Valentine Willie Fine Arts Singapore is proud to present Temple of Threshold, a solo exhibition by Bandung-based artist Albert Yonathan. The exhibition will feature Yonathan’s recent works that cover his diverse artistic practice, from ceramics sculptures, installation, drawings, to performative, site-specific work that responds to the gallery situation.

Albert Yonathan (born in Bandung, 17 June 1983) has continued working with ceramics as the main medium of his practice since he graduated from the Faculty of Art and Design, Bandung Institute of Technology in 2007. Compared to other Indonesian artists in his generation, his approach toward the material is rather unique and pensive. Yonathan personally considers the process of building and casting three-dimensional forms from the amorphous, natural clay as something that represents impalpable transformation. From mud processed into clay, moulded or cast it with bare hands into shape, and burnt to become a sculptural objects that could encode meaning through human craftsmanship and perception, the transformation always involves a totality of nature’s power, which is often unexpected and surprising.

From such an understanding, Yonathan has developed visual idioms that relate to the idea of the ‘liminality’, namely a state of transition at the boundaries. He persevered with creating ceramic object representing an imaginary character or a creature that is a combination of two or more living existence—human, animal or plants simultaneously. His works often appear in arrangements of hundreds of ceramic cast modules in geometric outline such as triangle, circle, hexagon or square. Since the method of ceramic casting can never produce sameness as found in mass industrial products, Yonathan proposes the idea of singularity in the life cycle of universe. While suggesting the power of collectiveness in cosmos, the repetitive appearance of the works also stress the idea of a spiritual contemplation on the values that transcend the visible reality.

Opening : Saturday, February 12, 2011 at 7:00pm
Closing : Sunday, February 27, 2011
Venue : Valentine Willie Fine Art Singapore
Address : ARTSPACE @ Helutrans, 39 Keppel Road, Tanjong Pagar Distripark, #02-04*, Singapore 089065, *(access by Passenger Lift #6)

The ceramic pieces were fired in a single-chamber Japanese-style wood kiln called an anagama, built recently at Gaya Ceramic Arts Center. Typically kilns of this nature are constructed partially buried into a hillside and have the appearance of a long tunnel. They range in size, as well as length of firing (some fire up to an entire month; while our kiln fires for 3 consecutive days). Wood is the single and only fuel used to attain a temperature close to 1280C.

However, the wood acts not only as the source of temperature gain, but also the essential decorative element, as most of the ware is fired without any applied glaze whatsoever. Throughout the firing, tiny particles of wood ash float through the kiln as if on a river of flame. These particles settle thinly or densely upon the ware, depending upon the placement of a piece, and create a patina that ranges enormously in color, texture, and sheen. The flame itself also plays a role in “painting” the clay surfaces, as it searches for the most expedient path through the kiln.

The variables involved in such a firing are many and only slightly controllable. It is precisely the enormous element of chance that intrigues and bewilders and intrigues yet again. It is truly an alchemy: the serendipitous process of turning wet earth into an everlasting vessel whose sheen looks as if it had been dredged from the most ancient of shipwrecks– a patina worthy of gold.

Similarly, the canvases remain dedicated to the creative process of layered discovery, incorporating texture built up from a deft use of oil pigments, encaustic (melted wax), and a crackled base of raw clay itself. Texture is employed in various degrees as an emphasis for the dexterous layering of color and form, until texture predominates while color drops away.

Hillary Kane:
“I see my artwork as a journey in which the process, the very visceral act of creating is as significant as the final outcome. It is labyrinthine in its development and I am often surprised by the intuitive level of its revelation. I am entranced by the visual traces of this journey and the slow development of a patina of color and texture, the subtle variation of simple forms, and the impact of timing, of time. To me, these layerings offer clues to the many visual references, the many voices, the many possibilities of interpretation.”

For artist and nomad, Hillary Kane, the world continues to draw her out like the tide. Travel and work has led her to claim residence in several continents and innumerable countries. Inevitably, the artistic culture of each has imparted indelible influence upon her own work and continues to be an endless source of inspiration. Educated in the United States and France, she now resides in Bali, Indonesia. She focuses her creativity in both clay and paint, enjoying the dynamic of two very different mediums and their possible confluence. She has recently attended an international wood fire conference in La Borne, France, and completed a wood-fire residency in Aomori, Japan. After a year as artist-in-residence at Gaya Ceramic and Design, she is now developing workshops, courses and residencies for Gaya Ceramic Arts Center in Bali, Indonesia.

“I carry in my blood a restless life, and in my wandering, uncertain, a pilgrimage, art goes lighting my way as if it were a fantastic comet.” (Chief Nitsuga Mangore, Brazilian drummer)

Opening: Friday, 10 September at 7:00pm
Closing: Sunday, 10 October at 12:00am
Venue: Gaya Art Space
Address: Jl. Raya Sayan, Ubud – Bali

Karya Tokoh Seni Rupa, Scenografi/ Tata Artistik, Karya Pengajar
Venue: Lobby Grand Teater TIM

Instalasi
Venue: Plaza Grand Teater TIM

Ilustrasi, Multi Media
Venue: Galeri Cipta 3 TIM

Karya Mahasiswa
Venue: Galeri Cipta 2 TIM, galeri Seni Rupa IKJ

Workshop
Date: 5 – 8 Juli 2010
All Venue: Galeri Cipta 2 TIM

Seni Grafis
Date: 5 Juli 2010

Keramik, Batik, Kriya Kayu
date: 6 Juli 2010

Lukis, Komik dan Ilustrasi
Date: 7 Juli 2010

Aksesoris
Date: 8 Juli 2010

Pojok Seni
Date: 3 – 12 Juli 2010

Pasar Seni, Musik
Venue: Area Parkir Galeri Cipta 2 TIM

Temu Artis
Date: 10 Juli 2010
Venue: Galeri Cipta 2 TIM

Untuk informasi hubungi:
Fakultas Seni Rupa Institut Kesenian Jakarta
Jl. Cikini Raya No. 73 Jakarta Pusat 10330
Kompleks Taman Ismail Marzuki (TIM)
P. 62 21 3901965, 3929205
F. 62 21 3915225
E. senirupaikj@indo.net.id
W. www.fsrikj.ac.id

Two forms of existence presented simultaneously in one manifestation is what has become the main idea of this exhibition. A Hybrid reality that represents an unusual condition. The Embodiment of an imaginary creature characters that do not really exist in actual reality is a metaphor for the relationship between human and the cosmic of nature. This hybrid creature character if associated with Gustav Jung’s collective unconscious theory, can be entered in one type of archetype categorization. Archetype is a representation of values in human behavior patterns that collectively binding. When a group of people create characters that resemble an animal as well as humans, in which case it contained a form of confidence in the presence of another figure or other forces beyond mortal can be seen and encountered every day. Where these forces can’t be separated from everyday life of humans. The portrayal of these figure which have some characteristics of the human’s bodies and identities, reflected an interpretation of a kind of forces that can communicate with humans. This is a belief which is a form of spirituality that has developed since ancient time from a group of ancient society. Show a kinship between humans and nature, and also about their origin.

Specifically in this exhibition, the embodiment of humans and birds are present simultaneously in a symbolic meaning. Meaning refers to the symbolic meaning in some cultures that consider the bird as the embodiment of figure messenger, or also the symbol of the human soul. Symbolic meanings are adapted to try to convey an idea about the human desire to relate to nature. Birds and plants in this work are used as a symbol to display a spiritual aura. A peace which refers to the calmness and orderliness of the universe. In this case the artist wants to convey how the peace and order had become one of the important need for human beings everywhere. Something becomes a spiritual issue, if shown a willingness to construct and interpret a relationship with a force that regulates life. These works are a way for the artist to reach a spiritual dimension, a contemplation of the values that transcend the visible reality.

Referring to the term liminal above, this exhibition is about a phase where there is silence for people to realize the values that sets human beings as spiritual beings. Are able to realize the things beyond the visible and transcendent. These works are a form of contemplation of the repetition method. Ceramic itself is transformed out of clay and is never can be separated from cultural meaning. Ceramic as an artifact reflecting the process of creation that involves soil, water and fire, and involving hand skills that is a direct experience with the material, can be interpreted symbolically as a process of spiritual transformation. On the other hand it also brings a tactile aspect of the object as special / unique character. The artists in this ‘Liminal Being’ exhibition, through the works displayed, is able to differentiate itself from the common tendency of ceramic works such as pottery and figurine for instance. Three-dimensional object repetition method works is positioned closer to the works of installation art that comes from the development of sculpture practice. A.Y/2010

Start Time: Wednesday, 5 May 2010, 7.30 pm
End Time: 19 may 2010
Venue: The Japan Foundation’s Hall
Address: Summitmas Building I, 2nd floor Jl. Jend. Sudirman kav 61-62, Jakarta Selatan
Open from Monday – Friday, 10 am – 6 pm
Close on Saturday and Sunday

followed by artist talk and discussion

SPONTANEOUS GLAZING: Anagama Wood-firing

Delighting in the element of serendipity and spontaneous beauty, this workshop will explore the kiss of flame and the natural glaze effects of atmospheric wood-firing in Gaya CAC’s new anagama (Japanese-style wood kiln) with woodfire specialist, Dave Hanley . Participants will experiment with the variables of clay bodies and flashing slips, surface texture, and vessel shape as design factors influencing the subtle and dramatic effects of a natural ash surface.

Instructors: Dave Hanley and Hillary Kane
Course Level: minimum beginning throwing/hand-building skills recommended
Dates: March 21-April 3, 2010

PLEASE VISIT OUR WEBSITE FOR ALL THE DETAILS, CERAMIC WORKSHOP (www.gayafusion.com/ceramic)

This series of Friday – Saturday two-day workshops offer a range of focal points for variety of interests

Agenda:
Basics; introduction to the wheel
January 8-9, 2010

Dynamic Handbuilding
February 13 – 14, 2010

Throwing Basics and Beyond; continued introduction to the wheel
February 26 – 27, 2010

Plates and Bowl; throwing from simple to complex
March 12-13, 2010

Vases; tall, narror, rounded, flared-throwing and handbuilding
April 16 – 17, 2010

Teapot; handles, spouts, assemblage
April 30 – May 1, 2010

Glazing; numerous approaches to glazing for highfire gas
June 4-5, 2010

Raku and Smoke; firing sample
June 18-19, 2010

For more information:
Gaya Ceramic and Design
Jl. Raya Sayan, Ubud 80571
E. workshops.ceramicanddesign@gayafusion.com

Ambil segenggam lempung/ tanah liat, lubangi ditengahnya (Lao Tze) maka karena ruang itulah dia menjadi berguna sebagai wadah.

Mangkok porselin adalah sebuah wadah yang tidak mudah terkontaminasi sekalipun dituangi racun dan juga tahan akan suhu tinggi, tetapi porselin amatlah rentan benturan dan mudah pecah.

Tumpuklah berkeping-keping batu hingga tersusun menyerupai tonggak atau menara, disitulah kegunaan bebatuan, mereka akan menjadi penanda siapa penatanya. Begitulah peran sebagai penanda hendak mengisi mangkok dengan apa, atau bagaimana cara membawa/ merawat/ menghormati tergantung padanya.

Hari Prajitno

Yogyakarya 31 Januari 2010
Museum Dan Tanah Liat

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Start Time: Wednesday, February 3, 2010 at 7:35pm
End Time: Sunday, February 21, 2010 at 12:00pm
Venue: Museum Dan Tanah Liat
Address: Menayu kulon no. 55 Tirtonirmolo, Kasihan, Bantul, Yogyakarta, Indonesia

Officiated by Agus Burhan

Special Performance : The Rescue Band & Bambu Wukir

Artist Talk: February 5, 2010 – 15.32 WIB at Museum Dan Tanah Liat

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Humans, constructions, animals, and plants serve as the basis for the modules in Albert’s configurations. These modules seem to represent the universe and all its content. The underlying problem that unites these components, however, is not immediately apparent. We can view Albert’s works as symbolic artwork, but one with no binding meaning; rather, the artwork has an open meaning that suits each of our perceptions and backgrounds.

It is undeniable that the repetition of the same objects (i.e. the modules) is the most significant part in Albert’s works in this exhibition. It states that the individual is not important; what is important here is the entity that consists of the whole constituents—which in this case are the human beings and the universe. Here, the modules that represent humans, animals, plants, and constructions can be viewed with the perspective that considers the relationship between humans and culture or nature. On the subsequent level of signification, one can also say that Albert’s artwork also symbolizes the problem of human existence; the existence and the “purpose” of human’s existence on earth.

Albert’s works are interesting precisely because they do not talk within the social and political framework, but instead with the perspective that considers the essence of human’s existence in this world. They are even more interesting because Albert Yonathan is presenting the issue using ceramic works, whose presence in the contemporary art world in Indonesia is still minimal, and are therefore often seen as unimportant.

Start Time: February 11, 2010
End Time:February 15, 2010
Venue: SIGIarts Gallery
Address: Jl. Mahakam I No. 11 Jakarta 12130

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Adding public appreciation towards the art of ceramic, there will be sessions of lecture about the development of art and the practice of ceramic and workshop of Japanese Raku technique; also the one open for public is shaping ceramic on potter’s wheel. It is a high hope that this contemporary ceramic biennale, organized by NAS, bring the development of both national’ and international’s ceramic practice.

In the purpose to gain wider public appreciations and to support The JCCB#-1-09 , NAS as the organizer invite Ceramic Stuidos and some Ceramic Shops and Galleries, to participate in the Bazzar that will be held during the exhibitions. See the details:

Venue: Pasar Seni Ancol Jakarta
Time : 9.00-17.00
Day : Every Saturday and Sunday
Date : 20 Des, 26-27 Des 2009, 2-3 Jan 2010, 9-10 Jan 2010, 16-17 Jan 10

Facilities : 1 booth approx : (3×3) m2/free/no commission charge
Free ticket to Ancol

INTERESTED?. …
Book your booth immediately, booths are limited.

Contact:
Ms. Nia Gautama/ alampot@yahoo. com/0811- 193869

p.s.: please share this information to some potential ceramic studios/shops.

Thank You,
Nia G
Public Program Coordinator
JCCB#-1-2009

Sunday/20-12- 09
10.00 : Opening Speech by Mr. Budi Karya (Director of Ancol)

Session I
10.20 : Opening by Moderator : Nurdian Ichsan
10.20-11.20 : Contemporary Ceramics Art Development by Asmudjo Irianto
11.20-12.00 : Jakarta Contemporary Ceramics Biennale by Rifky Effendy

Session II
13.00 : Opening by Moderator : Rifky Effendy
13.15-14.00 : Venice Biennale Project by Jason Lim (Singapore)

Session III
14.00 : Opening by Moderator : Asmudjo Irianto
14.10-15.00 : Ceramic Development in Malaysia by Shamsu Mohamad

Registration
Nia Gautama : alampot@yahoo. com
Farida Kusuma : faridakusumar@ yahoo.com