Semesta Terkembang Jadi Buku S o l o E x h i b i t i o n b y A i d i Yu p r i
Saturday, January 12, 2013 Art Space:1 - Art:1 Jl. Rajawali Selatan Raya No. 3 Jakarta 10720 Ph. (021) 64700168 (hunting), Fax: (021) 64712243
[email protected] I www.mondecor.com twitter: Art: 1 Museum Jakarta facebook: Mon Decor
Selamat tahun Baru! Kami dengan bangga membuka tahun 2013 dengan sebuah pameran tunggal Aidi Yupri melalui tema "Semesta Terkembang Jadi Buku" yang akhirnya bisa terealisasikan setelah direncanakan lebih dari setahun yang lalu, setelah pamerannya yang terakhir diadakan di Mon Decor Gallery.
This catalogue was published to accompany the solo exhibition by Aidi Yupri Semesta Terkembang Jadi Buku 12 - 26 January 2013 Venue Art Space:1 Curator Suwarno Wisetrotomo Colophon
English Translation Henny Rolan Photographer Art:1
Pengantar Art:1
Sebuah kombinasi dari teknik yang sangat detail dan bahasa yang puitis dalam berkarya, Aidi Yupri masih konsisten dengan inspirasi alam. Karyanya terlihat kontemplatif, disajikan di atas kanvas tebal yang berbentuk buku. Gagasan Aidi atas alam sekitarnya, berkembang karena keberadaan pohon yang tumbuh di sekelilingnya. Bagi Aidi, pohon bukan sekedar bahan baku kertas, namun juga memiliki makna untuk mengingat bahwa manusia sudah sepantasnya menjadi penjaga untuk kehidupan dari alam semesta; dan ketika mereka mengerti tujuan ini maka manusia bisa mencapai hidup yang lebih religius dan spiritual.
Published by Art:1 Jl. Rajawali Selatan Raya No. 3 Jakarta 10720, Indonesia Ph (021) 64700168 (hunting) Fax: (021) 64712243
[email protected] www.mondecor.com twitter: Art: 1 Museum Jakarta facebook: Mon Decor
Kami ucapkan terima kasih kepada teman-teman Art:1, seniman, kolektor dan pecinta seni atas dukungan nya di Art:1. Kami mengucapkan selamat berpameran kepada Aidi Yupri dan kami haturkan terima kasih kepada Bapak Suwarno Wisetrotomo selaku kurator pameran. Terima kasih kepada Indonesia Tatler yang telah bekerja sama sebagai media partner serta PT David Roy Indonesia sebagai beverage sponsor. Akhir kata, kami ucapkan selamat menikmati karya-karya yang di pamerkan, dipilih khusus oleh team Art:1. Semoga karya-karya tersebut membawa inspirasi dan membawa semangat baru di dunia seni Indonesia di tahun 2013.
in association with:
Salam hangat,
media partner:
Monica Gunawan Art:1
tea and coffee in partnership with:
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Pertanyaan tentang untuk apa seni/karya seni, rupanya tak pernah usang. Setidaknya pertanyaan itu menjadi semacam 'gangguan kecil' (bisa juga 'gangguan besar') bagi setiap seniman, ketika berada dalam proses kreatif berkesenian. Sang seniman tak akan terganggu apabila sejak semula ia hanya asyik sendiri dalam dunianya sendiri; apabila sang seniman – dengan sadar atau tak sadar – menciptakan jarak dengan lingkungan sosial-masyarakatnya. Berkarya seni hanya menjadi pemuas hasrat-hasrat personalnya, tanpa memikirkan tautan dengan lingkungan sekitarnya. Seniman dengan tipe semacam ini cenderung akan merasa menjadi makhluk istimewa yang menuntut siapapun untuk mengerti dan memahami dirinya; menuntut siapapun mendatangi dirinya.
Happy New Year! We're excited to kick off the year with a solo exhibition by Aidi Yupri, titled "Universe Blooms Into A Book" - the exhibition which is finally realized after being planned for over than a year, following Aidi Yupri's last successful exhibition with us.
Foreword Art:1
Combined with his reputable technique in details and his poetic language to deliver his art, Aidi Yupri is still consistent with his nature-inspired paintings. His recent artworks looks almost contemplative and spiritual, using canvases that embody the form of a book. His inspiration comes from his perpetual awareness to the life of trees not only as raw materials for the pages in the book but as reminder that humans should place themselves as the guardians of the universe; and once they come to terms of this purpose, thus making them more religious and spiritual. We would like to give thanks to our friends of Art:1, artists, collectors, art aficionados, for their love and support in the past. We would like to congratulate Aidi Yupri for his solo exhibition and extend our thanks to Mr. Suwarno Wisetrotomo for his curatorial and guide during the preparation on this exhibition. Our gratitude towards Tatler Magazine as our media partner and PT David Roy Indonesia as a beverage sponsor. Lastly, we hope you will enjoy this exhibition especially selected and curated by Art:1. We hope these artworks may continue to bring inspiration and a great start to Indonesian art scene in 2013. With warm regards Monica Gunawan Art:1
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Semesta Terkembang Jadi Buku Catatan: Suwarno Wisetrotomo
Sebaliknya, seniman yang terus merasa terganggu dengan pertanyaanpertanyaan mendasar terhadap aktivitas keseniannya, akan terus berupaya mengerti dan memahami lingkungan sosial-masyarakatnya. Ia akan menyempatkan diri mendatangi penontonnya, mendatangi masyarakat, atau siapapun, untuk menyerap pengalaman (bahkan pengetahuan) dan kemudian berbagi atau memperbincangkannya. Karya seni hanya sebagai medium, sebagai bahasa untuk membicarakan atau untuk menyatakan pandangan dan pendapat tentang “sesuatu” yang membuat kecewa, bahagia, marah, benci, kritis, dan lain-lainnya. Perbedaan yang kontras semacam itu akan berakibat pada karya-karya yang digubah, setidaknya dalam hal kekuatan karya, tujuan, dan dampak yang ditimbulkannya. Karya-karya para seniman yang hanya asyik sendiri, yang hanya menuntut untuk dipahami, tidak memiliki daya ganggu bagi penontonnya. Karyanya berhenti sebagai benda-benda yang bisu, dan akan segera dilupakan. Sebaliknya karya seniman yang terus merasa 'terganggu' dengan sejumlah pertanyaan, seniman yang terus berusaha mengerti dan memahami pihak lain, akan memiliki daya ganggu dan daya gugat, yang menggelisahkan penontonnya. Ada gelombang yang mudah ditularkan pada orang lain. Karena pada dasarnya, karya-karya yang demikian itu bermula dari kepungan dan tekanan situasi krisis, dan sang seniman ingin mengatasi serta berupaya keluar dari krisis tersebut. Terdapat passion yang getarannya terasa oleh penonton.
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Kali ini kita menyaksikan karya-karya seorang perupa yang puitis, sekaligus memiliki daya gugat dan daya gugah yang kuat. Karya-karya dalam pameran ini memiliki karakter visual yang lembut, tetapi menyimpan provokasi yang mengganggu kesadaran kita. Menikmati karya-karya ini menemukan suasana hati (juga nalar) yang hampir sama ketika membaca kumpulan puisi; menemukan serangkaian kata, susunan kalimat, baris-baris kalimat, atau paragraf, yang ingin mengungkapkan 'sesuatu' (kenyataan) dengan cara 'menyembunyikan' di balik serangkaian kata-kata itu. Sama ketika kita melihat dan memahami semesta yang demikian nyata, tetapi sekaligus mengajarkan berbagai makna di baliknya. Demikianlah, bahwa semesta adalah “ayat-ayat atau kitab” gubahan Sang Maha Pencipta. Tugas manusia – sebagai khalifatullah di bumi – untuk merawat, membaca, memaknai, dan kemudian mengabarkan kepada siapapun dengan berbagai cara serta bahasa yang dianggap paling sesuai dengan setiap orang.
sementara pohon jenis lainnya tumbuh daunnya. Ada pohon yang demikian kuat menahan angin karena akar tunjangnya, dan sebaliknya ada yang mudah rebah karena terpaan angin. Kaktus dengan karakternya yang unik; berbatang lunak, berduri, tetapi justru demikian kuat hidup di tanah tandus, padang gurun. Aidi melihat setiap gejala semacam itu.
Semesta, Aidi Yupri, dan “Buku”
Keterlibatannya itu mendekatkan dan meningkatkan kesadaran dirinya terhadap semesta. Bagaimana sebaiknya manusia menempatkan dirinya sebagai sang pemelihara semesta, bukan sebagai penghisap yang semena-mena. Bagaimana pula sebaiknya manusia menyadari eksistensinya di tengah semesta, yang membuat dirinya menjadi lebih religious-spiritual.
M. Aidi Yupri (kelahiran Magelang, 24 Desember 1981, lulusan Fakultas Seni Rupa ISI Yogyakarta) adalah seniman yang menggubah karya-karyanya karena terdorong oleh 'ayat-ayat Tuhan' berupa kehidupan di sekitarnya; terutama ia belajar dari pohon. Baginya, sebatang pohon sungguh merupakan sumber tumbuhnya pertanyaan sekaligus kesadaran dalam menjalankan kehidupannya. Ia belajar dari pohon dengan renungan sederhana; pohon tumbuh, hidup, dan memberikan manfaat bagi pihak lain. Hampir setiap pohon, pada setiap bagiannya memiliki manfaat bagi kehidupan pihak lain. Kehidupan pohon berada dalam proses yang runtut dan wajar (perupa Tisna Sanjaya pernah mengatakan, “pohon tidak tumbuh tergesa-gesa”). Sebatang pohon akan dengan lentur (adaptif) terhadap lingkungannya, akan mencari ruang tumbuhnya masing-masing. Akan memiliki kehidupan sesuai dengan kondisi tanah di mana ia tumbuh; apakah cukup subur tanahnya, apakah cukup suplai pupuknya, apakah cukup airnya, dan sebagainya. Setiap jenis pohon, memiliki wataknya yang khas sesuai dengan lingkungan di mana ia tumbuh. Terdapat pohon yang meranggas di waktu kemarau,
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Aidi tak hanya melihat dan mempelajari pohon dari jauh, tetapi mendekati dan menjamah langsung sang pohon. Karena, mengerti dan memahami pohon, sama dengan mengerti dan memahami alam semesta. Bumi tanpa pohon adalah ancaman bagi kehidupan. Karena itu, Aidi tergabung dalam organisasi pencinta alam, yang aktivitasnya melakukan penanaman pohon di daerah-daerah kritis, misalnya lereng dan desa-desa di sekitar Gunung Merapi pasca erupsi. Lereng dan tanah pedesaan itu pohon-pohon meranggas karena disapu awan dan lahar panas, termasuk tumbang oleh banjir lahar dingin. Aidi terpanggil untuk bergabung dalam proyek sosial tersebut.
Bermula dari pohon, memang, Aidi lebih terdorong untuk menyelami dunia spiritualitas, keyakinan dan pemahaman terhadap Yang Maha Kuasa terhadap semesta. Pohon merupakan bagian dari ayat-ayat Tuhan yang terbentang di hamparan semesta. Pohon dengan akar, ranting dan cabangnya, dapat digunakan untuk melihat diri sendiri. Apakah batang pohon itu sudah cukup kokoh untuk menopang dahan, ranting, daun, dan buah, serta apakah mampu menjaga keseimbangan kehidupan dan pertumbuhannya. Maka Aidi segera menatap dirinya, sembari bertanya, “apakah aku sudah hidup sewajar dan berguna bagi banyak orang seperti dia (pohon)?” Pertanyaan reflektif itu terus muncul dari dirinya, sambil menyaksikan ironi-ironi yang menimpa banyak pohon yang menimbulkan ketidakseimbangan alam semesta.
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Renungan semacam itu mendorong Aidi untuk melakukan eksplorasi bentuk pada karya-karyanya. Sampai akhirnya mengerucut pada bentuk “buku”. Pohon, semesta, dan buku? Bagaimana hal itu bertautan? Meskipun Aidi menghadirkan bentuk “buku”, tetapi bentuk itu sebuah isyarat (metafora) belaka. Atau setidaknya menyorongkan makna ganda. Pertama, buku-buku memang dibuat dari bahan baku kayu, sebagai bahan dasar kertas. Kedua, bentuk “buku” sebagai isyarat untuk menantang kesediaan kita semua agar mampu “membaca” semua ayat-ayat Tuhan yang terhampar di sekitar kita. Saya menjadi teringat salah satu ayat dalam Al-Qur'an, ayat pertama dari Surat Al-'Alaq, yang berbunyi Iqra' bismi rabbikal-ladzi khalaq (Bacalah dengan [menyebut] nama Tuhanmu yang menciptakan). Sangat jelas perintah Tuhan ini, yakni “bacalah”; tentu saja agar membaca seluruh ayat Tuhan – dalam berbagai bentuk, tanda, lambang – yang ada di dalam semesta ini. Kegagalan untuk memiliki kemampuan 'membaca' ayat-ayat Tuhan, saya kira adalah kegagalan manusia sebagai khalifah Tuhan di bumi. Aidi memilih bentuk yang sederhana, “buku”. Tetapi dengan bahasa itu, Aidi sekaligus menunjukkan kepiawaiannya memainkan metafora. Aidi lincah memainkan “dimensi” yang berlapis-lapis, baik dari aspek bentuk maupun makna. Ia menghadirkan bentuk buku, baik secara ilusif, maupun melalui kanvas yang dibentuk sedemikian rupa menjadi menyerupai bentuk buku. Hampir semua gubahan lukisan-lukisannya menghadirkan bentuk buku dalam posisi terbuka. Bentuk ini menegaskan isyarat iqra' (bacalah); membaca kitab, membaca ayat-ayat kehidupan. Apa yang terjadi pada alam, bagi Aidi adalah sebuah “suratan” Tuhan yang harus terjadi; bagai pena raksasa yang menorehkan garis, bentuk, warna, dan peristiwa pada semesta (lihat karya “Pesan di Balik Awan”). Kemudian dalam upaya “membaca”, tentu terjadi tegangan, kegagalan, juga optimisme (lihat karya “Terus Bergerak”: bentuk tangan tengah membuka buku tebal, huruf-huruf rontok, tetapi di halaman berikut tampak langit biru dengan awan tipis). Meski demikian, setiap langkah, setiap upaya harus dilakukan dengan cermat dan dikalkulasi dengan teliti (karya “Renungan Langkah”; sebuah karya dengan perspektif unik, yang mampu
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menghadirkan 'ketebalan' sebuah buku). Kesemua ikhtiar itu, yang harus diingat adalah peran “kekuasaan” Tuhan dan manusia (lihat karya “Berbagi Ruang”; antara tangan, huruf, dan pohon saling bertautan, saling mendukung, tetapi bisa juga menjadi saling mengancam; atau karya lukisan “Batang Penyangga”; bentuk-bentuk tangan yang pada seluruh ujung jarinya tumbuh menjadi pohon, ranting, daun). Bukankah nasib pohon-pohon itu sesungguhnya berada pada “tangan-tangan” para penyangganya? Saya anggap karya itu berhasil menghadirkan 'puisi' yang kuat dan menyentuh perenungan dan pemahaman kita. Di samping bentuk buku, Aidi juga menggunakan metafora bentuk jendela dan pintu; yang juga mengisyaratkan makna berlapis. Lukisan bertajuk “Dalam yang Terluar, Luar yang Terdalam”, sangat impresif; sebuah buku dibentangkan, dua halaman tersambung, di sana terdapat gambar-gambar jendela bersusun, terbuka dengan kelebaran tidak penuh. Aidi sangat menarik dalam memainkan “dimensi” yang berlapis. Karya yang hampir sama dapat dilihat pada “Labirin Akal”; dua halaman buku yang tersambung, buku itu dijilid dengan kawat spiral, dan di halaman itu hanya dilukiskan panorama langit biru, dengan awan tipis bergulung. Sungguh, yang tampak tak terbatas (akal manusia) sesungguhnya terbatas pula adanya. Yang tak terbatas adalah kekuasaan-Nya (karya “instalasi” dari bentuk jendela dan pintu, juga dihasratkan dapat memancing pemahaman antara keluasan dan keterbatasan semacam itu). Saya juga terkesan dengan karya bertajuk “Sari Pati”; kertas-kertas berlembar-lembar agak tebal, dalam bentuk seperti diperas, yang membuat huruf-huruf di dalamnya rontok, namun tertampung di atas bentuk daun. Aidi seperti mengingatkan kita, bahwa kesemuanya akan kembali ke asal. Dunia “buku”, sungguh menyimpan makna multidimensional.
Puisi Rupa, Puisi Bentuk Pameran ini menunjukkan pergulatan seorang seniman dalam mencari dan menemukan ide-idenya yang kuat, yang memiliki daya gugat maupun daya kontemplasi baik bagi dirinya maupun bagi orang lain. Karya-karya Aidi
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We will never tire of asking the question about the purpose of art(works). At the very least, questions like that can become a 'small disturbance' (or a 'large disturbance', even) to an artist, especially when he or she is ensconced within an artistic, creative process. The artist will not be 'disturbed' if he is left alone happily pottering about in his own world; when the artist—consciously or otherwise—has created a distance between himself and his socialcommunity. It seems that for them, creating art should have been a fulfillment of personal desires, without having to think about relationships and connections with their surroundings. Such an artist tends to feel as though he is a special person, who demands everyone to know and understand him. Such an artist demands everyone to come to him.
Yupri berhasil memprovokasi kesadaran orang lain, meski dengan cara yang lembut dan metaforik. Bagi saya, karya-karya Aidi Yupri menghadirkan suasana puitis; karena karya-karya itu (bagi saya) memang dapat dilihat dan dipahami sebagai “puisi”. Bentuk-bentuk yang mudah dikenali, tetapi tidak serta merta dapat segera kita mengerti makna dan tujuannya. Persis seperti ketika diri kita tengah larut dalam baris-baris puisi. Kata-kata, sebagai rangkaian keseluruhan, tak lagi bisa kita kenali dengan segera makna dan tujuannya. Ia menjelma menjadi 'mantra', menjadi lambang, menjadi 'menyembunyikan' sesuatu di baliknya. Demikian pula karya-karya Aidi Yupri, bentuk-bentuk yang mudah kita kenali itu (pohon, tangan, huruf-huruf) ketika menjadi kesatuan konstruksi yang utuh, menjelma pula menjadi lambang-lambang, simbol-simbol, atau sanepo (kiasan) yang menyembunyikan maksud yang berlapis. Pameran ini mengajak kita untuk bertualang, menelusuri puisi rupa dan puisi bentuk yang – mungkin saja menyembunyikan, mungkin pula mengatakan apa adanya – maksud-maksud (ide-ide) senimannya.
The Universe Blooms Into a Book Notes by: Suwarno Wisetrotomo
Semesta terus terkembang dengan segala kompleksitasnya, demikian pula “buku-buku” terus hadir di sekitar kita. Iqra'. Bacalah!
On the other hand, an artist who is always disturbed by fundamental questions regarding his artistic activities will always try to know and understand his social-community. He will make time to meet his audience, to meet with society or whoever, to absorb experiences (even knowledge), to share and to discuss what he has learned. Artwork is not merely a medium. It is not just a language to talk about or to make statements about views and opinions on “something” that upsets, gladdens, angers, hates, criticizes, etc. Such contrasting outlooks lead to differences in the way artworks are composed, at least concerning their strengths, aims, and effects. Works by a self-indulgent artist, who only demands other people's understanding, rarely touch or disturb the audience. On the contrary, an artist who unerringly tries to 'disturb', to know and to understand other people, will create works with the potent capacity to disturb and to indict, to create anxiety amongst his audiences. His work will become like infectious waves that reach out and touch others in a profound way. Essentially, the latter kind of works rises up from the pressures and sieges in times of crisis, from situations that the artist wishes to escape from. His passion reaches his audience. Today, we shall witness the works of a poetic artist, who is strongly evocative and critical. Works at this exhibition show gentle visual characteristics, yet retaining the sort of provocation that can disturb our consciousness. To enjoy his works is to discover an inner atmosphere (perhaps a kind of rationality, too) often found when reading a handful of
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poetry. In a poem, we may discover a chain of words, a structure of sentences, and rows of paragraphs wishing to disclose 'something' (some reality) yet 'hiding' them behind intricate strings of words. We get a similar encounter when we look at and try to understand our real universe, while still wondering and even teaching about the meanings hidden behind them. Thus, the universe acts as “scripture verses”, composed by the Omnipotent. The task entrusted to us humans then—as shepherds on earth—is the task of nurturing, reading, contemplating, and proclaiming to everyone about these holy verses, using ways and words that may vary according to each particular need.
The Universe, Aidi Yupri, and “Books” M. Aidi Yupri (born in Magelang, 24 December 1981, graduated from the Faculty of Art, ISI Yogyakarta) is an artist who composes his works motivated by “holy verses” manifested in the things found around him, especially trees. For him, trees are the root of questions and consciousness in leading his life. He learns from the trees using a simple contemplation: trees grow, live, and provide for others. The life of trees follows an ordered and coherent process (Tisna Sanjaya, the artist, once remarked how “trees do not grow hastily”). A tree always adapts to its environment [flexibly], seeking its own space to grow. It will live according to the condition in which it lives. Is the soil healthy enough? Is it well-fertilized? Does it have enough water? And so on. Each type of tree has its own unique characteristics, according to the environment to which it belongs. There are trees that shed their leaves during the summer, while others grow them in abundance. There are trees that can withstand high winds thanks to prop roots, but there are also trees that bend in the wind. The cactus, for instance, is unique: soft-stemmed and prickly, it endures arid deserts. Aidi absorbs all these indications. Aidi does not look at and learn about these trees from afar. Instead, he approaches each tree and touches them. For him, to know and understand the tree is to know and understand the universe. An earth without trees is a threat to our existence. This was what urged Aidi to join a nature-lover's group. With them, he began to plant trees in critical lands, on mountain
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slopes and villages; as he did around Merapi post-eruption, for instance. The trees on these valleys and in these villages had lost their leaves to hot lava and scalding clouds; some were even swept away by cold lava flow. Aidi heeded their calls and participated in this social project earnestly. His involvement drew him closer to and nurtured his consciousness of the universe. He began to learn how people must place themselves as guardians of the universe, rather than as ungrateful leeches. He learned how people must come to understand their existence in the midst of the universe, making them more religious and spiritual. It began with trees, certainly. Aidi is now even more motivated to explore the world of spirituality, faith, belief and to seek a deeper understanding of God through the universe. Trees are seen as part of a holy scripture, laid open in the vastness of the universe. Trees and their roots, branches, limbs and twigs. He uses them to look at himself. Is the branch strong enough to support every bough and every limb, each little leaf and fruit? Is it strong enough to maintain the balance of its life and growth? Thus, Aidi will look at himself, asking, “Have I lived realistically? Am I useful to other people as the trees do?” These reflections flow out of himself, as he continues to witness a flow of ironies assaulting these trees, tipping the balance of nature and the universe. Such contemplation has drawn Aidi to conduct an exploration of forms in his works. Until finally they culminate in a “book”. Tree, universe, book? How are they connected, really? Although he presents the form of a “book”, it is merely a sign (metaphor), something that offers a dual meaning, at least. First, books are made from wood (as the main ingredient for paper pulp). Secondly, the form of a “book” serves as a sign that challenges our readiness in reading God's holy verses that are strewn around us. I am reminded of a verse in Al-Quran, the first verse in Al-Alaq: Iqra' bismi rabbikal-ladzi khalaq (Read, in the name of your Lord who created). God's will is clear in this verse: “read”. Certainly, it tells us to read all of God's words—in all forms, signs, and symbols—found throughout this universe. I think that the failure to nurture the ability to “read” God's words is man's failure to make good of his role as God's caliph on earth.
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Aidi has chosen the simple form of a “book”. However, through this language, Aidi is also demonstrating his skill in playing with metaphors. Aidi deftly plays amongst layered “dimensions”—in both form and meaning. He presents the “book” either illusively or through canvases made to look like a book. Almost all of his paintings are in the form of an open book. They emphasize the iqra' (Read!): a call to read the scriptures, to read the verses of life. For Aidi, occurrences in nature are like divine destinies (suratan, what is written); as though a great pen has drawn lines, forms, colors, and events into the fabric of the universe (see “Pesan di Balik Awan” [lit. Message from Behind the Cloud]). In our attempts to “read”, we will encounter tension, failure, and even optimism (see “Terus Bergerak” [lit. Always Moving]; a hand turning a page of a thick book, tumbling words, crumbling alphabets, and thin clouds on blue skies as we turn to the next page). Even so, each step and every attempt must be performed carefully and calculated precisely (see “Renungan Langkah” [lit. Contemplation of the Steps]; displaying a unique perspective that is somehow able to present the 'thickness' of a book). Through this entire endeavor, we must remember the role of God's might and the people within its sphere (see “Berbagi Ruang” [lit. Sharing Space]; the intertwining of hands, words, and trees, supporting one another, but also threatening one another. Also “Batang Penyangga” [lit. Supporting Branches]; hands whose fingers have turned into trees, branches, twigs, and leaves). Does the fate of trees not lie in the “hands” supporting them? I feel that these works present a kind of 'poetry', simultaneously strong and touching, inspiring our contemplation and understanding. In addition to “book” forms, Aidi also uses windows and doors as metaphors for layered meaning. “Dalam yang Terluar, Luar yang Terdalam” [lit. In the Outmost, Out of the Inmost] is quite impressive indeed: a book is laid open with two pages joined, on which windows upon windows are drawn, not quite fully open. Aidi plays with layered “dimensions”. An almost similar work can be seen in “Labirin Akal” [lit. Mind's Labyrinth]: two joined pages of spiral-bound book, and on these pages is a blue-skied panorama, with soft clouds rolling along. Indeed, what seems limitless (the human mind) is actually limited. The only limitless thing is God's Might (Aidi's
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“installation” in the form of windows and doors is intended to draw out an understanding between vastness and limitations). I am also impressed with his work, “Sari Pati” [lit. Essence]: a sheaf of thickish paper, presented as though wringing out the words inside, falling alphabets caught in the form of leaves. It seems that Aidi wishes to remind us that all things return to their origins. The world of “books” contains a multidimensional meaning.
A Poetry of Shapes and Forms This exhibition shows an artist's struggles in search of, and then finding, strong ideas. It shows an artist who has the capacity to indict and contemplate issues of himself and of others. Aidi Yupri's works have managed to provoke the audience's consciousness, through a gentle and metaphoric manner. Personally, Aidi Yupri's works provide a poetic atmosphere, because his works (for me) can actually be seen and understood as “poetry”. The forms are easily recognizable, yet we don't immediately know their meaning and purpose. Just like how we can lose ourselves in lines of poetry where words, as a whole, can no longer be immediately recognizable for their meaning and purpose. They have turned into spells and chants, into symbols, “hiding” something behind them. Such is with Aidi Yupri's works: these easily recognizable forms (trees, hands, words and alphabets) are transformed into symbols and idioms (sanepo) that hide layers upon layers of meaning. This exhibition invites us to explore, to trace the poetry of forms and shapes that may hide, or even outrightly declare, the artist's ideas and message. The universe continues to bloom and grow in all its complexity. So does the “books” that continue to present themselves around us. Iqra'! Read!
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M.e.m.o.k.o.t.a, acrylic on canvas, 200 x 195 cm, 2011
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Batang Penyangga acrylic on canvas 99 x 110 cm (2 panel) 2012
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Membaca Melalui Bayang, acrylic on canvas, 160 x 130 cm, 2010
Renungan Langkah, acrylic on canvas, 180 x 140 cm, 2012
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Gerak Kata Refleksi Diri, acrylic on canvas, 140 x 140 cm, 2012
Dalam yang Terluar, Luar yang Terdalam, acrylic on canvas, 120 x 200 cm, 2012
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Bingkai Pandang acrylic on canvas 90 x 110 cm (2 panel) 2012
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Bayang Perspektif Ilmu, acrylic on canvas, 140 x 160 cm, 2012
Labirin Akal, acrylic on canvas, 120 x 200 cm, 2012
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Pesan Dibalik Awan acrylic on canvas 120 x 150 cm (2 panel) 2012
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Untuk Lebih Membumi, acrylic on canvas, 160 x 140 cm, 2011
Membunyikan Kata, acrylic on canvas, 180 x 180 cm, 2011
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Terus Bergerak! acrylic on canvas 90 x 100 cm (2 panel) 2011 32
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Sari Pati, acrylic on canvas, 140 x 200 cm, 2012
Segmen Vertikal, acrylic on canvas, 130 x 200 cm, 2011
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Membaca Diri, oil on resin, 78 x 135 x 22 cm, 2012
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Berbagi Ruang, acrylic on canvas, 160 x 140 cm, 2011
Celah Tanpa Batas, wood, installation, variable dimension (10 windows panel), 2012
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CURRICULUM VITAE
ADVERTORIAL Dilmah is a fully integrated company, caring for tea from the tea nursery right to your teacup. Dilmah was the first producer owned tea brand, and offered tea picked, perfected and packed' at origin -Single Origin Tea. Unlike the multi-origin blends that monopolized supermarket shelves, Dilmah offers tea that is freshly packed at source and therefore rich in flavor and natural goodness.
Born in Magelang, 24 December 1981 Bachelor of Fine Art, Indonesia Institut of Fine Art, Yogyakarta Solo Exhibitions 2013 Semesta Terkembang Jadi Buku, Art Space:1, Art:1, Jakarta 2010 Alam Menggugat, Mon Décor Gallery, Jakarta Art District, Jakarta Selected Group Exhibitions 2011 Bandung Contemporary Art Award, Lawangwangi, Bandung Sin City, E(art)H Project, National Gallery, Jakarta Nation of Landscape, Museum Basoeki Abdullah, Jakarta UOB Painting of the Year, UOB, Jakarta Homo Ludens#2, Emmitan CA Gallery, Surabaya Flight for Light: Indonesian Art and Religiosity, Art:1, Jakarta
M. AIDI YUPRI
2010 3G [3 GENERATION], Semarang Contemporary Art Gallery Action'01, Taman Budaya Yogyakarta Korea International Art Fair, booth Mon Décor Gallery, Korea Jogja Art Share, Jogja National Museum, Yogyakarta
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2009 DISTANCE, Tonyraka Art Gallery, Ubud, Bali Subjects Expose(s), Pure Art Space, Jakarta Up & Hope, D'Peak Art Space, Jakarta Paramitra, Mon Décor Gallery, Jakarta 2008 Celebrating The Differences, Elegance Art Space Jakarta The Ironi of Signs Mon Décor Gallery, Jakarta Most Wanted, Galeri Biasa Yogyakarta 2007 Hitam Putih, Hotel Melia Purosani Yogyakarta Banaran Café, Jogja Gallery Yogyakarta Open Art Project, BOK Art Hause Semarang 1001 Misteri Borobudur, Borobudur Magelang Shout Out, Festival Kesenian Yogyakarta, Taman Budaya Yogyakarta Pameran Seni Rupa Nusantara,”Demi Mas(s)a”, National Gallery, Jakarta Belok Kanan Jalan Terus, Sangkring Art Space Yogyakarta Bumi, Mon Décor Gallery, Jakarta Awards 2011 2010
Finalist of Bandung Contemporary Art Award, Bandung The best Painting Competition '60 Tahun Suara Merdeka, Semarang
Once you taste DILMAH, you'll never go back to ordinary tea
Dilmah is the only vertically integrated tea company with ownership of some of Sri Lanka's finest tea gardens, state of the art tea factories, printing and packaging facilities and investments in every segment of the industry. Dilmah Tea is packed in Sri Lanka, in a facility that is recognized as one of the best in the world with state of thee art production facilities operating the most technologically advanced packing machines. Our manufacturing excellence has earned us ISO 9001:2000 quality system certification and the hygiene of our products has secured the most advanced food safety certifications in the world -ISO 22000 and HACCP. Merrill J. Fernando is joined in his passion for tea by his sons, Malik and Dilhan. Together they pursue Merrill's vision of bringing quality back to tea, with tradition, ethics, and all the health benefits in fresh tea. Merrill J. Fernando, his sons and the Dilmah team are committed to offering tea aficionados around the world a truly different experience in tea. Tea was fashionable in the early 1900s, bur then became a commodity as the small family businesses that popularized the enjoyment of tea through their commitment to quality, were taken over. Today, Dilmah is unique in driving innovation in the tea category, and in fulfilling a commitment to consumers to bring quality back to tea. Declaring their commitment to authenticity Dilmah pioneered the concept of Single Origin Tea in 1988. Dilmah evolved the concept of Single Origin with the introduction of Wane Single Region Tea, which gives tea drinkers a glimpse into tea from the four premier tea growing regions of Ceylon. In 2006 Dilmah presented the ultimate indulgence -Wane Single Estate Tea -tea from four of Ceylon's finest tea gardens which present the rare and distinctive taste of the best of the four premier tea growing regions of Ceylon. The Founder, his sons and their team of tasters taste over 6,000 cups of tea each week to select only the finest for Dilmah. An unmatched selection of teas are each tasted and selected with the benefit of decades of experience in tea, and most importantly with a passion for quality. Dilmah offers a selection of teas that offer authenticity, variety, tradition and genuine innovation.
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PHOTO DOCUMENTATION
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Art:1 New Museum
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Art Space:1