Menahan 2

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  • Condition Report

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  • Provenance

    Valentine Willie Fine Art, Kuala Lumpur
    Private Collection, Asia
    Borobudur Art Auction, Singapore, 11 October 2009, lot 165
    Acquired at the above sale by the present owner

  • Exhibited

    Kuala Lumpur, Valentine Willie Fine Art, Cilukba! (Peekaboo!): An exhibition by Kelompok Seni Rupa Jendela (Jendela Art Group), 26 May - 16 June 2007, pp. 16-17 (illustrated, p. 17)

  • Catalogue Essay

    When it comes to media and form, I choose the object as my interlocutor to build a perception of my own imagination when dealing with objects or observing an object.
    - Handiwirman Saputra

    Yogyakarta-based Handiwirman Saputra is one of the most acclaimed Indonesian contemporary artists who conveys his visual ideas by creating a new fissure within the realms of still-life painting and abstract surrealism. Presenting at the Venice Biennale in Italy in 2019, Saputra is the third Indonesian artist to be invited to the esteemed art event. His gaining international recognition and noteworthy exhibitions are partly attributed to his adept skill as a sculptor and painter, and distinct ability to straddle two- and three-dimensional mediums comfortably to put forth artistic concepts that question the audience’s perception of the world around them.

    Saputra is co-founder of the Kelompok Seni Rupa Jendela (Jendela Art Group), one of Indonesia’s most acclaimed contemporary art collectives. Having met during their time at the Institut Seni Indonesia (ISI) in Yogyakarta, the artist group comprising of Saputra and other celebrated artists Jumaldi Alfi, Mohammad Irfan, Rudi Mantofani, Yunizar and Yusra Martinus, Saputra officially established itself in 1996. Often seen as offering a counterpoint to their peers working with politicized themes, the Jendela artists provoke formalist readings by collectively adopting commonplace materials as a basis for artistic exploration and following their own instinct and intuition while addressing their individual concerns.

    Menahan 2 is a captivating work in nature, executed in a restrained colour palette of predominantly white tones. A white humanoid form floats against a white background, starkly contrasted with the black and broken yellow rubber band or string that ties around a part of the undefinable object. We are immediately drawn to the mere evocation of the presence of human features: a faceless head with a mouth held tight with a piece of string. Through the image, we begin to notice our thresholds of automatic symbolic association, yearning to find meaning behind the visual evocation to show that these forms resemble or represent something, whether it is meant to be a balloon, a human head, a piece of string, or a piece of rock. The title ‘Menahan’ itself suggests ‘to bear’, ‘to retain’ or ‘hold in’ and prompts an introspective evaluation of the eternal conflict between internality and externality, alluding to words or sentiments that are unrevealed and unspoken. Saputra navigates the human process of emotional constraint through the paradigms of surrealist aesthetics, and imbues the painting with such delicate emotional frequency, that calls us to embrace its inevitable beauty as such.

    Saputra uses regular everyday materials including cotton, human hair, plastic wrap, wood, which he then repositions in a manner contrary to convention, almost in the same vein as the French-American artist Marcel Duchamp would through transforming readymade objects into works of art. Menahan 2 is the result of the three-step process where Saputra carefully assembles foreign objects in actual three dimensions in his studio, photographs the new composition, then paints the object in enlarged scale onto canvas, a floating landscape of pure white. This system effectively serves to separate and remove the product from its origins, generate a new context, and incite fresh perspectives within the viewer to answer the paradigm of meaning in the work freely and independently. As such, his allure lies in composing artworks almost devoid of any artistic pretension. His paintings, an extension of the still-life genre, stay true to the thematic emphasis on the issue of perception and ways of seeing. He digs deep into the relationship between the extraordinary and the commonplace, and more specifically, how the power of perception can seize the imagination and alter one's impression of the ordinary. The ambiguity of his works is often heightened by a shift in scale, transforming the mundane into the monumental often with a sense of wonderment and absurdity, that is matched with his hallmark technical rigour and captivating realist techniques.

    Saputra’s significance for the Indonesian contemporary art scene is best described by Rikky Effendy as this: "In the map of contemporary art development in Indonesia, his works have contributed a different shade of colour, especially in the post-Reformasi era, when most artwork is tightly connected to the social and political discourse. The artworks depict a symptom of tradition, caught between the collective value of a society - which has lost its belief in such value - and the individual belief in fighting for such values. By poeticizing the everyday, he reflects a constantly shifting world.”

  • Catalogue Essay

    在媒介和形式方面,我選擇將物件作為我的對話者,以便在處理物件或觀察一個物件時建立起對我自己的想像力之洞察。
    漢迪維曼・沙普塔

    生活於日惹的漢迪維曼・沙普塔是印尼最受讚譽的當代藝術家之一,他通過在靜物畫和抽象超現實主義領域創造新的裂痕,來傳遞他的視覺想法。 參加2019年的意大利威尼斯雙年展,蘇普塔拉是第三位受邀參加這一備受尊崇的藝術活動之印尼藝術家。他所獲得的國際認可和所舉辦的值得關注之展覽,部分原因出自他作為雕塑家和畫家的嫻熟技巧,以及他出色的在二維和三維媒介之間跨越自如的能力,並由此發出質疑觀眾對他們周圍世界看法的藝術觀念。

    沙普塔是印尼最受讚譽的當代藝術團體之一,Jendela的聯合創始人。結識於他們在印度尼西亞藝術學院日惹分校(ISI)就讀的時候,由沙普塔和其他著名藝術家,包括艾爾非、穆罕默德·艾爾凡、曼度凡尼、尤尼扎和尤斯拉·馬丁努斯組成,沙普塔於1996年正式將其成立。經常被視為他們同時代的,創作政治主題的藝術家之對立面,Jendela小組的藝術家通過集體採用平凡無奇的材料,作為藝術探索的基礎,並遵循自己的本能和直覺,同時去關注他們的個人問題,從而激起形式主義的探索。

    《忍耐2號》是一件引人入勝的作品,其創作限制於白色之主色調上。一個白色人形生物漂浮在白色背景之上,與黑色和折斷的黃色橡皮筋,又或是系在那無法將其界定的物體上的細繩,形成鮮明對比。我們立即被其人類特徵的存在所吸引:一個沒有臉的頭,嘴巴緊緊地含著一根繩子。通過這個圖像,我們開始注意到自己對符號自動作出聯繫的反應,渴望在視覺印象中尋找含義,以表明這些形式類似或代表某種東西,無論是氣球、人頭、一根繩子或是一塊石頭。「忍耐」這個標題本身就暗示著「克制」,「保持」或「保留」,並促使人們對內在性與外在性之間的永恆衝突進行內省式評估,尤其是當人類面對無法揭示的事物,或無法言喻的語言。
    蘇普塔拉通過超現實主義美學的範例,去探索人類對情感進行約束的過程,為這幅繪畫注入了如此微妙的情感頻率,召喚著我們去擁抱它那無法抵抗的美。

    沙普塔使用常規的日常材料,包括棉花、頭髮、保鮮膜和木材,然後按照與慣例相反的方式將它們重新擺放,這幾乎與法裔美國藝術家馬塞爾·杜尚將現成的物品轉變為藝術品一樣。 《忍耐 2號》是三步過程的結果,沙普塔給新的構圖拍下照片,然後用放大後的比例將其繪製到畫布上,形成純白色的浮動景觀。該系統有效地將成品從其起源中分離出來,將其拋至一個新的現實中,並在觀者的內在激起新的視角,讓他們自由和獨立地去回答作品中的意義範式。如此,他的魅惑力在於構建幾乎沒有任何在藝術上自詡的作品。他的繪畫作為靜物畫題材的一種延伸,忠於其在主題上對感知和觀看方式的強調。他深入研究了非凡與平凡之間的關係,更具體地說,是感知的力量如何抓住想像力,並改變人們對平凡事物的印象。他的作品通常會因尺幅的改變而變得更加模稜兩可,將平庸的事物轉變成充滿驚異與荒誕的偉大事物,這與他標誌性的嚴謹和引人入勝的現實主義技巧相匹配。

    Rikky Effendy最為恰當地描述了沙普塔對印尼當代藝術界的意義:「在印尼當代藝術發展的版圖中,他的作品貢獻了一層不同的色彩,尤其是在「後烈火莫熄」(post-Reformasi)時代,當大多數藝術作品都與社會和政治語境掛鉤。作品描繪了一種傳統的症狀,被卡在一個社會的集體價值——但對這種價值的信念已然失去——和個人對爭取這種價值而奮鬥的信念之間。通過對日常的詩意化,他影射了一個不斷變化中的世界。」

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Menahan 2

2007
signed with the artist's initials and dated 'HWS 2007' lower right; further signed, titled and dated ‘Handiwirman Saputra “Menahan 2” 2007’ on the reverse
acrylic on canvas
165 x 165 cm. (64 7/8 x 64 7/8 in.)
Painted in 2007.

Estimate
HK$1,400,000 - 2,000,000 
€163,000-232,000
$179,000-256,000

Place Advance Bid
Contact Specialist
Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019