Welded steel & paint.
Variable dimensions (aprox. 200 x 500 cm).
Accompanied by a certificate of authenticity.
Exhibition History: 2017 Group show, Instant Replay: ARNDT Singapore’s Highlights from Southeast Asia, Singapore, 13 Jan - 4 Mar 2017
RIta Almeida Freitas - Contemporary Art Specialist
"Almost all of Agung Kurniawan’s trellis works begin from a photograph, whether it is from his Personal collection of photos or from the mass media, which is then transferred into line drawings. These line drawings become the blueprint for the form through the medium of wrought iron. "
Agung Kurniawan has developed his artistic work within the field of concrete sociocultural activism. He believes that the role of an artist is more than simply producing work, and that there are larger social responsibilities to be met. Both as a studio artist and an art activist, he takes up clear positions and his approach often leads him either down to street level or to intervening in bureaucratic structures. Kurniawan’s work is reputed to be fairly “coarse” due to themes of violence, politics and taboo subjects. The artist started out with book illustrations, drawings and comics, which offered a harsh, often satirical critique of Indonesian society at that time. With his drawing Happy Victim (1996), depicting people hanging upside down while laughing cheerfully, he won a 1996 Philip Morris Art Award and gained international recognition.
Around 2006, Kurniawan started his trellis series (e.g. Pope and Mehmet, 2011, Soekarno, Art and Artist, 2012, and Family Photo 1974, 2012), exploring issues of memory, both collective and personal. The series was inspired by an old family photo album from 1974, consisting of a photo diary of the artist’s mother during the last days of her dying father. The photo diary works like sequences of comic book panels that Kurniawan tried to recreate in a series of trellises. Hung on the walls the trellises and the shadows they cast represent the blurred memory recorded in the photo album. The interweaving of lines, shadows and memory was further developed in works of social commentary such as Jakarta 1998 (2012), which depicted historical events and figures photographed in the media.
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