Gangguan Tenggara - Edisi Indonesia

18 September – 7 November 2020

Image - Eko Nugroho, Lot Lost 2013-2015, synthetic polymer paint on fibreglass, manual embroidery rayon thread on fabric, and vinyl, installation dimensions variable. Art Gallery Of New South Wales Collection, Purchased with funds provided by the Neilson Foundation and Dr Dick Quan 2015. Image - AGNSW and the artist


Gangguan Tenggara - Edisi Indonesia is the fourth and final instalment of the BVRG’s South/East Interference exhibition project curated by the BVRG Director Iain Dawson.

Celebrating an evolving conversation with contemporary Indonesian artists, Gangguan Tenggara - Edisi Indonesia brings works from Zico Albaiquni, Eko Nugroho and Leyla Stevens to regional Australia.



b. 1987

Zico Albaiquni’s vibrant figurative and landscape paintings play with aspects of Indonesian art history and notions of painterly representation. In particular, he deploys references to various Indonesian traditions such as Mooi Indie (‘beautiful Indies’) painting — a genre of painting capturing romanticised scenes of the Indonesian landscape and its people under Dutch colonial rule. Albaiquni’s unusual and intriguing colour palette developed from the tonal formulas of this early tradition. He also references the links between art, advertising, and the commodification of landscape to investigate contemporary environmental issues in Indonesia. His large-scale works challenge conventional perspectives and formats, often playing with trompe l’oeil illusions and disrupting the rectangular borders of the canvas. In recent paintings, Albaiquni has begun to question the context and operation of painting by incorporating his own studio into his composition, or installing and circulating paintings in public spaces.



b. 1977

With its distinctive fusion of styles and influences, the art of Eko Nugroho defies categorisation.

Eko Nugroho is one of the most acclaimed members of the young generation of Indonesian contemporary artists. Nugroho’s work represents the daily life of Indonesian society, which is on one hand strongly hierarchical and Muslim-influenced and on the other hand influenced by globalization and the western value system.
Working across drawing, painting, sculpture, animation and embroidery, this acclaimed Indonesian artist draws inspiration from Javanese traditions such as wayang theatre and batik, as well as street art, science fiction, comic books and other forms of popular culture. 

His immersive installation Lot lost 2013-15 takes us to the streets of Yogyakarta, the artistic and revolutionary capital of Indonesia where Nugroho has been based for the past two decades. The work presents a finely attuned, darkly humoured and – as always – wildly imaginative look at everyday life and politics in Indonesia.

Belonging to the generation of Indonesian contemporary artists that emerged during a period of great political upheaval and reform in the late 1990s, Nugroho is deeply engaged with his local community yet unabashed in his global outlook. Lot lost not only reflects the scope of Nugroho’s practice and his playful experimentation, but also his daring attitude towards rethinking Indonesian cultural identity within a contemporary context. 



b. 1982

Leyla Stevens is an Australian-Balinese artist and researcher who works predominantly with moving image. Working within modes of representation that shift between documentary and speculative fictions, her work deals with a notion of counter histories and alternative genealogies. Stevens holds an MFA by Research from Sydney College of the Arts and since graduating in 2011 her work has been exhibited both nationally and internationally. Past exhibitions and selections include:  2019 UTS Gallery Their Sea is Always Hungry, 2019 Emerging Artists Fellowship ARTSPACE Sydney, the 2018 John Fries Award at UNSW Galleries; BEAUT 19, Triennale of Unwhere, Brisbane, 2019; Of Love and Decomposition, Firstdraft, 2016; the 2014 NSW Visual Arts Fellowship (Emerging) at Artspace; and SafARI, 2014. She is currently undertaking doctoral research at the University of Technology Sydney, which has been supported in part by an Australian Postgraduate Award.