May 4, 2018

We are pleased to announce Aditya Novali, Arin Dwihartanto Sunaryo, and Syagini Ratna Wulan as  participating artists at ARTJOG 11: Enlightenment. The exhibition takes place at Jogja National Museum and will runs from 4 May until 4 June 2018.


Aditya Novali

Life (Less): 21 m2 of Living Spaces.

Through this work, Aditya explores and transcends the limitations of housing type 21, the minimal standard for a house in Indonesia that consists if 21 m2 of living space. Using three basic yet critical elements that govern the liveability of a property (wall, floor, and roof), this work examines the pattern of the limited and constrictive space as a metaphor of the people’s struggle in navigating the nation’s state of affairs. This series of works present an abstraction of the complexity of household matters, underlining the importance of living in a space than the living space itself.


Arin Dwihartanto Sunaryo


Sunaryo’s work features pulverised food ingredients—including instant noodles, chilli powder, coffee, chocolate, sugar, milk, and organic food coloring—as pigments under resin, an aesthetic exploration set to transcribe memories related to the first bite of a cupcake, drinking a cup of one’s neighbourhood corner café latte, and the preparation of off-the-counter instant noodles as it enters boiling hot water. In this work, Arin concentrates on the interrelationship between our different senses, with specific emphasis on translating and distilling one’s haptic, visual, and tasting acuities into eloquent, abstract gesticulations.

Feast, is now on display at ARTJOG 11: Enlightenment at Jogja National Museum, accompanied by a sculpture of the remnant resin, Feast (Leftover), a product of Arin’s concern of excessive waste generated by his creations.


Syagini Ratna Wulan


This work is a continuous work from Spectral Fiction, her most recent solo exhibition at ROH Projects. Responding to a predisposition to chromophobia—an aversion to the use of colours—that is likely to have emerged from artists’ reluctance to restore formal/modernist abstraction tendencies. Although colour is oftentimes demoted as part and parcel of cosmetics, decorations, and ornamentations, Syagini believes that a colour remains a colour, which truly has no name. Through this work, she contends that colour should never be likened to a ghost that may possess the art and render it artificial.