E-catalogue - Madman Butterfly

7/31/2019 E-catalogue - Madman Butterfly

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Heri DonoMadman Butterfy


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HeriDonoMadman

Butterfy


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Heri Donos work might come with layers of meaning,expectation, message and irony, but he wants tokeep things simple. He works in a range o f mediainstallation, painting, theatre and sculptureaswell as sculpture on wheels, what he calls vehicleart, and exhibits his work for local and internationalaudiences. At one level, at least, he is among therst internationally celebrated Indonesian artiststo emphasise, even indulge in or play on the local:

instead of using what used to be called the inter-national language of art, the language of magazineand market, Dono draws from within the body of hisnative Indonesian society to question its structureand methods. He says that as an artist he has tobe quick and clever. So in simple ways, he fashionscreatures that straddle the line between the seriousand the souvenir, with no interest in the notion ofthe avant-garde.

Indonesia is such a mixture of peoples and its societyis constructed in such a way that Dono automaticallyfunctions within a pool of cultural complexity. Bornin Jakarta in 1960, he has maintained a steady andconstant body of work and completed numerous

residencies all over the wo rld, in Australia, Canada,Germany, the United States and elsewhere. Whenhe rst showed his work abroad in the mid-1990s,it was perhaps likely to have been appreciated forbeing exotic as much as anything else. However,over the past three and a half decades, an increasein travel during the postcolonial era and the rise ofthe Internet have meant that his work can now beviewed as art in its own right at a global level.

Based in Yogyakarta, the heart of Javanese cultureas well as the centre of Indonesian contemporary art,Dono studied art at the Indonesian Institute of the Arts,

and then learned the craft ofwayangkulit, traditionalshadow puppetry. It is an interesting trajectory, togo from a more contemporary art education to acraft of which the rst performance was recordedmore than a thousand years ago. However, he haspointed out that his government invests in the pastand encourages the practice o f traditional modes ofartistic expression as means of countering new ones.This trajectory has therefore allowed him to pursue

a substantial career in opposing, undermining or atleast underlining the methods of the State.In 1996, Donos rst solo show in Britain, Bloomingin Arms at the Museum of Modern Art , Oxford,brought a fantastic but disturbing set of appar-ently half-man, half-tree figures on fine, falseprosthetic legs parading with gunsincorporatingthe false legs as a reference to landmines. Thefigures all maintain a built theatricality that isclosely associated with his work. Here he madethe point that while the Indonesian governmentwas launching a campaign to encourage people toplant trees in a quasi-Green initiative, it was alsosystematically deforesting Sumatra, Kalimantan

and Irian Jaya.

In his theatrical work, Dono assumes a givenrelationship to the protagonist, a xed expectation tha tdevolves from the role of the character in the puppettheatre that itself originated in Java as well as Indiaand elsewhere. Through his use of folk media,such as puppetry, which is more about traditionthan either high or low art, he makes a sidewaysapproach to the obvious. This approach is a longway away from the Cool Britannia of the 1990swhen Young British Artists seemed in total accordwith the desires of the New Labour government.

Dono has long played the fool, the pleaser and theprovider of popular experience. Appearing to beneither complex nor contrary, he uses a robust artisticstance to bypass formal concern. This well-worntheatrical device, however, also has a sinister andtawdry aspect. For Nobodys Land at Galeri NasionalIndonesia in Jakarta in 2008, a whole series of angelswith smooth, wood heads and heightened blushon their cheeks hovered to become perfectly staged

images of freedom. Eachwith an open panel at itschest and beatic s mileappeared to y. They couldap their wings yet went nowhere, trapped, as theywere, in their own autonomous world.

All of his three-dimensional works play withimperfection, insisting that the means for escapeand enchantment is purely theatrical. Flying Golek(2011) is a veritable chorus line of angels suspendedby wires from the ceiling like puppets. He repeatsgures and images to ll and suit an individualspace, to make a crowd. Each angel, made from arange of materials, uses the painters trick wherethe paint not only describes but literally mimics whatit de scribes . Here, the angelsheads are actualwayang

golek wooden puppet heads, while the bo dies aremade of breglass and the wings from papier-mch. The rounded breglass surface protects aheartlike organ crafted from electrical scraps, whichaccording to Dono allude to our ability to mendand make do. They also remind us of the childhooddisappointment of discovering the trap do or for thebattery under the skirt of a talking or crying doll. Thisdismantling, or partial disclosure, allows him to pointout the limitation of romantic faith in the pos-sibility of art. A toy, sculpture or machine can be closeto us technologically, and yet almost, nearly, not working.The artists use of low-tech, low-level wiring recalls

Madman Butterfy

Sacha Craddock

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previous pages:

The Scapegoat Republic(detail)

2011acrylic on canvas

150 x 200 cm (59 x 79 in)


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the early days of stumbling, ambling fallibility, ratherthan a smoothly remote-controlled creature that walksacross the stage.A series of long-nosed automatons in Fermentationof Nose (2011) sits at numbered desks, staring intospace with somewhat inward-looking, dead eyes.The mechanised creatures nod in unison and seemto agree, yet at the same time, the following questions

arise: Who is in charge? Who is listening? Where isthe process of learning directed? Is this a school-room? Who is teaching what, to whom? Is there amilitaristic undertone once again? This use of easy,visible mechanisation is important to Dono; it showsthat the inevitable harnessing of scientic intelli-gence by the State can cause trouble.

I mix animation with animism, he says. Both arebased on the belief that everything has a soul. Fromthis point, I make sociopolitical commentary usinghumour. The mechanisation suggests somethingthat stumbles, something that can be overpowered,broken down and usurped. It is perfect. Yet insteadof formal questioning, this artist starts with a projection

into each of his characters, whether painted, sculpted,mechanised or performed. There is denitely a trut h,a reality, to each character. The faith put into a puppet islike that of a t oy: a child knows that the to y is realand, in formal terms, it is.

Rather than expressionisma bearing of the soulfor Dono, humour is key. He uses the tactics ofanimated lm, the familiarity of cartoons, wherelegs spin for hours over the side of a cliff before thecharacter eventually drops. With a deep knowledgeof and love for childrens cartoons, animation andcomics, he incorporates the theatrical structure of

pretence, action, narrative and change into his work.He is inspired by historical sourcesfrom Roman-esque manuscripts to Javan painted scrolls, and fromthe Beano to Dan Dare to Manga comicsin whichartists have drawn narration across the page as asimple device to show the passage of time; wherethe narrative scans through squares in the s ameway that lm runs through the gate of a projector.

It is always difcult for an artist to compete withthe narrative created by mechanisation and lm.The inanimate object can be distressing for an artstudent: This thing just d oes not do enough. YetDono successfully harnesses the history of theatrethrough repetitive movement and the circularity ofnarrative tale-telling, and manages, in his painting,sculpture, installation and performance, to thwartthe emptiness that can surround the contemporaryart object.

Dono not only indulges in the local, but also creates ina very localised context; the desire to appeal inter-nationally has never really entered his work. It isimportant, though, to consider the aforementioned

changes that have taken place over the time he hasbeen working, and their impact on the emergenceof an international language and the role of artiststo represent exactly the opposite. This is not to saythat there is such an extreme polarisation betweenthe local and the international. But for this artist, theuse of traditional methods means a deliberate desireto immerse himself in exactly the most obviousplacein traditionin order to undermine or lookproperly at the State in which he lives. Indonesia hasa Muslim population of more than two hundredmillion, larger than any other country in the world,yet Hinduism, Chris tianity and Bu ddhism are also

represented there. Indonesia is so large, its population s oculturally varied, that a recent news report suggesteda ban on noisy children who p arade the streets at3:00 a.m. to wake Muslims to eat during Ramadan inorder to respect the rights of non-Muslims to a goodnights sleep.

It could be said that Dono not only quotes from anduses the traditional art form ofwayang, with its useof outline, extreme distortion and comic storytelling, butthat he is reviving it, making it actual, real and activetoday. Puppetry is encouraged as part of a so-calledJavanisation of Indonesia. There is also the tendencyto use more popular art forms to reinvestigatepractice. In Indonesia, art is a very powerful mediumthat has, especially through decades of theatre, carriedthe tradition not only of criticism of the State butalso of subversion (through underground news andnotices). Puppetry, a distinct world within a world,has the contained connes of the State that are ide al

for make-believe, just as the European charactersPunch and Judy carried the news of the day; insightsinto the relationship between a husband, wife andbaby; a string of sausages and sometimes eventhe obligatory crocodile. But such xed images andrules, used over and over, can become formulaic, andtherefore invisible.

When it comes to painting, Dono has a consistent yetquestioning relationship. At one point, he even saidthat he was not very interested in making paintingsbecause they had become so much of a commodity. Hedid, however, train as a painter, and admires paintingas a traditional art form. So he uses the medium, hesays, as a diary of life, as a way of bringing togetherlayers of historical understanding. The characters inhis Salto Mortale (Terjun Bebas) (2011), for instance,contain these layers, and at the same time, useaction: little creatures leap from two typical Donovehicles, painted representations of his vehicle art,

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Salto Mortale (Terjun Bebas)2011

acrylic on canvas200 x 300 cm (79 x 118 in)

not included in the exhibition


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ying like suicidal swifts to jump up and downand then out into a perilously full toilet bowl. Heachieves a real rush with this work. His subjects,part historical, part cartoon, do what they would incharacter, acting out, over and over again. Althoughit is generally accepted than an artist is free to paintwhatever he or she wants, for this artist the con-tinual reinvestment in a repertoire of characters iskey. Instead of reinventing the alphabet, he looks

to comedic TV cartoons in works such as GoingAway from the Television Life (2008), which also hasan afnity with Liberty Leading the People (1830) byDelacroix. A true artist of the world, Dono studiedthe work of Klee, Mir, Picasso and Kandinsky atart school. While he expertly uses the characters ofpuppetry, the Javanese wayang scroll stories andlukisan kaca (the anonymous art of reverse-paintingon glass from northwest Java), he is fascinatedby merging himself and his work with Westernconcepts as well as with ideas of the retention anddenial of authorship.

The perhaps oversimplied distinction betweencolonial and postcolonial painting in Indonesia, the

East versus West dichotomy, is represented by moretraditional painting styles, such as work by mainlyDutch artists visiting the colonies. But it is also seenin work by Indonesian artists, which similarly makesfor lovely landscape painting with little reference toa real, live context. Just after Indonesias four-yearwar of independence from the Dutch, and the hand-over of sovereignty in 1949, a group of artists calledfor a new and nationalistic art form, and decidedthey would reject the o ld colonial view, exempliedby the Mooi Indie, or beautiful Indies, representationof landscape.

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following pages:

Two Clown Heads with Angels(detail)


150 x 200 cm (59 x 79 in)

From Mexico to Indonesia, mountains have alwaysprovided special sources of power and inspirationfor artists. The mountain is symbolic in Indonesianculture; it designates a spiritually charged sitewhere discussion between gods and mortals cantake place, and from which gods can descend to theEarth. In Indonesia, artists are traditionally seen asmediators between the mystical and t he real. Donospainting, The Sadness Spirit of Mount Merapi (2010),

shows a sickness within the mountain: the gure ofthe spirit in the mountain lies ill within the outlineof the projecting landmass. It has long been saidthat when Merapi erupts, great political change willtouch the world. Since Merapi erupted in Novem-ber 2010an eruption so powerful that a nearbyriver dried up and steam rose from the ground formonths afterwardsit is believed that there reallyhas been a seismic shift in the world.

His recent paintings are lavish with imagery andincorporate rich colours. In The Escape King ofThief(2011), for instance, each character carriesthe same telltale tongues, along with wheels andmechanised potholes inside his or her chest. Other

works show us the range of Donos invention: winefalls out of holes in various bodies and lls thesurface of th e canvas; there are nails, many eyes,bicycle people, automatons, bad greedy animals andanimated creatures celebrating the bounty. Pinocchiois lying; he has a very long nose and eyes like littlesnouts; there are extended antennae, two eyes, threeeyes, two nostrils and high colour. In The King ofPeace Jaja Perd amaia n (2011), a hybrid charactera conglomerate of a current politician and a my tho-logical gureis automated, multidirectional, withholes or stigmata on his hands, crumpled archedarms and tongues of re with wine falling out of

the bottom of his mechanical bodywork into a verysmall glass. Berebut Pepesan Kosang (2009) depictssnapping, pushy Ninja-type characters with split,serpent-like tongues and small sexual organs facingeach other over a running stream. Each wears redboots and sports a miners lamp on his head. There isa strong sense of pace and movement as they pushforward across the water, which works its way backto the far corner, creating an illusionary space.

Dono treats the subjects of his paintings in verymuch the same way as he treats the three-dimensionalpupilsat their desks. Yet with these almost perfunctorypaintings, he really clowns around. After all, as Donoso brilliantly shows, the painting is the trying-outplace where relationships can be invented, andcharacters can jump and spin and stand on eachother without repercussion.

Sacha Craddock lives and works in London. She is theChair of Bloomberg New Contemporaries, Chair ofBraziers International Artists Workshop, Co-founder of

ArtSchool Palestine, Public Art Advisor for the RoyalBorough of Kensington and Chelsea and, currently, Directorof Programme at Max Wigram Gallery. From 2003 to2011, she was Curator at Bloomberg SPACE and Post-graduate Tutor at the Royal College of Art and RoyalAcademy Schools.

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Plates


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Flying to the Angels Freedom


150 x 200 cm (59 x 79 in)

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previous pages:

Merdeka atau Belum


150 x 200 cm (59 x 79 in)

opposite:

Garuda Extraterrestrial


150 x 200 cm (59 x 79 in)

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Olympia Released the Bad Spirit


150 x 200 cm (59 x 79 in)

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opposite:

Mati Ketawa ala USA


200 x 150 cm (79 x 59 in)

following pages:

The King Frog


150 x 200 cm (59 x 79 in)

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previous pages:

The Big Brother


150 x 200 cm (59 x 79 in)

opposite:

The Scapegoat Republic

2011acrylic on canvas150 x 200 cm (59 x 79 in)

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Three Presidential Candidates


150 x 200 cm (59 x 79 in)

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Two Presidential Candidates


150 x 200 cm (59 x 79 in)

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Two Clown Heads with Angels


150 x 200 cm (59 x 79 in)

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War Culture


200 x 150 cm (79 x 59 in)

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Biography


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EDUCATION:

198788Studied Wayang KuIitwith Sukasman in Yogyakarta, Indonesia198087Indonesia Institute of the Arts, Yogyakarta, Indonesia

RESIDENCIES:

2008Workshop, Flinders Medical Centre, Flinders University, Adelaide,Australia2007

Artist in Residence, Ernst Busch University, Berlin, GermanyArtist in Residence, University of South Australia, Adelaide, Australia2006Artist in Residence, Humboldt University, Berlin, Germany2005Artist in Residence, Australian Print Workshop, Melbourne,AustraliaThe International Jury of the Xl Triennial India, New Delhi, IndiaArtist in Residence, United Sardine Factory, Bergen, NorwayArtist in Residence, Australia Indonesia Arts Alliance, Byron Bay,Australia2004Workshop with DIDA Escola de Msica, So Salvador de Bahia, BrazilSound Art Seminar, Kunstakademiet Bergen, Bergen, NorwayFellowship for Curatorial Work, IFA Institute, Stuttgart, Germany,in Ethnologisches Museum, Berlin, Germany2003Artist in Residence, Australian Print Workshop, Melbourne, AustraliaContemporary Asian Art Forum, Links, Platforms, Networks, AsianArt Archive, Hong Kong

2002Artist in Residence, Western Front Society, Vancouver, CanadaArtist in Residence,Queensland College of Art,South Bank, Australia,and Queensland University of Technology, Brisbane, AustraliaArtist in Residence, National Institute of Education, Singapore2000Artist in Residence, Vermont Studio Center, Johnson, USA1999Cyfuniad International ArtistsWorkshop, Wales, UKArtist in Residence, Queensland College of Art, Brisbane, AustraliaArtist in Residence, University of Auckland, Auckland, New Zealand1996Artist in Residence, Townsville, North Queensland, Australia1995Artist in Residence, Museum of Modern Art, Oxford, UK, withInstitute of International Visual Arts, London, UK

199091International Artists Exchange Program, Christoph Merian Stiftung,Basel, Switzerland

SELECTED SOLO EXHIBITIONS/PROJECTS:

2011Pinocchio Syndrome, Hong Kong International Art Fair, HongKong, organised by Edwins Gallery, Jakarta, IndonesiaHommage an Raden Saleh, Schloss Maxen, Dresden, GermanyThe Lost Magician, Alexander Ochs Galleries, Berlin, Germany,and Beijing, China2009

Comedy of Error, Jan Manton Art, Brisbane, AustraliaThe Dono Code, Tropenmuseum, Amsterdam, The NetherlandsHeridonology, Jogja Gallery, Yogyakarta, IndonesiaShadow of Trojan Horse, Galeri Tondi, Medan, North Sumatera,Indonesia2008Post-Ethnology Museum, Gaya Art Space, Ubud, Bali, IndonesiaNobodys Land, Galeri Nasional Indonesia, organised by EdwinsGallery, Jakarta, IndonesiaOse Tara LiaI see nothing , Oz Asia Festival, Artspace, AdelaideFestival Centre, Adelaide, AustraliaHeri Dono: Pleasures of Chaos, Walsh Gallery, Chicago, USAThe Dying King & I, Nadi Gallery, Jakarta, Indonesia2007Angels: Bang! Bang!, Sherman Galleries, Sydney, AustraliaThe Dream Republic,South Australian School of Art Gallery,Universityof South Australia, Adelaide, Australia2006Heri WAR Dono, Soemardja Gallery, Bandung, Indonesia

Civilization Oddness, Walsh Gallery, Chicago, USA2005Free-D.O.M., Stiftelsen 3,14, Bergen, Norway2004Whos Afraid of Donosaurus? , Galeri Nasional Indonesia, Jakarta,Indonesia, organised by Nadi Gallery, Jakarta, Indonesia2003Upside Down Mind, Circle Point Art Space, Washington, D.C., USAHeri Dono, Australian Print Workshop, Melbourne, AustraliaHeri Dono: A Spiritual Journey, Semarang Gallery, Semarang,Indonesia2002Interrogation, Center A, Vancouver, CanadaHeri Provokes Heri, Nadi Gallery, Jakarta, IndonesiaFree-D.O.M., Bentara Budaya, Jakarta, IndonesiaReworking Tradition I & II, Singapore Art Museum, Glass Hall,

Nanyang Playhouse, National Institute of Education, Singapore2001The Traps Outer Rim , Cemeti Art House, Yogyakarta, IndonesiaFortress of the Heart by Heri Dono , Gajah Gallery, Singapore2000Heri Dono:Dancing Demons and Drunken Deities, Japan FoundationForum, Tokyo, JapanHumor and Rumor in Republic of Cartoon , Nadi Gallery, Jakarta,Indonesia1999Mythical Monsters in Contemporary Society by Heri Dono , GajahGallery, Singapore

Virtual Reality, Erasmus Huis, Jakarta, IndonesiaTirtara, French Cultural Center, Yogyakarta, Indonesia1997Tanah dari Merapi, French Cultural Center, Yogyakarta, Indonesia1996Blooming in Arms, Museum of Modern Art, Oxford, UK1993The Chair, Canberra Contemporary Art Space, Canberra, Australia1991Unknown Dimensions, Museum der Kulturen, Basel, Switzerland1988Cemeti Contemporary Art Gallery, Yogyakarta, IndonesiaMitra Budaya Indonesia Gallery, Jakarta, IndonesiaBentara Budaya, Yogyakarta, Indonesia

SELECTED GROUP EXHIBITIONS/PROJECTS:

2011Negotiating Home, History and Nation: Two Decades ofContemporary Art in Southeast Asia 19912011 , Singapore Art

Museum, SingaporeArt I Jog I 11, Taman Budaya Jogjakarta, Yogyakarta, IndonesiaPameran Besar Patung Kontemporer Indonesia: Ekspansi, GaleriNasional Indonesia,Jakarta, organised by SIGIarts,Jakarta,IndonesiaJakarta Berlin Arts Festival, foyer art performance, Admiralspalast,Berlin, GermanyTrans-Figurations: Mythologies Indonsiennes, Espace CulturelLouis Vuitton, Paris, FranceIndonesian Eye: Fantasies & Realities, Ciputra World MarketingGallery, Jakarta, organised by Parallel Contemporary Art, London, UKOpera Jawa, collaboration performance with Garin Nugroho,Muse du Quai Branly, Paris, FranceArt Stage Singapore, Marina Bay Sands, Singapore, organised byVanessa Art Link, Jakarta, IndonesiaDo It, Kunsthalle Faust, Hannover, Germany1001 Doors: Reinterpreting Traditions, Ciputra World Marketing

Born in Jakarta, 12 June 1960Currently resides in Yogyakarta

Heri Dono is unquestionably one of Indonesias foremostcontemporary artists. Best known for his installations that areinspired by experiments with wayang, the popular Javanese folktheatre, he has participated in exhibitions and workshops inAsia, Australia, Europe and the United States.

In wayang, a number of elementsvisual arts, singing, music,storytelling, mythology, promotion of a philosophy of life, socialcriticism and humourmerge to create a coherent perfor-

mance. These elements are coupled with wayangs uniquesetting, which provides space for social interaction with theaudience. Through his complex multimedia installations andperformances, Dono creatively revitalises this traditional artpractice and harnesses the power of performance and inter-activity. As a result, his works engage in intense dialogues withtheir audiences.

Donos paintings depict wild deformations and free fantasies,out of which emerge characters ofwayang stories. His profoundknowledge of childrens cartoons, animated lms and comics isalso reected in his canvases, which are lled with the highlyastonishing characters of intertwined fantastic and absurdstories. Into many of these works, Dono inserts his own criticalremarks on sociopolitical issues in Indonesia and abroad.

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Dari Penjara ke Pigura, Galeri Salihara, Jakarta, IndonesiaAfter Forty, Sangkring Art Space, Yogyakarta, IndonesiaExpose #1: A Presentation of Indonesian Contemporary Art byDeutsche Bank & Nadi Gallery,Four Seasons Hotel,Jakarta,IndonesiaManifesto, Galeri Nasional Indonesia, Jakarta, IndonesiaA New Force of South East Asia: Group Exhibiti ons of IndonesianContemporary Artists, Asia Art Centre, Beijing, China, collaborationwith Edwins Gallery, Jakarta, IndonesiaChina International Gallery Exposition 2008, Beijing, China, NadiGallery, Jakarta, Indonesia2007Wind from the East, Kiasma Museum of Contemporary Art,

Helsinki, FinlandIndonesian Contemporary Art Now, Nadi Gallery, Jakarta, IndonesiaConscience CelebrateSeptember Art Events, ne art exhibition,organised by Edwins Gallery, Gandaria City, Jakarta, IndonesiaImagined Affandi, Gedung Arsip Nasional, Jakarta, IndonesiaIVAA BOOKAID vol. 01/07, Nadi Gallery, Jakarta, IndonesiaSoft Power: Asian Attitude, Zendai Museum of Modern Art,Shanghai, ChinaRe-Kreasi 80, Class of 1980 ASRI, STSRI ASRI, ISI Reunion, JogjaNational Museum, Yogyakarta, Indonesia2006The Inoyama Donation:A Tale of Two Artists, Singapore Art Museum,Singapore2005Exhibition of Indoor Collections, Kirishima Open-Air Museum,Kagoshima, JapanAbout Beauty, Haus der Kulturen der Welt, Berlin, GermanyEksodus Barang, Nadi Gallery, Jakarta, IndonesiaBETA. 20, Post-Electronic Art Performances, Theatre Garasijn,Bergen, NorwayFestival Inspirasi, Dewaruci, performance, Byron Bay, AustraliaFloating Legacies, Selasar Sunaryo Art Space, Bandung, Indonesia21st and Beyond: Reception , Edwins Gallery, Jakarta, IndonesiaLicking the Ozone, performance, Melbourne Fringe Festival,Lithuanian Club, Melbourne, AustraliaEquatorial Heat, Edwins Gallery, Jakarta, Indonesia, supported byCoutts Bank2004The 2nd Enku Grand Award Exhibition, The Museum of Fine Arts,Gifu, JapanLand Under the Rainbow, Cultural Olympiad, Benaki ContemporaryArt Museum, Athens, Greece4th Art Summit Indonesia 2004, Performing and Visual Arts,Galeri Nasional, Jakarta, IndonesiaTransindonesia: Scooping Culture in Contemporary Indonesian Art,Govett-Brewster Art Gallery, New Plymouth, New Zealand

On the Edge: Indonesia and China Avant-garde, The PakubuwonoResidence, Jakarta, IndonesiaReformasi, Sculpture Square, SingaporeOlympics, The Pakubuwono Residence, Jakarta, Indonesia, organisedby Nadi Gallery, Jakarta, IndonesiaArtists Are Making a House , Nijo-machi Prefecture, Museum CityProject, Fukuoka, JapanThe Angel Garden, EsplanadeTheatres on the Bay, SingaporeEquatorial Heat, Sichuan Museum, Chengdu, Sichuan, China,organised by Edwins Gallery, Jakarta, IndonesiaZ.O.U., Zone of Urgency, Reggio Calabria (Villa Zerbi), ItalyFrankenstein versus Gatotkaca, performance, Stiftung Preussischer

Kulturbesitz, Ethnologisches Museum, Berlin, GermanyThe Nature Machine: Contemporary Art, Nature an d Technology,Queensland Art Gallery, Brisbane, Australia2003Summer Spectacular KidsAPT, Queensland Art Gallery, Brisbane,AustraliaBudaya Bumi Berbudaya, Museum Benteng Vredeburg, Yogyakarta,IndonesiaEpic, Gajah Gallery, SingaporeImagining Prometheus, Palazzo della Ragione Loggia dei Mercanti,Milan, ItalyCrossing Boundaries, Bali: A Window to Twentieth-CenturyIndonesian Art, travelling exhibition, Asia Society AustralAsiaCentre, Melbourne, AustraliaHappiness: A Survival Guide for Art and Life, Mori Art Museum,Roppongi, Tokyo, JapanPublic art project, Muza Concert Hall, Kawasaki, JapanRunning Puppet, performance, The Survival and Innovation ofCrafts, Royal Palace, Amsterdam, The NetherlandsZaman Edan, Bentara Budaya Yogyakarta, Yogyakarta, IndonesiaKado, Nadi Gallery, Jakarta, Indonesia2002Eye, Nadi Gallery, Jakarta, IndonesiaInterrogation,shadow play,Western Front Society,Vancouver,CanadaThe Wild of Imagination , Langgeng Gallery, Magelang, IndonesiaZwischen Tradition und Moderne:Junge Knstler aus Indonesien,Staatliche Museen zu Berlin, Museen Dahlem, EthnologischesMuseum, Berlin, Museum fr Vlkerkunde der Stadt Kln,Cologne, GermanyAWAS! Recent Art from Indonesia, Prss & Ochs Gallery, AsianFine Arts, Berlin, GermanyAsian Vibe, EAAC, Valencia, SpainEV+A 2002:Heroes + Holies,Limerick City Gallery of Art,Limerick,IrelandInternational Contemporary Art Fair, Madrid, Spain2001Floating Chimeras, Edsvik von Culture, Sollentuna, Sweden

Between Sound and Vision , Gallery 400, University of Illinois,Chicago, USAArtists Commission, Asia Society, New York, USAMembaca Frida Kahlo, Nadi Gallery, Jakarta, IndonesiaThe Opening of New Art Center Yogyakarta, IndonesiaUnpacking Europe, Museum Boijmans Van Beuningen, Rotterdam,The NetherlandsAWAS! Recent Art from Indonesia,W139,Amsterdam,The Netherlands;travelled to Ludwig Forum fr Internationale Kunst, Aachenand Cologne, GermanyPink Project, Nadi Gallery, Jakarta, Indonesia2000

Sonic Boom, Hayward Gallery, London, UK12 Asian Artists, National Art Gallery, Kuala Lumpur, MalaysiaHumanism in Art, Volkenkundig Museum Nusantara, Delft,The NetherlandsFuori Uso, Pescara, ItalyAWAS! Recent Work from Indonesia , Museums in Hokkaido, Osakaand Fukuoka, Japan1999Media dalam Media, Galeri Nasional Indonesia, Jakarta, IndonesiaCities on the Move: Urban Chaos and Change , Louisiana Museumof Moderne Kunst, Humlebk, Denmark; travelled to HaywardGallery, London, UK; Kiasma Museum of Contemporary Art, Helsinki,Finland and Siam Centre, Bangkok, ThailandKnalpot,ne art exhibition,Cemeti Art House,Yogyakarta,IndonesiaSound Culture, Auckland Art Gallery, Auckland, New ZealandMakassar Arts Forum 99,Ujung Pandang, South Sulawesi,IndonesiaAWAS! Recent Work from Indonesia,Museum Benteng Vredeburg,Yogyakarta, Indonesia; travelled to CCA, Melbourne andCanberra, AustraliaTachikawa International Arts Festival, Tokyo Prefecture, Tokyo, Japan1998Resurrection of Topos 3, collaboration between artists andarchitects, Toyama Shimin Plaza, Toyama, JapanImages of Power: Expressions of Cultural and Social Awareness inSoutheast Asia, Jakarta International School, Jakarta, IndonesiaTradition/Tension, Art Gallery of Western Australia, Perth CulturalCenter,Perth, Australia;travelled to Taipei Museum of ContemporaryArt, Taipei, Taiwan50th Anniver sary of Human Rights , Museum Boijmans VanBeuningen, Rotterdam, The Netherlands1997Sounding Sphere, Harima Science Garden City Opening, HyogoPrefecture, JapanInnenseite, Projektgruppe Stoffwechsel, Kassel, GermanyBiennial Yogyakarta V, Taman Budaya, Yogyakarta, IndonesiaWayang Gepuk Wayang Alternatif,Bentara Budaya,Jakarta,Indonesia

Gallery, Jakarta, organised by ArtSociates Lawangwangi, Bandung,IndonesiaCastlemaine Visual Arts Biennial, Castlemaine State Festival,Victoria, AustraliaPublic project, IRISAN, Grand Indonesia, Jakarta, organised byAndis Gallery, Jakarta, IndonesiaE(art)H Project: Green Sustainable, Galeri Nasional Indonesia,Jakarta, IndonesiaArt Motoring I: Motion & Reection, Galeri Nasional Indonesia,Jakarta, Indonesia2010Made in Indonesia, Galerie Christian Hosp, Berlin, Germany

Utopia, Dystopia, Disturbia, Woodford Folk Festival, Queensland,AustraliaArt Paris + Guests, Grand Palais, Paris, FranceCiptura Artpreneurship, Ciputra World Marketing Gallery, Jakarta,IndonesiaPameran Besar Seni Rupa Indonesia 2010 Manifesto , GaleriNasional Indonesia, Jakarta, Indonesia, organised by Vanessa ArtLink, Jakarta, IndonesiaGreen Festival: Sustainable Artainability, The Ritz-Carlton, Jakarta,Pacic Place, IndonesiaJogjakarta Art Festival, Taman Budaya Yogyakarta, Yogyakarta,IndonesiaCrossing & Blurring the Boundaries: Medium in Indonesian Con-temporary Art, Galeri Nasional Indonesia, Jakarta, IndonesiaOpera Jawa, collaboration performance with Garin Nugroho,Tropenmuseum, Amsterdam, The NetherlandsReinterpreting S. Soedjojono, Galeri Canna, Jakarta, IndonesiaEthnicity Now, Galeri Nasional Indonesia, Jakarta, Indonesia2009Utopia, Dystopia, Disturbia, Woodford Folk Festival, Queensland,AustraliaThe Simple Art Parodi, Taipei Museum of Contemporary Art,Taipei, TaiwanExpo sign, 25th Anniversary of Institut Seni Indonesia, Yogyakarta,Jogja Expo Center, Yogyakarta, IndonesiaTsunami, shadow play, Lustgarten, Berlin, GermanyT-shirt, Walsh Gallery, Chicago, USAKado, Anniversary of Nadi Gallery, Jakarta, Indonesia2008Reeksi Ruang dan Waktu, V-Art Gallery, Bentara Budaya, Yogyakarta,IndonesiaSelf-Portrait, Jogja Gallery, Yogyakarta, IndonesiaA Decade of Dedication: Ten Years Revisited, Selasar Sunaryo ArtSpace, Bandung, IndonesiaChristmas, Valentine Willie Fine Art, Manila, The PhilippinesSalon Jogja, CG Art Space, Jakarta, Indonesia

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travelled to Fukuoka, Hiroshima and Osaka, Japan1991Sama-Sama, Centrum Beeldende Kunst Oosterpoort, Groningen,The Netherlands; travelled to Tilburg, The Netherlands, andYogyakarta and Jakarta, IndonesiaWayang: From Gods to Bart Simpson, University of BritishColumbia, Vancouver, CanadaMan and Human Expression, Tropenmuseum, Amsterdam,The NetherlandsWayang Top, performance, International Culture Camp DesaApuan, Tabanan, Bali, IndonesiaDestructive Images, performance, Seni Sono Gallery and Malioboro,

Yogyakarta, Indonesia1990Modern Indonesian Art: Three Generations of Tradition andChange, 19451990, Festival of Indonesia 1990, Sewall Gallery,Rice University, Houston, USA; travelled to San Diego, Oakland,Seattle and Honolulu, USA1989Wayang Imaginative, performance, Mendut Temple, IndonesiaCompetitive Exhibition of Young Indonesian Artists , Institute ofTechnology Bandung, Bandung, Indonesia1988Wayang Legenda, shadow play, Seni Sono Gallery, Yogyakarta,IndonesiaHedendaagse Indonesische Kunst,Volkenkundig Museum Nusantara,DeIft, The Netherlands1987Sandiwa,Kulay-Diwa Art Galleries/Cultural Center of the Philippines,Manila, The PhilippinesThree Indonesian Artists, De Schone Kunsten, Heemstede,The Netherlands1986Experimental Music and Visual Art, Seni Sono Gallery, Yogyakarta,Indonesia19853rd ASEAN Youth Artists Exhibition, Indonesia Institute of the Arts,Yogyakarta, Indonesia1982Art on the Environment, Parangtritis Beach, Yogyakarta, Indonesia

BIENNIALS/TRIENNIALS:

2007Neo-Nation, 9th Biennial Jogja, Jogja National Museum,Yogyakarta, Indonesia2006Gwangju Biennale, Gwangju, South Korea

2005Belonging, Sharjah International Biennial, Sharjah, UAEUrban/Culture, CP Biennale, Museum of Bank Indonesia, Jakarta,IndonesiaBiennale Internazionale dellArte Contemporanea, Fortezza daBasso, Florence, Italy2004Do You Believe in Reality?, 2004 Taipei Biennial, Taipei Fine ArtsMuseum, Taipei, TaiwanFree Territory, 26th So Paulo Biennial, So Paulo, Brazil2003Zone of Urgency, Venice Biennale, Italy

2nd Echigo-Tsumari Art Triennial, Niigata, JapanCountry-bution, Yogyakarta Biennale, Taman Budaya, Yogyakarta,IndonesiaInterpellation, CP Open Biennale, Galeri Nasional Indonesia,Jakarta, Indonesia20024th Asia Pacic Triennial of Contemporary Art, Queensland ArtGallery, Brisbane, Australia2001Yokohama Triennale, Yokohama, Japan2000Havana Biennial, Cuba Pavilion, Havana, CubaShanghai Biennale, Shanghai Art Museum, Shanghai, China1996Jurassic Technologies Revenant, 10th Biennial of Sydney, Art Galleryof New South Wales, Sydney, AustraliaUniversalis, 23rd So Paulo Biennial, So Paulo, Brazil1995Beyond the Borders, 1st Gwangju Biennale, Gwangju, South Korea1994Yogyakarta Biennale, Purna Budaya, Yogyakarta, Indonesia19931st Asia Pacic Triennial of Contemporary Art, Queensland ArtGallery, Brisbane, Australia9th Jakarta Art Biennial, Taman Ismail Marzuki, Jakarta, Indonesia19865th Biennial of Indonesian Young Artists, Taman Ismail Marzuki,Jakarta, Indonesia19844th Biennial of Indonesian Young Artists, Taman Ismail Marzuki,Jakarta, Indonesia

HONOURS AND AWARDS:

2011Visual Art Award 2011, for Dedication, Contribution and

Achievement in Visual Art Fields from 2000 to 2010Indonesia Art Motoring Award, Indonesia Classic Car OwnersClub, Jakarta, Indonesia2009AMICA Art Award, Male Favorite Artist, Jakarta, Indonesia2006Academic Art Award, Professional Artist, Program A-2, FSR ISI,Yogyakarta & Jogja Gallery, Yogyakarta, Indonesia20032nd Annual Enku Grand Award, Gifu Prefectural Government,JapanYogyakarta Art Prize, Sri Sultan Hamengkubuwono X, Yogyakarta,

Indonesia2000UNESCO Prize for the International Art Biennial, Shanghai, China1998Prince Claus Award, in Recognition of Exceptional Initiatives andActivities in the Field of Art and Development, Prince Claus Fundfor Culture and Development, The Netherlands1992I. Gusti Nyoman Lempad Prize, Sanggar Dewata Indonesia,Yogyakarta, Indonesia1989Young Indonesian Artists, Alliance Franaise and BandungInstitute of Technology, Bandung, Indonesia1981/1985The Best Painting Awards, Indonesia Institute of the Arts,Yogyakarta, Indonesia

PUBLIC COLLECTIONS:

OHD Museum of Modern & Contemporary Indonesian Art,Magelang, IndonesiaDeutsche Guggenheim (Deutsche Bank), Frankfurt, GermanyArtoteek Den Haag, The Hague, The NetherlandsEdwins Gallery, Jakarta, IndonesiaCemeti Contemporary Art Gallery, Yogyakarta, IndonesiaFukuoka Art Museum, Fukuoka, JapanIndonesia Institute of the Arts, Yogyakarta, IndonesiaKirishima Open-Air Museum, Kagoshima, JapanMuseum der Kulturen, Basel, SwitzerlandAustralian Print Workshop, Melbourne, AustraliaNadi Gallery, Jakarta, IndonesiaCP Foundation, Jakarta, IndonesiaNational Gallery of Australia, Canberra, AustraliaOkinawa Prefectural Museum & Art Museum, Okinawa, JapanGaleri Nasional Indonesia, Jakarta, IndonesiaQueensland Art Gallery, Brisbane, Australia

Exploring the Future of the Imagination, The IntercommunicationCenter, Tokyo, JapanAsian Contemporary Art, Base Gallery, Tokyo, JapanCities on the Move, Secession, Vienna, AustriaA Gift for India , New Delhi, India1996Modernity and Beyond, National Museum of Modern Art,SingaporeOrientation,Stedelijk Museum De Lakenhal,Leiden,The NetherlandsThe Huid van De Witte Dame, Arctic Foundation, Eindhoven,The NetherlandsDrawing, Institute of International Visual Arts, London, UK

Traditions/Tensions, Contemporary Art in Asia, Asia Society, NewYork, USAThe Spiritual and The Social: Nine Artists from Thailand, Indonesiaand The Philippines, Queensland Art Gallery, Brisbane, Australia1995Vision of Happiness, The Japan Foundation Art Forum, ASEANCulture Center, Akasaka and Tokyo, JapanUnity in Diversity: Contemporary Art of the Non-Aligned Countries,Galeri Nasional Indonesia, Jakarta, IndonesiaKurbis, Museum fr Vlkerkunde, Basel, SwitzerlandUnity in Diversity: Contemporary Art of the Non-Aligned Countries,Galeri Utama, Taman Ismail Marzuki, Jakarta, Indonesia1994Adelaide Installations, Adelaide Biennial of Australian Art,Art Gallery of South Australia, Adelaide, AustraliaKuda Binal, performance, 24HR Art Gallery, Northern TerritoryCentre for Contemporary Art, Darwin, AustraliaThe Jakarta International Art Exhibition 1994, The IndonesianFine Arts Foundation (catalogue), Indonesia9th Asian International Art Exhibition, National Museum of History,Taipei, TaiwanRealism as an Attitude, 4th Asian Art Show Fukuoka, FukuokaArt Museum, Fukuoka, JapanSuper Suburb, Museum City Tenjin 94, Fukuoka, Japan1993Indonesian Modern Art: Indonesian Painting Since 1945 , GateFoundation, De Oude Kerk, Amsterdam, The NetherlandsInternational Festival of Puppetry in the World , Taman Budaya,Yogyakarta, Indonesia1992Sanggar Dewata: Indonesian Art Exhibition , Museum NyomanGunarsa, Yogyakarta, Indonesia7th Asian International Art Exhibition, Gedung Merdeka,Bandung, IndonesiaKuda Binal, performance, Alun-Alun Utara, Yogyakarta, IndonesiaNew Art from Southeast Asia 1992 , Tokyo Metropolitan Art Space;

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1997Carol Lutfy, Low-Tech Magician,ARTNews, OctoberHeri Dono, Wayang Legenda: Si Tungkot Tunggal Panaluan , WayangGepuk Wayang Alternatif, Bentara Budaya, Jakarta1996David Elliott and Gilane Tawadros, Blooming in Oxford, Bloomingin Arms (ex. cat.), Iniva, LondonJulie Ewington, Between the Cracks: Art and Method in SoutheastAsia,ArtAsiaPacic, Vol.3, No. 4Orientation, Gate Foundation, Amsterdam, and Cemeti ArtFoundation, YogyakartaApinan Poshyananda, Roaring Tigers,Desperate Dragons in Transition,

in Contemporary Art i n Asia: Traditions, Tensions1995Toshio Shimizu, Visions of Happiness: Ten Asian ContemporaryArtists , Japan Foundation, Tokyo1994Masahiro Ushiroshoji,4th Asian Art Sh ow Fukuoka: Realism as anAttitude (ex. cat.), Fukuoka Art Museum, FukuokaAstri Wright,Soul,Spirit,and Mountain:Preoccupations of ContemporaryIndonesian Painters, Oxford University Press, New York199394Jim Supangkat, The Framing of Indonesian Contemporary Art,Artlink , Vol. 13, NovemberMarch1993Jenny McFarlene, Heri Donos The Chair, Muse, NovemberJim Supangkat, Wajah Seni Rupa Asia Pasik, Tempo, 16 OctoberJim Supangkat, Seni Rupa Bawah, Tempo, 16 OctoberHelen Musa, Veiled Political Performance, The Canberra Times,Canberra, 15 OctoberLinda Geh, The Last of the Asian Shamans,Sunday Star, 10 OctoberMartinus Dwi Marianto, The Experimental Artist Heri Donofrom Yogyakarta and His Visual Art Religion,Art Monthl yAustralia , OctoberAnn Virgo, Heri Dono: The Chair, in Canberra Contemporary ArtSpace, Canberra, OctoberAlternative Approaches for Artistic Expression, Brisbane ReviewAsia-Pacic Liftout, 16 SeptemberJim Supangkat, Indonesia Report: A Different Modern Art,ArtAsiaPac ic, SeptemberJim Supangkat, Seni Rupa Kontemporer, Sebuah Resiko, Horison,JulyRupa Wayang dalam Seni Rupa Kontemporer Indonesia, Pamerandan Sarasehan Seni Rupa Kontemporer WayangJim Supangkat, The First Asia-Pacic Triennial of ContemporaryArt(ex. cat.), Queensland Art Gallery, BrisbaneJim Supangkat, A Brief History of Indonesian Modern Art, inTradition and Change, Contemporary Art of Asia and the Pacic,University of Queensland Press

Jim Supangkat, Seni Rupa 80, Pengantar untuk Biennale Jakarta IXAstri Wright, Drinking from the Cup of Tradition: Modern Artin Yogyakarta, in Indonesian Painting Since 1945 (ex. cat.), GateFoundation, Amsterdam1992Goenawan Moehamad, Kritik Sosial dan Kemelimpah-ruahan,Tempo, No. 32, Tahun XXII, 10 OctoberUgeng T. Daniswara, Kartunal, Lukisan-Lukisan Heri Dono, Laras46, OctoberFadjri B., Gebu Yogya 1992: Terobosan Kuda Binal, Tempo, 8 AugustSanento Yuliman, Keluar Dan Status Quo, Tempo, 9 MayMasahiro Ushiroshoji, The Labyrinthine Search for Self-Identity:

The Art of Southeast Asia from the 80s to the 90s, in New Artfrom Southeast Asia 1992 (ex. cat.)1991Renata Duerst, Menschenzertreter, Basler Zeitung, 24 OctoberAstri Wright,Indonesia in the 1980s,Art Monthly Australia,No.14,JuneHelena Spanjaard, Sama-Sama, in Maandbeeld, Centrum BeeldendeKunst Groningen, No. 5, MayYuko Sakonakan, New Art from Southeast Asia 1992 (ex. cat.),Japan Foundation, Tokyo, FebruaryUrs Ramseyer, Heri Dono: Unknown Dimensions, Die Museen inBasel, No. 344Thomas Waldmann, Eine Figurenwelt mit indonesischen Wurzeln,Basler Zeitung, 17 January1988Astri Wright, Dono Tries to Expand the Use of Wayang Puppets,The Jakarta Post, 6 OctoberAstri Wright, Artist Espouses Laughter and Humour, The JakartaPost, 16 June

Singapore Art Museum, SingaporeStedelijk Museum de Lakenhal, Leiden, The NetherlandsThe Intercommunication Center, Tokyo, JapanTropenmuseum, Amsterdam, The Netherlands

SELECTED BIBLIOGRAPHY:

2008Aguslia Hidayah,Bidadari dalam Kepompong,KoranTempo,18 AugustBambang Bujono, Dongeng Masa Kini Heri Dono,Tempo, 17 AugustAminudin TH Siregar, Belajarlah ke Negeri Heri Dono, Kompas,10 August

Pamela Zeplin, The Artist-in-Residence: A New Paradigm forTeaching and Learning in University Art Education, Journal of theWorld Universities Forum, Vol. 1, Common Ground Publishing2007Judith Collins, Sculpture Today, Phaidon PressPamela Zeplin,Collaboration on the Wing,Broadsheet:ContemporaryVisual Arts+Culture, Vol. 36, No. 3, September2003Prince Claus Fund Journal # 10a, Prince Claus Fund, The Hague,December2002Ex Mulyadi, Renungan Merdeka Heri Dono, Kompas, 16 AugustArif, Saya Lebih Suka Kaya Waktu, KoranTempo, 7 JulyJulie Ewington, The Multiple Matters of Modern Life, inAsiaPacic Triennial of Contemporary Art2001Martinus Dwi Marianto, Surealisme Yogyakarta, Rumah PenerbitanMerapi, YogyakartaSalah Hassan and Iftikhar Dadi (eds.), Unpacking Europe: Towardsa Critical Reading, Museum Boijmans Van Beuningen and NAi

Publishers, RotterdamJim Supangkat, Breaking Through Twisted Logic: Heri DonosCritical Eye,ArtAsiaPacic, Issue 32Sindhunata, Rire dhomme entre deux Toiles, Courrier International,410 January2000Ex Mulyadi and Bre Redana, Lebih Jauh dengan Heri Dono,Kompas, 8 OctoberSindhunata, Hidup untuk Tertawa, Basis, SeptemberOctoberHans-Ulrich Obrist, Heri Dono: The Ever-increasing Colonializationof Time, Flash Art, Vol. XXXlll, No. 213Outlet, Cemeti Art Foundation, Yogyakarta1999Margaret Walsh, Michelle Watts and Craig Malyon (eds.),A.R.T.:Art, Research, Theory, Oxford University Press, VictoriaHendro Wiyanto,Keedanan dan Kelucuan Heri Dono, Kompas,25 June

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First published as part o the exhibition:


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Coordination: Martin ClistEditor: Eti Bonn-Muller

Assistance: Mauro Ribero, Xiaohan Li and Katherine TongDesign: Ruth Hfich

Rossi & Rossi Ltd. 2011Text copyright the author. Images courtesy o the artist and Rossi & Rossi, London.

All rights reserved. No part o this publication may be transmitted in any orm or by any means,electronic or mechanica l, including p hotocopy, recording or any storage or retrieval system,without

prior permission rom the copyright holders and publishers.

ISBN 978 1 906576 27 1

British Library Cataloguing in Publication DataA catalogue record or this book is available rom the British Library.

14 October24 November 2011

Heri DonoMadman Butterfy

www.rr.cm

RossiRossi

www.facebk.cm/randr

16 Clffrd streetLndn W1s 3RGt +44 20 7734 6487f +44 20 7734 8051

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