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Proper and Property

Entang Wiharso


2003

200x 400 cm

Oil on Canvas

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Entang Wiharso was born in Tegal, Central Java, 1967.

Education

  • 1994: Indonesian Institute of Arts

Selected Solo Exhibitions

  • 2007: "Intoxic," Rumah Seni Yaitu, Semarang

  • 2006: "Puppet Blues," Western Michigan University, Kalamazoo, USA

  • 2005: "Inter-Eruption," Bentara Budaya, Jakarta

  • 2004: "Sublime Tunnel," Circle Art Space, Jakarta; "Hurting Landscape: Between Two Lines," Gallery Agniel, RI, USA

  • 2003: "Hurting Landscape," Rhode Island Foundation Gallery, USA; Circle Point Art Space, Washington, D.C., USA

  • 2002: "NusaAmuk," Indonesian National Gallery & Nadi Gallery, Jakarta; "Amuk," CP ArtSpace, Washington D.C., USA

  • 2000: "Entang Wiharso," Chouinard Gallery, Hong Kong; "Melting Souls," Gallery Agniel, Providence, Rhode Island, USA; "Visit to Sacred Place: Cultural Interrogation," TamanMartani

  • 1999: "Melting Souls," Hewlett Gallery, Carnegie Mellon University, USA

  • 1997: "Strange Journey," Native Gallery, Providence, Rhode Island, USA

  • 1996: "Idea is Form," National Gallery Indonesia, Jakarta

  • 1995: "Conflict, Dreams & Tragedy," Purna Budaya Art Center, Yogyakarta

  • 1994: "Final Work," Sasana Ajiyasa, Art Institute of Indonesia, Yogyakarta

Selected Group Exhibitions

  • 2008: Indonesian Invasion, Sin Sin Fine Art, Hong Kong; "The Third Space: Cultural Identity Today," Mead Art Museum, Amherst, USA

  • 2007: "Wind from The East," Kiasma Museum of Contemporary Art, Helsinki, Finland; 2nd Biennale Open Biennale terra Cotta, Dumaguete, Philippines; "Indonesian Contemporary Art Now," Nadi Gallery, Jakarta

  • 2006: "Interpreting," Semar Gallery, Malang, East Java; "Waging Peace," Hera Gallery, RI, USA; "Jakarta Biennale XIII," Indonesia National Gallery, Jakarta; "Encounter," National Museum of China, Beijing, China

  • 2005: "Actualizing Insight Virtuality," Indonesian Pavilion, 51st Venice Biennale, Italy; "Second Beijing Biennale," Beijing, China; "Jakarta Biennale XIII," Indonesia National Gallery, Jakarta; "Urban/Culture," CP Biennale, BI Building, Jakarta; "Here & Now," Yogyakarta Biennale VIII, Yogyakarta

  • 2004: "Olympiade," Nadi Gallery, Jakarta; "Wings of Color, Wings of Words," Kyai Langgeng Art House, Magelang

  • 2003: "Passion: Etno-Identity," Capital Library Gallery, Beijing, China; Leu Hai Su Art Museum, Shanghai, China & Galeri Canna, Jakarta

  • 2002: "Re-creation," Museum H. Widayat, Magelang; "The Mind's Eye of Democracy," Taman Budaya, Surakarta

  • 2001: "Not I, Am I?," Nadi Gallery, Jakarta; "Not Just the Political," Museum H. Widayat, Magelang; "The Problematic Desire," Casa de Cantabria, Madrid, Spain

  • 2000: "Indonesian Contemporary Art: A Cultural Journey," Museum of Modern Art, Moscow, Russia; "One Hundred Years of Modern Indonesian Art," One Gallery, Jakarta

  • 1999: "Art Beat," BankRI, Providence, Rhode Island, USA; 6th Yogyakarta Biennial, Purna Budaya Art Center, Yogyakarta

  • 1998: 11th Indonesia National Biennial, Taman Ismail Marzuki, Jakarta

  • 1995: "Fifty Years of Freedom: Return of the Heart," Vela Art Gallery, Amsterdam, The Netherlands

  • 1993: Bentara Budaya Art Centre, Yogyakarta

  • 1991: 3rd Yogyakarta Arts Festival Exhibition, Benteng Vrederburg Museum, Yogyakarta

  • 1989: "Reli Sketching," Sasana Ajiyasa, Art Institute of Indonesia, Yogyakarta

  • 1988: Sasana Ajiyasa, Art Institute of Indonesia, Yogyakarta

  • 1987: Art Institute of Indonesia, Yogyakarta

Proper and Property

  • 200 cm x 400 cm / Oil on Canvas

  • 2003

Konsep Karya

This work is part of a body of work with the theme "Sublime Tunnel," created after Soeharto stepped down from the presidency. This period of tumult led to a period known as "Reformasi" (reformation) where people had newfound freedoms on many fronts. This work reflects a condition where emotions were released—people were talking, but also screaming to release their emotions that had been repressed. While this expression of emotion was a good thing, it was also a bad thing because many people lost their orientation, both in politics and in individual lives. I understood this "loud," difficult time as a period of sublimation. The composition of this work reflects the structure of the period, with a "repeated" central figure. (See the main figure with the same figure repeated above and to the left, in white). This is a symbol of hope or praying. People often pray by using one word over and over to sublimate themselves or to achieve a transcendental state. The clasped hands of the repeated figure represent this transcendental state. The hands of the main figure hold a small plant as a symbol of growing hope, the box representing "property" or possession in the physical world, where for such a long time people’s physical realities were controlled by those in power. And this control of the physical also led to control of the mind, causing tremendous suffering and injustice. Screaming was a process of sublimation, a cathartic process that would allow people to move beyond the oppression they had experienced to find a new place of hope, a new way of living. This is where the question of "proper" and "property" is expressed.