Bahasa Life of objects
Although Indonesian contemporary art is widely known for its interrogation of social and political issues, in the last two decades artists have emerged whose works primarily celebrate materiality and everyday objects. Whether examining the aesthetic possibilities inherent in ordinary detritus and humble materials, or exploring the imaginary behaviour of domestic products, contemporary Indonesian artists are motivated by their recognition of the wonderful in the everyday to create innovative, humorous and dynamic works.
Albert Yonathan Setyawan is known for his ceramic floor and wall installations, as well as drawings, video, and performance art. Setyawan prefers the ceramic medium for its ubiquitous presence in daily life and social, cultural and historical associations. The repetition inherent in each installation allows him to become immersed in 'art labour', in which the process of production rather than invention is paramount. This induces a meditative state, described by the artist as a 'mantra for daily life'.
Tromarama is a new-media collective formed in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. From early stop-motion animation explorations of the life of objects, their practice has expanded to include installation, computer programming and public participation. Since 2015 Tromarama has explored how our perception of the physical world is shaped by constant exposure to a virtual, screen-based reality.
Handiwirman Saputra explores the inherent qualities and behaviours of materials and objects that surround us every day, from rubber bands to floor sweepings. From close observation he develops 'ways of looking, new ways of seeing' to create uncanny assemblages and images.
Faisal Habibi is a sculptor and installation artist explores familiar, everyday objects, seeking to reconfigure them and challenge our subconscious expectations of ordinary items. His early reconstructions of park benches, chairs and tables destroyed their functionality, creating new, perplexing and amusing forms with a remnant familiarity. His recent works focus on the detritus that surrounds us, particularly on empty frames and off-cuts left by industrial production. Like Saputra, Habibi presents this residual material as a new form of beauty.
