Paintings by Made Wianta.
At Kendra Gallery, Jl. Drupadi 88B, Basangkasa, Seminyak. Tel: 736628.
Art has little to do with the consistency of sensibilities, preoccupations, and style, as consistency has to do with logical systems, whereas art is illogical, and thrives on irrationality, contradictions, and change. A contemporary artist has a responsibility of altering the notion about the nature of their craft, offering positive alternatives to traditional or conventional Art practices, and, most importantly, there is even the role of educating the visual sensibilities of the public in general. Made Wianta is just such an artist. A rebel, always thought provoking, elusive, challenging, and interesting.
In the Curatorial Essay which accompanies Wianta’s latest exhibition, ‘Love’, the local art critic Jean Couteau states: “Wianta was, from an early age, a youth in revolt. In his family in the village of Apuan, Tabanan, where he was born in 1949, he was the priest’s son who did not want to be a temple priest, and yearned to go to Denpasar. Once there, he was the art student who did not want to be a ‘Balinese’ artist and wanted to go on to Java. Once at the ASRI (College of Fine Arts) in Yogyakarta, he dropped out before long because he was offered the chance to go wash dishes in Brussels, while visiting galleries and museums. He returned to Indonesia and Bali, to marry, but again wanted out. This led, in time, to international success, with exhibitions in New York, Paris, Tokyo and the 50th Venice Biennale in 2003. It is clear, Made Wianta wanted ‘out’, and he got out”. The artist himself also emphasizes his choice in distancing himself from his culture of origin by stating: “Simply because I am Balinese, people will always say that Bali haunts me and haunts my art. They look for Balinese symbols. But, the truth is that I never wanted to be simply a ‘Balinese artist’. From the beginning, in fact, I wanted out”. Consequently, in the art of Made Wianta, you will find no affirmation of Balinese cultural belongings. He has one eye on the history of Western Art, the other on innovation, originality, and progression.
A work such as ‘Sprinkling Cross’, made by thousands of needles stuck into the canvas, draws on ‘minimal’ ideologies, even while conveying an idea about the suffering endure by Christ on the Cross. The signature piece ‘Love’ finds its inspiration in ‘assemblage’, ‘found objects’, and ‘appropriation of pre-existing images’, while, the ‘conceptual’ canvas ‘Wianta’ makes a statement, like designer jeans and sunglasses, that the creator is more important than the work created. All of these works illustrate that Wianta has successfully distilled and extended historical art concepts.
The painting ‘Sandal’ could be hinting at the ‘Shoes of the Fisherman’ and the consequent pain St. Peter himself had to endure for his Faith, Wianta states that he made the painting: ‘Because I wanted to show that I too can be a hyperrealist. I too know how to use a projector”! Jean Couteau suggests that the work is a taunt. “Thrown at artists and collectors who believe in the ‘hyper-objective’ and ‘dead’ realism now in fashion”. Finally, the works ‘Grey Leaf and ‘White Leaf’ reveal Made Wianta’s understanding of the principles of Carl Jung, and his concepts of a ‘collective memory’ and ‘archetypes’. These works imply strange primordial spermatozoa and ovary forms, and offer an alternative interpretation of the term ‘Love’. Made Wianta is an artist at the peak of his creative powers.
Asian Ceramics throughout the Ages: From Tang to Early Modern
A collection of old ceramics by Rudy Giusti.
At Jenggala Gallery, Jl. Uluwatu II, Jimbaran. Tel: 703311.
As one of the oldest art forms, ceramics have been used widely and treasured over time. In China, ceramics have been part of the culture and tradition, arguably since 9000 BC. Chinese ceramics are one of the antiques that have been searched for and collected not only because of their history, but also for their artistic beauty.
Rodolfo Giusti (Rudy) started to collect ceramics about thirty years ago. At the beginning he followed his heart, by buying any ceramic pieces he thought were beautiful. Starting with classic ginger jars, Rudy’s collection has grown and become more varied over the years. Rudy also goes to countries such as Vietnam, Thailand, Malaysia, Cambodia, Myanmar, Singapore and Hong Kong to find antique ceramics. He has become progressively more selective in adding to his collection, and now only goes for really unique and precious pieces. “I have some high-value ceramics from various Chinese Dynasties”, Rudy says, “some of them are Imperial pieces which were made for the Emperor and his court or as a present to a King or other dignitaries.” But, now that Rudy has accumulated an enormous collection of over 4000 antique ceramics, he wants to share them with ceramics enthusiasts in Bali.
In his exhibition at Jenggala Gallery, Rudy presents a tiny part of his vast collection. They range from as early as Tang dynasty to the more recent years of the People’s Republic of China. Although Chinese blue and white wares are pretty much dominant, there are also several Vietnamese pieces, some medicine bottles and boxes from Thailand, which are from the 14th and 15th centuries, plus a few pieces from Japan. All the pieces are not only visually pleasing, but they add to our appreciation of the history of ceramics.
