rhythm of art
July 11 - 24, 2012Erizal As
Ke mana kita melangkah, memandang, bersem-bunyi, bermain, dan sebagainya hal itu tak lain adalah ritme! Dengan kesadaran inilah lalu orang-orang terangsang untuk menatanya dengan ketrampilan-ketrampilan khusus menjadi serang-kaian narasi untuk mengungkapkan sesuatu yang menurutnya masih rahasia atau terselubung. Apa maksudnya? Tak semua orang paham atas apa yang dia katakan, lakukan, pikirkan, atau sengaja merahasiakannya, dan itu bagian dari realitas itu – realitas ritmik!
Ritme menjadi pilihan yang sangat menantang bagi pelukis muda Erizal As dalam pameran tunggalnya yang kedua ini di Philo Art Space. Mengusung tema ini bukannya muncul begitu saja namun dengan perhatian yang serius bahwa memang Erizal As adalah salah satu pelukis den-gan tampilan karakter lukisan-lukisannya yang Ritme (rhythm) hadir dalam keseharian hidup kita;
degub jantung, tarikan napas, emosi, persepsi, kicauan burung, deburan ombak, gemercik air, dan sebagainya. Suara, gerak, garis, warna, dan lain-lain sesungguhnya inheren dalam ritme. Rit-melah yang memberikan makna pada kehidupan. Bahkan kosmologi merupakan kehadiran dari satukesatuan ritme antarplanet bagi kesadaran orang-orang Yunani Kuno, dan membangunnya sebagai konsepsi musik secara matematis-filoso-fis.
kuratorial
Rhythmic visual rhythm
Rhythm is omnipotent in our life; it is there in our heartbeat, in every breath we take, in our emotions, and in our per-ceptions; it’s there in the chirpings of the birds, in the ocean’s waves, in the sound of water falling; in almost every-thing that surround us. It is inherent in sound, movement, lines, and colors. It is rhythm that gives meaning to life. In the conscience of the ancient Greeks, cosmology was none other than the pres-ence of a unified interplanetary rhythm, and they built it as a musical conception in philosophy-mathematical form.Where our feet lead us, where we look, where we hide, where we play, and all other places are none other than rhythm! Such awareness evokes people to organize rhythm using their unique abilities and to make it a string of narrations presenting something that to one’s perception is kept hidden and shrouded. What is the meaning of this? Not all understand what one says, does, thinks or whether it is purposely kept as secret, and that’s the reality – rhythmic reality.
Rhythm is a choice of challenge that young painter Erizal AS taken for his second solo exhibition in Philo Art Space. To present this theme does not come natu-rally; it needs a close and serious look at his paintings to see that the charac-teristics are ripe with rhythmic nuance. In the timeline of Indonesian art history,
Arizal AS sekalipun terhitung masih muda dalam kancah sejarah senirupa Indonesia namun se-benarnya dalam kurun waktu semaraknya lukisan kontemporer Indonesia 5 tahun terakhir ini, naman-ya sudah cukup dikenal. Sikap aktifnnaman-ya mengikuti pameran bersama di berbagai tempat, di dalam dan luar negeri dan lomba lukis, menunjukkan ke-seriusan kreativitas dan produktivitas yang men-janjikan! Jelasnya Erizal As bisa dikatakan pelu-kis yang sudah memiliki karakter atau bahasanya sendiri!
Dalam pamerannya ini, Erizal As bermaksud me-nyampaikan ritme sesuai dengan pengalaman kesehariannya, tentu saja subjektif, dan bukan dengan alasan teknik memodifikasi ritme ke dalam apa yang kita sebut musik itu. Hal yang menarik untuk dicatat adalah upayanya membangun relasi makna antara tiga unsur, ritme itu sendiri yang di-pilihnya lewat alat-alat musik, figur manusia, dan alam. Makna dari ketiga unsur itu tampil secara menyolok pada torehan garis dan warna yang demikian ekspresif, bak katarsis yang sungguh-sungguh tak ingin lagi menyisakan sesuatu.
painter. But he has made a name in the exuberant contemporary paintings scene in the past five years. His avidity in his active participation in many exhibitions and painting competitions locally and in-ternationally is a sign of a promising serious creativity and productivity. It would be right to say that Erizal is a painter that has established his distinc-tive character and language.
In this exhibition, Erizal AS would like to convey rhythm that is present in his daily life, in a subjective way, of course, and without the technical rea-son to modify rhythm and putting it into what we call music. What is interesting to note is his effort to create relations of meaning amongst the musical instruments, human figures, and nature. The significance of the three elements is evidence in the expressive conspicuous strokes of his paintings – as if they are catharsis in-tent on giving nothing to spare.
The meaning shaped by the relations of rhythm, human, and nature in Erizal’s paintings visibly shows a life narration that strongly represents figures which are dynamic, emotive, and clearly open. His choice of musical instruments such as the piano, guitar, saxophone and violin is merely to show that there are differences when it comes to individualistic expres-sions.
And what meaning could we expect from the narration of live by rhythm, or in this case, from music? In music rhythm we can find different breath of life narrations: tragedy, comedy, and irony.
Makna yang dibangun dari relasi ritme, manusia, dan alam dalam lukisan-lukisan Erizal As ini jelas pula menunjukkan sebuah narasi kehidupan yang kuat mewakili sosok yang dinamik, emosif, terang-terbuka. Pilihannya pada alat-alat musik seperti piano, gitar, saxophone, dan biola sekedar menun-jukkan adanya perbedaan ritme sejauh menyang-kut ekspresi-ekspresi individualistik.
Dan apakah yang bisa kita harapkan makna dari sebuah narasi kehidupan oleh ritme atau dalam hal ini musik? Dalam ritme musik kita bisa menemu-kan berbagai napas narasi kehidupan; tragedi, komedi, dan ironi.
Umumnya manusia merindukan bahwa kehidupan harusnya tertata secara estetik, artinya harmonis. Apakah syarat dasar untuk menciptakan harmo-nis itu? Tak lain adalah bagaimana menyeleraskan nuansa tragedik, komedi dan ironi! Namun belum cukup di sini jawabannya, karena pertanyaan akan berlanjut, darimanakah munculnya tragedi, kome-di, dan ironi itu? Pertanyaan ini merupakan salah satu tantangan besar bagi para pemikir Yunani Kuno yang memunculkan disiplin pemikiran yang lalu dikenal sebagai filsafat!
Realitas berawal dari ritme! Upaya manusia mere-spon dan menata ritme ke dalam berbagai unsur atau wilayah kehidupan. Tanpa ritme, yang ada hanyalah keos! Kosmologi dianggap sebuah tatan-an harmonis dari sertatan-angkaitatan-an ritme lalu dari sinilah kemudian manusia mengenal apa makna kehidu-pan itu. Ketika phytagoras menginterpretasi ritme yang dianggapnya hadir di setiap planet dengan matematik, sebagaimana sudah disinggung pada paragraf awal tulisan ini, maka upaya manusia menemukan harmoni diyakini sukses besar! Musik mewakili logos! Prinsip realitas, tatanan, struktur atau harmoni itu sendiri!
People in general would desire to have life esthetically managed, as to find har -mony. What are the prerequisite for such harmony? It is none other than the ability to align the tragic, the comic, and the ironic elements! But that would not be the final answer, as we would then be faced with another question: where do tragedy, comedy, and irony come from? The ques-tion was indeed the biggest challenge for ancient Greeks thinkers, which eventually gave birth to the discipline of thoughts that we now know as philosophy!
Reality is born out of rhythm! It comes from the human efforts to manage rhythm into various elements and domains of life. Without rhythm, all we have is cha-os! Cosmology is believed to be a harmo-nious orders of strings of rhythm, from which human sees the meaning of life.
When Pythagoras interpreted rhythm that he believed to be present in every planet through mathematics, as was written in the early paragraph of this writing, hu-man endeavor to find harmony was believed to have reached a huge success! Music rep-resents logos. The very principal of re-ality, order, structure and the harmony itself!
The importance of music that represents logos is seen as the foundation of West-ern civilization, culminating with Fried-rich Nietzsche thinking in his book “The Birth of Tragedy”. Nietzsche reexamined the harmonic problem that was identified
Keseriusan atas musik yang mewakili logos itu yang dianggap sebagai bangunan dasar kebu-dayaan Barat, berpuncak pada pemikiran Friedrich Nietzsche dalam bukunya, The Birth of Tragedy.
Nietzsche mempertanyakan kembali problem har-monik yang diidentikkan dengan karakter dewa Apollo dan yang keos diidentikkan dewa Diony-sius. Persoalan di sana tak lain bagaimana ma-sing-masing karakter itu dipicu oleh yang sudah berkali-kali kita sebut itu, ritme – musik!
Nampaknya mungkin begitu sederhana dalam kehidupan keseharian kita bersoaljawab atau ber-cengkrama dengan ritme. Bahwa soal ini, ritme bukanlah sesuatu yang sangat eksklusif hanya menjadi urusan oleh orang-orang tertentu. Erizal As hanyalah salah satu pelukis yang kebetulan siap bercengkrama dengan ritme dalam media lu-kis. Ekspresinya tak lain bahwa ritme itu spontan, enerjik, terputus sekaligus melingkar-lingkar se-cara paradox. Entah ritme-ritme nan ekspresif itu membawa kita ke narasi kehidupan jenis apa. Bisa saja kita mengalami tragedy, ironi maupun komedik oleh ritme apa pun yang kita akrabi. Sesungguh-nya ritme kehidupan mustahil didefinisikan secara permanen. Ritme akan membawa kita melayang, merayap, tenggelam, tertanam, entahlah.
Dionysius. The problem there lies in how the characters are triggered, with the very thing that we have mentioned over and over, rhythm – music!
It seems to be such a simple matter, how we interact or relate to rhythm - though this matter is hardly the exclu-sive concern of only few people. Erizal is only one of many painters that happen to be ready to interact with rhythm using painted media. He expresses that rhythm is spontaneous, energetic, hyphenated while at the same going in paradoxical circle. We wonder where in life’s narra-tive those expressive rhythms bring us.
We may be brought to tragedy, irony, or comedy through whatever rhythm we inter-act with. It is impossible to define the rhythm of life permanently. Rhythm will let us float, crawl, submerged, planted, or whatever.
Erizal seems incline to present that it would be possible for the rhythm of life to adjust to our own experiences, and how
Erizal As nampaknya lebih cenderung seke-dar menggambarkan bahwa ritme kehidupan bagaimanapun akan sangat mungkin menyesuai-kan dengan pengalaman masing-masing kita dan bagaimana kita sendiri memaknainya. Hal itu bisa kita lihat bagaimana sebagai pelukis, ia sendiri be-bas begitu saja memilih alat-alat musik yang sesuai dengan selera estetiknya.
Ritme itu kehidupan kita sendiri! Selamat berpameran dan menikmati Tommy F Awuy
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we put our own meaning to them. We can see that in how as a painter he has so freely chosen the musical instruments that con-form to his aesthetic feeling.
Rhythm is our very own life! Let’s enjoy the exhibition. Tommy F Awuy
Di Yogyakarta inilah saya banyak be-lajar, baik dengan lingkungan kampus dan den-gan dosen-dosen yang hebat, sebagian besar seniman juga, yang mengajarkan kita tuk selalu berkompetisi dan bertanggung jawab atas apa yang kita buat terhadap karya seni kita sendiri. Setalah saya lulus di tahun 2006, saya memutus-kan tuk menetap di Yogyakarta, karena seman-gat berkompetisi inilah yang selalu ada antara sesama seniman di kota ini. Semangat tuk terus mencari hal atau sesuatu yang baru dan unik un-tuk seni itu sendiri. Tentu banyaknya event pam-eran yang dapat kita Lihat terus menerus untuk menjadi acuan atau perbandingan atas penca-pain dari sesama seniman, maka dari situlah kami mendapat proses pembelajaran atau saling be-lajar, bahkan sampai saat ini saya masih belajar dan terus belajar.
Berawal dari lomba lukis yang diadakan Sekolah Menengah Seni Rupa (SMSR) di Padang, yang dikala itu saya masih duduk di bangku kelas 3 SMP di Padang Panjang, walaupun pada lomba itu saya tidak menjadi juara, namun karena momen itulah yang membuat saya bersekolah di sana dan kemudian melanjutkan ke Perguruan tinggi Institut Seni Indonesia ( ISI) Yogyakarta.
This all started with the paint-ing competition held by SMSR (Art High School) in Padang, when I was a 9th grade
student of Padang Panjang Junior High School. I did not win the competition, but the experience propelled me to study in the Art School, and eventually made me continue my study in Indonesia Art Institute (ISI) Yogyakarta.
It was in Yogya that I obtained most of my learning, with supportive campus environment and great lecturers, most of whom were great artists them-selves. They taught us to be competi-tive and to be responsible for what we made into our art. After graduating in 2006, I decided to stay in Yogya because of the ever-lasting spirit to compete amongst the artists here, and the con-tinuous drive to seek for new things and for the uniqueness in the art it-self. There are endless flows of exhibi -tions that we can see and learn from, and where we can use as benchmark for what others have achieved. It is from there that we learn about ourselves and others. And I am learning from it and am still learning even now.
Saya melukis atau melukiskan, meru-pakan luapkan ekspresi kegelisahan diri terhadap hal-hal di sekitar saya, hal-hal yang saya senangi dan yang tidak saya senangi sekalipun. Tentu dengan bahasa seni yang saya ekspresikan se-cara spontan. Jarang sekali dalam melukis saya membuat sketch/rancangan terlebih dahulu. Saya hanya memikirkan idea atau bentuk globalnya saja, bahkan kadang saya tak memikirkan rancan-gannya sama sekali dan hasil akhirnyapun tentu saya tidak menebak dan menentukannya. Itulah tantanganya dan sekaligus kenikmatan, hasil akhir adalah surprise’ bagi saya, semuanya akan men-galir dan terjadi diatas kanvas. Ke mana fantasi, imajinasi, ekspresi itu membawa, saya biarkan saja sampai pada suatu titik puas/klimaks. Maka warna-warna di setiap lukisan saya adalah potret dari perasaan dan suasana hati saya saat itu. Di kala saya jenuh saya mencoba mencari pancin-gan-pancingan Ide dari gambar/foto, majalah dan buku-buku seniman-seniman yang saya gemari. Jadi dalam proses melukis itulah saya mencari, mengolah, mengotak-atik Ide ataupun bentuk, dengan sasaran setidaknya sesuatu yang baru bagi saya pribadi.
Sedikit akan saya ceritakan bagaima-na proses saya melukis. Pertama-tama, untuk melukis saya harus siapkan fisik yg prima, sebab bagi saya walaupun memiliki Ide yg brilliant/ba-gus tapi kondisi fisik tidak prima, maka tidak akan menghasilkan karya yang maksimal.
I will explain a bit about my process of painting. First, I must prepare myself physically as no matter how brilliant or great your idea is, you cannot reach the optimum result without the support of good physical condition.
I paint or narrate; expressing my anxieties towards the things sur-rounding me, about the things I like and I don’t like. I tell them in spontaneous language of art. I seldom paint with sketch or draft; I just thought about the idea or the general form, sometimes without even thinking of the overall design nor do I guess or direct how the end would be. That, for me, is the challenge and also the excitement: the end is a surprise even for me. I let things flow and let them happen on the canvas; I let the fantasy, the imagina-tion, and the expression take me to my climax. Thus the colors of my paintings are portraits of my emotions and of my mood at those moments. At times, when I got bored, I try to evoke ideas by looking at pictures, photos, from maga-zines, books of artists that inspire me. So in the process of painting, I seek, play with ideas or forms, with the objective of creating new thing – at least for myself.
Pada pameran tunggal saya yang ked-ua ini saya mengangkat tema musik/rhythm atas bincang dengan mas Tommy Awuy, setelah beliau melihat karya saya di sebuah pameran tentang pe-musik dan mengatakan pada saya tuk mengang-katnya pada sebuah pameran tunggal. Saya pikir itu adalah tawaran yang menarik. Tentu saya meny-enangi musik, walaupun hanya sebatas penikmat atau pendengar saja, dan ketertarikan saya melihat pemain musik memainkan alat musiknya seperti ; biola, piano, guitar, dll. Dan soal musik atau nadan-ya itu sendiri sanadan-ya sering berfantasi, memikirkan-nya bagaimana nada-nada dan gerakanmemikirkan-nya tuk saya visualkan dalam bentuk lukisan dengan ba-hasa ekspresif yang saya kuasai, sebab memang di saat melukispun biasanya selalu diriingi dengan Musik. Terimakasih tuk para musisi dan pemain musik yang secara tidak lansung telah memberikan saya ide dan inspirasi.
Tidak lupa juga saya ucapkan terimaka-sih kepada istri saya atas support, saran, masukan dan kritikannya atas karya-karya saya, juga teri-makasih kepada Philo Art Space dan sekaligus ke-pada kedua orang tua saya. Ucapan khusus saya tujukan kepada kakek dan papa saya atas darah seninya yg melekat dan selalu mengalir. I love you All
Selamat menikmati karya-karya saya. Erizal As
In this second solo exhibition, I use music / rhythm as my theme, after a discussion with Tommy Awuy. He saw my paintings in an exhibition on musicians and he told me to present the theme on a solo exhibition. I thought it was a re-ally interesting offer. I like music, of course, though only for enjoyment and as a listener. I am fascinated by the move-ment of musicians when they are playing their musical instruments such as the vio-lin, piano, guitar, etc. The music and their tone are like objects for me. I pic-ture them in my mind: the visualization of tones and movements. And I do listen to music when painting. My thanks for all the musicians and music players that have inspired me and given me ideas.
My big big thanks to my wife for all her support, suggestion, input and critics on my arts. And thank you to Philo Art Space and to my parents, and special thanks to my grandfather and my father for the artistic blood that is flowing in me too. I love you all.
Please enjoy my paintings!
pianist #1
•
200 x 200 cm • acrylic and pastel on canvas • 2012 detailjimi
hendrix
•160 x 100 cm
•
acrylic and charcoal on canvas
Violinist #4
•
200 x 150 cm • acrylic on canvas • 2012passion of conductor
•
200 x 150 cm • acrylic on canvas • 2012 intuisi • 170 x 120 cm • acrylic and pastel on canvas•
2012The meaning shaped by the
re-lations of rhythm, human, and
nature in Erizal’s paintings
visibly shows a life narration
that strongly represents
fig-ures which are dynamic,
emo-tive, and clearly open. His
choice of musical
instru-ments such as the piano,
gui-tar, saxophone and violin is
merely to show that there are
marilyn monroe • 200 x 150 cm • acrylic on canvas • 2012
17
The meaning shaped by the
re-lations of rhythm, human, and
nature in Erizal’s paintings
visibly shows a life narration
that strongly represents
fig-ures which are dynamic,
emo-tive, and clearly open. His
choice of musical
instru-ments such as the piano,
gui-tar, saxophone and violin is
merely to show that there are
differences when it comes to
maestoso • 200 x 180 cm
•
acrylic on canvas • 2011violinist #5 • 200 x 180 cm • acrylic on canvas • 2012
romantic • 235 x 200 cm • acrylic on canvas • 2012
I am fascinated by the
move-ment of musicians when they
are playing their musical
instruments such as the
vio-lin, piano, guitar, etc. The
music and their tone are
ob-jects for me. I picture them
in my mind: the visualiza
-tion of tones and movements.
And I do listen to music when
painting. My thanks for all
the musicians and music
play-ers that have inspired and
given me ideas.
I am fascinated by the
move-ment of musicians when they
are playing their musical
instruments such as the
vio-lin, piano, guitar, etc. The
music and their tone are
ob-jects for me. I picture them
in my mind: the visualiza
-tion of tones and movements.
And I do listen to music when
painting. My thanks for all
the musicians and music
play-ers that have inspired and
given me ideas.
Erizal As
Born in Padang Panjang, 3 februari 1979
Education: High School of Fine Arts in Padang 1994-1997, Faculty of Fine Art, Indonesian Institute Of Art, Yo-gyakarta.
Solo Exhibition 2007
• Solo Exhibition ‘lines Project’ Koong Gallery, Jakarta Selected Group
2012
• Painting Exhibition, FREEKICK, Convention Hall Royal
Square, Surabaya
2011
• Islamic Visual Art Exhibition “BAYANG” National Gallery, Jakarta • Painting Exhibition Homoludens # 2, Emmitan CA Gallery, Surabaya • Painting Exhibition ‘My Space’, Philo Art Space, Jakarta • Painting Exhibition ‘Intip’ Jakar
-ta Art Distric, Jakar-ta • Painting Exhibition ‘ City of west, Green Art Space, Jakarta • Painting Exhibition, Nusantara diatas kanvas, Sampoerna Strategic Center, Jakarta
2010
• Group Exhibition ‘Bakaba, Sakato Art Comunity, Jogja Nasional Museum, Yogyakarta • Group Exhibition Citra Ekspresi Jogja 2.Hotel Shultan, Jakarta • TRAMENDUM’ Philo Art Space 5th Anniversary, National Gallery, Jakarta
2009
• Painting Exhibition ’ TRAP(ESIUM)’ Edwins Gallery, Ja -karta
• Painting Exhibition ’Charity for Yayasan AIDS Indonesia, Linggar Gallery, Jakarta • Painting Exhibition “ Borderless World’ Second Unniversary of Srisasanti Gallery, Yogya
-karta • Painting Exhibition ‘Exposign’ Jogja Expo Center,
Yogyakarta
2008
• Painting Exhibition ‘Celebrating The Differences, El
-egance Art Space, Jakarta • Painting Exhibition ‘Biasa Gila’ Biasa Gallery, yogyakarta • Painting Exhibition ‘ Survey’ Edwin’s gallery, Jakarta • ”Boys|Girls” Contem -porary Art, Youth life and culture in two part, Edwin’s
Gallery, Jakarta • Painting Exhibition ‘Hulu Fantasi’ One Gallery, Jakarta • Painting Exhibition ‘ SENSI ” Philo Art Space, Jakarta • “ Manifesto” National Gallery, Jakar
-ta • Painting Exhibition ‘ Sin Sign’ Gracia Art Gallery, Surabaya • Painting Exhibition ‘ Texture dalam Lukisan’ Jogja Gallery • Painting Exhibition ‘Jogja Art fair’ Ta
-man Budaya Societed Yogyakarta • Painting Exhibition ‘Kuala Lumpur Art Fair’ Malaysia
2007
• Painting Exhibition “kembali ke Gampingan”, ex FSR ISI yogyakarta • Painting Exhibition “Exsisten” jogja Gal
-lery • Visual Art Exhibition “The Thaousand Mysteries of Borobudur”, Jogja Gallery • funrrissing “ BOOKAID” IVAA, Nadi Gallery • The Eleven Painters, El Canna Gal
-lery, Jakarta • Visual Art exhibition, utan kayu, INTER
-NATIONAL LITERARY BIENNALE 2007, LanggengGal
-lery, Magelang • 100 years of Affandi,’ Bung ayo Bung’ Affandi Museum, Yogyakarta • 1st Anniversary of Jogja Gallery, Visual Art Exhibition, Yogyakarta • “BUMI’, Mondecor Galeri, Jakarta • Inspiring Indonesian Con
-temporary Art,Shanghai Art Fair, Shanghai • Painting Exhibition ‘Behind The Horizon’ Sri Sashanti Gallery,
Yogyakarta 2006
• Visual Art “Jalin Bapilin” Benteng Verdeburg Yogya
-karta • Charity Art For Jogja, Gedung Taman Budaya Societed Yogyakarta • Painting Competition ‘Jakarta Art Awards’ Pasar Seni Ancol, Jakarta • Painting Exhibition “Indonesian Traffi” Mondecor Gallery, Jakarta
2005
• Charity for Aceh, TAKSU Jakarta • Painting Exhibition,” TAKSU Jakarta 2nd Anniversary Celebration • Painting Exhibition “ DRAMA’ Mon Décor Gallery, jakarta • Group Exhibition ”SAKATO”, Re-reading ” LANDSCHAP” Nadi Gallery,Jakarta • “DIES NATALIS ISI YOGYAKARTA KE XXI & NYOMAN GUNARSA PRIZE Fine Arts, ISI Yogya
-karta • Painting Exhibition “Nasi Campur” Taksu Gallery, Jakarta • Painting Exhibition “ANTHOLOGY”, Mondecor Gallery,Jakarta
2004
• Painting Exhibition “OBJECT(ify)” NADI Gallery, Ja
-karta • Painting Exhibition “Mempertimbangkan Tradisi” Minang Kabau Artists of Indonesian, National Gallery, Jakarta • “Funrising” di Kedai Kebun,Yogyakarta • Painting Exhibition FKY XVI “BARCODE’ Gedung Taman Budaya Societed Yogyakarta • Painting Exhibition “New Works” TAKSU Gallery, Jakarta • TAKSU 10nd Anniver
-sary, Celebrating 10 year of fine art in Kuala Lumpur, Malaysia • Painting Exhibition “LUSTRUM IV ISI” Yo -gyakarta
2003
• Painting Exhibition “REPLY” FKY XV,Gedung Societed,Yogyakarta • Group Exhibition “SAKATO”, Langgeng Gallery. Yogyakarta • Painting Competition “PRATISARA AFFANDI ADHI KARYA”, ISI Yogyakarta • Cp Open BIENNALE “Interpelation” National Gallery, Jakarta • Finalists of the “INDONESIAN ASEAN ART AWARDS”, Gedung ASEAN Jakarta & Medan • Finalists of the “INDOFOOD ART AWARDS II”, National Gallery,
Jakarta 2002
• Painting Exhibition “ Diversity in Harmony” Gedung societed, yogyakarta • Nomimated Painting Exhibition “PEKSIMINAS”,UKDW, Yogyakarta
2001
• Painting Group Exhibition “LENTERA Group”,Purna Budaya Yogyakarta • Painting Exhibition “ Untuk Se
-mua Umur” Air Rumah Seni, Jakarta •
2000
• Painting Exhibition “20 West Sumatera Artist” Ciputra Hotel Jakarta • Painting Exhibition “ Manusia Dalam Perangkap Semu” Embun Gallery Yogyakarta • Paint
-ing Exhibition “Gerakan Seni Pertunjukan Rakyat ” ISI
Yogyakarta • Painting Exhibition “SAKATO”,di TIM Ja
-karta • Dies Natalis XVI ISI Yogya-karta
1999
• LUSTRUM III ISI, Yogyakarta • Painting Competi
-tion “PRTISARA” Affandi Adi Karya” ISI Yogyakarta • Alumni Exhibition “ASRI/ISI”, Garuda Hotel Yogyakarta • Group Exhibition “SAKATO III”, Purna Budaya Yog -yakarta
1998
• Painting Exhibition “LEPAS 97, FSR ISI” Gampingan,Yogyakarta • Painting Exhibition “Refleksi Zaman” Benteng Vredeburg, Yogyakarta • Painting Competition “Philip Morris Art Awards V”, Jakart.
1997
• Group Exhibition “SAKATO II”, Purna Budaya Yo -gyakarta.
AWARDS
• 10 Finalists, Lomba Keterampilan Siswa Tingkat Na -sional, Jakarta
• Painting Contest, Lomba Lukis Wajah pahlawan,
museum Aditiawarman, Sumatra Barat
• Finalists Philip Morris Art Awards V
2000
• Best Work at Dies Natalies XVI ISI Yogyakarta. • Nominated as one of 10 Best at the painting contest Selekda PEKSIMINAS VI
• CP Open BIENNALE 2003
• Finalists Indonesian Asean Art Awards • Finalists Indofood Art Awards
2006
• Finalists Jakarta Art Awards, 2006
2007
• As 20 nominees of visual art competition of The
This catalogue is published in conjunction with a solo painting exhibition of Erizal AS
rhythm of art
July 11 - 24, 2012 © Philo Art Space Jl Kemang Timur 90 C South Jakarta 12730 Indonesia t/f: (62 21) 719 84 48 m: +62 811 10 60 47 e: philoartspace99@gmail.com w: www.philoartspace.com Curator: Tommy F Awuy Special thanks : Eros Djarot Photography of Artworks: Artist Translator : Andira Sampurno Design : www.hellofun.czPublished by Philo Art Space 033/2012
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