Equa­tor art Projects

Harper's Bazaar Art (Indonesia) - - What’s On Baj -

The sis­ter gallery to Langgeng Gallery, one of the top gal­leries in In­done­sia and af­fil­i­ated with Langgeng Art Foun­da­tion (LAF) - Yo­gyakarta, Equa­tor Art Projects aims to be a plat­form for art that is in­tel­li­gent, sen­su­ous, and “of-this-mo­ment”, re­gard­less the medium. Equa­tor Art Projects also shows the works of emerg­ing and mid-ca­reer artists from In­done­sia, Sin­ga­pore, The Phillip­ines and Malaysia. The gallery seeks to con­trib­ute to the study of South­east Asian art his­tory through its ex­ten­sive pro­gram of ex­hi­bi­tions, talks and pub­li­ca­tions. Equa­tor Art Project was es­tab­lished in year 2012 by Deddy Irianto, a well-known art dealer, now based in Yo­gyakarta, also directed by Tony God­frey and cu­ra­tor Rifky Ef­fendy.

One of the art so­ci­eties whose ac­tiv­i­ties are sup­ported by Equa­tor Art Projects is Neo Pi­ta­maha. Es­tab­lished in the early of 2014, Neo Pi­ta­maha is a group of arts which holds on to the root of aes­thet­ics dis­cov­ery of fine arts, started from un­der­stand­ing Ba­li­nese Paint­ings as the ba­sic ex­plo­ration. Ba­li­nese paint­ing which is also rec­og­nized as clas­sic art and tends to be re­ferred to tra­di­tional art, is a long trail of his­tory of In­done­sian art de­vel­op­ment. Later in the colo­nial­ism era, its sta­tus as “pic­ture” of reli­gious ded­i­ca­tion was changed into art paint­ings and then be­ing kept by the col­lec­tors in the colo­nial pe­riod.

In 1930s, a group called Pita Maha came into ex­is­tence. It be­came a start­ing point where the first com­mu­nity of art in Bali emerged, a com­mu­nity which was founded by Tjoko­rde Agung Sukawati, Ru­dolf Bon­net, Wal­ter Spies, Gusti Ny­oman Lem­pad, and some other names of lo­cal artists and abroad. Nowa­days, the lo­cal painters who min­gle with the other na­tional painters start think­ing about the themes such as na­tional move­ment, so­cial democ­racy, and other themes re­lated to the spirit to fight. And it seems that Ba­li­nese paint­ing is ruled out from na­tional dis­course and called as “tra­di­tional paint­ing”. The fun­da­men­tal power of Ba­li­nese Paint­ing re­lies on its draw­ing. A well-main­tained draw­ing skill is def­i­nitely needed in creat­ing lines on each layer of Ba­li­nese paint­ing, started from when the work be­gan un­til it has done-or at least it is as­sumed fin­ish. Crafts­man­ship draw­ing is the main key in the Ba­li­nese paint­ing’s el­e­ment. Neo Pi­ta­maha con­sists of four artists who use Ba­li­nese paint­ing as the aes­thet­ics dis­cov­ery of fine arts; they are Gede Ma­hen­dra Yasa, Tang Adi­mawan, Ke­tut Mo­niarta, dan Ke­maleze­dine. They truly re­al­ize that a move­ment of aware­ness is needed, started in con­struct­ing his­tory, the­matic, and im­ple­men­ta­tion in ex­e­cut­ing works. The de­vel­op­ment of con­tem­po­rary arts which is widely hit the world, tends to show its ho­mo­ge­neous and lack of iden­tity. Con­se­quently, Neo Pi­ta­maha wants to re-boost the new spirit of art so­ci­ety by dig­ging the lo­cal iden­tity un­der the con­text of con­tem­po­rary arts that fre­quently mak­ing re­flec­tions re­gard­ing the par­a­digm of Bali con­tem­po­rary paint­ings.

Clock­wise (from above): Ba­li­nese Paint­ing After Pho­tog­ra­phy by Ke­tut Mo­niarta; Neo­pi­ta­maha 1965 se­ries II by Ke­maleze­dine; Ma­can by tang adi­mawan.

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