With his activist art, Maryanto has gained international recognition, a number of international art collaboration projects and exhibitions in important art events. His works come into existence from his deep desire to expose the negative ecological damage human brings into the nature and to the living environment.

Maryanto creates evocative, black and white paintings, drawings, and installations that undermine the romantic language of traditional landscape painting to examine socio-political structures in the physical spaces that he depicts. Through fable-like and theatrical settings, these landscapes are subjected to the whims of colonisers and capitalists through technological development, industrialisation, pollution of the land and exploitation of its natural resources. (Source: Yeo Workshop, Singapore)

Maryanto makes artworks that serve as a form of storytelling with the impression of theatrical stage or landscape setting. The work as stories explores and transfers knowledge through historical research, myths and stories combined with the artist’s own artistic imagination and constructed forms. The results are dramatic and romantic black and white installations made of paintings, etchings, rich charcoal drawings that evoke stories and environments. The subject of his ongoing project that commenced several years ago has to do with his curiosity on resources and its effect on a country and politics. In his daily observations of life in Indonesia, combined with his formal training in the arts at the Institute of the Art, Yogyakarta, Indonesia, and his subsequent residencies in the Netherlands at the Rijksakademie van beeldende kunsten and the Esculea de Orient programme at Casa Asia Barcelona, Spain, as well as his gallery solo shows, he is able to compare and explore the history of colonialism and its role in the allocation of resources. He sees “resource” as a pandora’s box; that a country with big resources could cause tension and conflict between the systems that navigates and governs economics and daily life of the people.

Maryanto recently exhibited at the “Discoveries" section of Art Basel Hong Kong 2016, the Setouchi Triennale 2016, Bazaar Art Jakarta 2016, and Art Stage Singapore 2017. He also participated at the Yogyakarta Biennale 2015 “Hacking Conflict, Indonesia meets Nigeria”, creating a large entrance piece, and the Jakarta Biennale 2015 “Neither Forward Nor Back” as curated by Charles Esche with an installation work “Temah Ruah di Wonocolo”.
(Source: The Artling)

1977, Indonesia

Indonesian Institute of the Arts Yogyakarta (Institut Seni Indonesia Yogyakarta, ISI Yogyakarta)

The Rijksakademie, Amsterdam (2013)

Artworks by Maryanto


Solo Exhibitions

Yeo Workshop, Singapore

Yeo Workshop, Singapore

Art Basel Hong Kong, Discoveries Section

The Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands
ArtAffairs, Amsterdam, The Netherlands
Heden, The Hague, The Netherlands

Selected Group Exhibitions

Koganei Art Spot Chateau, Tokyo

The Samstag Museum of Art, Adelaide, Australia
The Asia Culture Centre, Gwangju, South Korea
The Bozar Centre for Fine Arts, Brussels, Belgium

The Singapore Art Museum, Singapore

The Stedelijk Museum Bureau Amsterdam, Amsterdam, The Netherlands

Art Events

Maryanto has also been featured at international biennials such as the 2nd Industrial Biennale, Labin, Croatia (2018); the Setouchi Triennale, Naoshima, Japan (2016); the Jakarta and Jogja Biennales, Indonesia (2015); and the Moscow Biennale, Moscow, Russia (2013).


The Rijksakademie, Amsterdam, The Netherlands

Posted by in artist
Abdi Setiawan

Abdi Setiawan

Abdi Setiawan’s work is installation-based, and features half or life-size sculptures of everyday Indonesians in various social settings. A very skillful wood carver, he makes mainly wooden sculptures along with fibre glass hand-painted unique replicas or editions. His rendering of the figures are not only realistic but also infused with humorous satire.

29 Desember 1971, Pariaman, Sumatera Barat, Indonesia

ISI Yogyakarta, Jurusan Seni Kriya, 2003

Abdi Setiawan’s sculptures return to the skill of wood carving while deploying the artist’s entire imagination and perception to depict the Indonesian human figure. The work takes form as a spatial arrangement, which presents the atmosphere of a city corner such as a waiting room, bus terminal or shopping mall; a representation of a fragment of the activities of city dwellers – which wait, come and go – just wryly. The realistic rendering of the figures pokes us with satire so that we smile away our embarrassment in recognising our own behaviour reflected. Today’s life and culture are those of the city – with all its complexity of problems: population explosion, insufficient dwelling space, transportation, excessive consumption, crime and poverty. The advancement of modernity and its related humanitarian problems are becoming obvious in urban life. Direct involvement in attempt to familiarise himself with the atmospheres of certain corners of the city as well as the characters of the people there, almost always prevails in Setiawan’s process of making works. Setiawan understands the emotional experiences that have their shares in shaping the characters of the figures he intends to offer by means of his sculptures. However, in the making and finishing of his works the artist transcends the experiences and observations. He knows he needs to add his personal interpretations and judgments to the various recorded physiognomic data of his figures. He reclaims his humanitarian intention and interest to critically understand what is going on around him. And he has to deal with discovering and defining the various formal aspects in his works so as to contain all his ideas and thoughts. Abdi Setiawan carefully calculates the elements necessary to represent in his sculpture figures. The teak wood he carves roughly so as to produce unlevelled surface. The acrylic colours enforced to mix on the surface of the polyester casts of his wood sculptures are effecting detailed accessories and clothing, and through gestures and poses (arms crossed, gripping a hand phone), facial expressions, gazes and glances – all elements which add to the rich physiognomic images in his works. Tattoos, clothing patterns and brands, graphical T-shirt imprints and other attributes from popular culture make strong references to art history. Not always Setiawan feels the need to give his figures life sizes. He has already arrived at the plane where he gives prominence to rich physiognomic images rather than merely anatomic precisions. – Enin Supriyanto

Group Exhibition

Group Exhibition DSMHHPP – Gallery Lukisan

KunstRAI, Amsterdam – Gallery Lukisan
Art Jakarta – Gajah Gallery, Singapore

Jogja Joget: Art Jog 2016, June 2016, Yogyakarta with work titled "Mooi Indie"

ArtJOG 13, Taman Budaya Yogyakarta, Indonesia
Indonesian Korea Contemporary Plastic, Galeri Nasional Indonesia, Jakarta, Indonesia
Art Hongkong, Hongkong
Indonesian Pavilion, Art Stage Singapore, Singapore

A Sign of Absence, Edwin Gallery Jakarta, Indonesia
Pameran Seni Patung Baru, Galeri Salihara Jakarta, Indonesia
Yogyakarta – 5 Artists from Indonesia, Marc Straus Gallery, New York
Lintas, Jakarta Art District with Edwin Gallery, Jakarta, Indonesia
Legacy, Esa Sampoerna Art Museum, Surabaya, Indonesia
Group Exhibition, Sin Sin Gallery, Hongkong
Atribute to A Mentor, Magelang, Indonesia

Ekspansi, National Gallery, Jakarta, Indonesia
ARTJOG 11, Taman Budaya Yogyakarta, Yogyakarta, Indonesia
Beastly, Cemeti Art House, Yogyakarta, Indonesia
ART HK 11, with Nadi Gallery, Hong Kong
Intersection “Indonesian Contemporary Sculpture” East Mall Atrium Grand Indonesia Shopping Town, Jakarta, Indonesia
ARCO Madrid with André Simoens Gallery, Madrid, Spain
Speak of, Jogja National Museum (JNM), Yogyakarta, Indonesia

Tramendum, Philo Art Space, National Gallery, Jakarta, Indonesia
Shopping, Nadi Gallery, Jakarta Art District (AD) Jakarta, Indonesia No Direction Home, Edwin’s Gallery, Jakarta, Indonesia
Art Amsterdam, RAI, Amsterdam, The Netherlands
Space & Image, Ciputra World Marketing Gallery, Jakarta, Indonesia MiArt, Milan, Italy
Ecce Homo, Semarang Gallery, Semarang, Indonesia
Bakaba, Sakato Art Community, Jogja National Museum, Yogyakarta, Indonesia
”LOOK!SEE?" Indonesian Contemporary Photograpy Exhibition, Nadi Gallery, Jakarta, Indonesia

Jogja Biennalle X: JogjaJamming, Yogyakarta, Indonesia
Higher Ground, Metis Gallery, Amsterdam, The Netherlands
XYZ, Edwin's Gallery, Jakarta, Indonesia
South Asia Project, Kedai Kebun Forum, Yogyakarta, Indonesia
From 2D to 3D, Summer Exhibition, Sin Sin Fine Arts, Hong Kong
Poli[Chromatic], with V-Art, Bentara Budaya Yogyakarta, Yogyakarta, Indonesia
In Rainbow, Esa Sampoerna Art House, Surabaya, Indonesia
"Grip" Young Contemporary Artists from Indonesia and China, Vanessa Art Link,
798 Art District, Beijing, China
The Spirit of Interaction, Erasmus Huis, Jakarta, Indonesia

Self Portrait, Famous Living Artists of Indonesia, Jogja Gallery, Yogyakarta, Indonesia
Lampu Merah, Kelompok Semoet, Bika Gallery, Jakarta, Indonesia
Bentuk-Bentuk, Contemporary Indonesian Art in 3D, Melbourne Art Fair, Australia
Contemporary Apaan Tuh?, eART Space, Bali, Indonesia
Res Publicum, Canna Gallery, Jakarta, Indonesia
Manifesto, National Gallery, Jakarta, Indonesia
Kita, Japanese Artists Meet Indonesia, Organized by Japan Foundation, Centre Culturel Français de Yogyakarta, Yogyakarta, Indonesia
IVAA Book Aid Volume 2, Edwin's Gallery, Jakarta, Indonesia China International Gallery Exposition, Beijing, China
Strategies Towards The Real: S.Soedjojono and Contemporary Indonesian Art, NUS Museum, Singapore

Anti Aging, Gaya Art Space, Bali, Indonesia
"Boeng Ajo Boeng" 100P Tahun Affandi, Taman Budaya Yogyakarta, Yogyakarta, Indonesia
Quota, National Gallery, Jakarta, Indonesia

Habis Gelap Tak Kunjung Padam, Taman Budaya Yogyakarta, Yogyakarta, Indonesia
”Orde & Order" Archives Exhibition of Yayasan Cemeti Collection, Kedai Kebun Forum, Yogyakarta, Indonesia
Beyond The Limits and Its Challenges, Jakarta Biennale, Jakarta, Indonesia Tobacco and Art, Magelang, Indonesia
The First Indonesian Contemporary Art Festival, Langgeng Gallery, Magelang, Indonesia
Jakarta Collectors II, John H. McGlynn, Jakarta, Indonesia 8 Young Contemporaries, Art Forum, Singapore
Icon: Retrospective, Jogja Gallery, Yogyakarta, Indonesia People of Asia, Art Forum, Singapore

Art of Aceh, Societet Militer, Yogyakarta, Indonesia
Spirit of Play, Bentara Budaya Yogyakarta, Yogyakarta Indonesia
Omong Kosong #1, Cemeti Art House, Yogyakarta, Indonesia
Makan Seni Rupa, Michelle Chin House, Yogyakarta, Indonesia
Open View, Biasa Art Space, Bali, Indonesia
Urban/Culture, CP International Biennale 2005, Bank Indonesia Museum, Jakarta, Indonesia
Ayo Ngguyu, Bentara Budaya Yogyakarta, Yogyakarta, Indonesia
Kecil Itu Indah VIII, Edwin’s Gallery, Jakarta, Indonesia
Yogyakarta Biennale VIII, "Di Sini & Kini", Taman Budaya Yogyakarta, Indonesia

Barcode, 16PthP Yogyakarta Art Festival, Taman Budaya Yogyakarta, Indonesia
Di Sini Akan Dibangun Mall, Public Art Exhibition, Yogyakarta, Indonesia
Environmental Art, Dies Natalis Ke-27 Sasenitala ISI Yogyakarta, Bebeng, Yogyakarta, Indonesia

What’s in Your Pocket?, Purna Budaya Yogyakarta, Indonesia
Reply, 15PthP Yogyakarta Art Festival, Yogyakarta, Indonesia

Kata Rupa, Gelaran Budaya, Yogyakarta, Indonesia
Sepiring Indonesia, Yogyakarta, Bandung, Bali, Indonesia Gelar Seni Alam Raya, ISI Gallery, Yogyakarta, Indonesia

Phillip Morris Indonesian Art Award, National Gallery, Jakarta, Indonesia
Kelompok Semoet II, Purna Budaya, Yogyakarta, Indonesia
Gelanggang Seni Sakato, Purna Budaya, Yogyakarta, Indonesia

Kelompok Semoet I, Purna Budaya, Yogyakarta, Indonesia
Seni Budaya Minang, Taman Ismail Marzuki, Jakarta, Indonesia

9PthP Yogyakarta Art Festival, Fort Vredeburg Museum, Yogyakarta, Indonesia

8PthP Yogyakarta Art Festival, Fort Vredeburg Museum, Yogyakarta, Indonesia
Dialog Dua Kota I, Cipta Gallery, Taman Ismail Marzuki, Jakarta, Indonesia

Solo Exhibition

Re-PLAY #4 Abdi Setiawan, OFCA International, Yogyakarta, Indonesia

New Sculpture , André Simoens Gallery, Knokke –Zoute, Belgium
New Sculptures, Metis Gallery, Amsterdam

The Flâneur, Nadi Gallery, Jakarta

Gairah Malam Lembaga Indonesia Prancis (Institut Français Indonesia), Yogyakarta



Finalist Phillip Morris Art Award 2001

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Dadang Christanto

Dadang Christanto

Dadang Christanto has spent his career honouring the countless victims of political violence and crimes against humanity. His work expresses the suffering of victims and lays bare the anguish and grief that is endured in silence by those left behind. Despite the raw socio-political nature of his work, Christanto continues to produce art which pleads for compassion, regardless of differing faiths and political beliefs.

Dadang Christanto is an internationally acclaimed artist who has been curated into major art events worldwide including the Sydney Biennale (2010), the Venice Biennale (2003), Yogyakarta Biennial, Indonesia (2003), Kwangju Biennale, South Korea (2000), the Bienal de Sao Paulo, Brazil (1998) and the first and third Asia-Pacific Triennials of Contemporary Art, Brisbane (1993 & 1999). His work is held in major public and private collections around the globe.

The series of heads exhibited in ‘austral-asia zero three’ (Sherman Galleries, 2003) and shown previously at the Alliance Française Gallery in Yogyakarta, refer to the relentless cruelty of humankind among those of different faiths or political systems. The disappearance of multitudes of Indonesian political dissidents during the mid-1960s purges, when Dadang’s father was lost without trace, is a recurring theme in the artist’s oeuvre.

Central Java in 1957

1975–77 Pawiyatan Sanggarbambu, Yogyakarta, Indonesia (painting)
1975–79 Sekolah Menengah Seni Rupa (SMSR), Yogyakarta, Indonesia (painting)
1980–86 Indonesian Fine Arts Institute (ISI), Yogyakarta, Indonesia
1999–03 Lecturer, School of Art and Design, Northern Territory University, Darwin
2004 Lecturer, College of Fine Arts, University of New South Wales, Sydney

Artworks by Dadang Christanto


Solo Exhibitions

Once Upon a Time, Gallerysmith, Melbourne Survivor, Lumpur Lapindo Sidoarjo, Indonesia

Dadang Christanto, painting and sculpture, Sydney Contemporary 13, Sydney Lost and Found, Jan Manton Art, Brisbane

Remembering Silence, Yuz Museum, Jakarta, Indonesia Seeing Java, Sangkring Art Space, Yogyakarta
Hidden, Gallerysmith, Melbourne

Lost Horizon, Jan Manton Art, Brisbane

Dadang Christanto: Wounds in our Heart, Drill Hall Gallery, ANU, Canberra
Behind the Veil, Gallerysmith, Melbourne
The Rivers, Jan Manton Art, Brisbane

Batik has been Burned, Jan Manton Art, Brisbane

Work of Body, Jan Manton Art, Brisbane

Pilgrim Project, Gaya Fusion Gallery, Ubud, Bali, Indonesia

Testimonies of the Trees, CP Art Space, Jakarta, Indonesia
Heads and Trees, Sherman Gallery, Sydney

Head from the North, Marsh Pond, Sculpture Garden, NGA, Canberra

Count Project, Northern Territory University Gallery, Darwin, NT
They Give Evidence, Asian Gallery, Art Gallery of New South Wales, Sydney

Unspeakable Horror, Bentara Budaya Jakarta, Jakarta, Indonesia

The Dark Century, Raft Art Space, Darwin, NT

Beginning of the Dark Age, Centre de Reflexion sur I’Image et ses, Sierre,,Switzerland Reconciliation, 24 Hour Art Gallery, Darwin and Watch This Space, Alice Springs, NT 1998 Cannibalism or Memoir, Guarrant Gallery, Canberra School of Art, ACT
Switchback Gallery, Faculty of Art and Design, Gippsland, Vic

About the Heads and Hearts, LIP Gallery, Yogyakarta, Indonesia

1001 Earth Humans, Marina Beach-Ancol, Jakarta, Indonesia

Terracotta or The Case Land, Bentara Budaya, Yogyakarta, Indonesia

Contemporary Indonesian Artist, University of South Australia, Adelaide, SA and VCA, Melbourne, VicSelected Group Exhibitions

Controversy, Mornington Peninsula Regional Gallery, Melbourne 2010 Setouchi International Art Festival, Kagawa, Japan
In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney

Temperature 2, Museum of Brisbane, Brisbane
Niigata Water and Land Art Festival, Niigata, Japan

Recovering Lives, Drill Hall Gallery, Australian National University, ACT
Handle with Care, Adelaide Biennial of Australian Art, AGSA

Three Ways : Contemporary Sculpture from the Collection, Queensland Art Gallery

Echigo-Tsumari Art Triennial III, Niigata, Japan
Artery-Inaugural Exhibition, Singapore Management University, Singapore

Echoes of Home, Museum Brisbane, Brisbane

Open Letter, touring exhibition, Sydney, Bangkok, Manila and Kuala Lumpur

Future Tense: Security and Human Right, Dell Gallery, Griffith University, Brisbane

Contact pre Text Me, Sherman Galleries, Sydney, NSW
Contemporary Territory, Museum and Art Gallery Northern Territory, NT

They Give Evidence, opening exhibition for contemporary Asian space, Art Gallery of NSW Country-bution, Yogyakarta Biennial, Yogyakarta, Indonesia
Interpellation, CP Open Biennial, Jakarta, Indonesia
Witnessing to Silence: Art and Human Rights, School of Art Gallery, ANU
Mourning Lost Paradise, Indonesian Pavilion, 50th Venice Biennale, Italy
Austral-Asia Zero Three, Sherman Galleries, Sydney, NSW

Kwangju Biennale 2000, Kwangju, South Korea
From Asian Forests, Yokohama open-air art exhibition, Japan

From Asian Forests, Kanazu Forest of Creation, Fukui, Japan
The Third Asia-Pacific Triennial of Contemporary Art 1999, Queensland Art Gallery, Brisbane

XXIV Bienal de São Paulo, Brazil
Begegnung 3:3 in Yogya, Taman Budaya, Yogyakarta, Indonesia
Plastic (or Other Waste), Center of Resources, Chulalongkorn University, Bangkok, Thailand
Bangkok Art Project, Bangkok, Thailand

Art in Southeast Asia 1997: Glimpses into the Future, MCA Tokyo, Hiroshima CMCA, Japan Befragung Der Raume, Magdeburg Museum, Magdeburg, Germany
Yokohama International Open Air Art Exhibition’97, Yokohama, Japan

Tradition/Tension: Contemporary Arts in Asia, Asia Society Gallery, New York, then Vancouver and Perth
Linkage and Leakage, The Tanks, Cairns, Ql
Mata Perupa, Pagelaran Kraton Yogyakarta, Yogyakarta, Indonesia

Realism as an Attitude 4th Asian Art Show, Fukuoka Art Museum, travelling exhibition
Asian Peace Art, War and Art

1995, Osaka International Peace Centre, Osaka, Japan
Osaka Triennial 1995: Sculpture, Dome exhibition Hall, Osaka, Japan

Quinta Bienale de la Habana, Nasional Museum, Havana, Cuba
Nur Gora Rupa, Taman Budaya Surakarta, Solo, Indonesia

The First Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Qld
The 9th Jakarta Art Biennial, Taman Ismail Marzuki, Jakarta, Indonesia

Binal, Senisono Art Gallery, Yogakarta, Indonesia
New Art from Southeast Asia II, Tokyo Metropolitan Art Apace Hiroshima City Museum of Contemporary Art, Kirin Plaza, Osaka, Japan Mobile, Museum City Project, Fukuoka, Japan


Survivor, Gallery 4A, Sydney (touring to regional Qld, NSW)

Survivor, Museum of Contemporary Art forecourt, Sydney

For those: Who are poor, Who are suffer(ing), Who are oppressed, Who are voiceless, Who are powerless, Who are burdened, Who are Victims of violence, Who are Victims of a dupe, Who are Victims of injustice (1993), Queensland Art Gallery, Brisbane, Qld

Searching Displaced Bones, Old Canberra House, Australian University, Canberra
Litsus, Griffith University, Brisbane

Family Portrait, Old Canberra House, Australian National University, Canberra, ACT
For Those Who Have Been Killed, National Gallery of Australia, Canberra, ACT

Litsus, National Gallery of Australia, Canberra, ACT

Reconciliation, 24 Hour Art Gallery, Darwin and Watch This Space, Alice Springs, NT

Api di Bulan Mei, The Third Asia-Pacific Triennial of Contemporary Art 1999, Queensland Art Gallery, Brisbane, Australia

Violence, Art Gallery of Western Australia, Perth, WA
For Those Who Have Been Killed, Switchback Gallery, Gippsland, Victoria, Australia

Violence, Western Front, Vancouver, Canada; Magdeburg Museum, Magdeburg, Germany For Those Who Have Been Killed, Dock 11, Berlin, Germany

Earth Man in Jakarta, Marina Beach-Ancol, Jakarta, Indonesia Violence, Cairns Regional Gallery, Cairns, Qld
Violence, Z Gallery, New York

Man in Surabaya, Yogyakarta, Indonesia

Earth Man in Solo, Solo City, Indonesia

For Those Who Have Been Killed, Queensland Art Gallery, Brisbane, Queensland, Australia
Museum Affandi, Yogyakarta and UNS, Solo, Indonesia

I’m Human Being, Daimaru Shopping Center, Fukuoka, Japan
Earth Man in Tenjin, Tenjin Area, Fukuoka, Japan

Grants and Awards

Australia Council Grant

The Pollock-Krasner Foundation, New York


School of Visual Arts, Manukau, Auckland, New Zealand 2004 School of Art, Australian National University

School of Art, Australian National University

Ecole Cantonale d’ Art du Valais (ECAV), Switzerland

Australian National University, Canberra, ACT
Monash University, Gippsland Campus, Vic

Western Front, Vancouver, Canada
Magdeburg and Berlin, Germany

University of South Australia, Adelaide, SABibliography
Courtney Kidd, ‘Voice for Freedom’, Profile, Art Collector, July-September issue, 2013
Agung Hujatnikajennong, ‘Mengingat Senyap (Remembering Silence)’, ex. cat. 2012
Caroline Turner & Nancy Sever (eds), Wounds in our Heart, ex. cat. ANU Press, 2011
Alison Kubler, ‘Temperature 2: New Queensland Art’ (Review) ARTWORLD Issue #8, APR-MAY 2009, pp. 162-163
Wolfe, Ross., ‘Visual Arts in Adelaide’, Eyeline Magazine, Number 66 2008, p. 41
Anne Kirker, ‘Dadang Christanto’ , ARTWORLD Issue 4, Aug / Sep 2008, pp. 180 - 183 Felicity Fenner, ‘HANDLE WITH CARE’ Adelaide Biennial of Australian Art, 2008
‘50 Most Collectable Artists’, Australian Art Collector, Issue 43, Jan – Mar 2008, p. 122 Sally Butler, ‘Dadang Christanto’, Art and Australia, Volume 45. Spring 2007, p. 132
Louise Martin-Chew, ‘Works of nature’s betrayal honour life’s preciousness’, The Australian, May 2007
Andrea Stretton, ‘Reading; Dadang Christanto’, Art & Australia, Volume 42, No. 2, summer 2004, pp. 271-273


Art Gallery of New South Wales, Sydney
Australian National University, Canberra
Fukuoka Museum of Modern Art, Fukuoka, Japan
Kanazu Forest of Creation, Fukui, Japan
Magdeburg Museum, Magdeburg, Germany
Murdoch University Art Collection, Perth
Museum and Art Gallery Northern Territory (MAGNT), Darwin Museum of Contemporary Art, Tokyo, Japan
National Gallery of Australia, Canberra
Oie Hong Djien Museum, Magelang
Queensland Art Gallery, Brisbane
Singapore Art Museum, Singapore
University of Queensland Art Museum, Brisbane
Wesfarmers Collection, Perth
Yuz Museum, Jakarta, Indonesia
Private collections national and international

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Purnomo is one the very few ceramic artists from Indonesia. Although the subjects of his art are ordinary objects, many times with incredible realistic details, they bear deeper thoughts while at the same time still keep a sense of humour. Purnomo works range from simple individual ceramic objects to ceramic installations, now collected in Indonesia and abroad.


Yogyakarta, May 1982

2003-2007 Ceramic Art  at The Indonesian Institute of the Arts (ISI), Yogyakarta

Solo exhibitions

Boots Party, Ceramic Solo Exhibition, VIA-VIA Cafe Yogyakarta.

Group exhibitions

Art Laren, Gallery Lukisan, Laren, The Netherlands
“Alam – benda dan gambar lainnya" at Museum Dan Tanahliat Yogyakarta
Acemart GrosirSeni at AceHouseCollective Yogyakarta

AceMart GrosirSeni at AceHouseCollective Yogyakarta
Pameran Seni Rupa Keajaiban Kecil at Nallaroepa Art Space Yogyakarta


- "Sweet Seventeen", VIA-VIA Cafe Yogyakarta
- Pameran Seni Keramik " Vacuum Learning", Ikatan Mahasiswa Keramik ISI Yogyakarta,
Bentara Budaya, Yogyakarta.

- Affordable Art Fair Singapore 2012, Singapore
- "Reposisi" Pameran Kriya Indonesia 2012, Galeri Nasional Indonesia, Jakarta

- Affordable Art Fair Singapore 2011, Singapore
- International Furniture Fair Singapore 2011/28th ASEAN Furniture Show (IFFS/AFS 2011)
- Satu Cerita Dari si Markisa, VIA-VIA Cafe Yogyakarta

- Exhibitions at Bintang Cafe, Yogyakarta
- Bazaar Art Jakarta 2010 at Ballroom 1 & 2 The Ritz Carlton Jakarta Pacific Place.
- “Wouw!“, Tujuh Bintang Art Space, Yogyakarta

- Deer Andry, An Exhibition of Andry Moch. with Friends and Family, MES 56, Yogyakarta.
- Emerging Artist, Art Exhibition, Plaza Senayan, Jakarta.
- Kunduran Truk, Art Exhibition, Kersan Art Studio, Yogyakarta.

- Versus, Exhibition of Indonesian Contemporary Art, Galeri 678, Jakarta.
- Geliat, ceramic exhibition, Sangkring Art Space, Yogyakarta.

- TARIAN JIWA , Galeri Biasa, Yogyakarta.
- DIESNATALIS XXIII, art exhibition, Indonesia Institute of the Arts (ISI), Yogyakarta.

- ceramic workshop, Yayasan Kanisius, with teapot ceramic, Yogyakarta.
- OBJECT HOOD, contemporary art exhibition, Taman Budaya, Yogyakarta.


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Ugo Untoro

Ugo Untoro

Purbalingga, Central Java, 1970

The Indonesian Institute of Art (ISI), Yogyakarta.

Ugo Untoro held his solo exhibitions at Cemeti Contemporary Art Gallery, Yogyakarta (1996, 1998), Kedai Kebun Gallery, Yogyakarta (1999), Essence Art Gallery, Yogyakarta (2000) and Cemeti Art House, Yogyakarta (2002). He participated in several group exhibitions at Purna Budaya Yogyakarta, Cemeti Contemporary Art Gallery, Yogyakarta (1997), Galeria Jangva, Helsinki, Finland (1998), Singapore, National Gallery Jakarta, Cemeti Art House, Yogyakarta, Bali, Queensland Art Gallery, Australia, Centrum Beeldende Kunst Dordrecht, The Netherlands (1999), Nadi Gallery Jakarta (2000, 2001, 2003).

Artworks by Ugo Untoro




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Wahyu Srikaryadi

Wahyu Srikaryadi

Wahyu Srikaryadi is an established visual art artist from West-Java, Indonesia. Although he mainly makes paintings, he now also creates some installations and occasionally also sculptures. Starting his art career as an apprentice of Barli Kartasasmita (1982-1989), one of the modern painting masters of Indonesia, he later works together with Ida Bagus Suadjana and I Gusti Matre (1994-1995). While the former masters influenced his early expressionist style, he grows gradually more interested in depicting details sharply, with clear lines and high contrasts. Rather than realist artist, he also set his subjects in dreamy overly romantic landscape or surroundings. While his paintings of Javanese Hindu and Buddhist temples are proven to be popular, his nude paintings earn a selective collectors group.

Bandung, August 8, 1968

Apprentice of Barli Kartasasmita (1982-1989)

Artworks by Wahyu Srikaryadi




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Putut Wahyu Widodo

Putut Wahyu Widodo

Putut Wahyu Widodo is an artist living and working in Semarang, Indonesia. His works reflect his background as a journalist and editor of one of the leading newspaper in Java. He finds his inspiration in news and media events. The blurry images in his paintings are reminiscences of  frozen captures of the video or film frames.

As a painter-cum-visual editor, Putut is especially aware and sensitive towards the power of images. In commercial photography and art, and in particular advertising, the meaning must be clear and distinct and most importantly must provoke a desire to consume. Similarly, Art can communicate feelings and emotions, or thoughts and ideas. These portraits exemplify a modern realism where graphic abstraction, semi-Cubist elements, and figuration meet to create images which are ‘less’ portraits of people and ‘more’ about the creation of a mood, an emotional state, and even alienation. The portraits are more than a mere visual artistic rendition of human gestures and poses. Putut’s task is to reveal what resides underneath the surface appearance of observed empirical reality. The images are mainly free of perspective and have an intensity of line, a flatness of form, minimal use of colour, and most importantly, a harmony of all over design. An aesthetic concern that dominates his entire body of work. Even the picture frame seems to imprison the nude and the elements depicted, enhancing feelings ranging from the serene to uneasiness. Some of the images are physiologically unnerving.

Putut works with all kinds of digital imaging software. By exploring, exploiting, and experimenting with digitally created images, he is showing us how image making technology can help us to radically change our way of looking, and, thus, enhance our understanding of the world. His artworks reflect an intensive interrogation into our contemporary culture which is increasingly being governed by commercially produced images. Putut does not want to simply copy the work of a machine, but, he wants to illustrate the problems of converting a digitally produced image into an ‘artwork’. Consequently, in the artworks created for his exhibition, ‘Serene Bodies’, Putut attempts to marry the figurative or narrative contents of photography, with the abstract qualities of painting.

As the works ‘Daylight Fading’, ‘Waiting So Long’ and ‘No In Between’ demonstrate, Putut attempts to depict the ‘alienation’ and ‘self control’ of the modern human being in a contemporary society. Putut thinks that “the human body is a space for testing our behaviour and recognizing ourselves, even our own sense of belonging to our own body”. Within these works, Putut apparently wishes to erase all the narrative associations which usually can emerge from a photographic image, and, instead, combine this ‘narration’ into a simplified unity of body language, as the subject matter. Putut is exploring a unified image of the human body to stimulate the viewers own sensations and our own unexpected perceptions. However, as the works ‘Groan’ and ‘Waiting Angel’ further demonstrate, Putut is also interested in capturing the character and expressions of the abstracted moment. By utilizing painting techniques such as cropping, placement, color, shape and form, then, by further applying coats of thin acrylic washes and sharp pencil markings to his artworks, Putut succeeds in creating images that do not represent a ‘natural’ object, but, rather express an exploration of a whole new sensual dimension.

Artist’s statement (Bahasa Indonesia)

Belajar tentang kesadaran dan belajar dari kebajikan adalah belajar dengan mengalami sendiri secara langsung dan bukan karena percaya berdasarkan mitos atau pendapat yang diyakini orang lain. Menguji pengalaman diri sendiri baik yang bersifat vertikal ataupun horizontal. Yang mendapatkan pengajaran dari “hidup” ini sendiri maupun yang Ilahiah.

Hal tersebut di atas sangat berpengaruh pada proses berkarya saya, baik contents maupun visual. Tentunya sangat subyektif dan agak tersembunyi. Dan ini adalah pilihan saya dalam berkesenian, dan merupakan konsekuensi logis yang saya hadapi. Tapi berkesenian seperti ini membuat saya bahagia, karena saya punya keyakinan bahwa apa yang saya ceritakan melalui karya saya tetap ada orang-orang yang dapat menangkap atau menerima “tanda” yang saya sampaikan. Ibarat seseorang yang pernah mencicipi atau makan buah apel, tentunya dia dapat dengan mudah menceritakan bagaimana rasa, warna dan kondisi buah apel kepada orang yang punya pengalaman mencicipi atau makan buah tersebut.

Born February 5, 1964 (Semarang, Indonesia) – Died June 11, 2021 (Semarang, Indonesia)

Jurusan Seni Rupa (Visual Art Department), FPBS, IKIP Semarang, Indonesia (1987)

Solo Exhibition

"Serene Bodies" Tony Raka Art Gallery, Mas Ubud, Bali

"Radical Moderation", Elcanna Art Gallery, Jakarta

Group Exhibition

"Semarang Art Map ROB", Indonesia National Art Gallery, Jakarta
"Spirit for All : City and Space" tribute to 100 th S.Sudjojono, Merak Gallery, Semarang
"Jagad Jawa", Amanjiwo, Borobudur

"Indonesia Contemporary Fiber Art", One Art Museum, Jakarta
"nDodog Lawang", Kampung Semarang, Semarang
"SocioBorobudur", Tuksongo Visual Art House, Borobudur
"Karya Sang Juara", Indonesia National Art Gallery, Jakarta

"Inaugural", Mon Décor Gallery, Jakarta
Bazaar Art Jakarta 2011, Pacific Place, Jakarta
"Bayang" Indonesia National Art Gallery, Jakarta
"Membikinnya Abadi" Semarang Contemporary Art Gallery, Semarang
"Indonesia Art Motoring 1" Indonesia National Art Gallery, Jakarta
"Romance De Amor" Bandung -Jakarta
"Life is Amazing" Green Art Space, Jakarta

"Sign and After" LAWANG WANGI-ART Sociates, Bandung
"Green Carnival" Pasific Place, Ritz-Carlton, Jakarta
Bazaar Art Jakarta 2010, Pacific Place, Jakarta
"Dimention" Elcanna Art Gallery, Jakarta
"In the eyes of the beholder" Kendra Gallery of Contemporary Art in Bali
Indonesia Art Award 2010, Indonesia National Art Gallery, Jakarta
"Masterpiece: Percakapan Masa" Indonesia National Art Gallery, Jakarta
"Transfiguration" Literature response text" Semarang Contemporary Art Gallery, Jakarta Art District, Jakarta
"Dimentions" Elcanna Art Gallery,Jakarta
"Coexistence" Dimensi Art gallery Gallery, Surabaya
"Edge of Indonesia" EDGE Gallery, Causeway Bay Hong Kong

Biennale Sastra 2009 "Traversing [Merandai]" Salihara Gallery,Jakarta
"Up & Hope" Grand opening d'Peak Art Space, Jakarta
"Poetical Junctures" La Lanta Fine Art Gallery, Bangkok
"Rising sons from the archipelago" Gallery Lukisan, Dublin
"Technosign" Surabaya Artlink, Surabaya
"Difference" Semarang Contemporary Art Gallery, Semarang
"Re-born" H2 Art Gallery, Semarang

"Image(in)action". Elcanna Gallery, Jakarta
Indonesia Art Award 2008, Indonesia National Art Gallery, Jakarta
"Myth without Mistique" Jogja Gallery, Yogyakarta
Indonesia Art Award 2008, Indonesia National Art Gallery, Jakarta
"Space/ spacing" Opening Semarang Contemporary Art Gallery, Semarang
"Manifesto", Galeri Nasional Indonesia, Jakarta
"Progress Report" Dahara Art Gallery, Semarang
"Silent Celebration" Tony Raka Art Gallery, Mas Ubud, Bali

"Neo-Nation" Jogja Biennale IX, Yogyakarta
"A Memorabilia Exhibition" Tribute to Arie Setiawan, Bu Atie Gallery, Semarang
"Boeng Ajo Boeng" (100th Affandi Anniversary), Affandi Museum, Yogyakarta
"Force Majeure" International Literary Biennale 2007, Langgeng Art Gallery Magelang
Nationalism Imagine (200th R Saleh Anniversary), Yogya Gallery
"Demi Mas[s]a", Indonesia National Art Gallery, Jakarta, Jakarta
"Tribute to Barli", Bale Seni Barli, Kota Parahyangan Padalarang
"Imagined Affandi", (Semarang Gallery) in Gedung Arsip, Jakarta
"Beautiful Death" (roadshow) Bentara Budaya Yogyakarta, City Library of Malang, Orasis Gallery Surabaya, Darga Gallery Sanur OAP, B`OK Art House, Semarang

"Memories of Semarang" (roadshow), City Library of Malang, Gracia Gallery Surabaya, B`OK Art House Semarang
"Rupa Kata" (roadshow) Darga Gallery Sanur, Galeri Orasis Surabaya, City Library of Malang
Pre discourse "Gate", Semar Gallery, Malang(roadshow Indonesia - China (Guangzou))
"Visual of Words", Semarang Gallery, Semarang

"Color of Information", Barli Museum , Bandung
"Space:Sign" Biennale Bali, Tony Raka Gallery,Mas Ubud, Bali
"Side Line",Galeri Cipta II TIM, Jakarta
"Pleasure & Pressure", Elcanna Gallery, Jakarta
Pre Bali Biennale 2005, Rumah Seni YAITU, Semarang
"Realistage" (roadshow) Goong Gallery Bandung, Widayat Museum Magelang, Semar Gallery, Malang
"Meta-Etalase", Semarang Gallery, Semarang
"Intermezzo", Langgeng Gallery, Magelang
"Fundraising for Aceh", Bentara Budaya, Jakarta
Multimedia Installation"Wind road to Darwin" for readings of poetry Triyanto Triwikromo and Sitok Srengenge, Semarang

"Bouquet", Ronggowarsito Museum, Semarang
"Artclips", Ronggowarsito Museum, Semarang
"Wing of Words, Wing of Colors",Langgeng Gallery, Magelang

"Semarang Koeroeng Boeka" Festival, Dibia Puri Hotel Semarang
Philip Morris-Indonesian Art Award 2003, ASEAN Building, Jakarta
"Cultural Camp" Tapak Kaki TBRS, Semarang
"MetamorphArt" Ciputra Hotel, Semarang

“Ragaula”, Lengkong Cilik, Semarang
"Spirit on Paper" Sienna Gallery, Semarang
"Digital Painting" Sienna Gallery, Semarang


2010 : Finalist of Contest Competition Indonesia Art Award 2010

2008 : Finalist of Contest Competition Indonesia Art Award 2008

2003 : The Big Ten Contest Competition Indonesia Art Award - Philip Morris 2003

2000 : First Winner National Poster Contest Competition ”Peace”, Limpad Foundation

Event Managent

2010 : Semarang Art Festival I and Awards of The Indonesia Record Museum (MURI) for 4 Masters Cartoonist Indonesia

2009 : Painting Competition “3G” Suara Merdeka Daily, Semarang, Indonesia

Artist's statement (Bahasa Indonesia)

Belajar tentang kesadaran dan belajar dari kebajikan adalah belajar dengan mengalami sendiri secara langsung dan bukan karena percaya berdasarkan mitos atau pendapat yang diyakini orang lain. Menguji pengalaman diri sendiri baik yang bersifat vertikal ataupun horizontal. Yang mendapatkan pengajaran dari “hidup” ini sendiri maupun yang Ilahiah.

Hal tersebut di atas sangat berpengaruh pada proses berkarya saya, baik contents maupun visual. Tentunya sangat subyektif dan agak tersembunyi. Dan ini adalah pilihan saya dalam berkesenian, dan merupakan konsekuensi logis yang saya hadapi. Tapi berkesenian seperti ini membuat saya bahagia, karena saya punya keyakinan bahwa apa yang saya ceritakan melalui karya saya tetap ada orang-orang yang dapat menangkap atau menerima “tanda” yang saya sampaikan. Ibarat seseorang yang pernah mencicipi atau makan buah apel, tentunya dia dapat dengan mudah menceritakan bagaimana rasa, warna dan kondisi buah apel kepada orang yang punya pengalaman mencicipi atau makan buah tersebut.

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