1
P amer an t un g g a l
UGO UNTORO E s ai ol eh Sta ni sla us Yan gn i
object #2
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ballpoint on tape lifesize tape 2013
foto keluarga ballpoint on cardboard framed dimensions variable 2012 - 2013
3
4
object #1
P e ng a nta r PA M ERAN
ballpoint on book lifesize book 2013
. pada sebuah coret St anisl aus Yan g n i
1/ melepas lukisan
dalam ingatannya.
Ugo yang kita kenal selama ini adalah
Tapi ia tak melukis seperti Sudjojono
Ugo yang melukis tubuh, figur, bentuk.
melukis. Terlebih kali ini. Ugo sedang
Kendati ia salah satu yang sering
tak
menyertakan tulisan dalam lukisannya,
Pendeknya, ia jenuh dengan bentuk.
tapi kita lebih mengenalnya sebagai
Maka, sapuan kuas yang terkesan asal-
pelukis figuratif, dalam arti ada bentuk,
asalan ‘ala’ Sudjojono pun tak tampak,
ada sosok dalam lukisannya.
dan satu pun bentuk dalam arti figur tak
ingin
menggambar
bentuk.
muncul. Kali ini seluruh latar belakang Tapi ada suatu masa di mana bentuk
lukisannya monokrom, dan sapuannya
itu
membosankan,
tak kelihatan sama sekali. Ia menulis di
dan melukis tampak menjadi seperti
atas kanvas. Lukisannya tulisan. Ugo
menghias. Ini mungkin merekam ingatan
melukis tulisan. Dengan kata lain, Ugo
masa awal remajanya, saat Ugo masih
menulis.
menjadi
begitu
berseragam putih-biru, jatuh hati pada Koleksi
Tak hanya bentuk. Ada hal lain yang
Lukisan Soekarno. Lukisan itu tak hanya
khas dalam lukisan yang ingin ia
figur, tapi juga ada tulisannya.
‘singkirkan,’ yaitu yang dia katakan
lukisan
Sudjojono
di
buku
sebagai aspek artistik. Lukisan, atau Sejak
itu,
Sudjojono
begitu
hidup
karya yang memuat kata ‘seni,’ mau
5
6
7
tak mau mengandung, atau nilainya
menemukan bahwa menulis – tangan
Ugo
terletak pada “artistik.” Artistik – dalam
yang
huruf,
pendapatnya
konteks ini (berbeda dengan ‘Yang
mengurutkannya
sama
lukisan
Indah’)
dengan melukis.
bergerak
membentuk
juga
tidak
mengabadikan
orang berpikir. Mereka melek tipografi.
seni
dan
Tapi
karya
mengenai
Ugo
tidak.
Ia
hanya
ingin
John
bercerita dan melukis dengan cara
Baldessari, What Is Painting (1966-68)
terus menulis. Ia bahkan tampak tanpa
yang sudah dianggap ‘standar,’ mapan
dengan huruf cetak dan latar belakang
maksud untuk berkomunikasi, maka,
dalam seni rupa, seperti komposisi,
polos, atau Mel Bochner, yang kendati
kalau pun tampak ada cerita pada
memang ingin membuat “apa yang
beberapa kanvas, semuanya terkesan
tidak tampak sebagai seni,” namun
hanya mengalir dan patah. Sobek. Ia
berupa
elemen-elemen
rupa
garis, warna, tekstur, volume, dan sebagainya.
Walaupun
-
dirasainya
2/ melukis tulisan
dalam
pada karyanya tampak ‘tertata,’ ada
menulis tidak berawal dari tema, dan
yang
pertimbangan komposisi, olahan latar
kalimat
Bahkan,
ada
belakang, dan cenderung sarat konsep
sebelumnya adalah rangkaian kata-
tampakan
hingga orang harus berpikir ketika
kata yang muncul begitu saja, lahir
melihatnya.
di saat bersamaan ketika ia dengan
Lukisan tulisan ini mengingatkan kita
tak dipedulikan, dalam arti tertentu,
pada
dilampaui
menggunakan
–
namun,
setidaknya,
kecenderungan
tetap
beberapa
masih memuat pertimbangan pilihan,
visualnya
misalnya
Ugo
melukis,
menurutnya,
warna,
atau
komposisi.
teks.
karya mirip
bukan
pada
karya
lukisan figuratifnya itu semua sudah
ketika
seperti
yang karya
Ugo.
seniman
teks.
Tapi
Ia
menggunakan teks seperti tren seni
Tulisan Ugo juga tak ditata sedemikian
ingin membebaskan diri dari itu, bak
konseptual
rupa seperti puisi Sutarji yang ditata
laku kenosis – mengosongkan diri,
konon marak di Amerika 1970an. Teks,
sedemikian
rupa
melepaskan diri dari lukisan, melupa
atau tulisan dalam karyanya, itulah
ornamentik
melalui
sebentar, menjaraki diri, sambil tak
lukisannya.
kata, bukan pula karya kolase berupa
avant-garde
yang
kalimat
memiliki
kanvas.
aspek
permainan
suku
3/ act of painting
tempelan teks dari berbagai sumber
Dulu ia pernah menulis dengan sangat
Oleh karena itu ia berbeda dengan
seperti
misalnya,
pendek, dikumpulkan dalam sebuah
Annabel
Daou
atau Molly Springfield yang banyak
buku Short Short Stories. Tapi kini ia
konstitusi,
The
bisa, dan tak mungkin menyangkal bahwa ia sedang melukis.
setelah
kuas, pena, atau spidolnya menyentuh
tak
Masih dilihat-lihat enaknya gimana. Ia
era
selanjutnya
yang
menyalin
Leonore
Tawney,
the
menggunakan teks dari buku teks yang
menulis lebih panjang dan lebih banyak
yang tampak bukan lukisan dengan
Cause and Necessity of Taking Up
difotokopi, atau dirangkum, semacam
dari yang selama ini mungkin pernah ia
semangat melukis.
Arms (2006), atau karya transliterasi
notes bacaan. Karya tulisan Ugo juga
tulis. Ugo bak ngomong dhewe, bicara
pada
berbeda dengan Mira Schor yang
sendiri lewat tulisan tangannya. Tak peduli apa itu akan dibaca, ditelaah,
Ia
seperti
sedang
kembali
pada
In
Declaration
Constitution
of
(2006)
yang
Maka muncul lah karya-karya yang
mentranskrip teks dari bahasa Inggris
‘melukisi’
kalau
tampak
ke Arab, kendati tampilan visualnya
sepatah
yang
atau diapakan. Ia hanya ingin menulis.
sangat manusiawi - dan mungkin saya
tulisan tangan nyaris penuh, sekilas
karyanya pernah dijuluki linguistic art,
Maka, kanvas besar-besar diawalinya
bisa katakan: telanjang. Ugo tidak
serupa
tujuan,
atau yang lebih lampau, Rene Magritte
dari ujung tanpa garis tepi, sampai ke
ingin berhias, atau pun menghias. Ia
semacam konsep dalam karya Daou: ia
yang bak bermain dengan teka teki
ujung kanan tanpa garis tepi.
hanya ingin bercerita, apa pun isinya.
ingin memperlihatkan adanya missing
antara teks dan image.
Dengan menulis ia merasa lebih bebas,
character
tanpa harus distilisasi, diurutkan, dan
pada proses transliterasi.
dilihat
lebih
jauh,
sebagainya, hingga pada akhirnya ia
karya
yang
Ugo.
tak
Ada
bisa
bidang kata,
kosong
Joseph
dengan
Kosuth
Tulisan tak bertepi ini muncul pada
dielakkan kesadaran
sebagian besar karyanya, di antaranya
‘memainkan’ teks dan makna, membuat
Mata Kaki (2013), Akhirnya Anjing
Mereka
tampak
punya
8
9
(2012 - 2013), Dari Bawah ke Atas
menulis. Tanpa sadar ia membawa
Selain kanvas yang tanpa tepi dan
masa depan seakan lebur jadi satu.
(2013). Di sana kesan tak selesai
kita
itu
dipenuhi kalimat ‘cerita,’ ada lagi
Tanda
begitu kuat. Kendati pun kanvas telah
sendiri,
kreasi:
bentuk lain: berbagai adegan yang
ia hanya hadir di balik kata “sore,”
penuh, kesan belum selesai itu tetap
Kembalinya spontanitas yang inheren
tak
“siang,”
muncul. Juga pada karya lainnya, misal
dalam proses melukis itu, sebuah “aksi
tindih dihadirkan dalam satu kanvas.
Waktu tampak begitu tiada di tangan
Minus (2013). Tulisannya bak bertahan
melukis” – yang harusnya bebas dari
Pada
(2013),
Ugo. Tidakkah ia, waktu, punya tanda,
selalu di tengah-tengah, selalu seakan
kekhawatiran akan yang artistik.
kanvas besar di bagian kanan tengah
dibunyikan dengan angka karena kita
berisi
memang harus menyebutnya?
‘sedang
dalam
proses
pada
pengalaman
sebuah
melukis
perjalanan
pengerjaan’
ada
kaitannya
Puntung
bak
tumpang
Panjang
potongan-potongan
kalimat,
waktu
hanya
“hujan,”
melintas,
dan
dan
sebagainya.
hingga pada akhirnya bukan lagi isi
Pada karya Dari Bawah ke Atas (2013),
“Lautan karang. Burung-burung yang
yang akan kita lihat, melainkan act of
kita bisa membacanya dari manapun.
berjatuhan. Simpang tujuh. Perempuan
Kesan ‘tanpa tepi’ ini muncul juga
painting, yang dalam istilah Deleuze
Ugo memang menulis dari bawah ke
cantik” dan berisi beberapa baris frase-
pada bentuk lain, Regasa (2013).
sebagai “diagram,” atau “graph,” dari
atas, tanpa berurusan dengan urutan
frase semacam itu. Di bagian lain,
Walau
kata Yunani, Diagraphein yang artinya
apa yang ditulisnya hingga kita bisa
ada tulisan kalimat sangat tipis, tak
kesadaran akan komposisi: tulisan di
memberi tanda-tanda, coretan, garis-
membacanya dari mana saja. Ada
sebanding dengan latar belakang hijau
tepi kiri memenuhi bidang kanvas, rata
garis, sesaat sebelum lahirnya lukisan.
cerita di dalam cerita, dan berbagai
tua gelap itu, dan di bagian lainnya,
kanan hanya beberapa centimeter dari
Ia
adegan
direncanakan.
ada huruf-huruf Arab. Kanvas ini berisi
tepi kiri kanvas, sedangkan bidang
kembali karena nyaris selesai, tampak
Lapisan-lapisan ini dimungkinkan hadir
setidaknya sepuluh sobekan (kalimat-
sisanya,
selesai, bisa sudah, bisa belum, bisa
karena Ugo tidak terperangkap alur dan
kalimat yang tak ada hubungannya
kosong. Yang kosong ini barangkali
barusan mulai, dan bisa dilanjutkan.
tanda waktu. Ada tokoh cerita dengan
satu sama lain tapi ada bersamaan di
juga penuh, dipenuhi yang lain yang
Ia meminta untuk dilanjutkan, dimulai
nama dan kegiatannya, ada deskripsi
atas kanvas). Bentuk sobekan-sobekan
‘mendesak’ tulisan hanya di tepian,
kembali, karena awal dan akhir, mulai
kejadiannya, dan hampir semua bidang
yang terkumpul ini juga tampak pada
nyaris terpotong. Ruang kosong itu
atau selesai, pada akhirnya adalah
ditulisi bisa jadi tanpa klimaks, hanya
Igau #2, ada kalimat yang dicoret, ada
seakan meminta untuk diisi, tapi juga
sebuah keputusan, bisa jadi ilusi, demi
cuplikan,
sobekan
tulisan pensil, dan cerita super pendek
sekaligus
pemahaman.
kertas koran pembungkus nasi yang
tentang seekor gagak yang bunuh diri.
penuh. Isinya bak sobekan cerita dari
bak
sketsa
yang
meminta
kita
yang
tak
sobekan
(ingat
‘dimatikan,’
muda,
sudah
Kita bertemu juga pada kalimat runtut
tampak kisah yang terus ngomong,
karena ia terpotong). Klimaks bisa saja
dalam
bicara
terus
terjadi di kanvas yang lain secara tiba-
Sangkuriang
melintas, seperti sebuah nomadic line,
tiba, sebuah klimaks dari kisah yang
tentang
garis yang dinamis, berpindah, tanpa
lain lagi. Tak jarang, dengan gaya
ibunya karena senang bertualang di
berapa baris, bisa dibaca berputar,
arah yang pasti, dan tampak tanpa
tutur seperti ini, cerita lahir di tengah,
hutan. Namun, kalaupun kalimat itu
mulainya bisa dari mana saja. Karya
henti. Maka, di sini, bisa jadi Ugo
atau menjelang akhir, misalnya Dinamit
runtut, alur jelas, paling tidak bisa
ini tampak ‘penuh,’ lengkap, sekaligus
sebenarnya sedang melukis (tentang)
(2013), yang setelah banyak bertutur
kita bayangkan peristiwanya, tetapi
tak lengkap, sebab membacanya pun
melukis,
tentang
ada yang lain: perihal waktu. Antara
tak pasti, selalu berputar, bisa berawal
mimpi, kenyataan, dulu, kini, atau
lagi
melukiskan
sembari
melukis,
atau
menulis (tentang) menulis, menuliskan
apapun,
kemudian
kecewa
telah
hijau
menarik,
kita,
sedikit
monokrom
muncul
Mata Kaki (2013), misalnya. Di sana pada
kita
masih
dunia persilatan.
kalau kita baca dan merasa beritanya tapi
terkesan
merucut
pada sebuah adegan menegangkan.
Ugo,
seperti
karya
Bentuk
(2013),
sebuah
cerita
lakban
(isolasi),
adegan
yang
tulisan bocah
kecil
yang
dipukul
lainnya,
tepat
tulisan-tulisan tak
ketika
misalnya, lengkap,
berakhir,
pada sebuah hanya
karena
10
11
ketika membaca dan merasa maju,
menarik, tapi tak sekuat karya-karya
naratif,
sebenarnya kita kembali lagi ke kalimat
tak bertepi di kanvas besar Ugo. Foto
bisa jadi terlalu linear, sudah tampak
mematikan
peristiwa.
Kisah
dan
yang barusan, one-just-after dan one-
Keluarga (2012 - 2013), misalnya,
jadi, selesai, dan tak lagi melahirkan
penelitian seni rupa, filsafat, dan
just-before: ia hanya melintas.
tulisan pada potongan kardus-kardus
imajinasi bagi pembaca. Semangat
estetika.
Stanislaus
Yangni
fotografer Pernah
bekas yang diframe. Ada banyak kisah
Ugo tetap puisi, walau di karyanya
jurnalis
Karya isolasi ini agak bertolak belakang
di sana hingga kita bisa menikmati
kali ini, agaknya hanya satu dua yang
kontributor
dengan meteran, kendati semangatnya
membacanya, kisah-kisah tampak lebih
tampak ‘puitis.’
dan
sama. Pada karya meteran, kita bisa
personal, cenderung melankolis. Karya
dengan
lain,
di
Arts,
beberapa rupa
yang
tulisan pernah
dipublikasikan, antara lain di Koran Tempo, Suara Pembaruan, dan Mata
baris. Meteran, yang notabene ada
sebagian
kreasi itu sendiri, act of painting, pada
Jendela, menulis buku yang baru
ukurannya, telah menjadi begitu cair
pendek untuk Tanah, anaknya. Ada
sebuah momen ‘coret.’
saja terbit, dari Khaos ke Khaosmos,
justru karena ia ditulisi – bukan karena
lagi autobiografi, tertutup di dalam
dihapus ukurannya. Kata-kata itu yang
sebuah amplop putih besar, misterius
Melalui momen menulis yang tak henti
Ia lahir di Lampung, 1982, pernah
memancing kita untuk tidak berhenti. Ia
seperti kisah Purloined Letter karya
itu, ia seperti sedang mengoreksi lagi
mengenyam pendidikan di Psikologi
berguna, mungkin, untuk mengingatkan
Edgar Alan Poe.
melukis,
Sanata Dharma, STF Driyarkara, dan
kanan,
jelas dan
membacanya, hanya
satu
tulisan
lama,
besar
tertanda surat-surat
2011 super
Estetika Seni Rupa (Erupsi, 2012).
Ia
kita bahwa ada jenis waktu yang tak
lukisan,’
Visual
Indoart&Lifestyle,
ia
sangat
‘melepas
seni
sebagai
telanjang, dan kembali pada proses
ke
Ugo
di
penulis menekuni
pada batang-batang rokok Marlboro,
kiri
Ketika
bekerja
majalah
menulis
tentang
(Sius),
lepas,
mengoreksi
seakan
mengalami
lagi
menulis.
lagi
melukis
bisa sepenuhnya diukur. Meteran itu
Menulis, dalam konteks ini, mungkin
dengan cara yang berbeda. Setiap
dibentang penuh dengan tulisan yang
adalah sebuah kesadaran bahwa kita
kata,
berisi potongan kisah seperti juga
selalu tergelincir karena tiada sebuah
seakan meminta untuk ‘direvisi’ hingga
karya pada tepian buku.
kata pun yang mampu mengungkap
tak ada selesainya untuk ditulis lagi.
keinginan, kalau mengutip kata-kata
Tulisan yang selalu (harus) dituliskan
Kendati diam, tulisan di mana-mana itu
dalam film Andrei Tarkovsky, Stalker,
kembali ... karena kata tak pernah
mengajak kita untuk sama-sama mumet,
“How would I know the right word for
abadi. Kesadaran akan kesementaraan
dengan kesan monoton yang kuat,
that I want?” Barangkali ada lubang
itu
sama-sama
pengalaman
pada setiap kata hingga ada puisi,
Derrida
membaca: potongan-potongan tersebut
ada kalimat, kata yang selalu ditulis
jejak, trace, kemudian meninggalkan
hampir pasti langsung bisa dilupakan
lagi – di momen ini, Ugo menulis
sebuah pesan pada kita tentang cara
dan demikian cepat berganti dengan
terus dengan satu kesadaran yang
menggunakan kata: bahwa kita harus
potongan lain, seperti serpihan ingatan
sudah dicerapnya lama: menghindari
belajar
yang
merasakan
setiap
yang
kalimat
mungkin
untuk
kata sambung sebisanya. Ia merasa
menghapusnya
bahwa
bersamaan.
terlihat usang.
seperti “Yang,” “Serta,” “Dan,” “Atau,”
barusan
dijejerkan,
dipakai,
dan Ada lagi karya berbentuk surat-surat,
banyaknya
semacamnya
kata
sambung,
membuat
kalimat
tampak terlalu jelas, selesai, ilustratif,
mengundang
berfilsafat
menggunakan
dibuang, diganti. Kini, kata-kata jadi
sebelumnya
pada
tentang
bahasa waktu
dan yang
sekarang
sedang
menyelesaikan
Pascasarjananya di ISI.
12
‘beautiful’) refers to elements that are
text artist. He doesn’t use text as was
considered established in art, such as
common in the avant-garde conceptual
composition, line, colour, texture, volume
era that was popular in the US during
and so on. Even though in his figurative
the 1970s. The text, or writing in his
paintings all of that is not neglected.
works, is just a painting.
Or, in a certain way is surpassed. But, according to him, painting still requires
As such, he is different from Annabel
the matter of choice regarding colour
Daou who copied the constitution in The
and composition. Painting remains a
Declaration of the Cause and Necessity
matter of judgements. He wants to free
of Taking Up Arms (2006), or the
himself from that; in an act of kenosis;
transliteration of In Constitution (2006)
to empty himself, free himself from
which transcribed the text from English
painting, forget for a moment, create a
into Arabic even though the appearance
distance for himself, while being unable
of the hand writing is almost the same
to, and not being able to deny that he
as Ugo’s work. There is an aim, a
his painting.
concept in Daou’s work: she wants to
It is as if he is returning to what appears
show there is a missing character that
1/ letting go of painting
to not be a painting with the spirit of
cannot be escaped through the process
The Ugo that we know is the Ugo who
Ugo,
painting.
of transliteration.
paints bodies, figures and forms. We
Sudjojono, and particularly so, in this
know him as a figurative painter – in the
case. Ugo is not wanting to paint form.
So, what emerges are works that are
Ugo also doesn’t perpetuate his point
sense that there are forms, and figures
In short, he is fed up with form. So,
if viewed further, appear very human –
of view through art and painting like
in his works – even though he also often
the random brush stroke in the style of
and, ‘naked’ if I can use the word. Ugo
John Baldassari in What is Painting
adds writing in his paintings.
Sudjojono doesn’t appear, nor does
doesn’t want to be decorated, or to
(1966-68) with printed letters on a
a form in the shape of a figure. This
decorate. He just wants to tell a story,
plain background. Or, in the manner of
time, the background of the painting is
whatever its contents. Through writing
Mel Bochner, who wants to make ‘what
becomes something rather boring and
monochrome and the stroke marks aren’t
he feels freer; without needing to be
doesn’t appear to be art’, even though
painting
visible at all. He writes on the canvas.
distilled, placed in order and so on.
his work appears ‘ordered’ and based
might be a recording of a memory
Writing as the painting. Ugo paints
Until he finds that writing – a hand that
on the consideration of composition,
from the beginning of his youth, when
writing. In other words, Ugo writes.
moves, forming letters, placing them in
background and is conceptual – forcing
order – feels the same as painting.
people to think while looking at it.
. upon a scratch St a n is la u s Yan gn i
But, there comes a time when form becomes
decorative.
This
however,
doesn’t
paint
like
Ugo was still wearing a blue and white school uniform and when he fell in love
It isn’t just form. There are other attributes
with Sudjojono’s paintings in the book,
of his paintings that he wants to get rid
2/ painting writing
Ugo’s writing is also not arranged like
Soekarno’s
of. That is, what he classified as a part
Painted writing reminds us of other
Sutardji Calzoum Bachri’s poems which
Such paintings weren’t just of figures,
of art. A painting, or a work that evokes
works which use texts. Moreover, there
are ornamental through their play with
but, also contained writing. Since then,
‘art’, is valued for its artistic meaning.
are several works that appear similar
syllables. They are also not a collage
In this context, ‘artistic’ (different from
to Ugo’s works. But, Ugo is not a
in the form of texts taken from several
Collection
of
Paintings.
Sudjojono was alive in his memory.
13
14
everything culminates in a tense scene.
Thus, his large canvas are started from
is actually painting (about) painting,
example or Molly Springfield who has
left to right and have no borders.
painting the act of painting, or writing
used lots of texts from books that have
This writing without end appears in
(about) writing, making writing visible
Apart from canvases that have no
been photocopied or summarised like
several of his large works, including
through writing. Without realising it,
borders and are filled with sentences
notes from reading. Ugo’s written works
Mata Kaki (Ankle, 2013), Akhirnya
he is taking us to the experience of
from stories, there is another form.
are also different from Mira Schor’s
Anjing (A Dog, Finally, 2013), Dari
writing itself; it is a kind of journey of
Unrelated scenes that overlap on a
works which paint empty fields with a
Bawah ke Atas (From the Bottom to the
creation. The spontaneous return which
canvas.
few words, or Joseph Kosuth’s works
Top, 2013). There is a strong unfinished
is inherent in the act of painting; an act
Cigarette Butt, 2013), in the left side
which have been called linguistic art,
quality. Even though the canvases are
of painting, which must be free from
is filled with fragments of sentences,
or further into the past, Rene Magritte’s
full, the impression of being unfinished
concerns regarding what is artistic.
“Ocean reef. Birds are falling. Seven
which play with the gap between text
remains. This also applies to his other
and image.
works, such as Minus (2013). It is as if
We can read Dari Bawah ke Atas (From
and other such phrases. In another
his writing is also stuck in the middle;
the Bottom to the Top, 2013) from any
section, there are very thin sentences,
They appear to have an awareness
as if they are in the process of being
starting point. Indeed, Ugo writes from
incomparable
of playing with text and meaning,
worked on. Until, in the end, what we
the bottom to the top, without being
background, and, in another section,
making people think. They’re attentive
see is not the contents, but rather the ‘act
concerned about the order of what he
there are Arabic letters. This canvas
to typography. But, not Ugo. He only
of painting’, which in Deleuzian terms
has written and thus we can read it from
is filled with fragments (sentences that
wants to tell a story and paint through
is the ‘diagram’ or the ‘graph’, coming
any starting point. There are stories
have no connection with other sentences
writing. Moreover, he appears, not
from the Greek word, diagraphein,
within stories, and various unplanned
but are on the same canvas). The form
to have the intention to communicate.
meaning to give signs, scratching,
scenes. Such layers are made possible
of such fragments are also gathered in
But, if there is a story on a canvas, all
lines, a moment before the creation of
to be present because Ugo is not caught
Igau #2 (Noise, #2) in which there are
of it appears to be flowing and torn.
a painting. It’s like a sketch that asks us
up in plot and tenses. There is a name
sentences which have been scratched
Ripped. He doesn’t write from a theme,
to return because it is almost finished;
of a character and his actions, and a
onto the canvas, writing in pencil,
and the next sentence from the previous
appears finished, might be finished,
description of events. What is described
and very short sentences about a crow
one are words that appear just like that.
maybe not yet finished; might have just
happens without a climax. It remains as
which has killed itself.
Born from the moment when the brush,
started and can be continued. It asks
an excerpt; a fragment (reminding one
pen or marker touches the canvas.
to be continued, re-started, because
of the torn fragments of newspapers
We also find sentences that make sense
the beginning and the end, starting
that are used to wrap up food, which
in Ugo’s work. Sangkuriang (2013) is
or finished, in the end is a decision,
sometimes we find interesting and are
one example. This is the story about
maybe an illusion, for understanding.
then disappointed when we can’t finish
a young child who is beaten by his
the story). A climax may appear on
mother because he goes on adventures
sources
like
Leonore
Tawney,
for
3/ act of painting In the past, Ugo had written in a very concise
manner.
His
writings
were
In
Puntung
Panjang
(Long
roads intersect. A beautiful woman”,
with
the
dark
green
collected in a book titled Short Short
One example of this is Mata Kaki
another canvas, unexpectedly; a climax
in the jungle. Nonetheless, even if
Stories. But, now, he writes longer
(Ankle, 2013). The work appears like
from another story. Sometimes, with such
the sentences are in order and have
works. It is as if Ugo is talking to himself
a story that continues to talk with us
a way of communicating, stories are
a clear plot, at least we can imagine
through his handwriting. Without caring
while crossing, like a nomadic line;
born in the middle, or nearing the end.
the events, but, there is something else:
whether his words will be read, studied
moving, without a fixed direction, and
Dinamit (Dynamite, 2013) for example,
the matter of time. In between dreams,
or whatever. He only wants to write.
seemingly without end. Thus, here, Ugo
which after a long time talking about
reality, the past and the present or the
15
16
17
future – all become one. Indications of
and feeling like one is going forward,
The cardboard contains many stories
When Ugo lets go of painting he is
time are fleeting and they only appear
one is actually returning to a recent
and we can enjoy reading them. The
naked and returns to the process of
behind the words such as ‘afternoon’,
sentence. A sentence that flashes by.
stories are more personal and a little
creating; the act of painting.
melancholic. There is another work,
‘morning’, ‘rain’ and so on. It is as if time doesn’t appear in Ugo’s hands.
This isolated work is different from the
dated 2011, which is on Marlboro
Through moments of endless writing
Doesn’t time have a sign, or is given
others – even if the spirit is the same.
cigarettes; most of which are short
such as this, it is as if Ugo is correcting
a voice through a number because we
We can clearly read the other works –
letters to his child, Tanah. Yet another,
painting; correcting writing. It is as if
have to mention it?
from left to right. There is only one line.
is an autobiographical work that is
he is experiencing the act of painting
The meter-length works, have become
enclosed in an large white envelope.
with a different method. Every previous
The impression of being borderless
fluid because they have been written
It is mysterious, just like the story of the
word, every previous sentence asks
also
Purloined Letter, by Edgar Alan Poe.
to be revised until there is no end to
(2013).
upon; not because their measurement
remains an
has been erased. Those are words that
awareness of composition. Writing on
provoke us to continue. They are useful
In this context, writing is an awareness
(must) be re-written ... because no
the left side fills up the canvas; the right
to remind us that there is a kind of time
that we are always slipping. There isn’t
words are eternal. It might have been
margin is only several centimetres from
that cannot be fully measured. The work
a single word that is able to state desire.
the awareness of the temporality that
the left edge of the canvas. While the
is filled with writing of fragments from
Or, in a quote from Andrei Tarkovsky’s
provoked Derrida to philosophise about
remaining parts, a monochrome light
stories like the works on the borders of
film, Stalker, ‘how
would I know the
trace, and then leave behind a message
green, is empty. This emptiness might
books.
right word for what I want?’ Perhaps
to us regarding the use of words. That
appears
in
Regasa
Nonetheless, there
be
re-written.
Writing
that
always
there is a hole in every word; thus
we must study the use of language and
urgent at the borders; almost cut off. It
Nonetheless,
us
poems, sentences and words always
erase at the same time.
is as if that empty space is asking to be
confused. It has a strong monotonous
need to be re-written. In such a moment,
filled, but at the same time it has been
character. It feels like the experience
Ugo writes with an awareness that he
killed; it’s already full. Its contents are
of reading: the fragments can be
has observed for a long time; avoiding
Stanislaus Yangni (a.k.a Sius) is a writer
like the torn fragments from a martial
immediately forgotten and are quickly
conjunctions as much possible. He feels
and a freelance photographer. Her research
arts story.
replaced with other fragments. Like
that conjunctions such as yang (that,
interest ranges from visual art, philosophy and
fragments of memory that have been
which, who), serta (as well as), dan
aestethics. She had worked as a journalist
In another case, the writing on a
ordered, used, disposed of, replaced.
(and), atau (or) make sentences appear
bandage, for example, is an incomplete
The words appear archaic.
too clear, finished, illustrative, narrated
also be full; filled with writing that is the
writing
makes
and that they kill events. Stories become
scene of only a few lines and can be
in Visual Magazine and contributing for several media such as Indoart&LIfestyle, Koran Tempo, Suara Pembaruan and Mata Jendela. Her recent publication is Dari Khaos
read in a circular manner from any
There are other works in the form of
too linear; appear fixed and don’t allow
ke Khosmos, Estetika Seni Rupa (From Chaos
point. This work appears full and
letters.
not
for the reader’s imagination. The spirit
to Cosmos), (Erupsi Publisher, 2012). She
finished. But, at the same time it feels
as strong as Ugo’s large borderless
of Ugo’s work is poetic, even if there
was born in Lampung, 1982 and studied
unfinished. Reading it is uncertain: it
canvases. For example, Foto Keluarga
are only one or two works that appear
goes around in circles. It can start from
(Family Portrait, 2012-2013), there is
to be poetic.
where it ends; because, while reading
writing on framed recycled cardboard.
They’re
interesting,
but
Psychology in Sanata Dharma, STF Driyakara and now pursuing her master degree in Institut Seni Indonesia, Yogyakarta.
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palu dan telepon iron stamp on canvas 140 x100 cm 2013 detail
detail
dari bawah ke atas marker on canvas 250 x180 cm 2013
20
21
detail
igau #1 ballpoint on tripleks 196 x122 cm 2013
object #3 measure dimensions variable 2013
detail
22
23
detail
minus marker on woodboard 50 x 55 x 6 cm 2013
mata kaki ballpoint paper on canvas 250 x180 cm 2013
24
25
detail
menjelang petang angin berhenti dimana-mana oil on carton approximately 15 m length 2013
anggur ballpoint on paper 70x100cm 2011
26
27
regasa marker on canvas 250 x180cm 2013
puntung panjang acrylic on canvas 250 x180 cm 2013
detail
28
29
Sangkuriang marker on canvas 250 x180 cm 2013
30
31
detail
dinamit marker on canvas 250 x180 cm 2013
object #4 ballpoint on canvas, wood dimensions variable 2013
32
33
akhirnya anjing
object #5
acrylic on canvas
ballpoint on cigarettes
250 x 180 cm
dimensions variable
2012 - 2013
2011
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35
igau #2 marker, paper on canvas 140 x100 cm 2013
detail
detail
setan yang menjelma jadi agar agar marker on canvas 120 x 100 cm 2013
36
37
departure wax on fabric 105 x 250 cm 2013
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c u rric u l u m v ita e
UGO UNTORO Born in Purbalingga, Central Java, June 28, 1970 Education Graduated from Indonesia Institute of Arts (ISI), Yogyakarta
Solo Exhibition
detail
2011 2009 2008 2007 2006 2004 2002 2001 2000 1999 1996 1995
Papers and Ugo, Taman Budaya Yogyakarta, Yogyakarta Poem of Blood, in Rome Contemporary Art Fair, Italy+, Nadi Gallery, Jakarta Terrible Desire, Langgeng Gallery, HK Art Fair, Hong Kong Poem of Blood, Biasa Art Space-Bali, Shanghai Art Fair Poem of Blood, National Gallery, Jakarta Poem of Blood, Taman Budaya Yogyakarta, Yogyakarta Word’s of Ugo, Art Forum Singapore My Lonely Riot, Biasa Art Space, Kuta Bali Short-Short Stories, Valentine Willie Fine Art, Kuala Lumpur Silent Texts, Edwin’s Gallery, Jakarta Goro-Goro, Nadi Gallery, Jakarta Boneka dan Buku, Rakuti Gallery, Surabaya Embun Gallery, Yogyakarta Java Gallery, Jakarta Sika Contemporary Art Gallery, Bali Cemeti Gallery, Yogyakarta Corat-Coret, Bentara Budaya Yogyakarta
Group Exhibition
autobiografi ballpoint on envelope (inside) 147,5 x 124 cm 2012
2013 2012 2011 2010
Outspoken, Biasa Art Space, Bali Steak Daging Kacang Ijo, Museum Dan Tanah Liat, Yogyakarta Art Basel Hong Kong, HKCEC, Hong Kong Art Stage Singapore: Indonesian Pavillion, Marina Bay Sands, Singapore ART|JOG|12, Taman Budaya Yogyakarta, Yogyakarta Insight, Kunstraum, Lichstenstein Vertigo, Ode to Art Gallery, Singapore Chairs and Bones, Tony Raka Gallery, Bali Etching Project, Langgeng Art Foundation, Yogyakarta Fine Wine at 9, Galeri Rakuti, Surabaya Beyond the East, MACRO, Rome, Italy Asia: Looking South, Arndt, Berlin, Germany Benih, Roemah Baroe Project, Yogyakarta Membikinnya Abadi, Semarang Gallery, Semarang Star Wars, AJBS Gallery, Surabaya Closing the Gap: Indonesia Art Today, Indonesia – Australia Homo Ludens #2, Emmitan CA Gallery, Surabaya ART|JOG|11, Taman Budaya Yogyakarta, Yogyakarta But We Have Your Concept of Art, Berlin, Germany by Lawangwangi Art Space The Show Must Go On, National Gallery of Indonesia, Jakarta Unity to Return, New York, by Sigi Art Space Homo Luden, Emmitan Gallery, Surabaya Closing The Gap: Indonesia Art Today, Indonesia - Australia Apa Itu Jiwa Ketok, Canna Gallery, Jakarta No Direction Home, National Gallery of Indonesia, Jakarta
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2009 2008 2007 2006
Comical Brother, National Gallery of Indonesia, Jakarta JAF #3, Taman Budaya Yogyakarta, Yogyakarta The Birth of Colour, Syang Art Space, Magelang Space and Image, Ciputra World Marketing Gallery, Jakarta Arte Fiera, Bologna, Italy Emotional Drawing, MOMAT, Kyoto, Japan Emotional Drawing, National Museum, Seoul, Korea ArtHK 09, Hong Kong International Art Fair, Hong Kong Polychromatic, Bentara Budaya Yogyakarta, Yogyakarta Kunduran Truk, Kersan Art Studio, Yogyakarta Indonesia Contemporary Drawing, National Gallery, Jakarta Perang Kata dan Rupa, Komunitas Salihara, Jakarta Indonesia Contemporary Drawing, National Gallery, Jakarta The Topology of Flatness, Edwin’s Gallery, Jakarta Fundraising IVAA, Yogyakarta Next Nature, Vanessa Art Link, Jakarta 2nd Odyssey, Srisasanti, Yogyakarta Common Sense, SIGI arts, Jakarta Kado, Nadi Gallery, Jakarta Invito All’Opera (Invitation to the Artwork), Rome (a collaboration between Biasa Art space and Il Ponte Contemporanea) Tjap Djaran: Katuranggan, Bentara Budaya Yogyakarta, Yogyakarta Biasa Gila, Biasa Galeri, Yogyakarta Seksi Nian, Jogja Galeri Yogyakarta Artikulasi/Articulate, One Galeri Jakarta Perang Kembang, Bentara Budaya Yogyakarta, Yogyakarta Animal Kingdom, Jogja Galeri, Yogyakarta Indonesian Invasion, Sin Sin Fine Art, Hong Kong CIGE, Beijing Detour, Koong Gallery, Jakarta Sciascia Untoro, Biasa Art Space, Bali Emotional Drawing, Momat, Tokyo, Japan Expose #1: A Presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi Gallery Sincere Subjects, SIGIarts Gallery, Jakarta Indonesian Contemporary All Star, Tujuh Bintang Art Space, Yogyakarta Arus-Arus Terpencil, Emmitan CA Gallery, Surabaya Highlight, Jogja National Museum, Yogyakarta Indonesia Contemporary Art Now, Nadi Gallery Jakarta Fetish, Biasa Art Space, Kuta, Bali Imagined Affandi, Gedung Arsip Nasional, Jakarta International Literary Biennale, Langgeng Gallery, Magelang Boeng Ajo Boeng, Bentara Budaya Yogyakarta, Yogyakarta Conscience Celebrate, Jakarta Fetish, Biasa Art Space, Jakarta IAAE, Selasar Sunaryo, Bandung Quota, National Gallery, Jakarta Indonesian Contemporary, 1918 Art Space, Beijing, China Langgeng Contemporary Art Festival 2006, Langgeng Gallery, Magelang Signed and Dated: our 10th Anniversary, Valentine Willie Fine Art, Kuala Lumpur Rampogan, Taman Budaya Solo, Solo 8 Young Contemporaries, Art Forum, Singapore Sedulur Gempa, Goethe Institute, Jakarta Mistery Dool and Old Prince, Erasmus Huis, Jakarta Icon, Grand Opening Exhibition, Jogja Galeri, Yogyakarta Retrospective, Jogja Galeri, Yogyakarta. Jogja Sketsavaganza, Taman Budaya Yogyakarta, Yogyakarta Vice Versa, Taman Budaya Yogyakarta, Yogyakarta Art And Tobacco, Gedung Serba Guna, Magelang
2005 Objecthood, Taman Budaya Yogyakarta, Yogyakarta Broken Mirror, Langgeng Gallery, Magelang Vision and Resonance, Asia Contemporary Inaugural Exhibition, Riveroom Gallery. Asian Civilizations Museum, Singapore Pameran Seni Rupa Ultah ke-5, Rumah Budaya Tembi, Yogyakarta Expanded Sculpture, CP Art Space, Jakarta Beauty and Expression of Terror of Indonesian Contemporary Art, Galerie Loft, Paris Equatorial Heat, Sichuan Museum, China 2004 Sayap Kata, Sayap Rupa, Langgeng Gallery, Magelang 2003 Dolanan, Museum Dan Tanah Liat, Yogyakarta Love, Nadi Gallery, Jakarta Sorak Sorai Identitas, Langgeng Gallery, Magelang Kecil itu Indah 11, Edwin’s Gallery, Jakarta Membaca Ruang-Ruang, Rumah Seni Muara, Yogyakarta Sanggar Sawung Yogyakarta Kado, Nadi Gallery, Jakarta What in Your Pocket?, Indonesia-Japan, Purna Budaya, Yogyakarta Countrybution: 7th Yogyakarta Biennale of Contemporary Art, Taman Budaya Yogyakarta, Yogyakarta. 2002 Bersatu Dalam Rasa, Edwin’s Gallery, Jakarta Pastel, Gallery 9, Yogyakarta Jula-Juli Yogyakarta, Bentara Budaya Yogyakarta, Yogyakarta Not I, Am I?, CP Art Space, Washington DC, USA Seni Rupa 7 jam, Wirobrajan, Yogyakarta Serat, Tali Ikat, Taman Budaya Yogyakarta, Yogyakarta Urip Mong Mampir Ngombe, Bentara Budaya Yogyakarta, Yogyakarta In Memoriam Gampingan Satu, Gelaran Budaya, Yogyakarta 2001 Keras Kepala, Cemeti Art House, Yogyakarta Not I, Am I?, Nadi Gallery, Jakarta Pink Project, Nadi Gallery, Jakarta Boat, Nadi Gallery, Jakarta 2000 Kecil itu Indah 8, Edwin’s Gallery, Jakarta 1998 Yogyakarta Biennale VI, Yogyakarta Contemporary Indonesian Art, Duta Fine Art Foundation, Jakarta Joint Exhibition with Hadi Masud and Hari Prayitno, Yogyakarta The International of Exhibition of Philip Morris Competition, National Gallery, Jakarta The International of Exhibition of Philip Morris Competition, Opera House, Hanoi, Vietnam 1997 Mata Perupa Bercermin di Kalbu Rakyat, Yogyakarta Palace, Yogyakarta Duo Exhibition, Gallery Kedai Kebun, Jakarta 1996 The 5th Yogyakarta Biennale, Purna Budaya, Yogyakarta The International Exhibition of Philip Morris Competition, Jakarta Slot In The Box, Cemeti Gallery, Yogyakarta 1995 Anak Negeri, Surabaya, Malang, Bogor 88-94 ISI Gallery, ISI, Yogyakarta Solidaritas Seni Sono, Yogyakarta Yogyakarta Festival of Art (FKY), Yogyakarta The Jakarta International Fine Art Exhibition, Jakarta Young Painter Artist of Yogyakarta Exhibition, Yogyakarta Award 2007 1998 1994
Man of The Year 2007, Tempo Magazine The Best Artist and Work, Quota Exhibition, National Gallery, Jakarta. by Langgeng Gallery Philips Morris Award, Jakarta. The Best 5 Finalist Finalist, Philip Morris Competition in Hanoi, Vietnam The Juror Attention, Philip Morris Award, Jakarta
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UGO UNTORO Solo exhibition July 20 - August 30, 2013
UG O UNTORO wo ul d l ik e to thank ever y o ne invo l ved in this pro ject
Writer: Stanislaus Yangni English Translator: Andy Fuller Photographer: Rikki Zulkarnain
Exhibition venue Ark Galerie, Jl Suryodiningratan 36A, Yogyakarta 55141, Indonesia Published by Ark Galerie www.arkgalerie.com Enquiries +62 274 388 162
[email protected]
