π§π₯ππ‘π¦πππ‘πππ‘π§ππ ππ ππππ¦: ππ¦ππ§ πͺπ― ππͺπ΄π΅π°π³πΊ
ArtSociates & Puri Gallery in conjunction with Centre Intermondes, La Rochelle, France & IFI Indonesia proudly present exhibition : π§π₯ππ‘π¦πππ‘πππ‘π§ππ ππ ππππ¦: ππ¦ππ§ πͺπ― ππͺπ΄π΅π°π³πΊ Curated by Asmudjo Jono Irianto FREE ENTRY For RSVP please contact +62 81 3960 3939 For more information please reach us via email: info@artsociates.com | | π§π₯ππ‘π¦πππ‘πππ‘π§ππ ππ ππππ¦: ππ¦ππ§ πͺπ― ππͺπ΄π΅π°π³πΊ There is a tension between aesthetically and politically correctness in contemporary art. This is inextricably linked to the conflict between modernism and postmodernism. Contemporary art combines both concepts. On the one hand, art's autonomy continues to exist. On the other side, it is expected that works of art can provide a critical perspective on human and global issues. Obviously, nothing in art is truly aesthetically or politically correct. These two elements have always comprised an artist's ideas and work. The meanings of aesthetics and politics are fluid and inextricable from their respective histories. Furthermore, the artist cannot be divorced from his or her social, cultural, and political history, which determines his or her artistic preference. This exhibition features two French artists, Laurent Millet and Mathilde Lefort, as well as three Indonesian artists, Jim Allen Abel, Mujahidin Nurrahman, and Made Wiguna Valasara. Millet and Lefortβs ideas are more personal, yet they go in different directions. Millet departs from the cognitive aspect through his understanding of Renaissance history, including the mannerist aspect of Renaissance culture, and his use of antique photographic techniques. Mathilde is more interested in the spiritual and mystical aspects embodied in her painting. The content of the three Indonesian artists is more political and critical, reflecting current issues. Likewise, the content or message conveyed is not easy to read, what is stronger is its visual or aesthetic quality. The works of the five artists reveal the genealogy of modernism in terms of establishing a "distance" from everyday life yet retaining representational capacity. In result, the works of these five artists have become transcendent, transcending daily life. These five artists are able to sublimate their ideas into visual language, resulting in works that affect the viewer's perceptions, contemplation, and transcendence. In today's frantic digital visual culture, this seems to be what we need more of. Asmudjo J. Irianto
