THE WORLD AND I

HERI DONO
The World and I
HERI DONO
FOReWoRD

TYLER ROLLINS

Tyler Rollins Fine Art is pleased to host the first New York solo exhibition for Heri Dono, taking place from
October 30 – December 20, 2014. Entitled The World and I, the exhibition features an overview of paintings,
sculptures, and installations from throughout his thirty-year career. It follows a major mid-career survey
of Dono’s work, The World and I: Heri Dono’s Art Odyssey, on view earlier this year at Art 1: New Museum in
Jakarta, Indonesia, for which a 260 page catalogue was published.

One of Indonesia’s most well known and internationally active contemporary artists, Dono has achieved iconic
status both internationally and in his native Indonesia. Born in Jakarta in 1960, and a graduate of the Indonesian
Institute of the Arts in Yogyakarta, Dono early on developed a distinctive style that came out of his extensive
experimentation with the most popular form of Javanese folk theatre, wayang, a vibrant and eclectic art form
that enacts complex narratives, often derived from ancient mythology, incorporating music with performances
by two-dimensional shadow puppets as well as more lifelike wooden puppets and even human actors. Dono’s
elaborate sculptural installations take inspiration from these puppets, bringing them into the contemporary
world of machines, robots, and television. Often featuring unusual juxtapositions of motifs, a variety of moving
parts, and sound and video components, these multi-media works make powerful statements about political
and social issues as well as the often jarring interrelationship between globalization and local cultures. With
his paintings, Dono creates fantastical worlds of strange, hybrid creatures and oblique narratives, inspired by
the colorful characters and stories of wayang, as well as contemporary issues.

Since his first showings in the early 1980s, he has exhibited extensively around the world, participating in
270 exhibitions including numerous international biennials, such as: Guangzhou Triennial (2011); Gwangju
Biennale (2006 and 1995); Sharjah Biennial (2005); Taipei Biennial (2004); Venice Biennale (2003); Asia
Pacific Triennial (2002 and 1993); Yokohama Triennial (2001); Havana Biennial (2000); Shanghai Biennale
(2000); Sydney Biennale (1996); São Paolo Biennial (2004 and 1996). Key international museum exhibitions
include: Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-
2011, Singapore Art Museum (2011); Wind from the East, Kiasma Museum of Contemporary Art, Helsinki
(2007); Cities on the Move, Louisiana Museum, Humlebaek, traveled to Hayward Gallery, London, Kiasma
Museum, Helsinki, Siam Centre, Bangkok (1999); Traditions / Tensions, Asia Society, New York (1996); New
Art from Southeast Asia, Tokyo Metropolitan Art Space (1992); Man and Human Expression, Tropenmuseum,
Amsterdam (1991); Modern Indonesian Art: Three Generations of Tradition and Change, 1945-1990, Sewall
Gallery, Rice University, Houston, traveled to San Diego, Oakland, Seattle, and Honolulu (1990).
Heri Dono’s Art

Jim Supangkat

Heri Dono is an Indonesian artist who is actively travelling all over the world. It seems as if he does not need
a familiar place to maintain the continuity of his contemplations. He works almost always in places that are
alien to him, in new vicinities where he must meet new people and communicate with them. Perhaps this
is why he does not mind the long travels: to find new places where he can work, to seek foreign places and
new friends. He is exploring the possibilities to find the conditions that bring him uncertainties. He is on an
odyssey. This shows that communication is an important aspect in Heri Dono’s creative process. The desire to
communicate — the passion to have dialogues with others — is reflected in his works, which are almost always
enchanting—especially his theatrical performance works that almost invariably involve many people. As a
vagabond artist who travels to all corners of the world, equipped with the passion to work with communities,
he acts contrary to the myth about the artist who works alone in his or her studio and focuses on the strength
of individual contemplation. Although he does not wish to prove any art discourse in contemporary art today,
his opinions and beliefs turn out to deconstruct many of the myths that have influenced art developments in
the twentieth century.

Heri Dono grew up in an Indonesian urban community where many art concepts are mixed up. Within this
condition he follows his intuition and applies a method that is normal in such a search — i.e. the method of
thinking in reverse. “Observing the many peculiar facts using an orderly logic will cause all those peculiarities
to appear wrong. If we observe such facts using an upside down mind, however, everything will seem logical,”
he explains. He attracted the attention of the Indonesian art world when, in the beginning of his career as an
artist in late 1980s, he took on the theme of cartoons — from cartoon movies and comics. People thought that
he was not being serious, or was even making pranks. The conservatives thought that he was making fun of
art because he adopted the theme of kitsch. Actually, at the time he was simply exploring his intuitions, and
those allegations could not be further from the truth. He did not intend to criticize anyone. In fact, Heri Dono
can truthfully explain why he took on the theme of cartoons and comic art: “I’ve been interested in the cartoons
because the world of cartoons isn’t a wholly logical world. There, human beings have no central position,
and animals and things have personalities, just like humans do. They also have soul, spirit and feelings,” he
explains. “This is like the world of the animists, where every object has a soul, the chair can walk, the animals
can talk, and the world of toys is like that of humans.” It is through the world of the cartoons that he presents
humorous works containing social criticism. “Although the jokes can be harsh at times, they’re never painful,
they’re even funny and entertaining,” Heri Dono says. “The cartoon creatures never die, even if they’re knocked
flat”.

Heri Dono’s artistic journey did not stop there. He became interested in the Indonesian puppet theatres, and,
again, drew controversy. For the Javanese, the puppet theatres — especially that of the leather puppets — are
masterpieces that cannot be further developed. The leather puppet theatre is a form of art whose shapes and
symbols are full of religious meanings; some are believed to be mystical and sacred. Therefore, the puppet
show is no mere entertainment. The show invariably contains moral values and has political power. It was
thus understandable that people reacted to the changes that Heri Dono had made. There were controversies,
because the puppets he created revealed intricate visual patterns. “When I was exploring the world of the
puppet theatre, I realized that the audience of the traditional puppet shows actually gained complicated
sensations. I then corrected my understanding of art expressions, which had been focused on the fine arts.
Suddenly, I felt the need to develop other sensibilities aside from that of sight. I realized that the puppet theatre
is an artistic expression knowing no boundaries between the visual arts, music, theatre, and the literary arts,”
he explains.
He then tries to develop a whole awareness of artistic expression. He concludes that such an expression
celebrates the culture, and finds justifications in the art phenomena of the ethnic cultures — the dances,
music, theatres, literary arts and the visual arts (which find forms in the props) — that are invariably related
to the philosophy of the culture. Heri Dono thus believes that art expressions are statements having a cultural
context. “Art borrows signs and symbols from the culture, and must return them to the culture and evolve within
the culture,” he says. “Therefore, an artist must have a cultural stance and clear perception about what culture
actually is.” With such a belief, Heri Dono deconstructs the myths that have influenced his perception of art.
His efforts to break through the myths turn out to be in line with new philosophies on art that have emerged in
the developments of contemporary art. Such new philosophies even delve deep into the fundamental matters
and rethink the art ideologies that held sway since the nineteenth century and were influential until the mid-
twentieth century. The art ideology that is now being re-analyzed believes that artists have distinct ways, or
peculiarities, in catching the Muse and transforming her into their works of art.

Heri Dono says, “All the problems within my works are the problems of beauty. In exploring the world of beauty,
I immerse myself in the sensibility that enables me to seek spirituality, a collective phenomenon. In this realm,
I’m forced to articulate my views on the reality which have been influenced by others’ views.” According to him,
such a process does not present a rational awareness; instead, it brings to the fore a cultural awareness that
accommodates unpredictable matters. “In Yogyakarta, there are many small workshops repairing transistor
radios for re-sale. I invite the technicians to work with me creating works of art, because I think their work
carries signs of art that are closely related with the traditions and the culture,” he says. He views such radio
technicians and craftsmen as creative and innovative people. They create toys and utensils from Coca-Cola
cans, used cardboards, packaging boxes and discarded broken objects. Heri Dono thinks that the sensibility
of such technicians and craftsmen is the sensibility to perceive beauty as has been craftsmanship developed
in the world of traditions. “Their works reveal innovations,” he says. “The objects they make aren’t perfect,
indeed, but innovations are never perfect anyway. Perfection is merely a continuation of an invention having
no innovative contents anymore.”

Based in Jakarta, Jim Supangkat is one of Indonesia’s leading independent curators. He was the curator for the retrospective
exhibition, The World and I: Heri Dono’s Art Odyssey, at Art:1 New Museum in Jakarta (June 12 – August 12, 2014).
view of the Exhibition at Tyler Rollins fine art
view of the exhibition at Tyler Rollins fine art
view of the exhibition at Tyler Rollins fine art
Terorist Batik
(Terrorist)
1984
batik
41 x 49 inches (104 x 123 cm)
Banteng V Pistol
(Bull Versus Pistol)
1984
batik
29 x 36 inches (73 x 90 cm)
Kondektur Dibunuh
(A Conductor Gets Shot)
1992
acrylic and collage on paper
26 x 32 inches (65 x 80 cm)
Flying Angels
1996
fiberglass, fabric, bamboo, acrylic paint, electronic and mechanic devices, cable,
automatic timer
10 pieces, each 39 x 24 x 10 inches (100 x 60 x 25 cm)
Inner City
1999
fiberglass, enamel paint, electronic and mechanic devices, bulb, cable, zinc plate,
automatic timer
71 x 28 x 18 inches (180 x 72 x 45 cm)
Operation Mind Control
1999
fiberglass, metal plate, wood, barbed wire, adaptor, drinking glass, wire plate, cable,
automatic timer
11 pieces, each 22 x 22 x 4 inches (10 x 56 x 56 cm)
Clinic Primata
2001
fiberglass, book attached with paper collage, transparent acrylic plate, wood
7 pieces, each 7 x 8 x 12 inches (31 x 21 x 18 cm)
Tan Malaka February 1949
2008
acrylic on canvas
59 x 79 inches (150 x 200 cm)
The Bearer of B-29
2011
acrylic on canvas
78 ¼ x 59 ½ inches (200 x 150 cm)
Dua Pandora
(Two Pandoras)
2012
acrylic on canvas
63 x 78 inches (160 x 200 cm)
Jalasveva Jaya Mahe
2013
acrylic on canvas
63 x 79 inches (160 x 200 cm)
The Monkey Astronaut
2013
acrylic on canvas
78 x 58 ½ inches (200 x 150 cm)
Shooting Nose
2014
acrylic on canvas
33 x 55 inches (85 x 140 cm)
HERI DONO
SELECTED BIOGRAPHY

Born 1960 in Jakarta, Indonesia. Lives and works in Yogyakarta, Indonesia Reworking Tradition I & II, Singapore Art Museum, Glass Hall, Nanyang
Playhouse, National Institute of Education, Singapore.
EDUCATION
2004 Fellowship for Curatorial Work, IFA Stuttgart, Germany. 2001 The Trap’s Outer Rim, Cemeti Art House, Yogyakarta, Indonesia.
2002 University of Technology, Brisbane, Australia. Fortress of the Heart by Heri Dono, Gajah Gallery, Singapore.
1987-88 Studied Wayang kulit (leather puppets) under Sukasman, Yogyakarta,
Indonesia. 2000 Heri Dono: Dancing Demons and Drunken Deities, Japan Foundation
1980-87 Indonesian Institute of the Arts (ISI), Yogyakarta, Indonesia. Forum, Tokyo, Japan.
Humor and Rumor in Republic of Cartoon, Nadi Gallery, Jakarta,
SOLO EXHIBITIONS Indonesia.

2014 The World and I, Tyler Rollins Fine Art, New York, NY. 1999 Mythical Monsters in Contemporary Society by Heri Dono, Gajah
The World and I: Heri Dono’s Art Odyssey, Art:1 New Museum, Jakarta, Gallery, Singapore.
Indonesia. Virtual Reality, Erasmus Huis, Jakarta, Indonesia.
Tirtara, French Cultural Center, Yogyakarta, Indonesia.
2013 Heri Dono - The Ship of History, Sperl Galerie, Nikolaisaal, Potsdam,
Germany. 1997 Tanah dari Merapi, French Cultural Center, Yogyakarta, Indonesia.
Re-PLAY, OFCA International Sarang Building, Yogyakarta, Indonesia.
1996 Blooming in Arms, Museum of Modern Art, Oxford, UK.
2012 Merapi: Beyond the Myths, Societe Generals Private Banking Gallery,
Alliance Francaise de Singapore, Singapore. 1993 The Chair, Canberra Contemporary Art Space, Canberra, Australia.
The Jester’s Court, Willem Kerseboom Gallery, Amsterdam, The
Netherlands. 1991 Unknown Dimensions, Museum der Kulturen, Basel, Switzerland.
Heri Dono, Emerging Asian Contemporary Indonesia Vol. 2. , Wada Fine
Arts, Tokyo, Japan. 1988 Cemeti Contemporary Art Gallery, Yogyakarta, Indonesia.
Mitra Budaya Indonesia Gallery, Jakarta, Indonesia.
2011 Madman Butterfly, Rossi & Rossi, London, U.K. Bentara Budaya, Yogyakarta, Indonesia.
Pinocchio Syndrome, Hong Kong International Art Fair, Hong Kong,
organized by Edwin’s Gallery, Jakarta, Indonesia. SELECTED GROUP EXHIBITIONS/PROJECTS
Hommage an Raden Saleh, Schloss Maxen, Dresden, Germany.
The Lost Magician, Alexander Ochs Galleries, Berlin, Germany, Beijing, 2014 The Roving Eye, ARTER Space for Art, Istanbul, Turkey.
& China. Exchange:Globalization in Progress, Pullman Art Night, Pullman Jakarta
Indonesia, Jakarta, Indonesia.
2009 Comedy of Error, Jan Manton Art, Brisbane, Australia. Do You Believe in Angel?, Mo_space, Taguig, Philippines, organized by
The Dono Code, Tropenmuseum, Amsterdam, The Netherlands. Equator Art Project, Singapore.
Heridonology, Jogja Gallery, Yogyakarta, Indonesia. Fiesta Fatahillah, Jakarta Endowment for Arts and Heritage program,
Shadow of Trojan Horse, Galeri Tondi, Medan, North Sumatera, Jakarta. Contemporary Art Space, Kantor Pos Fatahillah, Jakarta,
Indonesia. Indonesia.

2008 Post-Ethnology Museum, Gaya Art Space, Ubud, Bali, Indonesia. 2013 Grey, Grand Indonesia, Jakarta, Indonesia, organized by Talenta
Nobody’s Land, Galeri Nasional Indonesia, organized by Edwin’s Organiser, Jakarta, Indonesia.
Gallery, Jakarta, Indonesia. Picturing Pictures, Ho Chi Minh City Fine Art Museum, organized by Art
Ose Tara Lia—I see nothing, Oz Asia Festival, Artspace, Adelaide Exchange Gallery Singapore, Ho Chi Minh City, Vietnam.
Festival Centre, Adelaide, Australia. Seeing Paintings: Conversations before the end of history, Sangkring
Heri Dono: Pleasures of Chaos, Walsh Gallery, Chicago, USA. Art Space, Yogyakarta, Indonesia, organized by Gajah Gallery,
The Dying King & I, Nadi Gallery, Jakarta, Indonesia. Singapore.
Taksu Sketsa SDI, UPT Galeri Seni Institute Seni Indonesia Yogyakarta,
2007 Angels: Bang! Bang!, Sherman Galleries, Sydney, Australia. Indonesia, organized by Sanggar Dewata Indonesia.
The Dream Republic, South Australian School of Art Gallery, University The Eclipse of Stone, performance, Gillman Barracks, Singapore.
of South Australia, Adelaide, Australia. Suka Pari Suka, Collaboration work, Bentara Budaya Yogyakarta,
Indonesia.
2006 Heri WAR Dono, Soemardja Gallery, Bandung, Indonesia. Outspoken, Biasa Art Space, Seminyak, Bali, Indonesia.
Civilization Oddness, Walsh Gallery, Chicago, USA. Textile Art Berlin, Carl von Ossietzky, Berlin, Germany.
KinetikaMekanika, Galeri Soemardja, ITB, Bandung, organized by Galeri
2005 Free-D.O.M., Stiftelsen 3,14, Bergen, Norway. Soemardja & Edwins Gallery, Indonesia.
Contemporary Textile Art of Indonesia, GRASSI Museum fur
2004 Who’s Afraid of Donosaurus?, Galeri Nasional Indonesia, Jakarta, Volkerkunde, Leipzig, Germany.
Indonesia, organized by Nadi Gallery, Jakarta, Indonesia. ArtJog’2013, Maritime Culture, Taman Budaya Jogjakarta, Jogjakarta,
Indonesia.
2003 Upside Down Mind, Circle Point Art Space, Washington, D.C., USA. Cross Culture Contemporary, MiFA Asian Pacific Contemporary,
Heri Dono, Australian Print Workshop, Melbourne, Australia. Melbourne, Australia.
Heri Dono: A Spiritual Journey, Semarang Gallery, Semarang, Bazaar Art Jakarta, Pacific Place, Jakarta, Indonesia.
Indonesia.
2012 Platform 2012, Jan Manton Art at Metro Arts Galleries, Brisbane,
2002 Interrogation, Center A, Vancouver, Canada. Australia.
Heri Provokes Heri, Nadi Gallery, Jakarta, Indonesia. Fantasy Islands, Louise Vuitton, Island Maison, Marina Bay Sands,
Free-D.O.M., Bentara Budaya, Jakarta, Indonesia. Singapore.
 Re.Claim, Galeri Nasional Indonesia, Jakarta, Indonesia. 2009 Utopia, Dystopia, Disturbia, Woodford Folk Festival, Queensland,
Anniversary 250 Years of Jogjakarta & 100 Years of H.B. IX, Jogja National Australia.
Museum, Yogyakarta, Indonesia. The Simple Art Parodi, Taipei Museum of Contemporary Art,Taipei,
Marcel Duchamp in South-East-Asia, Equator Art Project, Gillman Taiwan.
Barracks, Singapore. Expo sign, 25th Anniversary of Institut Seni Indonesia, Yogyakarta,
The Grand Opening Museum of Esa Sampoerna, Surabaya, Indonesia. Jogja Expo Center, Yogyakarta, Indonesia.
Short Cut, Alexander Ochs Gallery BerlinIBeijing, Germany. Tsunami, shadow play, Lustgarten, Berlin, Germany.
Looking East, Art I Jog I 12, A Gaze upon Indonesian Contemporary Art, Over the Top: 16 Years of Running a Gallery, (T-shirt), Walsh Gallery,
Taman Budaya Yogyakarta, Yogyakarta, Indonesia. Chicago, USA.
Insight, Indonesian Contemporary Art, Kunstraum Englanderbau, Vaduz, Kado, Anniversary of Nadi Gallery, Jakarta, Indonesia.
Liechtenstein.
XXL State of Indonesian Art, Jogja Contemporary, Sangkring Art Space, 2008 Refleksi Ruang dan Waktu, V-Art Gallery, Bentara Budaya, Yogyakarta,
Yogyakarta, Indonesia. Indonesia.
VERTIGO, The Indonesian Ugliness, Ode To Art, Raffles City, Singapore. Self-Portrait, Jogja Gallery, Yogyakarta, Indonesia.
Homoludens # 3, Emmitan CA Gallery Surabaya, Indonesia. A Decade of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space,
Intersecting Histories Contemporary in Southeast Asian Art, ADM Bandung, Indonesia.
Gallery, Singapore. Christmas, Valentine Willie Fine Art, Manila, The Philippines.
Orientasi 20+, Jogja Living Artists, Grand Indonesia, Jakarta, Indonesia. Salon Jogja, CG Art Space, Jakarta, Indonesia.
Redress, Stop Human Trafficking, ION Orchard, Singapore. Dari Penjara ke Pigura, Galeri Salihara, Jakarta, Indonesia.
It’s just an Exhibition, Biasa Art Space, Bali, Indonesia. After Forty, Sangkring Art Space, Yogyakarta, Indonesia.
Expose #1: A Presentation of Indonesian Contemporary Art
2011 What’s So Funny About Peace, Love and Understanding?, Rossi and by Deutsche Bank & Nadi Gallery, Four Seasons Hotel, Jakarta,
Rossi, London, UK. Indonesia.
Negotiating Home, History and Nation: Two Decades of Contemporary Manifesto, Galeri Nasional Indonesia, Jakarta, Indonesia.
Art in Southeast Asia 1991–2011, Singapore Art Museum, Singapore. A New Force of South East Asia: Group Exhibitions of Indonesian
Installation Arts: INDONESIA, Richmond Center for Visual Arts, Western Contemporary Artists, Asia Art Centre, Beijing, China, collaboration
Michigan University, Kalamazoo, Michigan, USA. with Edwin’s Gallery, Jakarta, Indonesia.
Fantasy Islands, Louise Vuitton Hong Kong, Hong Kong. China International Gallery Exposition 2008, Beijing, China, Nadi
Flight for Light: Indonesian Art and Religiousity, Art:1 New Museum and Gallery, Jakarta, Indonesia.
Art Space, Mon Décor Gallery, Jakarta, Indonesia.
Art I Jog I 11, Taman Budaya Jogjakarta, Yogyakarta, Indonesia. 2007 Wind from the East, Kiasma Museum of Contemporary Art, Helsinki,
Finding Me, Semarang Contemporary Art Space, Semarang, Central Finland.
Java, Indonesia. Equatorial Rhythms, Stenersen Museum, Oslo, Norway.
Pameran Besar Patung Kontemporer Indonesia: Ekspansi, Galeri Indonesian Contemporary Art Now, Nadi Gallery, Jakarta, Indonesia.
Nasional Indonesia, Jakarta, organized by SIGIarts, Jakarta, Indonesia. Conscience Celebrate—September Art Events, fine art exhibition,
Jakarta Berlin Arts Festival, foyer art performance, Admiralspalast, Berlin, organized by Edwin’s Gallery, Gandaria City, Jakarta, Indonesia.
Germany. Imagined Affandi, Gedung Arsip Nasional, Jakarta, Indonesia.
Trans-Figurations: Mythologies Indonésiennes, Espace Culturel Louis IVAA BOOKAID vol. 01/07, Nadi Gallery, Jakarta, Indonesia.
Vuitton, Paris, France. Soft Power: Asian Attitude, Zendai Museum of Modern Art, Shanghai,
PMR: CUBE Contemporary Culture Interplay, Sampurna Strategic Square China.
Building, The Atrium, Jakarta, Indonesia. Re-Kreasi 80, Class of 1980 ASRI, STSRI ASRI, ISI Reunion, Jogja National
Indonesian Eye: Fantasies & Realities, Ciputra World Museum, Yogyakarta, Indonesia.
Marketing Gallery, Jakarta, organized by Parallel Contemporary Art,
London, UK. 2006 The Inoyama Donation: A Tale of Two Artists, Singapore Art Museum,
9+1, 10th Anniversary, Canna Gallery, Jakarta, Indonesia. Singapore.
Opera Jawa, collaboration performance with Garin Nugroho, Musée du
Quai Branly, Paris, France. 2005 Exhibition of Indoor Collections, Kirishima Open-Air Museum,
Do It, Kunsthalle Faust, Hannover, Germany. Kagoshima, Japan.
1001 Doors: Reinterpreting Traditions, Ciputra World Marketing Gallery, About Beauty, Haus der Kulturen der Welt, Berlin, Germany.
Jakarta, organized by Art Sociates Lawangwangi, Bandung, Indonesia. Eksodus Barang, Nadi Gallery, Jakarta, Indonesia.
Public project, IRISAN, Grand Indonesia, Jakarta, organized by Andi’s BETA. 20, Post-Electronic Art Performances, Theatre Garasijn, Bergen,
Gallery, Jakarta, Indonesia. Norway.
E (art) H Project: Green Sustainable, Galeri Nasional Indonesia, Jakarta, Festival Inspirasi, Dewaruci, performance, Byron Bay, Australia.
Indonesia. Floating Legacies, Selasar Sunaryo Art Space, Bandung, Indonesia.
Art Motoring I: ‘Motion & Reflection’, Galeri Nasional Indonesia, Jakarta, 21st and Beyond: Reception, Edwin’s Gallery, Jakarta, Indonesia.
Indonesia. Licking the Ozone, performance, Melbourne Fringe Festival, Lithuanian
Club, Melbourne, Australia.
2010 Made in Indonesia, Galerie Christian Hosp, Berlin, Germany. Equatorial Heat, Edwin’s Gallery, Jakarta, Indonesia, supported by
The Babel Tower, Woodford Folk Festival, Queensland, Australia. Coutts Bank.
Art Paris + Guests, Grand Palais, Paris, France.
Ciptura Art-Preneurship, Ciputra World Marketing Gallery, Jakarta, The 2nd Enku Grand Award Exhibition, The Museum of Fine Arts, Gifu,
2004
Indonesia. Japan.
Pameran Besar Seni Rupa Indonesia 2010 Manifesto, Galeri Nasional Land Under the Rainbow, Cultural Olympiad, Benaki Contemporary Art
Indonesia, Jakarta, Indonesia, organized by Vanessa Art Link, Jakarta, Museum, Athens, Greece.
Indonesia. 4th Art Summit Indonesia 2004, Performing and Visual Arts, Galeri
Green Festival: Sustainable Artainability, The Ritz-Carlton, Jakarta, Nasional, Jakarta, Indonesia.
Pacific Place, Indonesia. Transindonesia: Scooping Culture in Contemporary Indonesian Art,
Jogjakarta Art Festival, Taman Budaya Yogyakarta, Yogyakarta, Govett-Brewster Art Gallery, New Plymouth, New Zealand.
Indonesia. On the Edge: Indonesia and China Avant-garde, The Pakubuwono
Crossing & Blurring the Boundaries: Medium in Indonesian Residence, Jakarta, Indonesia.
Contemporary Art, Galeri Nasional Indonesia, Jakarta, Indonesia. Reformasi, Sculpture Square, Singapore.
Opera Jawa, collaboration performance with Garin Nugroho, Olympics, The Pakubuwono Residence, Jakarta, Indonesia, organized
Tropenmuseum, Amsterdam, The Netherlands. by Nadi Gallery, Jakarta, Indonesia.
Reinterpreting S. Soedjojono, Galeri Canna, Jakarta, Indonesia. Artists Are Making a House, Nijo-machi Prefecture, Museum City
Ethnicity Now, Galeri Nasional Indonesia, Jakarta, Indonesia. Project, Fukuoka, Japan.
The Angel Garden, Esplanade—Theatres on the Bay, Singapore.

 Z.O.U., Zone of Urgency, Reggio Calabria (Villa Zerbi), Italy. Traditions/Tensions, Art Gallery of Western Australia, Perth Cultural
Equatorial Heat, Sichuan Museum, Chengdu, Sichuan, China, Center, Perth, Australia; travelled to Taipei Museum of Contemporary
organized by Edwin’s Gallery, Jakarta, Indonesia. Art, Taipei, Taiwan.
Frankenstein versus Gatotkaca, performance, Stiftung Preussischer 50th Anniversary of Human Rights, Museum Boijmans Van Beuningen,
Kulturbesitz, Ethnologisches Museum, Berlin, Germany. Rotterdam, The Netherlands.
The Nature Machine: Contemporary Art, Nature and Technology,
Queensland Art Gallery, Brisbane, Australia. 1997 Sounding Sphere, Harima Science Garden City Opening, Hyogo
Prefecture, Japan.
2003 Summer Spectacular Kids’ APT, Queensland Art Gallery, Brisbane, Innenseite, Projektgruppe Stoffwechsel, Kassel, Germany.
Australia. Wayang Gepuk Wayang Alternatif, Bentara Budaya, Jakarta, Indonesia.
Budaya Bumi Berbudaya, Museum Benteng Vredeburg, Yogyakarta, Exploring the Future of the Imagination, The Intercommunication
Indonesia. Center, Tokyo, Japan.
Epic, Gajah Gallery, Singapore. Asian Contemporary Art, Base Gallery, Tokyo, Japan.
Imagining Prometheus, Palazzo della Ragione Loggia dei Mercanti, Cities on the Move, Secession, Vienna, Austria.
Milan, Italy. A Gift for India, New Delhi, India.
Crossing Boundaries, Bali: A Window to Twentieth-Century Indonesian
Art, travelling exhibition, Asia Society Australasia Centre, Melbourne, 1996 Modernity and Beyond, National Museum of Modern Art, Singapore.
Australia. Orientation, Stedelijk Museum De Lakenhal, Leiden, The Netherlands.
Happiness: A Survival Guide for Art and Life, Mori Art Museum, The Huid van De Witte Dame, Arctic Foundation, Eindhoven, The
Roppongi, Tokyo, Japan. Netherlands.
Public art project, Muza Concert Hall, Kawasaki, Japan. Drawing, Institute of International Visual Arts, London, UK.
Running Puppet, performance, The Survival and Innovation of Crafts, Traditions/Tensions, Contemporary Art in Asia, Asia Society, New York,
Royal Palace, Amsterdam, The Netherlands. USA.
Zaman Edan, Bentara Budaya Yogyakarta, Yogyakarta, Indonesia. The Spiritual and The Social: Nine Artists from Thailand, Indonesia and
Kado, Nadi Gallery, Jakarta, Indonesia. The Philippines, Queensland Art Gallery, Brisbane, Australia.

2002 Eye, Nadi Gallery, Jakarta, Indonesia. 1995 Vision of Happiness, The Japan Foundation Art Forum, ASEAN Culture
Interrogation, shadow play, Western Front Society, Vancouver, Canada. Center, Akasaka and Tokyo, Japan.
The Wild of Imagination, Langgeng Gallery, Magelang, Indonesia. Unity in Diversity: Contemporary Art of the Non-Aligned Countries,
Zwischen Tradition und Moderne: Junge Künstler aus Indonesien, Galeri Nasional Indonesia, Jakarta, Indonesia.
Staatliche Museen zu Berlin, Museen Dahlem, Ethnologisches Museum, Kurbis, Museum für Völkerkunde, Basel, Switzerland.
Berlin, Museum für Völkerkunde der Stadt Köln, Cologne, Germany. Unity in Diversity: Contemporary Art of the Non-Aligned Countries,
AWAS! Recent Art from Indonesia, Prüss & Ochs Gallery, Asian Fine Arts, Galeri Utama, Taman Ismail Marzuki, Jakarta, Indonesia.
Berlin, Germany.
Asian Vibe, EAAC, Valencia, Spain. 1994 Kuda Binal, performance, 24HR Art Gallery, Northern Territory Centre
EV+A 2002: Heroes + Holies, Limerick City Gallery of Art, Limerick, Ireland. for Contemporary Art, Darwin, Australia.
International Contemporary Art Fair, Madrid, Spain. The Jakarta International Art Exhibition 1994, The Indonesian Fine Arts
Foundation (catalogue), Indonesia.
2001 Floating Chimeras, Edsvik von Culture, Sollentuna, Sweden. 9th Asian International Art Exhibition, National Museum of History,
Between Sound and Vision, Gallery 400, University of Illinois, Chicago, Taipei, Taiwan.
USA. ‘Realism as an Attitude’, 4th Asian Art Show Fukuoka, Fukuoka Art
Artists Commission, Asia Society, New York, USA. Museum, Fukuoka, Japan.
Membaca Frida Kahlo, Nadi Gallery, Jakarta, Indonesia. Super Suburb, Museum City Tenjin ’94, Fukuoka, Japan.
The Opening of New Art Center Yogyakarta, Indonesia.
Unpacking Europe, Museum Boijmans Van Beuningen, Rotterdam, The 1993 Indonesian Modern Art: Indonesian Painting Since 1945, Gate
Netherlands. Foundation, De Oude Kerk, Amsterdam, The Netherlands.
AWAS! Recent Art from Indonesia, W139, Amsterdam, The Netherlands; International Festival of Puppetry in the World, Taman Budaya,
travelled to Ludwig Forum für Internationale Kunst, Aachen and Yogyakarta, Indonesia.
Cologne, Germany.
Pink Project, Nadi Gallery, Jakarta, Indonesia. 1992 Sanggar Dewata: Indonesian Art Exhibition, Museum Nyoman Gunarsa,
Yogyakarta, Indonesia.
2000 Sonic Boom, Hayward Gallery, London, UK. 7th Asian International Art Exhibition, Gedung Merdeka, Bandung,
12 Asian Artists, National Art Gallery, Kuala Lumpur, Malaysia. Indonesia.
Humanism in Art, Volkenkundig Museum Nusantara, Delft, The Kuda Binal, performance, Alun-Alun Utara, Yogyakarta, Indonesia.
Netherlands. New Art from Southeast Asia 1992, Tokyo Metropolitan Art Space;
Fuori Uso, Pescara, Italy. travelled to Fukuoka, Hiroshima and Osaka, Japan.
AWAS! Recent Work from Indonesia, Museums in Hokkaido, Osaka and
Fukuoka, Japan. 1991 Sama-Sama, Centrum Beeldende Kunst Oosterpoort, Groningen, The
Lobi Lobi, performance, Lontar Gallery, Jakarta, Indonesia. Netherlands; travelled to Tilburg, The Netherlands, and Yogyakarta and
Jakarta, Indonesia.
1999 Media dalam Media, Galeri Nasional Indonesia, Jakarta, Indonesia. Wayang: From Gods to Bart Simpson, University of British Columbia,
Cities on the Move: Urban Chaos and Change, Louisiana Museum of Vancouver, Canada.
Moderne Kunst, Humlebæk, Denmark; travelled to Hayward Gallery, Man and Human Expression, Tropenmuseum, Amsterdam, The
London, UK; Kiasma Museum of Contemporary Art, Helsinki, Finland Netherlands.
and Siam Centre, Bangkok, Thailand. Wayang Top, performance, International Culture Camp Desa Apuan,
Knalpot, fine art exhibition, Cemeti Art House, Yogyakarta, Indonesia. Tabanan, Bali, Indonesia.
Sound Culture, Auckland Art Gallery, Auckland, New Zealand. Destructive Images, performance, Seni Sono Gallery and Malioboro,
Makassar Arts Forum ’99, Ujung Pandang, South Sulawesi, Indonesia. Yogyakarta, Indonesia.
AWAS! Recent Work from Indonesia, Museum Benteng Vredeburg,
Yogyakarta, Indonesia; travelled to CCA, Melbourne and Canberra, 1990 Modern Indonesian Art: Three Generations of Tradition and Change,
Australia. 1945–1990, Festival of Indonesia 1990, Sewall Gallery, Rice University,
Tachikawa International Arts Festival, Tokyo Prefecture, Tokyo, Japan. Houston, USA; travelled to San Diego, Oakland, Seattle and Honolulu,
USA.
1998 Resurrection of Topos 3, collaboration between artists and architects,
Toyama Shimin Plaza, Toyama, Japan. 1989 Wayang Imaginative, performance, Mendut Temple, Indonesia.
Images of Power: Expressions of Cultural and Social Awareness in Competitive Exhibition of Young Indonesian Artists, Institute of
Southeast Asia, Jakarta International School, Jakarta, Indonesia. Technology Bandung, Bandung, Indonesia.
1988 Wayang Legenda, shadow play, Seni Sono Gallery, Yogyakarta, Indonesia. 1986 5th Biennial Indonesia.
Hedendaagse Indonesische Kunst, Volkenkundig Museum Nusantara,
DeIft, The Netherlands. 1984 4th Biennial of Indonesian Young Artists, Taman Ismail Marzuki, Jakarta,
Indonesia.
1987 Sandiwa, Kulay-Diwa Art Galleries/Cultural Center of the Philippines,
Manila, The Philippines. RESIDENCIES
Three Indonesian Artists, De Schone Kunsten, Heemstede, The
Netherlands. 2008 Workshop, Flinders Medical Centre, Flinders University, Adelaide,
Australia
1986 Experimental Music and Visual Art, Seni Sono Gallery, Yogyakarta,
Indonesia. 2007 Artist in Residence, Ernst Busch University, Berlin, Germany.
Artist in Residence, University of South Australia, Adelaide, Australia.
1985 3rd ASEAN Youth Artists Exhibition, Indonesia Institute of the Arts,
Yogyakarta, Indonesia. 2006 Artist in Residence, Humboldt University, Berlin, Germany.

1982 Art on the Environment, Parangtritis Beach, Yogyakarta, Indonesia. 2005 Artist in Residence, Australian Print Workshop, Melbourne, Australia.
The International Jury of the Xl Triennial India, New Delhi, India.
BIENNIALS/TRIENNIALS Artist in Residence, United Sardine Factory, Bergen, Norway.
Artist in Residence, Australia Indonesia Arts Alliance, Byron
2014 Changwon Sculpture Biennale, South Korea. Bay, Australia.

2011 Castlemaine Visual Arts Biennial, Castlemaine State Festival, Victoria, 2004 Workshop with DIDA Escola de Música, São Salvador de Bahia, Brazil.
Australia. Sound Art Seminar, Kunstakademiet Bergen, Bergen, Norway.
Maximum City: Survive or Escape?, Jakarta Biennale XIV, Taman Fellowship for Curatorial Work, IFA Institute, Stuttgart,
Ayodya, Jakarta, Indonesia. Germany, in Ethnologisches Museum, Berlin, Germany.
4th Guangzhou Triennial, Art Domain Migration: Asean & China,
Guangdong Museum of Art (GDMoA), Guangzhou, China. 2003 Artist in Residence, Print Workshop, Melbourne, Australia.
Contemporary Asian Art Forum, Links, Platforms, Networks, Asian Art
2010 JAF, Art-Jog, Taman Budaya Yogyakarta, Indonesia. Archive, Hong Kong.

2009 Jogja Jamming, Xth Jogja Biennale, Taman Budaya Yogyakarta, 2002 Artist in Residence, Western Front Society, Vancouver, Canada.
Yogyakarta, Indonesia. Artist in Residence, Queensland College of Art, South Bank, Australia,
and Queensland University of Technology, Brisbane, Australia.
2007 Neo-Nation, 9th Biennial Jogja, Jogja National Museum, Yogyakarta, Artist in Residence, National Institute of Education, Singapore.
Indonesia.
2000 Artist in Residence, Vermont Studio Center, Johnson, USA.
2006 Gwangju Biennale, Gwangju, South Korea.
1999 Cyfuniad International Artists’ Workshop, Wales, UK.
2005 Belonging, Sharjah International Biennial, Sharjah, UAE. Artist in Residence, Queensland College of Art, Brisbane, Australia.
Urban/Culture, CP Biennale, Museum of Bank Indonesia, Jakarta, Artist in Residence, University of Auckland, Auckland, New Zealand.
Indonesia.
Biennale Internazionale dell’Arte Contemporanea, Fortezza da Basso, 1996 Artist in Residence, Townsville, North Queensland, Australia.
Florence, Italy.
1995 Artist in Residence, Museum of Modern Art, Oxford, UK, with
2004 Do You Believe in Reality?, 2004 Taipei Biennial, Taipei Fine Arts Institute of International Visual Arts, London, UK.
Museum, Taipei, Taiwan.
Free Territory, 26th São Paulo Biennial, São Paulo, Brazil. 1990–91 International Artists Exchange Program, Christoph Merian Stiftung,
Basel, Switzerland.
2003 Zone of Urgency, Venice Biennale, Italy.
2nd Echigo-Tsumari Art Triennial, Niigata, Japan. HONORS AND AWARDS
Country-bution, Yogyakarta Biennale, Taman Budaya, Yogyakarta,
Indonesia. 2011 Visual Art Award 2011, for Dedication, Contribution and Achievement
Interpellation, CP Open Biennale, Galeri Nasional Indonesia, Jakarta, in Visual Art Fields from 2000 to 2010.
Indonesia. Indonesia Art Motoring Award, Indonesia Classic Car Owners Club,
Jakarta, Indonesia.
2002 4th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery,
Brisbane, Australia. 2009 AMICA Art Award, Male Favorite Artist, Jakarta, Indonesia.

2001 Yokohama Triennale, Yokohama, Japan. 2006 Academic Art Award, Professional Artist, Program A-2, FSR ISI,
Yogyakarta & Jogja Gallery, Yogyakarta, Indonesia.
2000 Havana Biennial, Cuba Pavilion, Havana, Cuba. 2003 2nd Annual Enku Grand Award, Gifu Prefectural Government, Japan.
Shanghai Biennale, Shanghai Art Museum, Shanghai, China. Yogyakarta Art Prize, Sri Sultan Hamengkubuwono X, Yogyakarta,
1997 Biennial Yogyakarta V, Taman Budaya, Yogyakarta, Indonesia. Indonesia.
2000 UNESCO Prize for the International Art Biennial, Shanghai, China.
1996 Jurassic Technologies Revenant, 10th Biennial of Sydney, Art Gallery of
New South Wales, Sydney, Australia. 1998 Prince Claus Award, in Recognition of Exceptional Initiatives and
Universalis, 23rd São Paulo Biennial, São Paulo, Brazil. Activities in the Field of Art and Development, Prince Claus Fund for
Culture and Development, The Netherlands.
1995 Beyond the Borders, 1st Gwangju Biennale, Gwangju, South Korea.
1992 I Gusti Nyoman Lempad Prize, Sanggar Dewata Indonesia, Yogyakarta,
1994 Yogyakarta Biennale, Purna Budaya, Yogyakarta, Indonesia. Indonesia.
Adelaide Installations’, Adelaide Biennial of Australian Art, Art Gallery of
South Australia, Adelaide, Australia. 1989 Young Indonesian Artists, Alliance Française and Bandung Institute of
Technology, Bandung, Indonesia.
1993 1st Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery,
Brisbane, Australia. 1981/85 The Best Painting Awards, Indonesia Institute of the Arts, Yogyakarta,
9th Jakarta Art Biennial, Taman Ismail Marzuki, Jakarta, Indonesia. Indonesia.
PUBLIC COLLECTIONS 1995 Toshio Shimizu, Visions of Happiness: Ten Asian Contemporary Artists,
Japan Foundation, Tokyo.
Fukuoka Art Museum, Fukuoka, Japan.
Singapore Art Museum, Singapore. 1994 Masahiro Ushiroshoji, 4th Asian Art Show Fukuoka: Realism as an
Queensland Art Gallery, Brisbane, Australia. Attitude (ex. cat.), Fukuoka Art Museum, Fukuoka.
National Gallery of Australia, Canberra, Australia. Astri Wright, Soul, Spirit, and Mountain: Preoccupations of
Stedelijk Museum de Lakenhal, Leiden, The Netherlands. Contemporary Indonesian Painters, Oxford University Press, New York.
Tropenmuseum, Amsterdam, The Netherlands.
Artoteek Den Haag, The Hague, The Netherlands. 1993–94 Jim Supangkat, ‘The Framing of Indonesian Contemporary Art’, Artlink,
Deutsche Guggenheim (Deutsche Bank), Frankfurt, Germany. Vol. 13, November–March.
Galeri Nasional Indonesia, Jakarta, Indonesia.
OHD Museum of Modern & Contemporary Indonesian Art, Magelang, 1993 Jenny McFarlene, ‘Heri Dono’s The Chair’, Muse, November.
Indonesia. Jim Supangkat, ‘Wajah Seni Rupa Asia Pasifik’, Tempo, 16 October.
Indonesia Institute of the Arts, Yogyakarta, Indonesia. Jim Supangkat, ‘Seni Rupa Bawah’, Tempo, 16 October.
CP Foundation, Jakarta, Indonesia. Helen Musa, ‘Veiled Political Performance’, The Canberra Times, Caberra,
Kirishima Open-Air Museum, Kagoshima, Japan. 15 October.
Museum der Kulturen, Basel, Switzerland. Linda Geh, ‘The Last of the Asian Shamans’, Sunday Star, 10 October.
Australian Print Workshop, Melbourne, Australia. Martinus Dwi Marianto, ‘The Experimental Artist Heri Dono from
Okinawa Prefectural Museum & Art Museum, Okinawa, Japan. Yogykarta and His “Visual Art” Religion’, Art Monthly Australia, October.
The Intercommunication Center, Tokyo, Japan. Ann Virgo, Heri Dono: The Chair, in Canberra Contemporary Art Space,
Canberra, October.
SELECTED BIBLIOGRAPHY ‘Alternative Approaches for Artistic Expression’, Brisbane Review Asia-
Pacific Liftout, 16 September.
2008 Aguslia Hidayah, ‘Bidadari dalam Kepompong’, Koran Tempo, 18 Jim Supangkat, ‘Indonesia Report: A Different Modern Art’, Art Asia
August. Pacific, September
Bambang Bujono, ‘Dongeng Masa Kini Heri Dono’, Tempo, 17 August. Jim Supangkat, ‘Seni Rupa Kontemporer, Sebuah Resiko’, Horison, July.
Aminudin TH Siregar, ‘Belajarlah ke Negeri Heri Dono’, Kompas, 10 Rupa Wayang dalam Seni Rupa Kontemporer Indonesia, Pameran dan
August. Sarasehan Seni Rupa Kontemporer Wayang.
Pamela Zeplin, ‘The Artist-in-Residence: A New Paradigm for Teaching Jim Supangkat, The First Asia-Pacific Triennial of Contemporary Art (ex.
and Learning in University Art Education’, cat.), Queensland Art Gallery, Brisbane.
Journal of the World Universities Forum, Vol. 1, Common Ground Jim Supangkat, ‘A Brief History of Indonesian Modern Art’, in Tradition
Publishing. and Change, Contemporary Art of Asia and the Pacific, University of
Queensland Press.
2007 Judith Collins, Sculpture Today, Phaidon Press. Jim Supangkat, Seni Rupa 80, Pengantar untuk Biennale Jakarta IX.
Pamela Zeplin, ‘Collaboration on the Wing’, Broadsheet: Contemporary Astri Wright, ‘Drinking from the Cup of Tradition: Modern Art in
Visual Yogyakarta’, in Indonesian Painting Since 1945 (ex. cat.), Gate Fountion,
Arts+Culture, Vol. 36, No. 3, September. Amsterdam.

2003 Prince Claus Fund Journal #10a, Prince Claus Fund, The Hague, 1992 Goenawan Moehamad, ‘Kritik Sosial dan Kemelimpah-ruahan’, Tempo,
December. No. 32, Tahun XXII, 10 October.
Ugeng T. Daniswara, ‘Kartunal, Lukisan-Lukisan Heri Dono’, Laras 46,
2002 Efix Mulyadi, ‘Renungan Merdeka Heri Dono’, Kompas, 16 August. October.
Arif, ‘Saya Lebih Suka Kaya Waktu’, Koran Tempo, 7 July. Fadjri B., ‘Gebu Yogya 1992: Terobosan Kuda Binal’, Tempo, 8 August.
Julie Ewington, The Multiple Matters of Modern Life, in Asia Pacific Sanento Yuliman, ‘Keluar Dan Status Quo’, Tempo, 9 May.
Triennial of Contemporary Art. Masahiro Ushiroshoji, ‘The Labyrinthine Search for Self-Identity: The Art
of Southeast Asia from the ’80s to the ’90s’, in New Art from Southeast
2001 Martinus Dwi Marianto, Surealisme Yogyakarta, Rumah Penerbitan Asia 1992 (ex. cat.).
Merapi, Yogyakarta.
Salah Hassan and Iftikhar Dadi (eds.), Unpacking Europe: Towards a 1991 Renata Duerst, ‘Menschenzertreter’, Basler Zeitung, 24 October.
Critical Reading, Museum Boijmans Van Beuningen and NAi Publishers, Astri Wright, ‘Indonesia in the 1980s’, Art Monthly Australia, No. 14,
Rotterdam. June.
Jim Supangkat, ‘Breaking Through Twisted Logic: Heri Dono’s Critical Helena Spanjaard, ‘Sama-Sama’, in Maandbeeld, Centrum Beeldende
Eye’, Art Asia Pacific, Issue 32. Kunst Groningen, No. 5, May.
Sindhunata, ‘Rire d’homme entre deux Toiles’, Courrier International, Yuko Sakonakan, New Art from Southeast Asia 1992 (ex. cat.), Japan
4–10 January. Foundation, Tokyo, February.
Urs Ramseyer, ‘Heri Dono: Unknown Dimensions’, Die Museen in Basel,
2000 Efix Mulyadi and Bre Redana, ‘Lebih Jauh dengan Heri Dono’, Kompas, 8 No. 344.
October. Thomas Waldmann, ‘Eine Figurenwelt mit indonesischen Wurzeln’,
Sindhunata, ‘Hidup untuk Tertawa’, Basis, September–October. Basler Zeitung, 17 January.
Hans-Ulrich Obrist, ‘Heri Dono: The Ever-increasing Colonialization of
Time’, Flash Art, Vol. XXXlll, No. 213. 1988 Astri Wright, ‘Dono Tries to Expand the Use of ‘Wayang’ Puppets’, The
Outlet, Cemeti Art Foundation, Yogyakarta. Jakarta Post, 6 October.
1999 Margaret Walsh, Michelle Watts and Craig Malyon (eds.), A.R.T.: Art, Astri Wright, ‘Artist Espouses Laughter and Humour’, The Jakarta Post,
Research, Theory, Oxford University Press, Victoria. 16 June.
Hendro Wiyanto, ‘Keedanan dan Kelucuan Heri Dono’, Kompas, 25 June.

1997 Carol Lutfy, ‘Low-Tech Magician’, ARTNews, October.

Heri Dono, Wayang Legenda: Si Tungkot Tunggal Panaluan, Wayang
Gepuk Wayang Alternatif, Bentara Budaya, Jakarta.

1996 David Elliott and Gilane Tawadros, Blooming in Oxford, Blooming in

Arms (ex. cat.), Iniva, London.
Julie Ewington, ‘Between the Cracks: Art and Method in Southeast Asia’,
Art Asia Pacific, Vol.3, No. 4.
Orientation, Gate Foundation, Amsterdam, and Cemeti Art Foundation,
Yogyakarta.
Apinan Poshyananda, ‘Roaring Tigers, Desperate Dragons in Transition’,
in Contemporary Art in Asia: Traditions, Tensions.
PUBLISHED ON THE OCCASION OF THE EXHIBITION

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