connection that he feels towards nature functions as the foundation for the two works that he is exhibiting here. Penyembuhan Diri (Self Healing) is the title he chose in describing the blend of landscape photography with the skilfully drawn line illustrations. Edi tries to describe himself as an individual who gains immense joy, well-being, and happiness by immersing himself in nature through his photographic practice.

Anang Saptoto, August 2023

Self Hiling 1, 2022

29,7 x 42 cm
Print on photograph paper

9 Edition 1 Artist Proof

Rp2.000.000

Inquiry

Curator's Note

In terms of observation, Fransisco Edwardo, or Edi for short, has a unique way in expressing his love of natural landscapes. Edi often photographs mountains, beaches, paddyfields, etc. Edi finds a great joy when he manages to immortalise the amazing landscape. The deep connection that he feels towards nature functions as the foundation for the two works that he is exhibiting here. Penyembuhan Diri (Self Healing) is the title he chose in describing the blend of landscape photography with the skilfully drawn line illustrations. Edi tries to describe himself as an individual who gains immense joy, well-being, and happiness by immersing himself in nature through his photographic practice.

Anang Saptoto, August 2023

Self Hiling 2, 2022

29,7 x 42 cm Print on photograph paper 9 Edition 1 Artist Proof

Rp2.000.000

Inquiry

Curator's Note

His project in this exhibition is a search for an environmentally friendly medium for photo prints. He chooses to use anthotype, which is wet print technique that uses organic material from plants with chlofophyll (a green pigment which is responsible for the absorption of light to provide energy for photosynthesis), also crushed flower petals, or leaves that are exposed to the sun. The work has fairly thin contrast and the images fade when exposed to sunlight due to their imperfect fixation process. Fariz has predicted and is fully aware of the seemingly dull resulting images, as in this context he doesn’t consider himself as a photographer nor anthotypist. He is more comfortable in calling himself as an image maker. Fariz’s work in this exhibition reflects his attitude in viewing the environmental context: As is, without any preservatives, just as his images are fading over time.

Anang Saptoto, August 2023

Unpredictable Bloom 1, 2022

From Unpredictable Bloom series
21 x 15 cm
Butterfly pea, rose on watercolor paper
Monoprint

Rp800.000

Inquiry

Curator's Note

His project in this exhibition is a search for an environmentally friendly medium for photo prints. He chooses to use anthotype, which is wet print technique that uses organic material from plants with chlofophyll (a green pigment which is responsible for the absorption of light to provide energy for photosynthesis), also crushed flower petals, or leaves that are exposed to the sun. The work has fairly thin contrast and the images fade when exposed to sunlight due to their imperfect fixation process. Fariz has predicted and is fully aware of the seemingly dull resulting images, as in this context he doesn’t consider himself as a photographer nor anthotypist. He is more comfortable in calling himself as an image maker. Fariz’s work in this exhibition reflects his attitude in viewing the environmental context: As is, without any preservatives, just as his images are fading over time.

Anang Saptoto, August 2023

Unpredictable Bloom 2, 2022

From Unpredictable Bloom series
21 x 28,7 cm
Rose on watercolor paper
Monoprint

Rp1.200.000

Inquiry

Curator's Note

His project in this exhibition is a search for an environmentally friendly medium for photo prints. He chooses to use anthotype, which is wet print technique that uses organic material from plants with chlofophyll (a green pigment which is responsible for the absorption of light to provide energy for photosynthesis), also crushed flower petals, or leaves that are exposed to the sun. The work has fairly thin contrast and the images fade when exposed to sunlight due to their imperfect fixation process. Fariz has predicted and is fully aware of the seemingly dull resulting images, as in this context he doesn’t consider himself as a photographer nor anthotypist. He is more comfortable in calling himself as an image maker. Fariz’s work in this exhibition reflects his attitude in viewing the environmental context: As is, without any preservatives, just as his images are fading over time.

Anang Saptoto, August 2023

Unpredictable Bloom 3, 2022

From Unpredictable Bloom series
28,7 x 21 cm
Spinach Water on watercolor paper
Monoprint

Rp800.000

Inquiry
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Curator's Note

This work was selected in the curatorial “Studio Foto Kilat 56” because Jimbo’s work uses afdruk techniques and screen printing experiments, using photogram techniques and then colour screened on photo paper, Jimbo explores this by choosing objects that he finds in the warehouse.

Anang Saptoto