181 Middle Jiangxi Road, G/F, Shanghai, China / 601-605 , Pedder Building, 6/F, 12 Pedder Street, Central, Hong Kong CRUSH ME ENTANG WIHARSO Pearl Lam Fine Art, Shanghai 20 May – 28 June 2013 我 太 爱 你 了 ： 无 形 的 威 胁 系 列 #1 2012 4 麻 布 油 画 I LOVE YOU TOO MUCH: INVISIBLE THREAT SERIES #1 Oil on linen 179 x 145 cm Photo: StudionoMADEN, Yogyakarta ARTIST’S STATEMENT In the body of work presented in ‘Crush Me’ I deliberately use my own personal narratives as a point of departure to go much further back along the timeline, linking events and small actions to an historical and geographic history that we feel we no longer remember. The works for this show include painting, sculpture, installation and a performance documentation all dealing with the issues of perception and reality. I attempt to trace personal and collective experiences leading to specific occurrences, exploring how the history of ideas, land, migration, and ecology are contained within our actions today. As I explored the reasons behind feelings and motivations, other stories emerged to reveal another reality, one that reflects immigration, social justice, survival strategies, geography and political systems. These kinds of stories, anecdotes, that link to the larger geo-political narrative, are at the core of my current work. I want to put these ideas forward in many contexts to test our perceptions which often are formed by incomplete information, propaganda, generalisations or prejudice. 5 CRUSH ME by Amanda Katherine Rath But you have to choose a moment in your life, even one, to not be afraid. (This Must Be the Place, film script) The thing can never be separated from someone who perceives it; nor can it ever actually be in itself because its articulations are the very ones of our existence... (Maurice Merleau-Ponty, Phenomenology of Perception) Premise CRUSH ME – a body of work, emphatic statement, a statement of inevitability. In the English-language, the word ‘crush’ is both noun and verb, and carries different yet equally intense meanings. A crush is a powerful, short-lived passion for someone -- a deep infatuation. To crush is to suppress, to psychologically and emotionally destroy someone, to physically annihilate something. Crush, then, implies relations of power and scale. Perhaps unwittingly, the artist, Entang Wiharso (b. 1967, Tegal, Indonesia), maintains the dual meaning of ‘a crush’ and ‘to crush’ throughout the works in this exhibition. Consisting of thirteen works of painting, installation, sculpture and performance documentation, CRUSH ME is blatantly autobiographical. Underlying the works in CRUSH ME are many of the same concerns that have occupied Entang’s critical artistic practice and inquiry for over a decade. Through his often-multilayered allegorically structured works, he turns a critical eye on the ambiguities and conflicts that lay behind prevailing social expectations and norms. He articulates what he perceives are some of the dominant “chronic, systemic conditions that suppress our internal, individual dreams and desires.” This has entailed engaging the fortress of images and cultural stereotypes that we construct about ourselves and through which we define others. The artist includes himself and his own complicity in such constructions. He often puts forward images and tableaus that suggest human agency is rife with paradox, the very condition and thus the possibility of agency. CRUSH ME also demonstrates a recent shift in the artist’s inquiry regarding what he alludes to as the burden of perception and the weight of history. In this series, the personal and private are set in relation to larger, more encompassing narratives; he relates his own ‘timeline’ with the epic dimension of the national story and stories of immigration, for instance. Entang explains the premise of his recent work as: 6 ‘[An] attempt to trace personal and collective experiences leading to specific occurrences, exploring how the history of ideas, land, migration, and ecology are contained within our actions today. As I explored the reasons behind feelings and motivations, other stories emerged to reveal another reality, one that reflects immigration, social justice, survival strategies, geography and political systems. […] I want to put these ideas forward in many contexts to test our perceptions, which often are formed by incomplete information, propaganda, generalisations or prejudice.’ Fundamental to Entang’s most recent works are issues of memory and geography1 and the intertwined pathways of identity, place, and becoming, through which memory and geography are ‘performed’. How memory and geography are performed, then, also involves the ways in which he constructs and inhabits his lived environs, both in Indonesia and his second home in the United States. Encapsulated in all of this is the very basic sense of belonging. It is not surprising, then, that ‘landscape’, ‘barriers and borders’, and ‘table’ are persistent subtexts in his work. For Entang, these provide frames through which he articulates the exterior and interior selves and worlds as types of terrain and inseparable realities. As constructs, they carry cultural and social values, pre-existing structures of perception. Landscape The first time I saw Undeclared Landscape, it was through a computer screen in my office in Frankfurt, Germany. I viewed it alongside Rejected Landscape (2012, not in the present exhibition). The images I saw of the works were a fraction of the size of the original paintings that are quite large. At first glance, the works were striking, and it struck me that Entang was developing new pathways in defining the terms of his identity, and his psycho-cultural journey as a transnational subject living, loving and working across different but now not so distant contexts.. Instead of taking recourse in his typically tropical landscape of palm trees and banana bushes, Undeclared Landscape is a moonlit forest of birch trees separated at its bottom border by a strip of blank canvas. The bark of each tree has been painstakingly rendered, resulting in an all-over patterning. Yet beyond the surface lies a tension. The landscape is so densely populated, its setting so dark, that it appears impenetrable. It becomes a fortress, a wall, a barrier difficult to breech. A conflicted drama plays out at the edge or border of the forest. It takes place in a disjunctive territory, a kind of suspended nowhere place where narrative and representation collide. A couple is seen writhing in what is at once a sexually charged embrace and violent struggle. Are they being menaced by a pair of vicious hounds, or are these dogs acting out of loyalty? The second time I saw Undeclared Landscape was in Entang’s studio in Yogyakarta as it was being prepared for shipment to the gallery. I saw it laid flat on the floor, and adjacent to a much larger, unfinished work that took up nearly the entire length of one of the studio walls. It was a landscape with a similarly dense forest of birch trees – a wall or a barrier ‘still without its narrative’. Perhaps it already has one at the time of this writing. In conversation, he spoke of the process of repetition, of painstakingly painting the iconic surface of the birch as both an obsessive and meditative process. Here, the artist invites us to recognise the meditation while also presenting us with a refusal. The all-over patterning, a recurring feature in Entang’s work, is both an intended ornament and a kind of skin. We are marked by our skin. It carries perceptions and prejudices that place us as a ‘member’, or REJECTED LANDSCAPE 被拒绝的风景 2012 Oil on linen 麻布 油畫 275 x 390 cm. Courtesy of the artist and Arndt Berlin. Photo: StudionoMADEN, Yogyakarta 7 TEMPLE OF HOPE 希望的庙宇 2010 Steel frame, aluminium plate, resin, light bulbs, cable, lava stone 钢架，铝板，树脂，电灯泡，电缆，火山熔岩石 350 x 300 x 200 cm Courtesy of the Artist and private collector, Indonesia / Photo: StudionoMADEN, Yogyakarta different, or forever the outsider. The way that the birch tree sheds and re-grows its ‘skin’ is, therefore, a telling reference in this new work. The meditative, repetitive act of reproducing the detail is akin to the continuous process of remaking one’s identity. A similarly dense landscape provides the backdrop to the drama staged in Perception vs. Reality – Memorial Landscape. Here, a policeman stands beside a brutalised figure depicted upside down, and which is harassed by a pack of dogs. This work reflects general concerns that resound throughout Entang’s work: his experience of being treated as a stranger in the United States and his wife’s similar experiences in Indonesia as an American. Together and as individuals, he and his family have experienced rare and random acts of prejudice, verbal and 8 emotional abuse that nonetheless mark and affect their individual and collective senses of being and belonging. In this particular piece, he relates his feelings of vulnerability living in a post-9/11 United States. Apprehension of the police and other bodies of authority has particular resonance especially in countries like Indonesia, where the police and military have served as the physical power of corrupt governments. Even in the now democratic Indonesia, trust in the authorities remains, at the very least, problematic. In addition to representing the slippery slope from protection to abuse and abuses of power, figures like ‘the policeman’ are akin to the more abstract connotations contained in ‘the badge’, an emblem of voluntary loss, to varying degrees, of the individual in his or her allegiance to a system or group mentality that might, but does not necessarily, lead to oppression and fear. Experiences of intolerance and discord are likewise suggested in the pair of paintings, I Love You Too Much: Invisible Threat #1 and #2. Here, the artist constructs a backdrop of neon pink and flat candy green, producing a visual vibrancy that is at once garish and compelling. It establishes the ground for a sparse space in which a drama is played out. In the one painting, a vase of flowers is set on a small table in the foreground, perhaps inferring fertile ground of affection and love. Yet, the artist often depicts bouquets of flowers as steeped in poison, or emerging from toxic ground. In the other work, a single table stands unadorned except for a plain pink cloth. In both versions of I Love You Too Much, a couple stands in an ambiguous state between sensuality and pain, long braids of hair connect and entwine them. For the artist, hair is both sensuous and serves as an expression of personal freedom. Such freedoms – mental, spiritual and physical – are always in danger of being severed or severely curtailed. The male figure is depicted as not fully human, but rather possesses the hooves of a goat. This perhaps is a vestige of one of Entang’s alter egos, which emerged in his work around 2007. The Black Goat is a hybrid identity, a cross between a scapegoat and a black sheep. The fact that he is not wholly human implies that he exists outside the laws of mainstream society. He is ‘a socially stigmatised subject who engages and challenges social categories by active agency and personal empowerment.’2 Such an identity surfaced in Entang’s work, in part, as an ethical expression of his concern over the rapid expansion of the art market (including those who participate therein as critics, artists, students, curators, collectors, etc.) that has been quite remarkable over the last decade. It has influenced not only types of works made but also discussions of art and art practice. Many have pointed to a decline in depth of feeling and deeper discussions about practice in the art world. In this regard, the artist attempts a critical distance and often sees himself as an outsider and observer. This is the role played by Black Goat.3 and lands from government and private property, the mundane from sacred space, the common from the elite. The wall in this case is one of the artist’s coping mechanisms. While the wall acts as a protective barrier, it serves as the surface upon which the artist publicises the very private narrative it was meant to defend. On the outer plinth of Crush Me #2, Entang has replaced the traditional floral motifs that typically would adorn such walls with imagery alluding to his sexual desires, love, shared intimacies and obsessions. These scenes frame two different perspectives of the same story comprised of a string of non-linear associations, a visual and textual network of the artist’s memories of past experiences, interactions with his wife, children, friends, and neighbors that have come flooding back all at once. Both sides of the wall tell the same story, but one has been distorted by cracks and areas that appear dented and structurally unsound. As the artist explains his concept, perception interferes with basic understanding, and overshadows what we know as reality. What we might perceive as normal and an unproblematic truth from the inside shows its contingent and distorted nature when seen from other positions and perspectives. Perception is the background of experience which guides our every conscious action. We cannot separate ourselves from our perceptions of the world. Hence, the space of the outside position from which distortions become clear is a fleeting one if not an impossibility. Though visually massive, the body of Crush Me #2 is a hollow graphite and resin cast. A series of suspended ‘organs’ illuminates its perforated surfaces, its private stories, from within. Beyond bringing illumination, their function remains intriguingly ambiguous. Do they bring nourishment or disease? While we read the wall’s narrative, these ‘organs’ inscribe its imagery and casts its shadow onto us. In this regard, the work is conceptually related to its predecessor of sorts, The Temple of Hope (not in the present exhibition), for which Entang takes recourse in the aesthetics of the wayang, and its assumption of the material quality and moral value of the shadow. He combines these with traditions of relief sculpture that adorn the many still-standing Hindu-Buddhist temples that dot the landscape of Java and Bali. Barriers and Borders Entang Wiharso employs the wall as metaphor for the ways in which individuals and groups build barriers (psychological, ideological, social, physical, etc.). The barrier is simultaneously a means of protection and of denial; it serves to protect the sovereignty of the individual or the group, as well as to keep others out. On its own, Crush Me #2 is a visually arresting work for its sheer size, the appeal of its monochrome dark matte surface, and its imagery. For me, it is also the visual embodiment of the exhibition concept. The work is a double-sided wall, a replica of the type of outer wall common to the area of Yogyakarta, the city where the artist has lived and worked for over two decades. Typically used as a compound enclosure, such massive demarcations separate so-called public space Crush Me #2 has its counterpart in Geo-Family. Again, the artist takes his personal history as the basis of this work. Here, he translates the formal family portrait similar to those composed endless times in the various photo studios of a colonial past, into a series of sculptural graphite and resin figures represented in elaborate traditional Javanese costume. Though recognisable as individuals, resemblance to family members remains stylised. Reference to the visual rhetoric of public sculpture, particularly of images of national heroes, may be an underlying device as well. The stance of each figure, and the fact that they each hold a weapon, engenders the perception of a formidable presence, one prepared to protect the private, the family. Geo Family Portrait and Crush Me #2 were not created as separate exercises but are part of a much larger project in Entang’s inquiry during 9 the past couple of years regarding memory, history, and geography, and the intertwined pathways of identity, place, and becoming. In his recent work, Entang sets questions of his identity and personal history in relation to that of the nation. In general, these tendencies are part of a larger recent imperative within contemporary art in Indonesia. Lola Lenzi observes that: In Indonesia, the critique of nation changes considerably after 1998 following the fall of the Suharto regime and the transition to democracy. Considerations about the cohesion of the state, the role of the citizen in a budding but imperfect democracy, and the effect of empowerment and newly expressible pluralism on personal identity, all impinge visual art at the beginning of the twenty-first century.3 Over the last decade, many artists have taken up the task of reevaluating official interpretations and monolithic state structures. From their works, it is apparent that while the nation has transformed since 1998, “artists continue to view it with distrust.” Not surprisingly, much of their distrust and doubtful view of the nation is overlaid with issues of memory and ownership of history, and how it has been invoked to sustain abuses of power over time.4 This is not to say that Entang takes inspiration directly from this development in contemporary art in Indonesia, but in his recent work, he does take up similar deeply fraught issues. One impetus for this shift in his work has been the recently published book, Pak Harto: Untold Stories, a posthumous re-fashioning of the image of Suharto, the controversial second President of Indonesia. In the book, the epic dimension of the national story is filtered through memories of personal experience, integrating the micro-politics of a man’s personal life with the macro-politics of the nation. This maneuver is fundamental to much of Entang’s work of the last year, which articulates his personal history parallel and in relation to the history of the archipelago. Entang critically reflects on his own path specifically in relation to the history(ies) of the archipelago before and after it became Indonesia, in part, to discover how he, as an individual, has come to be in this present moment. As he explains: Early migration, the settlement of the Indonesian islands, the early people who came here and their reasons [for doing so], whether as refugees or merchants, those early experiences shaped the lands, social systems, interconnections, philosophy and conflicts that still impact us today. Entang’s brief but intense period of research triggered a series of works shown under the exhibition title, Untold Stories, in Berlin last year. As a whole, Untold Stories suggested a concern for what he refers to as small realities, or personal events that while not of national importance, are life changing. For that exhibition, the artist took his wedding as the foundational personal event that comes to represent 10 not only a union, a foundation of a family, and a private fortress of love, support and protection. It also comes to represent the shared, yet individual, experiences of an international couple coming to terms with culture shock, prejudice and misrepresentation. Exemplary of this complex of ideas is Borderless Floating Island (2012, not in the present exhibition), the elements of which, like those on Geo-Family, were made from casts of actual clothes of his family as well as plants in his garden. The history of his family and the physical and psychological site of their ‘home’ in Indonesia are embedded in the very body of the work. The principles and devices delineated above and that have proven fundamental to Entang’s recent work, culminate in his monolithic The Indonesian: No Time to Hide, which he has created for the Indonesian Pavilion in the upcoming 55th Venice Biennale (June – November, 2013). This work is both autobiographical and densely referential in terms of national history and identity. Personal narrative, represented as a single vignette repeated along the length of the fourteen-meter wall, encloses and permits access to the inner space or chamber within which the artist has staged a foreshortened political history of the country. A kind of presidential meeting of the county’s past and present Presidents takes place around a large colonial era table. The overbearing scale and deliberate distortions of limbs and facial features of The Indonesian: No Time to Hide serve the project well in relating and articulating the bombastic nature of politics and politicians in general. It also calls attention to what monuments are meant to engender and embody as sites of memory and the attending politics that surround them. Through such devices, Entang further highlights his notion that our access to and apprehension of reality is deeply perceptual and hence inherently distorted and incomplete. Table The image that embellishes the walls of The Indonesian: No Time to Hide resurfaces in CRUSH ME as a single cast-aluminum wall relief polished to a mirror-like surface. This shift in materials and new context obviously resituates No Time to Hide and the implied meaning of its imagery. In his wall in which both its interior and exterior surfaces tell the same story, but with one side riddled with cracks and areas that appear dented and structurally unsound, Entang placed emphasis on the dynamic between inner and outer terrains, the distorted perceptions of self and other. In the present work, such a dynamic is no longer embodied in its structure, but instead resides in its allegorical image. A large fish is offered on a serving platter to a mass of characters, some ready with knives or daggers to devour it, others connected to it as if via a series of interconnected lifelines. The scene takes places on, around, and under an unremarkable table covered in a simple cloth. A nude female figure reclines beneath the table apparently unobserved by the multitude clamouring above her. Standing behind the table, a central figure presides over and seems to protect not only the fish that BORDERLESS: FLOATING ISLAND 无界：漂浮的岛屿 2011-2012 Graphite, resin, steel, brass, pigment, thread 石墨，树脂，钢，黄铜，颜料，线 350 x 750 x 40 cm Courtesy of the artist and Arndt Berlin / Photo: Black Goat Studios Indonesia/USA lies so vulnerably, but also a disembodied head, which the looming figure appears to wrap in a protective embrace with his right arm. On the table also stands a container of poison out of which a bouquet of flowers blooms. This work serves as something like a composite self-portrait in which Entang’s identity, his interior self, and his world of dreams and creativity, is under extreme pressure from many sources and forces external to himself. He must protect and defend them. Anyone familiar with the artist’s work might associate this piece with his ongoing series of Feast Table (cf. page 46-47), in which the table is a recurring stage on which he presents a tableau of positions of marginality and extreme vulnerability. In this series, many arrows or hooks from which the fish is powerless to escape or render harmless pierce its massive body. It is flanked front and back by what appears to be two nude sentinels, one with aspirations to protect, the other with a hidden agenda to do further harm. Entang has explained that the two sentinels are in fact two aspects of the same identity, and the fish embodies his feelings of being a stranger or an outsider that he has experienced over the years as he and his family move back and forth across different cultural contexts. At times, as the artist says, “we can feel too exposed by certain situations, especially when our status as a minority draws the attention of people around us.” This aspect is underscored by the patterning or what the artist calls tattoos on the surface of his figures that are suggestive of hybrid and ever changing identities, as well as a kind of contagion expressed as a mark on the skin. Ideas of such a dispersed contagion and shared condition of an ever changing and never fixed identity are eloquently expressed in the 2008 performance, Eating Identity, a video documentation of which 11 is shown in CRUSH ME. Entang performed this version while a fellow at Amherst College. Here he occupies the center of the formal dining table, where he performs a variety of actions that can be seen as a kind of ritual, creating a specific type of shared space, to which the guests seated at the table seem oblivious. The majority of his exposed skin, bare chest, face, arms and legs have been imprinted with an intricate design common to Javanese batik. It serves as a kind of tattoo which places him culturally. Yet some of his exotic markings seem to have moved or rubbed off onto the guests at this ritual meal. The specific site of identity in this performance has undergone a number of transformations over the last decade, but its basic elements have remained constant. A table, at times a plain wooden one, at others an elaborate formal dining suite, has been set with plates of a traditional Javanese dish in which rice is formed into a cone to resemble the sacred mountain. Such a meal is traditionally offered as a form of thanksgiving and of wealth. To share it with others is to honor them. The fellow participants or guests at this ceremonial meal come to the table dressed in white, quietly sit down and begin to eat. They do so in complete silence and without acknowledging each other’s presence. As each guest finishes, they leave the table. As they eat, seemingly oblivious to their surroundings or the action taking place around them, Entang performs different actions. This performance perhaps has its prototype in the 2002 Polluted by Norm (cf. page 45), which I had the good fortune to see in Magelang. While his guests sat quietly eating, Entang stood on the table and proceeded to cut great gashes into its surface with a basic handsaw. This brutalised table was also translated into an installation work of the same name (2002-2004), which also underwent various incarnations over time. In the installation, guests take shelter beneath the table that has been set with the ceremonial nasi kuning, or saffron rice. Each of the twelve identical figures wear an almost maniacally happy smile. In one version, the entire scene is cordoned off by police-line tape warning visitors to stay away, as if it were the site of a contagion. For me, Polluted by Norm is indicative of what the artist has suggested is a necessary change in the way he understood his own identity and in relation to others. By that time, he had already been exhibiting around the world, and living between Indonesia and the United States for roughly four years. During which, his sense of home and belonging had shifted and in many respects was becoming increasingly fragile. Such experiences allowed him to gain the critical distance necessary to examine his own Javanese background, and to question the power behind cultural stereotypes and how people come to believe in such representations about themselves and others. THE INDONESIAN: NO TIME TO HIDE 印度尼西亚人：无可躲藏 2012 – 2013 Graphite, resin, thread, color pigment, steel, flame bulbs, electrical cable 石墨，树脂，线，彩色颜料，钢，灯泡， 电线 14 x 5.5 x 5 m Courtesy of the artist and Indonesia Pavilion Venice Biennale 2013 / Photo: Black Goat Studios Indonesia/USA. 12 That was then, this is now, and while the act of violence in his performance has been replaced with other forms of ritual, the basic structure of the work remains, though its specific site(s) regarding identity have changed with each incarnation. As the above discussion suggests, the table features prominently in Entang Wiharso’s work. It serves as a kind of mental terrain, a space and stage, on, under, and around which a variety of dramas and power games play out, as in The Indonesian: No Time to Hide and I Love You Too Much: Invisible Threat #2. The table quite often is both a barren field and the repository of the artist’s hopes for the future (cf. page 44 and 49: Forbidden Exotic Country and Mermaid, 2005). In his arsenal of symbols, it also carries sacrificial and anthropophagic connotations, as suggested in No Time to Hide and Feast Table, as well as performance Eating Identity. In these pages, I have articulated some of the underlying concerns in Entang Wiharso’s work in the last decade, and more specifically to suggest certain recent shifts in his artistic practice and mode of inquiry pertinent to the works in this exhibition, CRUSH ME. This has entailed issues of memory and geography, and the intertwined pathways of identity, place, and becoming, through which these are performed. This necessarily involves the ways in which the artist perceives, constructs and inhabits his world, both in Indonesia and his second home in the United States. Encapsulated in all of this is his basic sense of belonging. Apt to this project, I have isolated ‘landscape’, ‘barrier and border’, and ‘table’ as key constructs and subtexts in his work. These have also served as possible interpretive frames through which to embark on unraveling the simultaneous manifold layers contained in his typically allegorical structures. EATING IDENTITY 吃身份 October 22, 2008 Performance at “The Third Space: Cultural Identity Today” 行为艺术表演，《第三空间：今日的文化认同》，美国阿默斯特 Mead Art Museum, Amherst, MA, USA / Photo: Black Goat Studios Indonesia/USA Amanda Katherine Rath (PhD) has been researching and writing about contemporary art from Southeast Asia, with an emphasis on Indonesia and Malaysia, for the past fifteen years. She curated the exhibition Taboo and Transgression: Contemporary Art from Indonesia held at the Herbert F. Johson Museum, Ithaca, New York in 2005. It was one of the first group exhibitions of contemporary art from Indonesia to be held in New York. Dr. Rath is currently a Fellow at the Department of Southeast Asian Studies, and Lecturer at the Department of Art History at the University of Frankfurt. NOTES 1 Geography is defined here as “a spatial image that implies the issues of cultural difference and the specificity of location which is cultural and social as well as political. Griselda Pollock, ed. Generations and Geographies (Routledge, 1996): 2 Joanna Lee, “Entang Wiharso: I am Black Goat,” essay for exhibition of the same name at the Singapore Management University (2008), reprinted in Entang Wiharso: Black Goat is My Defense (5 Traverse Gallery: Providence, Rhode Island, 2008), 9. 3 Iola Lenzi, “Negotiating Home, History and Nation,” in Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-2011 (exhibition catalog) (Singapore Art Museum, 2011), p. 22. 4 Ibid., 21 13 EATING IDENTITY 吃身份 October 22, 2008 Performance at “The Third Space: Cultural Identity Today” 行为艺术表演，《第三空间：今日的文化认同》，美国阿默斯特 Mead Art Museum, Amherst, MA, USA / Photo: Black Goat Studios Indonesia/USA. 14 UNDECLARED LANDSCAPE (Detail) 未声明的风景(局部) 2013 16 UNDECLARED LANDSCAPE 未声明的风景 2013 Oil on linen 麻布油画 275 x 390 cm Photo : StudionoMADEN, Yogyakarta 17 PERCEPTION VS REALITY: MEMORIAL LANDSCAPE 知觉与现实：纪念景观 2012 Oil on linen 麻布油画 200 x 300 cm Photo: StudionoMADEN, Yogyakarta