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Pathos of the Fringes Group Exhibition at Jeonbuk Museum of Art

Photos by Dong Jo Chang

Photos by Dong Jo Chang

Photos by Dong Jo Chang



Pathos of the Fringes Group Exhibition at Jeonbuk Museum of Art

Pathos of the fringes
  • 2018-07-03 ~ 2018-09-09
  • is an exhibition that converges the contemporary art of Yogyakarta of Indonesia that takes pride in its high level of free spirits and Jeonbuk contemporary art of Korea with elegance. The exhibition entails the pathos of fringes, which are the source of creativity and liveliness, and artistic sentiment and passion. “Fringes” is space that continues to with a sense of dynamics and life force, while struggling against the hardened core. “Pathos” represent sentiment, collision and passion.

    The art gallery has paid attention to Asia for last three years through “Asia Contemporary Art Exhibition”. On a bigger frame, the gallery is rolling out “Asia Jidori Project”. This project is an aggressive initiative where Jeonbuk artists are sent off to other regions in Asia and bring in Asian artists to Jeonbuk for enhancing interaction and relations, while clarifying the diversity in Asia contemporary art that is deep and diverse and delving into the modern conditions into art.

    This year, we concentrated on Indonesia’s contemporary art. Jeonbuk Museum of Art visited many workrooms of Yogyakarta of Indonesia to encounter the genuine eyes of artists with high level of free spirits and life force and their artworks. Among them, eight successful artists like Heri Dono, Nasirun and Entang Wiharso were invited. They authentically convey somewhat mixed Yogyakarta’s cultural conditions. The project was partaken by young Jeonbuk artists that have been recruited through pre-challenge. They include; Lee Joonghee who is artistic Mandara-oriented yet is global, Hong Sunkii who reveals the scars derived from the social injustice, and Kim Byunghul who brings up a small light of hope in a layman through experiential installment art.

    Both Korea and Indonesia share the same pain as the countries that greeted the modern era as colonized countries due to imperialism supremacy. The process of modernization shook up hugely. In such a whirlpool of convulsion, we somewhat neglected Asia and failed to deep dive into ourselves. Through exhibition, we hope that one would expand their scope of thoughts as they collide against the disparity in their fixed ideas that are prent inside them. In addition, one should enjoy the pathos of Asian contemporary art that is rising up high.


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Kochi Muziris Biennale: First Artist Announcement

Kochi's Raintrees on a monsoon evening.

It is with great excitement that the Kochi Biennale Foundation announces the first list of participating artists for the fourth edition of the Kochi-Muziris Biennale.

In its title, the Biennale is an invocation of the latent cosmopolitan spirit of the contemporary metropolis, Kochi, as well as its mythical past—the ancient port of Muziris, a centre of trade and cultural exchange that is still an active archaeological site. In spirit, the Biennale seeks to explore resonances of this past alongside the pluralities of the present in the current global context to posit alternatives to dominant political and cultural discourses. Kochi-Muziris Biennale is an invitation of dialogue for new aesthetics and politics—rooted in its socio-geographical setting, but receptive to winds blowing in from other worlds.

The fourth edition of the Kochi-Muziris Biennale is curated by eminent artist Anita Dube. Her appointment as curator, unanimously decided upon by an Artistic Advisory Committee put together by the Kochi Biennale Foundation at the beginning of last year, stays with the Biennale’s tradition of being an exhibition helmed by an art practitioner.

On curating an exhibition of this scale, Dube notes: “My earliest intuitive vision for this edition of the Kochi-Muziris Biennale to explore the possibilities for a non-alienated life has remained with me. The need to listen, think, and learn with each other, particularly voices from the margins—of women, of the queer community, the oppressed castes, the whispers and signs of nature—with a spirit of freedom and comradeship is vital. In both the exhibition and the carefully designed interactive spaces, I hope the incredible range of exhibiting artists and visitors will become active participants and co-producers of the Biennale as a knowledge laboratory.”

As part of her research and curatorial process, Dube visited a total of 29 countries where she was hosted by a wide array of arts institutions and independent supporters of the Biennale. Her artist list, a selection of whom are announced here, reflects the dynamic range of practises and conversations she shared along the way.


Aernout Mik (Netherlands), Akram Zaatari (Lebanon), Annu Palakunnathu Matthew (India/US), Araya Rasdjarmrearnsook (Thailand), B.V. Suresh(India), Barthélémy Toguo (Cameroon), EB Itso (Denmark), Goshka Macuga(Poland), Guerrilla Girls (USA), Heri Dono (Indonesia), Ines Doujak + John Barker (Austria + UK), Jitish Kallat (India), Jun Nguyen-Hatsushiba (Vietnam), Madhvi Parekh (India), Marlene Dumas (Netherlands), Nilima Sheikh (India), Pangrok Sulap (Malaysia), PR Satheesh (India), Prabhakar Pachpute (India),Rana Hamadeh (Lebanon), Rina Banerjee (India), Santu Mofokeng (South Africa), Shilpa Gupta (India), Shirin Neshat (Iran), Shubigi Rao (India), Song Dong (China), Sue Williamson (South Africa), Sunil Gupta + Charan Singh(India), Tania Bruguera (Cuba), Thomas Hirschhorn (Switzerland), VALIE EXPORT (Austria), Vipin Dhanurdharan (India), Vivian Caccuri (Brazil), Walid Raad (Lebanon), William Kentridge (South Africa)


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Shooting and interview with some friends

Interview and shooting by art institution, researcher and some writers.










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Solo Show by Bambang Herras, officiated by Heri Dono

Please come and join us tomorrow!

Mangsi Mili

Solo Show by Bambang Herras

Officiated by Heri Dono

at Pelataran Djoko Pekik, Wednesday April 18, at 7 pm




Heri Dono is NGD’s highlight artist of the month!

Heri Dono is NGD’s highlight artist of the month! Stay tune for more updates on the legendary Indonesian artist and his art merchandise.


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Heri Dono: Rebel from an early age



From being a university dropout to becoming one of Indonesia’s most internationally recognized contemporary artists, Heri Dono is the epitome of a true storyteller unafraid to swim against the tide.

For Heri Dono, United States President Donald Trump is like Bagong, a character in Javanese mythology portrayed in wayang (shadow puppet) plays.

“Bagong is direct in speech and if he makes mistake, it still sounds hilarious,” the 57-year-old said.

The US presidential election in 2016 grabbed Heri’s attention because it reminded him of chaotic political scenes in Gotham City in the Batman comic books. He then created two black-colored puppets depicting Trump and Hillary Clinton.

The puppets were on display during a group exhibition titled nDalang (Puppeteer), held in at the Taman Ismail Marzuki (TIM) cultural center in Central Jakarta in November.

Heri is arguably one of Indonesia’s most seminal artists. In the early 1990s, he made history as the first Indonesian to break into the global art scene. Having held over 50 solo exhibitions and participated in over 216 group exhibitions at home and abroad since 1982, he is known for artworks presenting strong criticisms of violence, and social and political turmoil in Indonesia.

In 1996, he raised eyebrows within the New Order regime with his installation Blooming in Arms, which depicts the story behind the 1965 massacre of alleged supporters of the now-defunct Indonesian Communist Party (PKI). Upon returning to Indonesia after living in the United Kingdom, he was arrested and interrogated for three days.

Heri became even more vocal after the fall of former president Soeharto.

For example, he created the installation The Palace Guards, which questions whether Indonesia is truly independent. The work comprises three statues depicting Soeharto, founding president Sukarno and Army general Soedirman.

The Palace Guards by Heri Dono (JP/A. Kurniawan Ulung)

During the nDalang exhibition, he also showcased a wayang puppet depicting Soeharto.

For him, the era of Soeharto is no different from the age of colonialism, because power was held by the military with the support of political elites. Although Soeharto’s regime is over, discrimination against minority groups and religious intolerance still remains.

“Many people are still confused about the definition of tolerance. It is understood [as a definition], but has yet to reach the people’s hearts,” he said.

Heri compares practicing tolerance to playing gamelan (traditional Javanese orchestra), in which where different instruments are played in harmony. He regrets that gamelan is no longer taught in many schools.

The artist learned to be critical through favorite folklores that are also thick in sociopolitical commentaries, such as Cerita Panji (Panji Stories), a collection of heroic stories about Raden Inu Kertapati and Dewi Sekartaji during the Kediri Kingdom dating from the 13th century.

Heri said his passion for painting emerged early in his childhood. His father, who served as the adjutant of president Sukarno in the 1960s, used to bring him to Bogor Palace, where he would be mesmerized by the collection of world-class paintings and statues on display.

At school, he told his elementary school teacher that he wanted to be a painter.

“My friends laughed at me. Unlike me, they wanted to be a doctor, pilot or architect,” said.

In 1980, Heri managed to realize his dream to study at the Yogyakarta-based Indonesian Academy of Arts (ASRI), which was the first fine arts campus in the country and is now known as the Indonesian Art Institute (ISI). However, seven years later, he decided not to finish his studies.

“My parents were sad. They wanted me to have a [university] degree,” he said, adding that he believed an artist did not need to have a certificate or a degree to work.

Heri said he took full responsibility for his decisions, saying that being a dropout was not a big deal for him. The fifth child among seven siblings, he conceded that he was considered the naughtiest and least successful child in his family. The image did not discourage him, but was rather liberating.

“Because I was deemed unsuccessful, I felt no burden in my life. I regret nothing,” he said, then laughed when recounting that he had failed fifth grade for frequently skipping school.

He liked to play in the rice fields during school hours, he said, adding that his parents did not scold him because they didn’t want him to run away from home.

From being a university dropout to becoming one of Indonesia’s most internationally recognized contemporary artists, Heri Dono is the epitome of a true storyteller unafraid to swim against the tide. (JP/A. Kurniawan Ulung)

In high school, he continued to skip class because he liked to do other things as head of the student body organization (OSIS). He would also receive bad grades in art class because his drawings often contradicted the instructions of his teacher. In his final high school report, he got a 4 in art.

“My teachers even threatened to give me score of 3 if I still refused to follow their instructions, which meant I wouldn’t graduate. I told them I was not afraid,” he recalled.

As a talented artist, Heri has been awarded numerous art distinctions, including the UNESCO Prize at the Shanghai Biennale in 2000. For him, learning is a lifelong process that can be conducted anywhere. Even though he is considered a successful artist today, he said he would never stop learning.

He recalled that his parents were surprised after learning about his exhibition and lecture at Oxford University in the UK in 1995.

“They wondered how a dropout could speak about art at Oxford University,” he said.

For aspiring artists who want to have an international career, Heri advises them to have a deep understanding of not only global issues but also history, culture and the country’s traditions.

“To go international, we do not need to change our identity. If we have character, we will be seen as unique by artists from other countries, because we do not try to imitate them,” he said. “We should stop thinking that [Indonesia] is always being left behind and that other countries are always better. We are great because we have a rich culture.”

Tags : Heri-Dono,Artist,Indonesian-Artists,Local-Artists,Contemporary-Art,Indonesia-Contemporary-Art-And-Design

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