Exhibitions E-Catalogue

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CULTURAL
INTERPLAY OF ME,
MYSELF, AND MINE
6 - 20 July 2012
Opening Exhibition :
Friday, 6 July 2012, 7PM
Artist talk :
Sunday, 8 July 2012, 3PM
at Padi Artground
(jl. Ir. H, Juanda no.329, Bandung, Indonesia)
Solo exhibition of Ferlin Yoswara
6 June - 20 July 2012
at Padi Artground
Curated by
Rifandy Priatna
Published by
Padi Artground
jl. Ir. H, Juanda no.329, Bandung, Indonesia
All right reserved. No part of this e-book may be reproduced or transmitted in any formsore
means, electronic or mechanical, including any informationstorage and retrieval system,
without the prior permission in writing from publisher.
Designed by
Fendy & Sebastianus Seno
Photographed by
Fendy
Copyright @ 2012
Padi Artground.
Catatan Kuratorial
Curatorial Notes
CULTURAL
INTERPLAY OF ME,
MYSELF, AND MINE
Manusia adalah salah satu mahluk ciptaan tuhan yang selalu
Ferlin Yoswara terlahir dan hidup dengan berbagai latar
REFLEKSI KEPRIBADIAN TIMUR DAN MODERNITAS BARAT
mencari tahu asal muasal dirinya sendiri untuk mengenal jati dirinya
kebudayaan yang berbeda adalah. Selama 24 tahun Ferlin hidup dalam
dengan lebih baik. Entah sekadar mencari tahu tempat, cara dan oleh
dalam nuansa tiga kebudayaan; Indonesia, Cina dan Belanda yang
siapa ia dilahirkan hingga mencari tahu bagaimana kehidupan dari
berada dalam keluarganya. Ayahnya merupakan keturunan keluarga
Ferlin kepada perjalanan yang membukakan pintu pemahaman
orang-orang sekitarnya di masa lalu. Seseorang yang mengenal dirinya
bangsawan dari propinsi Jiang Men, Guang Zhou, Cina. Sedangkan
mengenai keberadaan dirinya ditengah nilai-nilai kebudayaan dan
dengan baik akan dengan mudah mengetahui tujuan dan hal-hal yang
Ibunya memiliki garis keturunan keluarga dari Kakeknya yang berasal
artefak dikeluarganya. Pada kehidupan sehari-hari, Ferlin hidup dengan
ingin ia capai dalam hidupnya. Hal yang serupa juga tersirat pada
dari Belanda. Tinggal di Indonesia juga memberikan pengalaman
menerapkan nilai-nilai serta tradisi ketimuran yang diajarkan
berbagai ajaran agama, filsafat dan aliran spiritual melalui sebuah
kebudayaan yang spesifik bagi perjalanan hidup Ferlin. Tanpa ia sadari,
keluarganya, terutama dari ayahnya. Sopan santun, etika, pola perilaku
ungkapan - 'manusia yang mengenali dirinya dengan baik akan
dalam kehidupan sehari-harinya Ferlin mencerap berbagai bentuk hasil
dan cara memandang permasalahan dalam kerangka nilai kebudayaan
mengenal tuhannya dengan baik dan mewarisi pengetahuan serta
asimilasi dari tiga kebudayaan tersebut. Hingga ia kehilangan Ibu untuk
timur yang selalu menerapkan kedisiplinan, konsistensi, kelembutan dan
rahasia alam semesta. Agama, kitab suci, pendidikan, buku, ilmu
selama-lamanya pada umur 20 tahun. Ferlin menyadari bahwa ia tidak
kehalusan. Sementara keterbukaan dalam menerima pemikiran ia
pengetahuan, sejarah, seni, spiritualitas dan kebudayaan adalah
pernah benar-benar mengenal sosok dan latar belakang ibunya.
dapatkan dari Ibunya yang kerap kali berbagi cerita tentang kehidupan
sebagian kecil dari perangkat yang dapat membantu manusia untuk
Pengalaman tersebut memberikan memori dan pengalaman emosional
sang kakek. Ferlin tumbuh diantara berbagai perabot dengan ornamen
menemukan dan mengenal dirinya sendiri. Sebagian orang akan
yang mendalam baginya. Pertanyaan mengenai konsep diri mulai
tradisional Cina dan Belanda yang kental. Kedua negeri tersebut dikenal
menemui proses pencarian tersebut berlangsung tanpa disadari melalui
muncul dalam benaknya. Siapa dirinya? Dari mana ia berasal ? adalah
sebagai produsen porselen dengan kualitas yang dihasilkan dari teknik
berbagai cerita dari keluarga dan orang-orang terdekatnya. Sedangkan
pertanyaan yang mengawali perjalanan Ferlin dalam mencari jati
pengerjaan dan ketelitian yang sangat tinggi. Porselen Cina dihiasi oleh
bagi sebagian lainnya hal tersebut merupakan perjalanan panjang yang
dirinya. Pameran tunggal yang ke lima kalinya ini merupakan upaya
lukisan dengan warna serta garis yang halus, lembut dan menuturkan
seakan tidak berujung. Terutama bagi mereka yang telah ditakdirkan
merekam perjalanan dan jalinan interaksi berbagai petikan memori dari
keadaan dari kehidupan suatu masa tertentu. Sedangkan porselen dari
untuk berpisah dari keluarga dan orang-orang terdekat untuk selama-
ketiga kebudayaan tersebut. Karenanya tajuk pameran “Interaksi
Belanda dihiasi lukisan panorama negeri tersebut lengkap dengan
lamanya. Proses mencari jati diri sering kali membawa kita pada
Kebudayaan Antara Aku, Diriku dan Milikku” dipikir cukup mewakili
berbagai bangunan dengan arsitektural yang khas beserta flora dan
berbagai kisah dan pengalaman yang menarik. Karena hadirnya interaksi
konsep pameran secara keseluruhan. Pemaparan dari latar belakang
faunanya. Lukisan pada porselen tersebut sebagian besar menggunakan
dengan berbagai jenis manusia dengan karakter dan kebudayaan yang
kehidupan Ferlin dimaksudkan sebagai pengantar bagi pembacaan
warna biru diatas latar putih yang kemudian menjadi ciri khas porselen
berbeda. Setiap interaksi yang terjadi akan meninggalkan petikan
karya-karya Ferlin Yoswara pada pameran tunggalnya kali ini.
yang terkenal dengan sebutan Delfts Blauw (Delf Blue). Berbagai idiom
memori dan pemahaman yang berbeda. Petikan-petikan tersebut
Hal tersebut merupakan elemen penting untuk mencegah pembacaan
visual yang hadir pada porselen tersebut turut memberikan andil pada
kemudian membentuk jalinan-jalinan yang secara spesifik membentuk
karya yang menyimpang dan tercerabut dari konteks pameran
pembentukan bahasa visual dari karya-karya Ferlin.
sikap dan cara pandang seseorang pada berbagai hal.
tunggalnya kali ini.
Keinginan untuk mencari jawaban dari konsep diri membawa
Tahun 2009 Ferlin berkesempatan untuk menimba ilmu di Nan
Tinggal selama 20 tahun di Indonesia memberikan Ferlin jarak
dalam menentukan konsep dirinya secara individu. 'Diriku' yang
Ning, Cina selama 6 bulan. Kesempatan tersebut ia gunakan untuk
yang cukup untuk menarik diri dari dua kebudayaan yang berbeda
merupakan perumpamaan dari keberadaan dirinya yang tidak bisa
menelusuri garis keluarga dari ayah dan ibunya melalui keluarga yang
tersebut. Kepulangannya ke Bandung, Indonesia mengembalikan
dilepaskan dari berbagai kebudayaan yang diwarisi dari keluarganya.
tinggal disana dengan mengunjungi makam para leluhurnya. Kontak
berbagai petikan memori dari ibunda tercinta. Di rumah ia merasakan
Dan 'Milikku' yang mewakili penciptaan ulang dari berbagai objek yang
langsung dengan kebudayaan Cina membuyarkan bayangan Ferlin
kehangatan yang berbeda dari memori tentang Ibunya, perabotan dan
telah menjadi bagian dari dirinya.
sebelumnya terhadap kondisi kehidupan di sana. Bayangan akan
berbagai ornamen keagamaan di rumahnya memberikan keintiman
ketatnya peraturan serta ada istiadat ketimuran buyar begitu melihat
yang tidak ia rasakan sebelumnya. Perjalanan singkat ke Cina dan
pola pikir dan gaya hidup generasi mudanya yang sudah sangat terbuka.
Belanda serta berbagai interaksi yang terjadi didalamnya memberikan
adalah karya-karya yang dibuat dengan media dan teknik lukisan
Di sisi adat istiadat dan tradisi tetap melekat pada kehidupan dari
Ferlin kemampuan untuk merefleksikan kepribadian timurnya melalui
tradisional cina. Hal tersebut merupakan perwakilan 'Diriku' yang hadir
masyarakat Cina walaupun mereka terbuka pada berbagai
penggunaan lukisan tradisional cina sebagai media utamanya dan pola
sebagai bentuk tradisi dari salah satu budaya yang membentuk Ferlin
perkembangan dan pengaruh dari kebudayaan Barat. Pada masa
pikir modern barat melalui rekonstruksi dari berbagai idiom visual yang
saat ini. Ke 'Aku'-an hadir melalui pensejajaran nilai-nilai profan dengan
tersebut juga Ferlin berkesempatan untuk mempelajari teknik lukisan
hadir pada karya-karyanya.
sakral. Ia merekonstruksi sisi seksualitas pada lukisan cina dengan cara
tradisional cina menggunakan tinta diatas kertas sutra (chinese
painting). Lukisan tradisional Cina ini pula memperkenalkan Ferlin pada
menyandingkannya bersama objek-objek yang mewakili seksualitas
AKU, DIRIKU DAN MILIKKU
konsep kama sutra yang kemudian membawanya pada sejarah panjang
peradaban Cina atas keterkaitan sinergi dari seksual pada spiritualitas
melalui keintiman.
Ferlin mengalami gegar budaya ketika ia berkesempatan
Sebagian besar karya yang ditampilkan pada pameran kali ini
dunia barat. 'Milikku' hadir pada berbagai ornamen visual berwarna
biru yang ia bentuk sedemikian rupa dari bagian alat kelamin pria dan
Keinginan untuk mencari jawaban dari konsep diri atau yang
wanita hingga menyerupai ornamen visual cina kuno. Penjelajahan
lebih dikenal dengan identitas dari Ferlin Yoswara adalah dorongan dari
estetik Ferlin pada karya-karyanya kali ini merupakan permulaan dari
karya-karya yang hadir pada pamerannya kali ini. Identitas adalah salah
perjalanan panjangnya dalam menemukan jawaban dari konsep dirinya
satu konsep yang banyak di usung dan di selami oleh para seniman. Ia
sendiri.
untuk tinggal dan belajar selama satu tahun di Den Haag, Belanda pada
seakan menjadi sebuah lagu lama dalam khazanah perkembangan seni
tahun 2010. Kehidupan masyarakat barat yang sekuler sangat
rupa global. Ia juga mendorong lahirnya berbagai karya yang
berkebalikan dengan apa yang ia alami di Cina. Ia tidak menemui tradisi
mempengaruhi perkembangan seni rupa kontemporer Indonesia.
yang bersandarkan pada nilai-nilai spiritual seperti yang banyak ia temui
Tercatat nama-nama seniman besar di ranah seni rupa kontemporer
di Cina. Seks dan seksualitas bukanlah sesuatu yang memiliki nilai dan
Indonesia bergelut dengan tema tersebut pada sebagian besar
tujuan yang sakral untuk mencapai kesempurnaan spiritual, akan tetapi
karyanya. Dimulai dari generasi Semsar hingga Agus Suwage. Identitas
ia adalah sebuah bentuk kegiatan pemenuhan kebutuhan biologis yang
selalu menjadi sebuah perdebatan yang sengit di sejarah seni rupa
memiliki nilai jual. Di Amsterdam seksualitas merupakan bagian dari
Indonesia dari mulai masa kolonial melalui 'jiwa ketok' nya S.Sudjojono
komoditas perdagangan. Berbagai jenis cinderamata yang sebagian
hingga era seni rupa modern di Indonesia melalui karya-karya Sunaryo,
besar berbentuk alat kelamin pria dan wanita tersebar diseluruh
A.D Pirous dan lainnya. Seniman secara berkala selalu berdialog dengan
penjuru kota. Hal tersebut bertolak belakang dengan penggambaran
dirinya sendiri unutk mencari konsep diri yang ideal dan transenden
alat kelamin di kebudayaan timur yang berkaitan dengan nilai-nilai
sebagai identitasnya. Pada pameran tunggalnya kali ini Ferlin secara
spiritual. Benturan dari nilai kebudayaan tersebut memberikan
sadar mencoba untuk berdialog dengan konsep dirinya yang
cakrawala baru dalam memandang keberadaan dirinya diantara budaya
berdasarkan pada tiga wilayah perjalanan hidupnya. Yang pertama
timur dan barat yang ia warisi dari keluarganya.
adalah 'Aku' yang mewakili masa terkini dari perjalanannya
Rifandy Priatna
Kurator Pameran
CULTURAL
INTERPLAY OF ME,
MYSELF, AND MINE
Mankind has always been God's creation that is most curious of
Ferlin Yoswara, since her birth, has lived a variety of cultural
REFLECTIONS OF EASTERN PERSONALITY AND WEST
its origins as part of their selves' acknowledgement. Mankind has simply
backgrounds. For most of her lives, she has lived out a family heritage of
MODERNIZATION
been figuring the questions of where, how and who he was born to
diverse cultural origins: Indonesia, Chinese and the Netherlands.
while solving the mysteries of the surroundings and their pasts. Every
Without realizing it, she perceives different forms of assimilation
day, in our lives we all went through different phases of life that lead us
resulting from these diverse cultural influences. The passing of her
Yoswara to a journey that opened the door for an understanding of
to questions that need to be answered. Some will undergo a set of
mother has caused her a traumatic experience that gave result to a
existence itself amid the cultural values ​and artifacts of her family. On
process through different tales from others who are close, while others
deep emotional experience in her life. Due to these cultural influences
the daily basis, Ferlin Yoswara lives her life applying the Eastern values
who are separated from their loved ones will embark on a never-ending
and traumatic experience, she began to ask questions to herself; “Who
and tradition which taught by her family, especially from her father.
journey seeking for the answers. These set of process of seeking for the
is she really?” “Where is her origin?” Questions that sparks the journey
From manners, ethics, behavior patterns and ways of looking at
answers lead us to the amazing tales told by different individuals whom
to find the truth, that is none other her self-identify and her place in the
problems within the framework of the eastern culture; a culture that
we will meet. These interactions open our eyes and minds with different
world. Her fifth art solo exhibition is her attempt to record her journey
always applies discipline, consistency, tenderness and delicacy. However,
characters and cultures, thus teaching us a diverse understanding and
as a person with memories that intertwined these cultural influences as
it was her mother, who taught her the meaning the value of open-
distinct memories of others. Every interaction that occurs will leave
part of her heritage. Thus the title of her current exhibition is none other
mindedness and diverse mindset, through bedtime stories that revolves
passage and a different memory. Excerpts are then forming a network
than "Cultural Interaction Between Me, Myself and Mine” which fully
the life of her grand-father. She grew up surrounding herself with these
of memories that specifically establish a person's attitude and outlook
represent the concept of the exhibition as a whole. The exposure of the
cultural values and in addition to that, different set of ornaments from
on things.
background Ferlin Yoswara is intended as an introduction to better
both Chinese and Netherlands. For a fact that these countries produces
understand the meaning and messages of her current works. This is an
the highest of quality porcelains made of skilled precisions and accuracy.
important element to prevent aberrant readings and misinterpretation
Chinese porcelain is more decorated by paintings with color and smooth
the context of her current solo exhibition.
lines, soft and tells the life circumstances of a particular period. While
The desire to seek answers from such self concept brought Ferlin
the Dutch porcelain painted panorama of the country complete with a
variety of architectural building with its distinctive flora and fauna.
Painting on porcelain is mostly used in blue on a white background that
became the hallmark of porcelain known as Delfts Blauw (Delft Blue).
Various visual idioms that are present on the porcelain are also
contributed to the formation of the visual language of the works done
by Ferlin Yoswara.
In 2009 Ferlin Yoswara had the opportunity to gain more
Having lived for 20 years in Indonesia provides a sufficient
existence itself that cannot be released from various cultures inherited
knowledge and further her studies in Nan Ning, China for 6 months. She
distance Ferlin Yoswara to withdraw from these two different cultures.
from her line of family. And 'Mine' which represents the re-creation of
used this opportunity to trace the family line from both her father and
She returned to gain the memories of her mother, the one person she
various objects that have become part of her.
mother through her distant family who is a resident there and together,
loved the most. At home she felt the warmth that is different from the
they visit the tomb of her ancestors. In time, her direct experience and
memory of her mother, furniture and other religious ornaments in the
personal relationship with the Chinese culture shattered her prior vision
house gives an intimacy that she had not felt before. A short trip to
by traditional Chinese painting techniques and medium. This is a
of its living conditions. Her initial thoughts of strictness and discipline of
China and the Netherlands as well as various interactions with different
representative of 'Myself' which present as one form of cultural
the Chinese culture changed her mind once she witnesses the open-
individuals give the ability to reflect her personality through the use of
traditions that make up the current situation of Ferlin Yoswara. “I” can
mindedness of the current youth of today's Chinese generation. While
traditional Chinese painting as the main media and modern western
be seen present through the alignment of values ​with the sacred
most of the Chinese youth has embraced to certain growth and
mindset through a reconstruction of a variety of visual idiom that is
profane. She reconstructs Chinese Paintings' sexuality in a way which
influence from the Western cultures, certain influences from the original
present in her works.
connects with the objects that represent the western world of sexuality.
Chinese influences are still strong. During her time in China, she picked
Most of the works displayed in this exhibition are works created
'Mine' is present in a variety of visual ornamentation in blue and she
up some new skill which includes Chinese painting. The world of
ME, MYSELF AND MINE
was in such a manner shape of the male and female genitalia to
traditional Chinese painting also introduces her to the world of Karma
The desire to seek answers from her own self-concept, better
resemble an ancient Chinese visual ornamentation. Ferlin Yoswara's
Sutra which later re-introduces Ancient Chinese History from a whole
known by the identity of Ferlin Yoswara is the impetus of the present
aesthetic exploration on her works is just the beginning of her long
another point of view which co-relates the synergy of sexuality through
works on the exhibition this time. Identity is one concept that is widely
journey in search of her own self identity.
relationship of spirituality
used by today's visual artists. It seemed to be an old song in the global
development of art treasures. It also encouraged the birth of the various
Ferlin Yoswara experienced yet another culture shock when she
works that influenced the development of contemporary art in
lived and study for one year at The Hague, Netherlands in 2010.
Indonesia. This however, has become a theme which caused many great
Netherland is a secular western society which is an exact opposite of
artists in the realm of contemporary art in Indonesia to be struggling.
what she experienced previously in China. She does not see the tradition
Ever since the days of Agus Suwage Semsar, the concept of identify has
that relied on spiritual values ​such as the ones in China. Sex and
always been a heated debate in art history, from the colonial period of
sexuality is not something that has value and purpose of the sacred in
Indonesia through the Jiwa Ketok' by S.Sudjojono era of modern art in
order to achieve spiritual perfection, but it is a form of biological activity
Indonesia through the works Sunaryo: “AD Pirous” and others. Artists on
that is commercially valued. In Amsterdam sexuality is part of the
a regular basis has always this dialogue with themselves fatherly and
commodity trade. Various types of souvenirs that mostly shaped as
eventually seek out for an ideal self-concept and transcendent as their
genitals of men and women scattered throughout the city. This is
identity. In the solo exhibition Ferlin Yoswara has always consciously
contrary to the depiction of genitalia in eastern cultures associated with
trying to have this dialogue with her own self-concept which is based on
spiritual values. These clashes of cultural values provide a new horizon
three areas of his life. The first is the 'I' that represent the latest of his
in view of her existence between eastern and western culture that she
journey in defining the concept of the individual. 'Myself' is a metaphor
inherited from his family.
of
Rifandy Priatna
Exhibition curator
Profil
Profile
Ferlin Yoswara (b, 1988) menyelesaikan studi di Desain Komunikasi
Visual, Universitas Kristen Maranatha Bandung pada tahun 2011.
Ketertarikan Ferlin untuk menelusuri jati diri dari tiga kebudayaan berbeda
yang ia warisi, membawanya pada penjelajahan berbagai ornamen dan
idiom visual dari tiga kebudayaan tersebut. Ferlin merekonstruksi,
menyusun ulang dan menyandingkan dari idiom visual dari berbagai
kebudayaan pada karya-karyanya. Melalui proses tersebut ia memiliki
potensi untuk memberikan pemahaman baru bagi perkembangan wacana
seni lukis di Indonesia. Memiliki ketertarikan pada fotografi dan seni lukis
digital. Tinggal dan berkerja sebagai seniman di Bandung, Indonesia.
art space
art space
Ferlin Yoswara (b, 1988) her education includes a degree in Design
Communication Visual from Christian University of Maranatha, Bandung in
2011. Her interest to further explore heritage from three cultures as a way to
actualize herself identity brings her to another exploration of the world of
ornaments and idioms visualization from these cultures. She constructs,
rebuild and design from these idiom visuals of different cultures while
applying it to her current works. Through this process, she possesses the
potential to a new horizon to the expansion in the world of Indonesian Arts.
She is also interested to other interesting visual art connections such as
photography and digital painting. Currently, she lives as a visual artist in
Bandung, Indonesia.
Erotika dalam karya FERLIN YOSWARA
Eroticsm Within Ferlin Yoswara Artworks
by : Rifandy Priatna
Penggambaran aktivitas seksual secara umum pada lukisan,
Berkarya dengan menggunakan teknik Chinese painting pada
Di peradaban lama Cina seks memiliki kaitan dengan keabadian
patung, drama, fotografi, musik dan sastra dapat dikategorikan sebagai
pameran tunggalnya kali ini bukanlah tanpa sebab. Ferlin menemukan
karena mampu memberikan kesehatan yang lebih baik. Hal tersebut
erotic art atau seni erotika. Keberadaannya sudah sejak lama hadir pada
keterkaitan yang mendalam antara proses pencarian jati dirinya dengan
juga berbeda dengan pandangan di Barat mengenai Seks, yang
berbagai kebudayaan dan peradaban manusia. Pada kebudayaan awal
kebudayaan Cina yang ia warisi dari keluarganya. Teknik lukis tradisional
cenderung untuk merendahkannya menjadi aktifitas pemenuhan
manusia, seksualitas sangat terkait dengan kekuatan supranatural dan
Cina dirasa cukup mewakili keterkaitan Ferlin dengan latar belakang
kepuasan erotis semata. Di kebudayaan barat, seks tidak memiliki
karena itu pula terjalin pertalian antara seksualitas dengan agama asli
keluarganya. Seni lukis tradisional Cina merupakan sebuah bentuk
nilai adiluhung dan cenderung untuk dipandang rendah di mata
setempat (Asia). Kita dapat melihat hal tersebut di India, Nepal,
teknik melukis yang memiliki pakem tersendiri. Cina adalah salah satu
agama.
Srilanka, Jepang dan China dimana penggambaran seksualitas memiliki
peradaban tertua di dunia dengan tradisi pola pemerintahan memusat,
nilai spiritual pada ajaran agama Hindu, Budha, Tao dan Shinto.
spesifik dan kaku. Begitupun dengan peran seni dalam kehidupannya.
Sementara di barat, Bangsa Yunani dan Romawi membuat seni dan
Seni di peradaban Cina memiliki struktur, pola, bersifat mendidik dan
membentuk bahasanya sendiri dalam karya-karyanya. Ia merekonstruksi
dekorasi erotika yang sebagian besar tercakup dalam kepercayaan dan
sebagai sebuah kesatuan. Sebagai contoh, seniman adalah sesosok
bahasa dan pakem seni lukis tradisional Cina. Dengan memadukan
aktifitas kebudayaan mereka. Perdebatan mengenai perbedaan seni
orang yang mampu menguasai puisi, kaligrafi dan lukisan sebagai
penggambaran seksualitas yang disandingkan dengan idiom visual yang erat
erotika dengan pornografi (yang juga menggambarkan aktivitas seksual
bentuk seni tertinggi dan mengaplikasikannya ke dalam karyanya. Ia
dengan budaya barat, dalam hal ini Belanda. Pada karya-karyanya kali ini
dengan tujuan membangkitkan birahi, walaupun tidak dapat
juga harus mampu mengurai pola hubungan diantara berbagai bentuk
Ferlin berusaha mencampurkan berbagai bahasa visual dan
dikategorikan sebagai seni) sering kali hadir. Adapun perbedaan dari
seni lainnya melalui diagram kosmik atau mandala ( struktur organisasi
mempertahankan sebagian tatanan tradisi pada seni lukis tradisional Cina.
keduanya terletak pada intensi dan pesan; seni erotika ditujukan
kehidupan dengan alur yang menghubungkan mikrokosmos dan
Cara menggambar panorama, figur dan tumbuhan masih memepertahankan
sebagai sebuah karya yang dibangun melalui elemen formal yang
makrokosmos ). Disaat pelukis barat mempersoalkan sapuan kuas pada
tradisi yang ia pelajari dari gurunya, akan tetapi hadirnya ia juga melukiskan
menawan (estetis) dan berpijak pada karya dan sejarah seni itu sendiri
lukisan mereka, seniman cina sibuk menerapkan teknik memegang
berbagai hal yang bagi gurunya tidak memiliki kepentingan untuk dilukis.
yang sudah hadir sebelumnya. Sedangkan pornografi ditujukan untuk
kuas, mencelup tinta dan sudut penyapuannya dari guru mereka. Dan
Disinilah pola pikir Ferlin untuk merekonstruksi tradisi tersebut menjadi
memberikan stimulasi seksual bagi pemirsanya. Bagaimanapun juga
apabila pakem tersebut tidak dikuasai maka karya tersebut dianggap
menarik. Karena disatu sisi Ferlin masih bekerja dalam kerangka tradisional,
kehadiran dari perbedaan tersebut sangatlah bersifat subyektif.
tidak berharga. Satu lagi yang menjadi ciri khas dari seni di Cina adalah
akan tetapi ia juga melukiskan hal-hal yang tidak seharusnya berada dalam
mereka memandang seni seperti agama. Selalu ada elemen sakral
kerangka tradisional tersebut. Seksualitas yang hadir pada karya-karyanya
Kebudayaan timur memiliki sejarah panjang dalam tradisi pembuatan
didalamnya yang berasal dari gurunya. Seni lukis tradisional Cina pada
dapat ditafsirkan baik dalam kerangka pemikiran Cina ataupun Barat.
lukisan yang bersifat erotika. Jepang, Cina, India dan Persia banyak
masa tersebut selalu meneruskan dan menyempurnakan bentuk seni
memproduksi karya seni yang merayakan percintaan manusia. Salah
dari gurunya baik lukisan panorama, figur, flora ataupun fauna.
satu karya sastra yang memberi pengaruh pada perkembangan seni
Karenanya tidak ada yang tidak penting dalam seni lukis tradisional
erotika di masa tersebut adalah sebuah ajaran bercinta, Kama-Sutra
Cina, semua elemen yang hadir didalamnya memiliki cara tertentu
yang ditulis oleh Vatsyayana pada awal abad ke 6 di India. Risalah
dalam melukiskannya. Pemahaman terhadap seni tersebut bertolak
penting lainnya yang mengawali perkembangan seni erotika adalah
belakang dengan pemahaman seni yang berkembang di barat. Dimana
“The Perfumed Garden” yang ditulis oleh Muhamad Ibnu Al-Nafzawi
originalitas dan inovasi menjadi garda depan perkembangannya.
pada abad 15 di Tunisia. Sedangkan di Jepang dan Cina, seni erotika
berkembang dengan pengaruh sebuah novel yang berjudul “Tale of
Ferlin melihat perbedaan tersebut dalam sebagai sebuah cara untuk
Rifandy Priatna
Kurator Pameran
Daftar Pustaka
-Beck, Marianna. 2003. "The Roots of Western Pornography: the French
Enlightenment takes on sex". Libido, the Journal of Sex and
Idiom visual yang berkaitan dengan seksualitas memang
Sensibility.
Libido Inc.
Genji” yang ditulis pada abad 11 oleh seorang cendekiawan wanita di
bukanlah pemandangan yang baru di seni lukis tradisional Cina.
Jepang. Penggambaran dari cerita novel tersebut kemudian
Peradaban lama Cina memandang seks dan seksualitas memiliki
-Bull, Malcolm. 2005. The Mirror of the Gods, How Renaissance Artists
berkembang menjadi seni erotika menggunakan media cetak
nilai spiritual untuk menolak bala. Dengan logika bahwa iblis yang
Rediscovered the Pagan Gods. USA: Oxford University Press.
woodblock yang dikenal dengan Shunga (gambar musim semi)
jahat akan lari terbirit-birit melihat alat kelamin manusia tersebut.
sedangkan di Cina berkembang melalui seni lukis tradisionalnya.
Seks merupakan bentuk tertinggi dari kebaikan yang ada di
- Johnson, Paul. 2003. ART: A New History. New York: HarperCollins.
dunia, karenanya para biksu Tao menerapkan hal tersebut
sebagai salah satu bentuk meditasi untuk membersihkan energi.
- Rawson, Phillip S. 1968. Erotic art of the east; the sexual theme in
oriental painting and sculpture. New York: Putnam.
- Yuliman, Sanento. 2001. Dua Seni Rupa. Jakarta: Yayasan Kalam
In general, we witness depictions of sexual activities in painting,
Traditional Chinese painting is a form of painting technique that has its
in this case the Netherlands. At this time Ferlin tries to mix a variety of
sculpture, drama, photography, music and literature which can be
own grip. China is one of the oldest civilizations in the world with a
visual languages ​and traditions in order to retain some traditional Chinese
categorized as erotic arts. Its existence has long been present in various
tradition of centralized governance patterns, specific and rigid which in
painting aspects. How she draws a panorama, figures and plants still
cultures and civilization. At the beginning of human culture, sexuality is
return is quite similar with the role of art in Ferlin's life. Art in the
maintain the tradition that she learned from her teacher, but she also add
associated with supernatural powers and therefore the relationships
Chinese culture has a structural pattern and didactic as a whole, for
extra presence of various traits that the teacher did not have the interest to
between sexuality are intertwined with the indigenous religion (Asia).
example, an artist who is a master at poetry, calligraphy and paintings
be painted. This is where the mindset Ferlin to reconstruct these traditions
We can see that in India, Nepal, Sri Lanka, Japan and China where the
as the highest art form will apply its principles to his/her daily lives. . He
to be interesting. On one hand Ferlin was still working within the traditional
depiction of sexuality has a spiritual value to the teaching of Hinduism,
also must be able to parse the pattern of relationships among various
framework, but it also describes the things that should not be located within
Buddhism, Taoism and Shinto. While in the west, the Greeks and
other art forms through a cosmic diagram or mandala (the
the traditional framework. Sexuality that is present in his works can be
Romans made ​erotic art and decoration, mostly covered in their beliefs
organizational structure of life with a groove that connects the
interpreted both in the framework of China or the West.
and cultural activities. The debate over the differences with the erotic
microcosm and the macrocosm). While western painters question their
art of pornography (which also describes sexual activity with the
brushstrokes on the painting, Chinese artist is busy applying the
purpose of generating heat, although not categorized as art) is often
technique holds the brush, ink and dye corner of their teachers. And if
present. The difference of the two lies in the intention and the selection
the grip is not controlled then the work is considered worthless. One
of art intended as a work of erotica that is built through a charming
more significant trait that is characteristic of art in China is their view of
formal elements (aesthetic) and rests on a work of art itself and the
art as religion. There is always a sacred element which comes from their
history that has been present before. While pornography is intended to
teacher. Traditional Chinese painting at that time seeks to continue and
provide sexual stimulation for the audience, however the presence of
perfect the art form of the good teacher's panorama painting, figure,
such differences is very subjective.
flora or fauna. Hence there is nothing important in traditional Chinese
Rifandy Priatna
Art Curator
Reference:
painting; all the elements present in it have given way in describing it.
Beck, Marianna. 2003. "The Roots of Western Pornography: the French
Eastern Culture has a long history of creating paintings that are related
Understanding of the arts is contrary to the understanding of art that
Enlightenment takes on sex". Libido, the Journal of Sex and Sensibility. Libido
to the topic of eroticism. Such countries are Japan, China, India and
developed in the west where the originality and innovation become the
Inc.
Persia which is well known in creating artworks that celebrate human's
vanguard of its development.
affections towards sexual relationships. One of the most influential
Bull, Malcolm. 2005. The Mirror of the Gods, How Renaissance Artists
erotic arts that come from India is none other than Karma Sutra, written
Visual idioms relating to sexuality is not a new sight in traditional
by Vatsyayana in the early 6th century. Another important work that
Chinese painting. The old civilization of China view sex and sexuality as a
initiated the development of erotic art is "The Perfumed Garden"
spiritual value that rejects the reinforcements. The Chinese believes the
written by Muhammad Bin Al-Nafzawi in the 15th century in Tunisia. In
logic thinking that the devil will scuttle after seeing the human genitals.
Japan and China, the art of erotica is a growing influence through a
Sex is the highest form of goodness that exists in the world, so the
Rawson, Phillip S. 1968. Erotic art of the east; the sexual theme in oriental
novel entitled "The Tale of Genji" written in the 11th century by a
monks Tao applying it as a form of meditation to clean energy. In the old
painting and sculpture. New York: Putnam.
scholar of women in Japan. The portrayal of the novel is then developed
Chinese civilization, sex has alot to do with immortality because it can
into an art erotic woodblock print media, known as Shunga (spring
provide better health care. It is also different from the view in the West
picture), while in China developed through traditional Chinese
regarding sex, which tends to humiliate him into erotic fulfillment
paintings.
activities alone. In western culture, sex is seen as a commodity and seen
as taboo in the western believed religions.
There is a very important cause on why Ferlin's current artworks involve
mainly Chinese painting techniques. In the process of discovering deep
Ferlin see the difference in as a way to establish her own language in
connections between the process of finding her identity with Chinese
her artworks. She reconstructs the language and standard Chinese
culture which is hereditary from her family, she realized that this
traditional painting by combining the depiction of sexuality in
technique is considered to be the link and ties to her family
juxtaposed vision with a close visual idiom with Western culture,
background's representation.
Rediscovered the Pagan Gods. USA: Oxford University Press.
Johnson, Paul. 2003. ART: A New History. New York: HarperCollins.
Yuliman, Sanento. 2001. Dua Seni Rupa. Jakarta: Yayasan Kalam
Artworks
Title: Silent Treatment #1
Media: watercolour stick on paper
Size: 38 x 42 cm
2012
Title: On our way to Heaven
Media: watercolour stick on paper
Size: 38 x 42 cm
2012
Title: Silent Treatment #2
Media: watercolour stick on paper
Size: 38 x 42 cm
2012
Title: Silent Treatment #3
Media: watercolour stick on paper
Size: 38 x 42 cm
2012
Title: My Amulet
Media: watercolour stick on paper
Size: diameter 30 cm each painting
2012
Title: She’s in Paradise
Media: watercolour stick on paper
Size: 48 x 68 cm
2012
Title: Woman on Top
Media: watercolour stick on paper
Size: 48 x 68 cm
2012
Title: Juicy Finger
Media: watercolour stick on paper
Size: 48 x 68 cm
2012
Title:Wooah is that “yours”??
Media: watercolour stick on paper
Size: 48 x 68 cm
2012
Title: Laying in Pleasure
Media: watercolour stick on paper
Size: 48 x 68 cm
2012
Title: I Reach You
Media: watercolour stick on paper
Size: 48 x 68 cm
2012
Title: Evening Heredity Tea #Chinese
Media: watercolour stick on paper
Size: 38 x 45cm
2012
Title: Evening Heredity Tea #Dutch
Media: watercolour stick on paper
Size: 38 x 45cm
2012
Title: Evening Heredity Tea #Indonesia
Media: watercolour stick on paper
Size: 38 x 45cm
2012
Title: Protective Spirits
Media: watercolour stick on paper
Size: 120 x 80 cm
2012
Title: Spiritual Bequest
Media: ceramics
Size: 33 x 15 x 12 cm per ceramic
2012
Title: Spiritual Bequest
Art Installation
80 x 60 x 150 cm
2012
Title: Spiritual Journey
Video Art
Duration: 3.48 minutes
2012
Curriculum Vitae
13 Curriculum Vitae
Organization
August 2010
- Present Rotary International (District 3400 Indonesia/ Bandung Dago)
Workshop
- 2002-2008 Chinese Painting Course at Deng Mu Yen,Bandung,
Indonesia.
- 2010 “A Young Indonesia Artist Solo Art Exhibition in The Netherlands”,
TRANS Television, Indonesia on “Ngulik TV Show”
- 2009 “Art Exhibition in Nanning, China Ferlin Yoswara”, Pikiran Rakyat
Newspaper, Indonesia
- 2009-2010 Chinese Painting Course at Guangxi Design School,
Nanning, China.
Article about Ferlin Yoswara:
- 2011 Childrens Art Workshop “Peace for the World with Rotary”
- 2010 “Extrordinary”, Pikiran Rakyat Newspaper, Indonesia
- 2011 Wood Carving at Ubud, Bali
- 2000 “Indonesia Art Ambassador”, Pikiran Rakyat Newspaper,
Indonesia
Published
Selected Catalogue:
Other Selected Publications:
- 2000 “Shankar's Children's Art Number, Volume 51”, New Delhi, India
- 1992 Phone Card of Telkomsel Indonesia
- 2001 “Zainul-Quamrul International Children's Painting Competition”,
- 2000 The Calendar of “Telkomsel Indonesia”
Bangladesh
- 2010 Solo Paiting Exhibition “A Young Indonesian Artist in The
Netherlands”, The Netherlands
- 2011 “Aviation 174” DKV Exhibition at Campus Center, East ITB,
Speaker:
- March 2012 “ Nowadays Art Trend and Ferlin Art World” at The Rotary
Club Bandung Dago, Indonesia
Bandung, West-Java, Indonesia
Address: Jl. Sukajadi No. 41, Bandung 40162
- 2012 “Kidung Hayat” Art Group Exhibition, Indonesia
West-Java, Indonesia
Email:[email protected]
Mobile number: (+62) 8997236987
Home number: (+62) 222034826
Website: www.ferlinyoswara.com
Place/ Date Born: Bandung, 2 June 1988
Nationality: Indonesia
March – July 2010
Exhibitions reviews and news press article:
- Guangxi Arts Institute, Nanning, Guangxi, China, 2009
Fine Art (Sculpture and Chinese Painting)
- Brouwers, Den Haag, The Netherlands, 2010
Jewellery Art (Diamond and Silver)
- Maranatha Christian University, Bandung, Indonesia, 2011
Bachelor of Arts, Visual Communication Design Major
Residential Artist of the Embassy of Indonesia for
the Kingdom of the Netherlands The Hague, Netherlands.
- 2012 “Kidung Hayat Group Art Exhibition”, Pikiran Rakyat Newspaper,
Indonesia
- 2012 “Kidung Hayat”, Pikiran Rakyat Newspaper, Indonesia
FERLIN's International Art Awards:
- 2012 “Kidung Hayat”, Bandung TV, Indonesia
1. Bronze Award of The 24th International Children's Art Competition,
- 2010 “Wu Yu Art Awards”, China TV
- 2010 "A Young Indonesia Artist Solo Art Exhibition in The
Education
Residential Artist
Netherlands", Pikiran Rakyat Newspaper, Indonesia
- 2010 "A Young Indonesia Artist Solo Art Exhibition in The
Netherlands", Kompas Newspaper, Indonesia
- 2010 "A Young Indonesia Artist Solo Art Exhibition in The
Tokyo, Japan (1994)
2. Nomination of Club Med “Earth Day ,Everyday” Art Competition,
Asian Pasific-Indian Ocean (1995)
3. Merit Award of Shankar's International Children's Competition, New
Delhi, India (1995)
4. Bronze Award of International Childrens Art Calendar Nippon
Netherlands", Ad Courant Newspaper, Den Haag, The
Television Network Cultural Society and Biiku Bunka Kyokai,
Netherlands
Japan (1997)
- 2010 "A Young Indonesia Artist Solo Art Exhibition in The
Netherlands", Detik News, Indonesia
- 2010 "A Young Indonesia Artist Solo Art Exhibition in The
Netherlands", Merdeka Online News, Indonesia
- 2010 “A Young Indonesia Artist Solo Art Exhibition in The
Netherlands", Nederland Radio
5. Nomination of The Annual Drawing Contest Award by Mitsu
Home,Co.,Ltd., Japan (1997)
6. Special Diploma of The International Museum of Children's Art, Oslo,
Norway (1998)
7. Honorable Mention of Children's Art Competition LIDICE, Czech
Republic (1998)
8. Nomination of The Drawing Diary Contest, UNESCO (1998)
9. Nomination of Children's Global Vision A World of Art, Queensland,
Australia (1999)
FERLIN's Solo Art Exhibitions
2010
1. 1st of April – 5th of April 2010
-“Invisible Reality” Painting Exhibition at Barli Museum, Bandung,
10. Achievement Award of Lions International Club Peace Poster
Contest (2000)
11. Silver Medal of Shankar's International Children's Competition, New
12. Nomination of The 1st International Enviromental Children's
Drawing Contest Award by JQA Japan Quality Assurance
The Netherlands” at Malieveld, Den Haag, the Netherlands.
-“Sang Ahli Gambar dan Kawan-kawan” Tribute to S.Sudjojono at
Competition, New Delhi, India (2001)
14. Bronze Medal of International Children's Painting Competition
GANDARIA KISHOLAYA KACHI-KANCHAR MELA, Dhaka,
Gallery Kita, Bandung, Indonesia.
Solo Painting Exhibition “A Young Indonesia Artist Journey in
-“We Make Art, 1st Anniversary of Teraskota” at BSD City,
The Netherlands” at Nova College, Amsterdam, the
Tangerang, Indonesia.
Netherlands.
-“Sang Ahli Gambar dan Kawan-kawan” Tribute to S.Sudjojono at
3. 29th of June 2010- 2nd of July 2010
13. Silver Medal of CLUB MED International Children's Painting
Bangladesh (2001)
West-Java, Indonesia
2. 12th of June 2010
Delhi, India (2001)
Organization, Tokyo, Japan (2000)
Solo Painting Exhibition “A Young Indonesia Artist Journey in
Gallery Kita, Bandung, Indonesia.
Solo Painting Exhibition “A Young Indonesia Artist Journey in
-“The Exchange's Gift Exhibition” at Gallery Maranatha, Bandung,
The Netherlands” at Nusantara Room, the Embassy of the
Indonesia.
Republic of Indonesia for the Kingdom of The Netherlands. Den
-"Chang Tai Yu Chang Qing" Sculpture Exhibition in Nanning, Guang
Haag, the Netherlands.
Xi, China.
4. 3rd of July 2010- 5th of July 2010
15. 100 winner of Chang Tai Yu Chang Qing" sculpture competition,
Nanning, Guang Xi, China (2010)
Solo Painting Exhibition “A Young Indonesia Artist Journey in
2009
The Netherlands” at Star Galerie, Den Haag, the Netherlands.
-"WU YU" sculpture exhibition in Nanning, Guang Xi, China.
-“FAD-MUC Sea Mark” Art Exhibition, Shanghai, China.
FERLIN's National Art Award
FERLIN's Group Art Exhibitions
She has joined some of National Drawing competitions in
- “Pecha Kucha Night” Bandung, Indonesia.
- “FDG Expo 2009” Jakarta, Indonesia.
Indonesia for about 200 times since 1993 until now, and so far she
2012
- "Hobbies & Toys Fair 2009" at Be Mall, Bandung, West-Java,
honored 155 National Drawing competitions. And those are couples of
- “Kidung Hidayat” at Popo Iskandar Art Gallery, Bandung, Indonesia
Indonesia.
them:
2011
1. 1st award of drawing competition at Balai Sartika, Bandung,
- “[email protected]” at Monumen Kapal Selam, Surabaya, Indonesia
2008
-Painting on the spot “Full Moon” at XL Sisha Lounge, Ubud, Bali,
- "Reuni Akbar Maranatha Christian University 1975-2005" Painting
Indonesia
Exhibition at Gedung Serbaguna Maranatha Christian University,
-“The Butterfly Effect” Hybrid Project by B-Art Movement at Museum
Bandung, Indonesia.
Barli, Bandung, Indonesia.
- "Xplore [n] Xtion painting Exhibition, Bandung, Indonesia.
-“Aviation 174” DKV Exhibition at Campus Center, East ITB, Bandung,
- "Open House Maranatha Christian University" at FSRD Maranatha,
4. 1st award of drawing competition at PT.Kimia Farma (1996)
Indonesia
Bandung, West-Java, Indonesia.
5. 3rd award of drawing competition at Bentara Budaya Building,
-“Rotary Club Bandung Dago birthday”, Bandung, Indonesia
-"Menerawang Parahyangan" at Museum Barli, Bandung, West-
-“Rotary Assembly Meeting 2011” at Panghegar Hotel, Bandung
Java, Indonesia.
Indonesia (1993)
2. 2nd award of drawing competition at Garden Ville, Bandung,
Indonesia (1994)
3. 1st award of drawing competition at Balai Kota, Bandung, Indonesia
(1995)
Jakarta, Indonesia (1999)
6. 3rd award of drawing competition at the National Gallery, Jakarta,
Indonesia (2000)
California, Riverside, California, United States of America at Barli
2007
Museum, Bandung, Indonesia.
-"Center of Art Exhibiton" Bandung, West-Java, Indonesia.
100years of Ir.Soekarno the 1st President of Indonesia,
-“Diskomfest Culture Expansion” at Taman Budaya Yogyakarta,
- "Open House Maranatha Christian University" at Gallery
Bandung, Indonesia (2001)
Yogyakarta, Indonesia.
Maranatha, Bandung, West-Java, Indonesia.
7. 1st award of drawing competition at Merdeka Building celebrate
8. 1st award won of drawing competition at Universitas Pendidikan
Indonesia, Bandung, Indonesia (2002),
9. Etc
- “The Siren's Voice” Art Exhibition, collaboration with University of
-“A[rt]SEM #2” at Semarang Contemporary Art Gallery, Semarang,
Indonesia.
1999
-“#1 Drawing Project Charcoal Again” Exhibition at Rosid Studio,
-
Bandung, Indonesia.
INDONESIA" Bandung, Indonesia.
-Public Space Art Exhibition “A[rt]SEM” at Taman Budaya Raden Saleh,
-
Semarang, Indonesia.
"50th years of Challenge Art Exhibition GARUDA
"Children National Day” Bandung, Indonesia.
-
“Playwood painting exhibition with the Governor of West-Java”,
Bandung, Indonesia.
-
"Childrens Art Exhibition” at LAUTAN BERLIAN BANK, Jakarta,
Indonesia
-
Art Exhibition at Sanggar Ananda the Ambassador of Czech
Republic, Bandung, Indonesia.
-
"Children's Global Vision a World of Art Exhibition"
Queensland, Australia.
1998
-
"Children's Art Exhibition LIDICE", Czech Republic.
-
"Asian Childrens Art Party UNESCO"
-
"Lions Club Bandung Ceria Peace for the World Poster
Exhibition", Bandung, Indonesia
1997
-
"The 27th International Childrens Art Exhibition" by Biiku Bunka
Kyokai & Nippon Television Network Cultural Society, Tokyo, Japan.
1995
-
"Pelukis Cilik Bandung" Bandung, Indonesia.
1994
-
"Pelukis Cilik Bandung”, Bandung, Indonesia.
-
"Hari Anak Nasional", Bandung, Indonesia.
1992
-
“The 24th International Children's Art Exhibition by” "Biiku
Bunka Kyokai & Nippon Television Network Cultural Society" Tokyo,
Japan.
Profil / Profile
Deskripsi
Curriculum
Curatorial
karya
Notes
Vitae
Kuratorial
15
14
10
11
16
7 Catatan
1
8
9
2
3
6
4
I would like to thank to GOD, my Mom soul’s who always inspiring
my life journey, Dad and brother who always support me in
spiritual, moril, and material with much Love everyday :)
The proudly art curator, Rifandy Priatna for his effort and time to
hold this exhibition! Thank you so much! also Thanks forhis pretty
wife’s, Rhilly.
My another brothers, Arnold Sumadi, Ishak Tanoto, and William
Go... Can’t say anything to say BIG Thanks, you guys are Really
Rock! Thanks for help me since the beginning until today. #Go
Hiubang!
Thanks for the bless for my life journey, to live everywhere in the
world is just awesome! Special thanks for Indonesia, China, and
The Netherlands the countries that inspiring me the most in this
planet earth and thanks for my chinese and dutch ancestor.
Thanks to Fendy and Sebastianus Seno for all the design things,
Avril Ilejay one of the best american hollywood producer for
helped my video art, Martin Kooiman who always support me and
inspiring me even from far far away.
For all the sponsorship, thank you so much!
PT.Suryaman Tritunggal Perkasa, PT.Millennium Penata Futures,
Toko Mas Sami Jaya, Dhuttawali, Nere Design and Print, Angkasa
Putra, Mirage Printing, Dhuttawali, JUJU MUA, Line Production,
Kopiteh Production, 88 Degress, Light Image Lab, Deasylia Ferdiana
Fashion Designer.
Thanks for Media Partner Radio B 95,6FM Bandung and Ardan
Radio, Galamedia Newspaper, and Pikiran Rakyat Newspaper.
And last but not least to all of those that have contributed in
outstanding ways to the realization of this exhibition.
Ferlin Yoswara
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