28 November 2008

[ac-i] Undangan pameran Seni Rupa Surya Wirawan 2000 - 2008

 

UNDANGAN | INVITATION

 

 

Pameran Seni Rupa Surya Wirawan

2000 – 2008

 

 

 

(Scroll down for English)

 

Pembukaan

Jumat, 5 Desember 2008, jam 19:30 WIB

Di Ruang Pamer KKF

 

Pameran

Berlangsung dari tanggal 5 – 31 Desember 2008

Buka setiap hari, Jam 11:00 – 21:00 WIB (kecuali Selasa, KKF libur)

 

 

Opening

Friday, 5 December 2008, at 07:30 p.m.

At KKF Gallery

 

Exhibition

Last from 5 – 31 December 2008

Open daily, at 11:00 a.m. – 09:00 p.m. (Except on Tuesday, KKF is off)

 

 

Surya Wirawan si ahli gambar: yang langka di pasar yang tak butuh ahli

 

Di tengah hangar bingar pasar seni rupa Indonesia yag disesaki dengan karya-karya kelas 2 atau bahkan 3 dan 4, bermedia kanvas dan berukuran besar, Surya Wirawan dengan kertasnya yang mungil adalah oase yang menyejukkan. Surya Wirawan atau biasa dipanggil teman-temannya 'komo' menggambar di atas kertas yang rata-rata luasnya 20 x 30 cm2. Komo bekerja sayup-sayup, dengan gaya orang menembang tinimbang orang yang berteriak dengan musik rock. Kali ini ia menggunakan beberapa varian komik, seperti komik larik dan 'gambar umbul' dan meminjam tokoh Punakawan – Gareng & Petruk – sebagai subyek utama rerasannya. Sepintas kaya Komo seperti komil 'lawasan' yang digabar ulang atau mengingatkan pada lukisan kaca bikinan Maryono dari Muntilan, Jawa Tengah. Lukisan kaca Muntilan selalu menggambarkan situasi batin perkotaan Jawa tahun 50 – 60an. Mobil-mobil kuno, masjid gaya art nuvo, dan seragam colonial. Sebuah gambaran romantic orang Jawa tentang kota pada masa itu. Lukisan Kaca Muntilan adalah capture dari kota-kota di Jawa Tengah, sebuah pembekuan dari Jawa yang selalu berubah. Komo dengan spirit yang hampir sama – nostalgic dan romantis – akan tetapi meneruskannya dengan komentar yang kritis. Keisengan Komo kali ini adalah pemberi jiwa kritis pada karya-karya romantic lukisan kaca Muntilan. "Saya sedang rasan-rasan saja, ngrasani bensin mahal, polisi tukang tilang, orang miskin pemimpi, antri beras dan minyak tanah, dll.

 

Kecuali lewat komik-komik 'jadul' yang memperlihatkan ketrampilan menggambar, Komo juga memamerkan karya dengan media grafis yang sama-sama menunjukkan keunggulan dalam teknik dan detail. "Mencoba teknik merupakan hal yang seru untuk tetap dikerjakan", katanya.

 

Membicarakan pamerannya di KKF pada tahun 2008 ini, seperti déjà vu. Pertama, obrolan tentang teknik. Jelas, ini mengingatkan jaman pacaran saya dengan Agung Kurniawan, sekitar tahun 1992 – 1993an. Kebanyakan ketika menonton pameran siapa pun, karya didekati dan dipelototi dari jarak sangat dekat, diinceng dari kiri dan kanan. Komo adalah teknikwan yang kami kagumi dan kemudian kami ajak pameran di Kedai Kebun pada tahun 1997. Namun saya rasa, teknik sama sekali bukan semata-mata obsesinya. Yang saya kagumi adalah kecermatan dia memilih kapan saatnya menggunakan cat air, kapan menggunakan pensil atau ballpoint, atau saatnya memilih sablon atau etsa, semuanya di atas kertas yang mungil, di situ kita bisa menemukan detail, arsiran garis halus, dan gradasi warna yang lembut.

 

Waktu itu, tahun 1997, ia pameran berdua dengan Ugo Untoro, teknikwan pada ujud yang berbeda.

 

Déjà vu kedua, Semsar Siahaan. "Aku pernah mengaguminya, tapi dia sudah mati", kata Komo. Sebagai seniman ternama tahun 1980an, nama Semsar nyaris tidak terdengar dewasa ini, ia mati di Bali karena stroke. Kurang detail pertanyaan saya, apanya yang Komo kagumi pada diri Semsar. Semsar Siahaan selalu melukir dengan kanvas yang gigantic. Karya Semsar penuh dengan bentuk orang dengan tangan mengepal dan muka mengkerut marah. Sedangkan Komo, kertas-kertas mungilnya dipenuhi dengan muka lugu penuh coreng-moreng yang dibuat untuk menutup perasaan mereka sebenarnya. Semsar bekerja dengan isu besar; kerusakan lingkungan, pembantaian masal dan lain sebagainya. Sedangkan Komo bekerja sebaliknya; urusan sehari-hari, tilang motor, antri beras dan minyak tanah. Universe dari kedua seniman itu sejatinya sama; tema social – yang membedakan hanyalah cara pandang atas persoalan. Semsar marah, Komo menggerutu dan terus melanjutkan hidup yang (selalu) sengsara. (Yustina W. Neni)

 

 

Surya Wirawan Jogjakarta's Drawing Master: Rare in the market which no longer need an expert

 

In the middle of the boisterousness of Indonesian arts markets, which is filled with 2nd or even 3rd and 4th classes of artworks, using canvas as the media, and has big size, Surya Wirawan with his small paper size is the oasis which cheers up the situation. Surya Wirawan, or used to be called 'Komo' by his friends, drew on paper around 20 x 30 cm2, and he worked silently, with the style of someone who nembang (Javanese term for singing traditional Javanese song), rather than people who are shouting out in rock music. At this time he uses some variant of comics, such as comic strips, 'gambar umbul' (it is one of Indonesian children's games; by using a paper consists of several small pictures, then cut those pictures into small cards of pictures, around 3 x 5 cm), and borrowing the Punakawan characters  (Javanese traditional shadow puppet's characters as the clown characters who cheer up the situation and make jokes) – Gareng & Petruk – as the main subjects of his rerasan (Javanese for thinking and talking about something). At the first sight, Komo's works are like 'old style' comics which are repainted or they remind us to the Maryono's glass paintings from Muntilan, Central Java. Muntilan's glass paintings always draw the Java urban inner-spiritual situation in 1950 – 1960s, such as antique cars, nuvo-art-style mosques, and colonial's uniforms. Romantic images of Javanese people about the town at that time. Muntilan glass paintings are the capture of towns in Central Java, a freezing of Java that always changed. Komo with almost the same spirit – nostalgic & romantic – will keep his critics comments. What he did just for fun this time is to give the soul of critics to romantic Muntilan glass paintings. "I was just only wondering, thinking about expensive gas policemen who like to give traffic tickets, the dreamer poor people stand in line for rice and oil, etc).

 

Besides 'old-style' comics which show the skill of drawing, Komo also shows works using printing techniques that also shows special quality in techniques and details. He said, "trying technique is the coolest thing to do."

 

By talking his next exhibition in KKF next 5 – 31 December 2008, is just like déjà vu. First it is the conversation about technique. For sure, it reminds me when I was dating with Agung Kurniawan, around 1992 – 1993. Mostly, when we came to any exhibition, people came closer to the artworks and stared at them from very short distance; saw them closely from right to left. Komo is a technician that we admire of and then we asked him to have exhibition at Kedai Kebun in 1997. But I think technique was not the only of his obsessions. The thing that amazed me was his orderliness about when the right time to use water color, when to use pencil or pen, or when to use silk screening or etch, he did it al on a small paper. But, there, we can find details, smooth hatching, and soft color gradation.

 

At that time, December in 1997, he had exhibition together with Ugo Untoro, another 'technician' at different form and media.

 

The second déjà vu was Semsar Siahaan. Komo said, "I once admired him, but he is dead." He was a famous artist in 1980s, but lately, the name of Semsar almost never heard. He died in Bali because of stroke. My question was not quite detail, what did Komo admire from Semsar? Semsar Siahaan always painted on gigantic canvas. His works filled with people who clenched with angry faces. While Komo's, his small papers full with naïf faces, full with streaks and scratches that were made to cover their real feeling. Semsar worked with big issues; environment damage, mass butchering, etc. While Komo works the opposite waty. He shows about daily life matters; traffic tickets for motorcycle, queuing up for rice and kerosene. Actually, the universe of those two artists is the same; social theme – the thing which makes it different is just the way they look on the problems. Semsar was angry; Komo is grumbled about, but keeps continue the life which (always) miserable. (Yustina W. Neni)

 

 
 
 
 
 
Kedai Kebun Forum (KKF)
Jl. Tirtodipuran No. 3 Yogyakarta 55143 Indonesia
Telp./fax. +62 (0) 274 376114
E-mail: kkforum@indosat.net.id
Website: http://www.kedaikebun.com
Office and Gallery hours, 11.00 am - 07.00 pm
Restaurant hours, 11.00 am - 11.00 pm
We are closed on Tuesday
 
KKF is an art space in Yogyakarta manage independently by artists and consisting of a gallery, performance space, 'HALTE' a text learning media in art critics, bookstore and restaurant.
KKF is a small community established since 1996 with the purpose of providing an arena of learning and studying, in the context of developing sensibilities to all phenomena of social transformation through art.
All activities of KKF are supported by its extraordinary restaurant.
 
 
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blog: http://artculture-indonesia.blogspot.com

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