!!! Curatorial!Notes! LAMPUNG'S*BACKGROUND*

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2 CuratorialNotes LAMPUNGS*BACKGROUND* I Made Widya Diputra, or mostly known as Lampung, was graduated from Sculpture Department,ISI(IndonesianArtsInstitute)Yogyakarta.Hisnickname, Lampung,was obtainedwhenhewasstudyingatthedenpasar,balismsr(visualartshighschool),for he was, indeed, born at Lampung (the southern part of Sumatera). His Bali>origin parentshadtransmigratedtolampungandbecameteachersthere.eversincehisstudy atthedenpasarbalismsr,lampungbegantobeacquaintedwiththeworldofvisual arts.hisintensitywasevenstrongerwhenhestartsstudyingatisiyogyakartaatyear 2000.IknewLampungon2001,whenheenrolledinmyclassofillustrationsubject. InJogja,LampungwasinitiallyinteractedonlywithfellowstudentsfromBaliashimself. But gradually, the very>conducive arts atmosphere in Jogja introduced him to other senior artists. My acquaintanceship with Lampung was later becoming closer and meltedbythehelpofmadeaswinoaji(oraji;that showheoftencalled),sothatour relationshipwerebecominglessawkwardthanwe reusedtobe,oncampus.whenwe hungouttogetherbeyondcampus,theatmosphereswerealsobecamemorerelaxand pliant.ajiwaslampung sseniorinsmsrdenpasar.myhouseisbychanceclosewith Aji s,we reneighboratsoboman,ngestiharjo,kasihan,bantul.lampungwasfrequently come to Aji s place. That is when Lampung became more and more engaged in chats betweenmeandaji,aswellaswithaji sotherfriendswhowerecomingtohishouse, notonlythosefrombali,butalsofromotherarea,evenaji sbule(foreigner)friends. Backthen,Lampungsetshimselfmoreasaloyallistener,consideringthathestillfeels as a junior. But the more he visited Aji s house, the broader his social intercourse became.untiloneday,hegottoknowmichellechin,asingaporewomanwhoownsa visualartsbusinessandworkingatagalleryinsingapore.michellerentedahousein Sewon,Bantul,whichwasatthattimefunctionedaswellasstoragetoputbunchesof arts collection that is why Michelle went Singapore>Jogja back and forth a lot. His friendship with Michelle was strengthened when Lampung rented a house in front of Michelle splace.thatiswhenlampungstartstorecognizethevisualartsmarket;thus, gainingmoreinsightsthroughmichelle. Lampung sactivitiesreachedbeyondcampus.heneverskippedexhibitionprojectswith SanggarDewataIndonesia.Besidesthat,healsoinitiatedKakulGroupwithhiscollege fellowsfromthesame>year.thisgrouphasheldseveralexhibitionsatsomealternative artspacesinjogja,suchasparkirspacewhichislocatedintouristarea,prawirotaman. His art insight was also evolved in line with his encounters to several other artists (mostlyareseniors)wholivedinjogja,suchasagussuwage,titarubi,s.teddyd,ugo Untoro,SamuelIndratma,EkoNugroho,etc.Heevengotachancetobetheartisanfor Titarubi.Throughhisfurtherinteractionwithsomecirclesofartists,curators,collectors, and galleries, Lampung gained more lessons and experiences. Not only on matters of bothtechnicsandconceptsinmakingartworks,butalsoonartists managerialscheme. LampunglivedinfrontofMichelle shouseuntilhefinishedhisfinalassignmentatisiin 2006.Heexploredmuchofwoodenandrattanmaterialinmakingworksforthefinal assignment.hetreatedtheperceptionofmaterialcharacters,whichwasoriginallyhard tobetenderer.irememberoneofhisfinalassignment>worksinwhichhemoldedwood into spherical like a surface of bed, added with rattan twists. In 2007, his work was CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph

3 selectedasthebestsculptureintheexhibitionofdiesnatalisxxiiiisiyogyakarta.still inthesameyear,hewasawardedtheacademiartawardforyoungvisualartistfrom ISIYogyakartacategory.Sincethen,hisartcareerisrapidlyevolving.Lampungstartsto beoftentimesinvitedtoparticipateinbigexhibitionevents,bothinandbeyondjogja, evenabroad. THE*WORKING*PROCESS* Inmakingartworks,Lampungaccustomedhimselftomakesketches/designsfirst,then creating a small>scale mock up in the next step. The mock up itself is usually lack of details. Not until he comes to making the framework or the body (mostly using resin material), Lampung furthermore prepared his sculpture rigorously, by paying more attentiontotheconstructionandweighingmoreaboutitscomposition.onlyonthefinal phase,heworkedonthedetailsandcomplexornament,whenhestartscoatingthebody ofthesculpture. Toaddhisreferences,Lampungwouldbrowsetheinternettofindtechnicaldetailsor complex ornaments from photos of other artists works, products, or even a mere illustration. His special attention to details and ornaments cannot be detached from Balinesetraditionwhenpreparingtheofferingsormakingcrafts.Theusingofvarious materialsinofferingspreparationandskillsyetperseveranceinmakingithasbrought Lampungtoexploremorematerialsinmakinghissculptures. Process of material exploration would obviously be seen on his duet exhibition with MadeWigunaValasaraatEdwin sgallery,twoyearsago.beneaththesubjectof The StudioMovedOut,LampungandValasarapresentthemakingprocessoftheirartworks to the public as its main activity. Craftsmanship and high skill aspects in treating materialsintosculpturehaveitsownportionintheirworkingprocess. Now, Lampung is almost always experimenting new techniques and materials. Experimentswouldusuallybedonebyhisownhand,somewouldfailandsome,indeed, would succeed. For him, experimenting process plays an important role. We may say thatlampungislearningbydoing,likeajavaneseproverb: Ngelmuikukalakonekanthi laku (lessonsaregainedbyundergoingtheprocess). WORKING*MATERIALS* * Inthelast3years,Lampunghasbeenveryintenseinprocessingsiliconasmaterialin making sculpture. Silicon squeeze in forms of small spherical objects decorates the surfaces of his sculpture. Squeezing silicon manually is indeed requiring skill, perseverance,andalongtime.forthisprocess,lampunghadoncemadeanequipment toeasehimandmakesthesilicon>squeezingprocesstobemorepractical.butitfailed, soherevertedtothemanualsqueezingtechnique. Lampung starts to make works by silicon material in His artwork entitled Microcosm shapes a figure wrapped by white silicon squeezes which is composing particular texts. Those texts were piled up as to cover the figure up. On this work, Lampung has already combined the silicon>squeeze technique with such functional object as a corset. This work is included in Dua Kota Dua Cerita (Two Cities, Two Tales)exhibitionheldatSemarangGallery. CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph

4 Sincethen,Lampungusesalotthecombinationbetweenafiguretexturizedbysilicon squeezes and functional objects for his sculptures. Figures that combined with other factory articles as wheel, crutches, walker, gun replica, and chair, implies a feeling of eliminated, weary, sick, and defeated people. For instance is when Lampung made a work entitled Post Power Syndrome which was enrolled in Biennale Jogja X 2009 event, by combining a figure covered up by silicon squeezes with a wheelchair. The otherworksthatisintunewithitarethosewhichwerepresentedin TheStudioMoved Out duetexhibitionwithmadewigunavalasaraatedwin sgallery.therewere3works that is using combination of silicon squeezes technique with crutches, walker, and a typicalwheelofwheelchairs. Each work has their own narration, albeit they werent composing a coherent story. Mostofthosewerealsomadeforjointexhibitions;sothathisworkswereseeminglyto offerpartialnarration. Hehadbegunusingleathermaterialsince2011.Initiallyheusedcowleather,butlater onheexperimentedwithmanykindsofleather.lastyear,aslampungwasappointedas an artist commission for ART JOG event, he made a gigantic elephant sculpture from leathermaterial.thatiswhenhebegunprocessingtheleatherintensively.theleather was being shaped, stitched, texturized, and even treated specifically to give the impressionofoldleatherbyusingallsortsofways.lateron,heputornamentstothe leathersbytattooingit.now,heconquerstheleathermaterialalready. Relentlessly, he kept on extending his experiments on material. This time, Lampung worksonmetalmaterialbymanuallymakingbuckle,sword,andanyotheraccessories. Thoughhewasabletoordertoablacksmith,yetonceagain,thematterofundergoing (lelaku)themakingprocessonhisownhand,hastrainedhimtofeelthemetalmaterial. BambangTokoWitjaksono,2013 CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph

5 ARTIST:IMADEWIDYADIPUTRA(LAMPUNG) THEARTOFWAR Resin,silicone,brass,leather,leatherpaint 145x350x100cm,2013 Thework TheArtofWar isabouttwofigures,bothheadsandhandswerecoatedby silicon, one is colored black and the other is white. Both figures are wearing costumes fromleathermaterialenrichedwithornaments.bothseemproppingtheirleft>handona piece of sword, while sitting on an almost 3 meters>long chessboard. In front of them werearrayedontheboard,ausualrowinthecommonchessgame:fromlefttorightare therook,theknight,thebishop,thequeen,theking,thequeen,thebishop,theknight, and the rook. Yet on the next row, stacks of pawns as much as approximately 2000 pieces in mixed color, white and black, were heaped up. The work depicts the war of Bharatayudha.LampungtriestoassociatethewarofBharatayudhaasinthechessgame, inwhichthepawns,withmoreamounts,willalwaysbethevictimofwars,meanwhile thekings,queens,bishops,andeventheknightsarestillneatlyinlineinsidethefortress. We may interpret this scene not as the war of Bharatayudha, yet would feel the same essence:thatwar inwhateverkindsofit,wouldcausealotofvictims.mostcasualties would be among the lower class society, whether they were soldiers or proletariats. Warsare,indeed,merciless.Sometimes,warismerelyaresultofsomepeoplesavarice. Allwarsaredescendantsofvengeance, wrotewsrendrainhispoem, BaladaSumilah (BalladofSumilah). CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph info@redbaseart.com

6 ARTIST:IMADEWIDYADIPUTRA(LAMPUNG) Hatred,TormentandPainareMyStrengths Trolley,resin,silicone,dacron,brass,leather,leatherpaint 100x245x65cm,2013 This work is about a figure wearing costume from leather material that seems to be faded,appeartopushwithavengeance,atrolleythatladenedwithpilesofhomogenous texturedobjects(seemlikefriednugget)inwhitecolor.theseobjectsthatwrappedby the silicon squeezes are depicting Kurawa, whereas the figure that pushes the trolley resembles the figure of Sengkuni. Lampung isnt trying to convey the story about the relationshipbetweensengkuniandkurawaasinthepuppetstory.instead,hechosea freeinterpretation.asweknowinthestory,sengkuniisasneakypersonthatalways trying to defeat Pandawa. Sengkuni prevents the Kingdom of Astina to fall into Pandawa s hand. For the sake of that purpose, he relentlessly provoked Kurawa to againstpandawa. The nature of someone that is relentlessly carrying out a mission, despite of its incongruousnesswithtruth,stillisundertakenwholeheartedly.toachievehisgoals,he may devote his whole endeavor, wrapped by deviousness. No matter how heavy the burdenis,itwillalwaysbedonesacrificially.itisthenatureofworkingrelentlesslyand endeavoringwithavengeancewhichlampungtriestovisualize,despitethegoodand the bad of the provocateur. It reminds me of the nature of devil, who relentlessly tantalizehumantoleavethegoodnessandincitehumantojumpintomaliciousness. CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph

7 ARTIST:IMADEWIDYADIPUTRA(LAMPUNG) NOONEESCAPESTHEDEATHIRIDE Resin,Silicon,Brass,Leather,LeatherPaint 145x170x90cm,2013 Thisworkissourcedfromthetaleof BismaGugur (FallofBisma).Itisasceneinthewarof Bharatayudha,inwhichthemightyandsorcerousResiBismacanonlybebeatenbythearrow thatflownbyawomannamedsrikandi,whosebodypossessedbythespiritofamba.thisisin accordancewithamba svowtowelcomingthedeathofbisma.ashasbeenknownintheshadow playstory,dewabrata(theyoungbisma)wasbelovedbyamba,butdewabratathathadvowed nottogetmarriedalonghislife,declinedtomarryamba.soaccidentallythatdewabratafiredan arrowontoambasbodyandkilledher.priortoherdeath,ambavowedtowelcomebismas death,somedayinthewarofbharatayudha,withanintercessionofawoman. BacktothesceneinthewarofBharatayudha,eventhoughBismahasbeenbeforehandstabbed byarjuna sarrow,yethewasfineandfeltnoailing.finally,usingsarotama sbow,srikandi succeededtoshootandcollapsebisma.falltoearth;bismawasproppedbyhundredsofarrows embeddedonhisbody.asthedescendantofgod,bismahashisownpowertoascertainhistime todie. Visually,asupinebodythatproppedbyembeddedarrowsisidenticalwiththefigureofBisma. SoistheworkcreatedbyLampung.ThoughLampungdoesnotspecificallydepictthefallof Bisma,hehasdeliberatelytakenaconditioninwhichafigurewaslayingsupineandbepropped byanumberofobjectsembeddedonhisbody.aconditioninwhichsomebodyisdroopinginsort ofresignationtomeethisdestiny.aconditionthatdescribingsilenceandtranquilityin welcominghisdeath. CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph

8 ARTIST:IMADEWIDYADIPUTRA(LAMPUNG) ShepherdinHatred Resin,brass,leather,leatherpaint,silicone,dacron 155x75x150cm,2013 Thework ShepherdinHatred narratingrelationshipbetweensengkuniandkurawa.sengkuni istheuncleofthekurawa,asheistheyoungerbrotherofgandari,kurawasmother.gandari herselfistheyoungersisterofprabu(king)gandarafromplasajenarkingdom.pandudewanata, whichistheyoungerbrotherofprabudestrarata,haswonputri(princess)gandariasaprize, afterdefeatingprabugandara.bypandu,gandariwasthengrantedtodestraratatobehisgroom, for Pandu has already had two wives: Kunti and Madrim. Sengkuni felt that Gandari was supposedtobepandu swife,insteadofbeingthewifeofblinddestrarata.itisthisstancethat later becoming his motive of not consenting the Astina Kingdom to fall into Pandawa s hands. ThatiswhySengkunikeptdisfavoringPandawa.UnderSengkuni supbringing,thekurawagrew askidswhoaredominatedbyhatredtowardthepandawa,thechildrenofpandu.ineverysingle day,sengkuniflamedasenseofhostilityintheirheart,particularlytotheeldestone,duryudana. Purportedly,SengkuniwasthereincarnationofDwapara,agodwhosedutyistocausechaosin world.lampungssixthworkdepictssengkunieducatingkurawa. Invisual,seemedafigureinshabbyleathercostume,holdingtherein.Atthereinend,several figuresthatlayeredbysiliconsqueezeswereattached.thissceneseemedmorelikesomeoneis herdinghiscattle.onethatisverypatientintakingcareofhiscattle,asiftofollowhiscattles volition,butinfact,still,thereinwereinhishands.ascenethatimpliestheexistenceofpower towardsomethingthoughcanalsobeseenthatthosewhowerecontrolledcanbringtroublesfor theircommander.asatireabovetherelationsofpower.whoarecontrollingwho? CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph

9 CiputraWorld1,JakartaRetailPodiumLv.12.Jl.Prof.DR.SatrioKav3>5,Jakarta12940Indonesia,Ph ARTIST:IMADEWIDYADIPUTRA(LAMPUNG) AHundredGreedyPerson Dacron,silicone,leather,leatherpaint 65x25x12cmx100pcs,2013 Thework AHundredGreedyPerson consistsofsomanyfigureswrappedbysiliconsqueezes with some seem to be wrapped by leather. This big amount of figures can be interpreted as Kurawa, 100 giants with the same nature: voracious. But observing its appearance which is anonymous,itwouldseemasabunchofdollsbeingdisplayed,orasatroopinmilitaryunit,even canbeconnotedasagroupofpeopleinvariousnaturesandbehaviors.