It seems that for some young artists in this exhibition, a painting no longer has to be presented as usual. Paintings for example, no longer have to be present on the wall or enjoyed by standing right in front of him. In fact, the painting also doesn’t have to be related to the surface of the canvas. It can manifest on stainless plates, acrylic sheets or mirror surfaces. In addition, paintings also no longer have to appear as a “space” bordered by frames. Some of the above trends are at least some of the symptoms in the practice of painting among young Bandung artists who have been recorded in recent years.

Questions about the name, outside of this exhibition, can be very so there are other names that also display similar tendencies. First of all, this exhibition is not an attempt to list the names of artists, but rather an effort to observe and explain a worker’s tendency in the practice of our contemporary art today, especially in Bandung.

Some of the symptoms related to the above paintings show an encouragement for painters to look for possible variations in how paintings can be presented today. These various symptoms, in particular, also show toward a tendency. This tendency is what we call: ‘lukisan gapilan’ or ‘gapilan painting’.

Gapilan in the dictionary means: intervention, interference. This tendency directs painters to grasp (add, intervene or intervene) the practice of painting them with a variety of distinctive elements, which are not uncommon at conventions. The gapilan form can be observed in several types of tendencies, as shown in the paintings on display

Curatorial by

Danu Tyas & Axel Ridzky