Posts Tagged ‘Bali’

1 rock god, 2 artists, 3 educators – meet Bali’s environmental pioneeers

January 7, 2015

An interview on InBali check the link bellow

http://www.inbali.org/bali-environmental-concerns/

<a href=”http://www.inbali.org/”><img alt=”In Bali: activities, travel tips”  src=”http://www.inbali.org/badges/in-bali.jpg&#8221; border=”0″></a>

inBali

IMG_1645The making of 2meter model Blue whale sculpture made out of plastic trash in collaborate with Coral Triangle Center Sanur

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PLASTICOLOGY at Pecha Kucha night

November 6, 2014

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These photos took on my pecha kucha presentation at Betenut Ubud 1st of Octeber 2014, is part of Ubud Writer and reader festival 2014 

20×20 second presentataion of my PLASTICLOGY art project

wellcome to Paradise!

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from the Plasticology opening night

August 10, 2014

3rd of August 2014 the opening night for my plasticology art project showcase, after we collecting plastic trash on the beach around Padangbai, I bring it some in to the gallery as an installation (we collect much more actually than that picture) so visitors of the showcase can imagine what the real situation around this small island of gods.

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IMG_9031in the end, i playing some eclectic music….cheers

industry, hidden history and legacy the island of the gods

September 28, 2013

made bayak-industry hidden history and legacy the island of the gods-mixed mediaIndustry, hidden history and legacy of the island of the gods 125x245cm mixed media on plywood

Karya ini adalah persembahan saya untuk tanah kelahiran saya Bali, hari ini banyak persoalan yang dihadapi Bali sebagai destinasi wisata, budaya dan orang-orang Bali-nya sendiri.

Pariwisata seperti pedang bermata dua, disatu sisi memberikan dampak yang bagus bagi perkembangan masyarakat Bali. Namun disisi lain menjadi bencana bagi nilai-nilai budaya lokal yang semakin tergerus seiring pesatnya pembangunan. Dan dampak bagi lingkungan lebih parah lagi, ketika tidak ada perencanaan dan kontrol yang kuat dari segenap masyarakat dan pemerintah.

Banyaknya alih fungsi lahan pertanian produktif untuk pembangunan fasilitas pariwisata yang sebenarnya tidak perlu, fasilitas yang ada sebenarnya masih cukup, namun karena besarnya minat investor untuk membangun membuat berjamurnya pembagunan private villa dan hotel. Disamping itu pariwisata telah memabukan masyarakat Bali, terutama generasi mudanya, dimana pandangan menjadi petani tidaklah keren. Mereka berpandangan  jauh lebih keren kalau bekerja di hotel atau villa karena berseragam, jamnya kantoran, walau hanya manjadi security atau garderner karena terlihat lebih bersih, tidak bergumul lumpur dan “kontor”. Budaya agraris yang sudah ratusan tahun terbentuk dan menjadi bagian erat kebudayaan Bali, bahkan telah meninggalkan artepak kebudayaan yang bernilai sangat tinggi. Subak, salah satu sistem irigasi yang sangat cerdas, kini merana karena sawah-sawah banyak menjadi areal perumahan, private villa dan hotel. Ironinya. mereka meratakan teras-teras sawah, menanaminya dengan beton dan menamainya dengan nama-nama areal tersebut, seperti terrace villa, the village hotel, sawah indah, dll.

Konsumerisme dan kapitalisme menjadi dewa baru di pulau sorga ini, mall, restoran, hotel dan jejeran gift shop membawa “mahluk asing” bagi alam dan lingkungan  Bali, mereka berwujud kantong dan botol plastik yang jumlahnya berton-ton setiap harinya. Dengan “tong sampah alami” yang banyak ada di Bali, jurang dan sungai menjadi tempat pembuangan sampah-sampah tersebut. Munculah masalah baru, sampah plastik yang mencemari laut, pantai, sungai dan sawah di Bali. Tidak adanya mengolahan sampah yang baik menyebabkan sampah tersebut tidak tertangani.

Sebelum plastik dikenal, masyarakat Bali menggunakan daun pisang sebagai pembungkus makanan. Sehabis makan, pembungkus daun itu langsung dibuang di sembarang tempat dan tentu dengan mudah akan diurai alam. Namun, kebiasaan membuang sampah tersebut mengendap di alam bawah sadar, dan diwariskan turun temurun. Ketika sekarang banyak makanan dan minuman dibungkus plastik, perilaku membuang sampah masih tetap mengikuti kebiasaan lama. Sampah plastik dibuang sembarangan tanpa kesadaran akan efek negatifnya. Bahkan banyak petani menggunakan sampah plastik untuk alat mengusir burung pipit, dan sisa plastik itu akhirnya mencemari sawah.

dari proses saya menggali tentang industri pariwisata ini, ternyata sangat erat keterkaitannya dengan sejarah dan tragedy 1965 di Bali. Pada masa itu pembersihan terhadap orang-orang yang dilabeli PKI memang bukalah hanya sekedar amuk masa seperti dikesankan, namun sebuah proses sitematis untuk menghabisi idiologi politik, pergerakan berbasis kelas, gerakan petani dan buruh dan orang-orang kritis lainya. Sehingga memudahkan masuknya sistem baru berupa kapitalisasi Bali sebagai destinasi  wisata, yang juga akan mengkonstruksi industri pariwisata Bali sampai hari ini, bagaimana image orang-orang Bali dibentuk, budaya bahkan kepercayaan orang Bali adalah hasil bentukan. Hilangnya gerakan dan orang-orang kritis di Bali tentunya akan memuluskan semua setingan besar atas Bali, kajian dan perdebatan kritis hampir tidak pernah terjadi atas semua kebijakan yang dilaksanakan untuk pengembangan industri pariwisata, pemimpinnya dibuat patuh terhadap pusat, menjadikan Bali seperti jalan bebas hambatan untuk masuknya investor.

Yang paling celaka adalah masayarakat Bali dikesankan apolitis, penduduknya artistik, disibukan dengan upacara yang megah dan besar. Kesenian yang dulunya merupakan kegiatan agraria masyarakat Bali dan menjadi bagian yang sangat erat dengan kehidupan sosial masyarakat. Saat hadirnya pariwisata, berubah menjadi komoditas yang diexsploitasi abis-abisan. Lukisan, patung menjadi barang souvenir berharga kacangan dan bahkan ada sentra-sentra grosiran terhadap barang-barang tersebut. Anak dengan umur belasan beserta kelompok-kelompok kesenian diangkut dengan truk menuju hotel-hotel untuk pentas dihadapan turis dengan bayaran yang tidak seberapa. Cerita drama tari sarat makna filosofis yang sakral digubah, disesuaikan dengan kebutuhan tontonan bagi wisatawan.

Orang Bali dibuat mabok dengan pariwisata yang menjanjikan kehidupan lebih layak, namun pariwisata hanya memberikan 1% manfaat bagi masyarakat Bali. Namun dampak yang diakibatkan sampai hari ini sedemikian besar, orang Bali tidak mempunyai bayangan dengan masa depannya tanpa pariwisata terbukti saat bom Bali terjadi dan wisatawan stop datang semuanya kesusahan seolah-olah dunia sudah kiamat.

Saya menggunakan lukisan pemandangan yang dibeli di kios grosiran, kemudian saya respon dengan menambahkan bagunan-bangunan dan tulisan promosi tanah dijual, persis seperti banyak terjadi hari ini di Bali. Lukisan tersebut saya tempel di tengah-tengah bidang putih dengan kolase surat kabar lokal. Bidang putih tersebut saya isi dengan sketsa yang saya adopsi dari bentuk rerajahan Bali (gambar bersifat mistik), seri cerita kawah Candradimuka, penghakiman bagi roh setelah kehidupan, jakalau kita melakukan dosa pada saat menjalani kehidupan duniawi, yang mencerminkan nilai luhur masyarakat Bali zaman dulu, namun terasa hambar kini disaat materialism didewakan, banyak orang tidak percaya lagi tentang ajaran karmapala, kamu berbuat, kamu juga akan mendapat hasilnya.

Bagian atas ada dua buah mahluk (adopsi rerajahan) dengan dua lidah berujung api warna hitam menjulur seperti jalan raya menjilati sebuah wajah dengan mata terpejam, sedagkan mata ketiganya membuka.

Di sisi lain ada sebuah gambar mobil keruk yang biasanya dipergunakan dalam proyek pembangunan, menggambarkan situasi Bali hari ini, namun tetap dengan visual mengadopsi bahasa visual lukisan tradisional Bali, di atasnya ada sebuah banguna candi bentar namun konstruksinya kellihatan dan sudah rapuh memiuh dengan warna putih.

Paling bawah dengan teknik pointelis, ada jejeran tengkorak dan tulang-tulang menggambarkan pondasi bangunan kebudayaan dan industri pariwisata Bali terbangun dari tumpukan korban tragedy 65 yang sampai saat ini masih menjadi aib bagi sebagian orang untuk mengingat dan membicarakannya. Bagi orang Bali tragedy itu sudah “dibersihkan” dengan sebuah upacara besar dan hendaknya jangan diungkit-ungkit lagi.

Beberapa kali terdengar kabar ketika ada sebuah pembangunan fasilitas hotel di kawasan tertentu di Bali, saat pembuatan pondasi para pekerja menemukan tulang belulang manusia atau saat terjadi abrasi sebuah pantai dikawasan Bali barat, tiba-tiba banyak tulang manusia muncul karena daratan semakin tergerus air. Kalau melihat sistem upacara ngaben di Bali, masayarakat Hindu Bali yang terpengaruh Hindu Siwa tidak pernah menyisakan tulang manusia terkubur, semuanya akan dibakar menjadi abu, kecuali beberapa kepercayaan kuno Bali pedalaman seperti Truyan atau di desa Gobleg di Bali utara. BIsa dipastika tulang-tulang tersebuat berasal dari kuburan massal atas orang-orang yang dilabeli anggota PKI, dibunuh di tempat itu dan langsung dikubur disana.

Trash Art or Art Trash????

August 6, 2013

The dance of virgin 65x75cm spray paint on plastic trash 2013The dance of virgin 65x75cm acrylic, ink and spray paint on plastic trash 2013

Brahmana Keling 65x75cm spray paint on plastic trash 2013The curse of Brahmana Keling 65x75cm acrylic, ink and spray paint on plastic trash 2013

Rarung, the dance of anger 104x136cm permanet ink on plastic trash 2013Rarung, the dance of anger 104x136cm permanet ink on plastic trash 2013

Rarung is one of the Rangda most powerful and great student ( Rangda=mystical creature on Balinese Hindu belief)

Among the many sacred figure that is popular in Bali, Rangda big names, and Celuluk and Rarung will probably instantly reminded on a Calonarang story, a story which is still frequently staged by custom villages hustle and bustle of Bali ceremony interrupted its yard. But there are also staging done by involving one of them in the story that is Rangda and Barong Dance for commercial interests and introduction to the culture of Bali for Traveller from overseas.

Rangda as it was known by the whole people of Hindus in Bali, is a figure of a creepy creature, described as a woman with long hair and a ragged nails, tongue, and long breast. (Some beliefs said Rangda symbolize the highest beauty, universal beauty, in old transcript Rangda is unisex and more fearless of symbolism than we know nowadays) Her face is scary and has sharp teeth. But really said Rangda according to etymology, derived from ancient Javanese language that is meaningful from Randa said Janda (widow). Rangda is a reference to the widow of the Tri Wangsa, namely Vaishya, Knight and Brahmana. Whereas the Sudras called Balu and Balu said when in Balinese royale language is Rangda.

In the process, the term for widow Rangda very seldom we hear, because it is worried raises unpleasant effects exist Rangda remember that ‘Aeng’ (horror) and frightening, and is identical to the left of the knowledgeable (pengiwa). In other words, there is the feeling of fear, hurt and embarrassed when said can do the highest black magic knowledge (neluh nerangjana/ngeleak).

In this appearing physically, figure a Rangda some are known by different names such as Rarung variants and Celuluk. In Calonarang play two buttonhole Celuluk and Rarung and is described as a stooge- of the Rangda.

There are two differences are most obvious when quoting figures Rarung and Rangda. When Rangda is a reference to the old Divorced parents belong (lingsir), Rarung figure depicted is far more beautiful and younger. Viewed in terms of the colors used, Rangda is usually portrayed in a way that more extensive use of tapel or white mask.

IMG_1587nThe Celuluk leak from Bali 87x135cm acrylic, ink on plastic trash 2013

Not much different from the above two figures, Celuluk was described as the same creepy figure and as mentioned earlier, Celuluk known as his accomplices in the play Calonarang Rangda.

For me personally, in such form of face, Celuluk far more terrifying than the figure of Rangda sacred by Hindus in Bali and also Rarung. With a distinctive skull shape, plus a large grin and teeth as well as sharp, Celuluk figure reportedly able to put the fear of those who looked closely only of elements or mask alone.

The war that we never win 125x125cm permanet ink on plastic trash 2013The war that we never win 125x125cm permanet ink on plastic trash 2013

Barong and Keris Dance is a typical Balinese dance that originated from the treasures of Pre-Hindu culture. This dance describes the battle between righteousness (Dharma) and evil (adharma). Form by virtue played by Barong, the dancers with costumes quadruped, while the form of sleaze played by Rangda, the sinister figure with two pointy fangs in his mouth.
There are several types of commonly displayed Barong Dance in Bali, in which Barong Ket, Barong Bangkal (pig), Barong Macan (tiger), Barong Landung (big and tall couple figures). However, among the types of Barong is most often a tourist treat is Barong Ket, Barong Keket or who have a fairly complete costume and dance.

Barong Ket costume generally describes the combination of a lion, tiger, and bull. In his body decorated with ornaments from the skin, pieces of mirror glass, and also features the feathers of pandan leaf fibers. Barong is played by two dancers (saluk interpreter / interpreter Bapang): one dancer took up positions in front of the motion plays Barong head and front legs, while the second is behind the dancers playing the Barong hind legs and tail.

At first glance, Barong Ket is not much different from the usual Lion Dance performed by the Chinese community. It’s just that, a story that is played in this show is different, that is the story the fight between Barong and Rangda are equipped with other figures, like Ape (friend Barong), Dewi Kunti, Sahadev (son Kunti), and followers of Rangda Rangda. the story are, mother of grants (King of Bali in the tenth century), was condemned by the father grants for practicing witchcraft / black magic.

After becoming a widow, she summoned all the evil spirits and demons in the woods, went to grants.
A fight broke out, but his forces are too strong and Rangda and Barong Erland had to ask for help.
Barong came and fights occur. Rangda Magic Making grants all soldiers want to kill yourself, they poisoned dagger thrust into their own stomachs and chests. Successfully Barong protects the forces so immune to the sharp keris. In the end, in this great battle no ones win, that symbolize immortal combat in this world, there will be allways dark and light, good and bad, happy and sadness etc, just how make it balance so the world/life keep moving on.

Mask of Barong and Rangda are considered sacred, and before they were taken out, stakeholders (leaders of Hindu ceremonies) comes to sprinkle them with holy water taken from Mount Agung, and besides, some of the offerings and the offerings are also presented.

the qustion are: 1. why I like to draw an paint those kind of things?

2. why use plastic as main medium?

1. I am a Balinese who growing up in the small village and surrounding by Balinese Hinduism story, mystic, myth and legend. I have  grandfather who has “magic power” blood and until now he practice in his daily life as person who studying Lontar (ancient Balinese texts) and sometime peoples ask him to completed their ceremony (as a priest). In the same time, I grown up with hidden history, there a dark side of story still hiding during the 65 mess killing in Indonesia, especially in Bali that tragedy content and closely related with the tourism industry, social and culture, than the religion take a important part. Until now I continue to developing my understanding. I let it colliding, between noble belief about my cultural background and the fact of hidden history and nowadays issue.

My early age drawings are about Balinese myth or Rajahan (mystical drawing) I saw what my grandfather did.

now my 7 year son, from his very early age he already love to watch Barong and Rangda dance (the secret one at the temple or the show for tourism industry) he never get scare like almost kids, his drawing almost all Barong and Rangda theme. During his school holiday it almost every day he ask me to get him to Barong show and after that he ask me to draw the figur in those story like Barong, Rangda, Rarung, Celuluk etc. So the idea just coming up all from my background and daily activity with my families.

Why using plastic? My works not only contribute to discourse on plastic waste management; they also provide social and culture commentary. The icons displayed in his work evoke Bali’s exotic past which, from the Dutch colonial era to the present day, are exploited by the cultural propaganda of the tourism industry. In addition to being one of the biggest contributors to waste in Bali, the tourism industry has also negatively impacted the overall ecological, social, and cultural health of the island. The construction of tourism facilities often proceeds with no regard for Balinese spatial concepts or needs. The result: custom is ignored by tourism investors, village boundaries are violated, sacred art is rendered profane— as sacred objects of the temple are sold as collectible antiques—and prostitution in dimly lit cafes proliferates the island.

Before plastic was a common commodity, Balinese used banana leaves as food wrappers. After eating the meal inside, they would immediately discard the wrapper leaves anywhere, and the organic waste would return to nature. Such littering habits settled into the Balinese subconscious and were handed down for generations. Now, although most food and beverages are served in plastic, littering continues to follow these old customs. The careless disposal of plastic waste has had dramatic negative effects and impacted many aspects of daily life. For example, many rice farmers use plastic rubbish to repel sparrows from their fields; the fallen remnants eventually contaminate the entire paddies. I try to rebuild the exotic and mystical images of Bali using nowadays issue.

a tale from the island of the gods 122x122cm acrylic paint, ink, plastic trash, recycle paper on plywood 2013.a tale from the island of the gods 122x122cm acrylic paint, ink, plastic trash, recycle paper on plywood 2013.

In this work I just wanna to say: until the last land that we sold, until the last air we breathe and until the last fish that we find all contain hight pollutions that that time we all know that we can’t life it and we all know that tourism industry in Bali just a small part from whole life of young generations…we no need artificial island…we no need reclamation!

BALI INTERNATIONAL SCHOOL RESIDENCY

November 13, 2011

BALI INTERNATIONAL SCHOOL RESIDENCY

Start on November 4th 2011 I have new program collaborate with Bali International School in Sanur Bali as a local artist in resident. During this time I will be like “art teacher” at the art class with the school kids, work with them, sharing, discussion and created an art project theme for the new grade 9 class.

During this program I will meet with kids from grade 7 until grade 12 with their own art project, it challenging meets with difference peoples and be on the International scene and school with a very find art studio of course.

From this program I will make an art works during I there and I will try to have presentation and exhibition on the next steps, with my hope there is some galleries or art space interested and will open their door for this idea.

ones of my design for my newest installation

another design for my newest installation

drawing munir face, the humans right activist who was killed

the art class

 

                                                                                                             Kyra from grade 9

 

Alissa from grade 9

 

Sierra from grade 9

 

Grace from grade 9

 

Sauri from grade 9

Cameron from grade 9

Grabriel from grade 9

Mei from grade 9

Tentang Kemapanan

July 11, 2011

Tentang Kemapanan 50x50x30cm mexed media 2009

is one of my object art experiment using found object and trow-away material.

Glitter Guitar

July 11, 2011

Glitter Guitar 2008 Iron and glitter lamp is one of my works during my first solo exhibition in Sika Contemporary art gallery in Ubud Bali.

Third World Idols

August 18, 2010

 

 

Berhala Dunia Ketiga, mixed found Object, 2010, 160x40x60cm

the making process

This is a series of kinetic works that I do, with the background idea of how the background of a tradition where I live (Bali) never loose with the name of religious ritual procession of Hindu Bali, almost every moment I can see and engage with people to make offerings, tools -tools and equipment from the sacred ceremony to profane sold for purposes of tourism business.


Barong is one of the creatures from the mythology that the concept of Balinese culture as an imbalance between good and evil (good and evil Barong Rangda) until there is a very famous dance of Barong and Keris Dance.
As a Balinese cultural heritage is priceless I have great respect for all the roots of our culture especially those in Bali are still running well until recently. Cultural or other beliefs may be called gods or pagan but that’s just an opinion from someone who does not appreciate a difference there.
But as a generation who see and feel themselves part of the implementation of these concepts have started to limp and to shift from the concept in the daily life of Balinese in everyday life, the concept just as lips service only at the level of discourse, I finished “question” again regarding the concepts of cultural grandeur. Implementation was only at the level of the concept of ritual, the implementation in daily life have been very far away, the example is the concept of Tri Hita Karana who does not know the concept, even one world institutions as a concept of genius, where tri = 3 Hita = prosperous, Karana = cause, Tri Hita Karana implies three causes of welfare, it is based on harmonious relations between:
1. Man with his Lord.
2. Man with one another.
3. Man with the natural environment.

but it is happening right now of the implementation is very much different, the relationship with god only limited to mere rituals and processions, human relationships to human beings we can see the various conflicts that occur because of problems indigenous territories and the economic value per se, let alone the human relationship with nature, so the number of exploitable nature on behalf of tourism in Bali from the problem of carelessly discarded trash, demolition / dredging of limestone hill in Jimbaran area for the construction of villas and hotels which is a natural protection system of the island of Bali from the brunt of the Indian Ocean waves. Other example is the essence of the barong dance itself which is a picture of human life itself which has a high philosophy of the most difficult where the enemy is defeated ourselves, do right now many people are greedy Accordingly, the wish to win their own and happy feet above others suffering, sold land / nation itself to mere economic interests. Small picture of the irony of the problems faced by developing countries that do not want to call it a backward country or third world countries.

So I make this work is to represent a philosophical shift in the value of its application in daily life of Balinese people are generally where the tourism business which became the main motor, which also has affected the mind set of society from the agrarian South Bali form the seller of services for tourism, although only a gardener at a hotel or villa. These values should have “updated” in accordance with the conditions of today, such as rules (awig-awig) made so that people who throw litter or to trigger a conflict and do not respect that difference in fines and perform community service (ngayah) in a temple or nursing home for example.

I make this work with the materials of the material that has been unused/ wasted, wood I got from the cutting of trees in a shop house development project, plywood I got from the rest of the construction of the housing area, child’s toy car wheels, a former pig Barong masks toys, dynamo and other former fan. With the sacred icon of the barong that making techniques and materials are usually from the first choice of material and there are certain rituals, I reversed this view using materials findings and “trash” and material “profane” other.

here’s some photos from the exhibition at Surabaya Art Fest 31Oct until 9 Sept 2011

Fake Butterfly

August 4, 2009

buterflyoil on aluminum plat, 2002

buterflys