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WWW.MES56.COM
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WIPS!
(WORK IN PROGRESS)
5-15 SEPTEMBER 2014
OPENING
13 SEPTEMBER 2014
20.00
EXHIBITION
14-22 SEPTEMBER 2014
OPEN MON-SAT
11.00-17.00
WWW.MES56.COM
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Te two artists presented in WIPS!
now are related to Indonesia in
a unique way, connected and
disconnected simultaneously. Sinta
Tantra was born into an Indonesian
family who moved from Bali to resettle
in several other cities, including
Singapore and New York, where she
was born, and eventually onto London,
where she was educated. Adam de
Boer was born and raised on the
Southern California coast. He also
fnished his education and began his
career as an artist there. Only recently
did he visit Indonesia, and that was
almost a coincidence. His main
motivation on that frst trip was to surf
Balinese beaches but the occasion also
brought him the possibility of being
acquainted with the birthland of his
father, a half Indonesian-half Dutch, in
Purwokerto, Central Java.
Te brief background above perhaps
brings us to rate that their works--
despite being very diferent in visual,
material and iconographical sources-
-are born from tensions on the issue
of hybrid identity surrounding the
artists lives. Tis impression might be
true, of course, but it holds a general
post-modern or post-colonial bias.
In reality, what we are facing here are
artists with the present-day socio-
cultural background that is no longer
necessarily bound to roots and origins,
but instead leans more heavily on ones
unique growth and a more open and
widespread maturity. From recent
advances in information technologies
to a newfound ease in travel, it
seems that the present-day opens up
opportunities for people to become
cosmopolites like never before.
Tus, should there continue to be
a type of cultural identity, it is an
ever-changing identity that absorbs
and processes several elements gained
from inter-cultural intersection
Dua orang seniman yang tampil
dalam WIPS! kali ini terkait dengan
Indonesia dengan cara yang unik,
terhubung dan terpisah sekaligus.
Sinta Tantra lahir dari keluarga
Indonesia, yang berpindah-pindah
dari Bali, lantas beberapa kota lain,
kemudian ke Singapore, lahir di
New York, Amerika Serikat, lantas
menempuh pendidikan di London,
Inggris. Adam de Boer, lahir dan
besar di wilayah pantai Barat Amerika
Serikat, California. Ia lahir dan
tumbuh di sana. Juga menyelesaikan
pendidikan seni rupa dan membangun
karier sebagai seniman di sana. Baru
belakangan ini ia berkunjung ke
Indonesia, nyaris sebagai peristiwa
kebetulan. Niat utama berselancar
di pantai di Bali lantas membawanya
pada kemungkinan untuk mengenal
tanah kelahiran ayahnya, seorang
Indo-belanda, di Purwokerto.
Latar belakang serba singkat di atas,
mungkin akan cepat membawa kita
pada penilaian bahwa karya-karya
merekameskipun berbeda jauh
secara visual, bahan dan sumber-
sumber ikonografsnyaadalah karya-
karya yang lahir dari ketegangan di
seputar masalah identitas hybrid yang
melingkupi kehidupan senimannya.
Kesan semacam ini boleh jadi
benar, tapi tentu saja punya bias
pandangan umum seputar pasca-
modernisme, atau pasca-kolonialisme.
Kenyataannya, kita sedang berhadapan
dengan seniman dengan latarbelakang
sosial-budaya masa kini yang tidak lagi
terikat pada akar, asal-usul, tapi lebih
bertumpu pada daya pertumbuhan
dan perkembangan yang serba terbuka
dan meluas. Dari teknologi informasi
hingga kemudahan untuk bepergian
dan berpindah dari satu tempat ke
tempat lain, tampaknya masa sekarang
membuka peluang bagi semua orang
untuk jadi kosmopolit.
Dengan demikian, jikapun ada
semacam identitas kebudayaan,
maka ia adalah sebentuk identitas
yang terus berubah, menyerap dan
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and interaction. Each individual of the
present-day both physically and mentally,
has the potential to be a homo viator
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: a
traveler, a wanderer, a nomad. Indeed,
a homo viator has a distance with the
cultural sphere with whom he is visiting
but he also maintains a distance with
his original cultural sphere at the same
time, allowing him to recognize any
existing diference. Each cultural-traveler
is equipped with the intention and will
to meet and mingle with the other, and
even the readiness to absorb elements
of the other for them to become a part
of himself. Cultural wanderers do not
question the validity, authenticity, and
origins of culture, but instead create
for themselves various possibilities to
enrich their cultural experiences. Sinta
1. Marcel, Gabriel (transl. Craufurd, Emma), Homo
Viator: Introduction To A Metaphysic of Hope, Henry
Regnery Company, Chicago, 1951.
mengolah berbagai unsur yang didapat
melalui persinggungan dan pergaulan
antar-budaya. Pada akhirnya, identitas
orang per orang tidak lagi tetap melainkan
berkembang. Setiap individu masa kini,
baik secara fsik dan mental, berpotensi
menjadi homo viator, pelancong, seorang
pengelana, nomad. Homo viator memang
punya jarak dengan ranah budaya yang
sedang ia kunjungi, sekaligus jarak dengan
ranah budaya asalnya. Tapi, pada saat
bersamaan ia siap menyerap keberbedaan
yang ada. Tiap pelancong budaya dibekali
dengan niat dan kemauan untuk bertemu
dan bergaul dengan yang lain, atau bahkan
siap untuk menyerap unsur yang lain itu
untuk kemudian jadi bagian dari dirinya.
Pengelana budaya tidak mempersoalkan
keabsahan autentisitas dan asal-usul
(origin) kebudayaan, tapi menyiapkan
diri pada berbagai kemungkinan untuk
memperkaya pengalaman berkebudayaan.
Sinta Tantra dan Adam de Boer, melalui
karya-karyanya, menunjukkan sikap yang
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Tantra and Adam de Boer, through their
works, display an open attitude to such
possibilities.
Upon observing several documentary
materials of work made by Sinta
Tantra and Adam de Boer before their
Yogyakarta residency, and also from
several discussions with them, other
issues were revealed that show more
altermodern
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symptoms--another type of
modernism. Sintas works, for example,
ofentimes employ complicated patterns
that enable the work to be connected with
and interact with the public. Her works
are presented as part of an existing public
space, ofentimes as a mural, (or painting
on an architectural scale, as she has put
it) and contribute in shaping new spatial
experiences for her viewers that go beyond
the existing physical architecture. Her
works are built through the arrangement
of simple color and shape, with strong
roots in the tradition of geometric
formalism, and create a kind of hi-key
rectilinear camoufage for the buildings
and bridges on which she has painted.
Its interesting too because Sinta has
experimented with how various visual
elements, in the form of geometric shapes
in fat color, can exist as a part of the
dynamic public sphere; and this is not
a result of some rebellion strategy in
public spaces like that of common street
art. As an intervention, her works are
actually are more intent on ofering the
public the possibility of having diferent
spatial experiences through new visual
identifcations. If we usually recognize a
city as a topography of architecture then
Sintas work ofers newfound optical and
visual recognition for her viewers of that
topography. Te visual elements can shape
2. Bourriaud, Nicolas. Altermodern: Tate Triennial
2009 : exhibition, London, Tate Britain, 3 February - 26
April 2009. Londres: Tate Publishing, 2009. Print.
Also: http://www.tate.org.uk/whats-on/tate-britain/
exhibition/altermodern/explain-altermodern/
altermodern-explained-manifesto
terbuka pada berbagai kemungkinan
seperti itu.
Saat melihat sejumlah dokumentasi karya
yang pernah dibuat Sinta Tantra dan
Adam de Boer sebelum masa residency
mereka di Jogja, dan juga melalui
percakapan lebih jauh dengan mereka,
terungkap sejumlah soal lain, yang
lebih menunjukkan gejala altermodern,
modernitas yang lain. Karya-karya Sinta,
misalnya, banyak terkait dengan pola-pola
yang memungkinkan karyanya terhubung
dan terinteraksi dengan publik. Karya-
karyanya hadir sebagai bagian dari ruang
yang sudah ada, di ruang publik, dan
kemudian ikut membentuk pengalaman
ruang yang lain, atau baru; pengalaman
ruang yang melampaui ruang yang sudah
ada. Karya-karyanya dibangun melalui
warna dan bentuk sederhana, dengan akar
kuat pada tradisi seni rupa formalisme
geometris.
Yang menarik adalah karena Sinta
menguji bagaimana berbagai unsur rupa
yang sekedar warna dan bentuk geometris
ini hadir dan menjadi bagian terpadu
di ruang publik. Ini bukanlah hasil dari
strategi pemberontakan di ruang publik
seperti lazimnya seni jalanan. Sebagai
intervensi, karyanya justeru lebih berniat
pada kemungkinan publik mengalami
pengalaman ruang yang berbeda,
melalui identifkasi visual yang baru. Jika
selama ini kota kita kenali lebih sebagai
topograf arsitektural, maka karya Sinta
menawarkan pengenalan optis dan visual.
Atau, lebih jauh lagi: bagaimana unsur
rupa itu dapat membentuk kesadaran dan
pengalaman simbolik tertentu di ruang
publik. Dengan cara ini, formalisme tidak
hanya mengalami revitalisasi visual, tapi
juga semacam rekontekstualisasi secara
sosial.
Dalam karya-karya mutakhirnya, yang
hendak ia tampilkan dalam WIPS! kali
ini, Sinta justeru hendak menunjukkan
bagaimana bidang warna dan bentuk
geometris dapat berpeluang menjadi
simbol dengan makna tertentu. Ia
merujuk pada cara penataan warna
dan bentuk yang sering dipakai dalam
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certain symbolical awareness too. Trough
this, her formalism not only allows
viewers to experience visual revitalization,
it also socially recontextualizes the given
architectural landscape of a city.
Sintas latest works, and what she is
presenting in WIPS! this fall, will show
how felds of color and geometric shapes
also have the chance to become graphic
symbols with certain symbolic meaning.
She refers to the way colors and shapes are
arranged in banners and fags, particulalry
that of the brightly colored diagonal lines
of a heraldic sash. In coats of arms--
commonly used as a marking/symbol for
a group, family, royalty, city, country, etc,-
-for example, colors and simple geometric
shapes can be a part of a symbolic identity
construction. In European tradition
(especially British) even the direction,
from lef to right or right to lef, can defne
the way of interpretation.
Meanwhile Adam de Boer, in some
of his works, shows a more obvious
characteristic as a traveler, homo viator.
He adopts batik coloring technique as
painting technique. He also adopts the
materials, methods, and even visual motifs
of Balinese and Javanese woodcarving.
Adam did not take these materials to
only build a connection with his Indo
identity, (he even attempted to avoid those
romantic and nostalgia urges) but has
actually tried to treat the local techniques
and materials as equal to various others
already accepted as a part of the tools to
create modern visual art. He states that he
wants the use of batik and woodcarving
in his work to become as invisible as using
oil paint or watercolor. Te medium is not
the entirety of the message.
When he incorporates all these elements
into his paintings what is working is a
mode of inter-cultural encounter flled
with unexpected possibilities, surprises,
or even incompatibilities. Local cultural
elements in his works are not about the
pataka (bend sinister), berupa garis
selempang, garis diagonal berwarna
terang. Dalam pataka, atau duaja (coat of
arm, heraldry)lazim digunakan sebagai
penanda/simbol kelompok, keluarga,
kerajaan, kota, negara dan lain-lain
misalnya, warna dan bentuk geometris
sederhana dapat menjadi bagian dari
konstruksi identitas simbolik. Dalam
tradisi Eropa (khususnya Inggris) bahkan
arahnya, kiri ke kanan, atau kanan ke kiri,
dapat menentukan arah pemaknaan.
Sementara Adam de Boer, dalam sejumlah
karyanya, tampak lebih jelas lagi wataknya
sebagai pelancong, homo viator. Ia
mengambil teknik pewarnaan batik untuk
dijadikan teknik melukis. Ia mengambil
bahan, teknik dan bahkan citarasa visual
ukiran kayu Bali maupun Jawa. Ia tidak
mengambil bahan-bahan tersebut untuk
membangun asosiasi mengenai identitas.
Ia bahkan berusaha menjauh dari
dorongan romantis atau nostalgia. Ia ingin
memperlakukan teknik dan bahan itu
sama dan setara dengan berbagai teknik
dan bahan yang selama ini sah diterima
sebagai bagian dari alat, bahan, teknik
penciptaan karya seni rupa modern.
Saat mengolah semua unsur-unsur ini
ke dalam karyanya, maka yang bekerja
adalah modus pertemuan antar-budaya
yang penuh dengan kemungkinan
tak terduga, kejutan, atau bahkan
ketidakcocokan. Unsur-unsur budaya
lokal dalam karyanya bukanlah soal
upaya penemuan identitas, namun lebih
pada soal pengakuan bahwa sejumlah
keterpelesetan atau identifkasi yang
berbeda dapat terjadi. Kebudayan masa
sekarang tidaklah cuma bekerja melalui
proses akulturasi atau asimilasi, tapi
juga dalam berbagai pertemuan dan
pergaulan yang berisi salah tafsir, salah
terjemah, dalam proses (mis)translasi,
(mis)apropriasi. Dengan pemahaman
seperti ini, maka kita dapat menyaksikan
bagaimana Adam mengolah batik, atau
ukiran kayu bergaya Bali atau Jawa, tanpa
pretensi untuk menjadi asli, bukan pula
sebagai preskripsi untuk membangun
narasi visual tentang identitas kultural
tertentu.
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eforts of discovering authentic identity
but rather acknowledge that a number
of slips or diferent identifcations can
happen. Culture in the present-day is
not just working through acculturation
or assimilation but also the various
meetings and associations containing
misinterpretation and mistranslation
within the processes of (mis)
translation, (mis)appropriation. By this
understanding, we can witness how Adam
processes batik and Balinese/Javanese-
style woodcarving without the pretention
of becoming original. His work is not
prescribed to build a social narrative on a
particular cultural identity.
Tat is why in this iteration of WIPS!
we also present various artworks of one
of Indonesias most prominent artists,
Mochtar Apin (1923-1994). His works-
-only a small number of reproductions
were able to be presented hereofer
an interesting comparison to the artistic
approaches of both Sinta Tantra and
Adam de Boer.
Considering his life experience and
education, Mochtar Apin is a cosmopolite.
He was born in Minang to a middle class
family in Padang Panjang, West Sumatera.
In his teens he studied in Jakarta and
joined Persagi. He then deepend his visual
art education in Bandung (now known
as the ITB Faculty of Arts and Design)
and received a scholarship to continue
learning in Europe. In time, Apin was
educated, worked, lived, and exhibited in
the Netherlands, France, Germany, and
several other European countries and
was fuent in English, Dutch, French, and
German. Afer returning to Indonesia,
he taught at ITB and contributed to the
understanding that printmaking could be
an independent art practice unto itself,
separate from painting.
In his various works--whether it was
drawing, graphic prints, painting, or
sculpture-- Apin never stopped with
Itulah sebabnya, dalam WIPS! kali ini,
kami tampilkan juga sejumlah karya
salah seorang seniman Indonesia
terkemuka, Mochtar Apin (1923-1994).
Karya-karyanyahanya sebagian kecil
reproduksi yang bisa kami tampilkan di
sinidapat menjadi pembanding menarik
bagi kedua pendekatan yang ada dalam
karya Sinta Tantra dan Adam de Boer.
Menilik pengalaman hidup dan
pendidikannya, Mochtar Apin adalah
manusia kosmpolitan. Ia lahir dari
keluarga kelas menengah Minang di
Padang Panjang, Sumatera Barat. Di
usia remaja ia sudah sampai di Jakarta
untuk bersekolah. Ia pernah bergabung
dengan Persagi. Lantas ia memperdalam
pendidikan seni rupa di lembaga
pendidikan seni rupa di Bandung (FSRD-
ITB, sekarang). Mendapat beasiswa
untuk meneruskan pendidikan ke Eropa,
Apin sempat sekolah, kerja, tinggal dan
berpameran di Belanda, Perancis, Jerman
dan sejumlah negara Eropa lainnya. Ia
fasih berbicara dalam bahasa Inggris,
Belanda, Perancis, Jerman. Sepulang
ke Indonesia, ia mengajar di ITB dan
ikut memulai lahirnya studio seni grafs
(printmaking) sebagai bidang seni
mandiri, terpisah dari seni lukis.
Dalam karya-karyanya yang beragam
baik gambar, cetak grafs, lukisan, dan
patungdari masa ke masa, Apin tidak
pernah menetap pada satu gaya atau
media. Dalam soal gaya dan corak seni
rupa, ia seorang homo viator yang gemar
berpindah dari satu tempat ke tempat lain.
Pada masa 1970-an, mungkin terdorong
oleh keramaian perbincangan tentang
identitas seni rupa modern Indonesia,
Apin membuat sejumlah percobaan cetak
grafs yang menghadirkan ragam hias
batik, dipadukan atau dijadikan unsur
utama untuk membentuk komposisi
abstrak-geometris. Namun demikian,
pada dekade berikutnya, ia justeru
kembali pada warna dan bentuk yang
murni. Ia membuat sejumlah lukisan
yang sepenuhnya menghadirkan bentuk-
bentuk geometris, dengan warna yang
datar, sekaligus kontras, mencolok mata.
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one style or medium. In terms of artistic
style and form he was a homo viator
who was keen to move from one place to
another. In the 1970s, perhaps inspired
by the furries of debates on the identity
of Indonesian modern visual art, Apin
created several graphic print experiments
that combined various batik motifs into
an abstract geometric composition.
Nevertheless, in the next decade, he
actually returned to pure colors and
forms. Apin made a number of paintings
that employ geometric shapes with fat,
yet at the same time, contrasting colors,
conspicuous to the eye.
We hope that the works of these three
artists can ignite a hustle of discussion in
WIPS! this time, about identity, hybridity,
and even modernity, which keeps moving
towards various directions simultaneously.
Kehadiran karya ketiga seniman ini kami
harapkan dapat membuka perbincangan
yang ramai dalam WIPS! kali ini,
seputar identitas, hibriditas, hingga soal
modernitas yang bergerak ke berbagai
arah di masa sekarang ini.
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Ive spent my time in Yogyakarta studying further the Javanese woodcarving
and batik traditions that I have been incorporating into my painting practice for
the past two years. Tis summer Ive found myself very interested in the various
patterns and textures common in local architecture: rock facades, decorative
security bars, birdcages, and painted wooden slats enclosing patios. Incorporating
these designs into my more naturalistic compositions has demonstrated tangible
evidence for the repeating geometric forms found in both Mochtar Apin and Sinta
Tantras work.
Saya menghabiskan waktu di Yogyakarta dengan mempelajari lebih dalam teknik
pahat kayu dan tradisi batik Jawa yang sedang saya gabungkan dengan praktik
melukis saya selama dua tahun terakhir. Musim panas ini saya menjadi tertar-
ik pada aneka pola dan tekstur yang banyak dijumpai pada arsitektur setempat:
permukaan batu, teralis besi dekoratif, kandang burung dan bilah kayu yang dicat
memagari teras. Menggabungkan rancangan-rancangan tersebut pada komposisi
saya yang lebih alami telah menunjukkan bukti nyata pengulangan bentuk geome-
tris yang ditemukan baik dalam karya Mochtar Apin and Sinta Tantra.
Adam de Boer (l. Riverside, California 1984) lulus dengan BA untuk Seni Lukis
(2006) dari College of Creative Studies di University of California, Santa Barbara
dan mendapat gelar MA untuk Seni Murni (2012) dari Chelsea College of Art and
Design, London. Beberapa pameran tunggalnya, diantaranya: All is Well (2006)
di Santa Barbara Arts Fund, Finca (2010) di Flashpoint Gallery, Washington, DC;
Jalan (2013) di Rifemaker, London, UK; Distinto Niveles de Bienestar (2013) di
Escuela Taller, Bogot, Colombia, dan Moving Monuments (2014) di University of
California, Santa Barbara. De Boer telah memenangi beberapa penghargaan dari
berbagai institusi, diantaranya dari DC Commission on the Arts and Humanities,
Cultural Development Corporation, Santa Barbara Arts Fund, dan pada tahun
2011, dia mendapat beasiswa dari Arts for India Scholarship untuk menyelesaikan
pendidikan jenjang Masternya. Di Musim Gugur 2012, dia berpartisipasi dalam
residensi studio dan mengajar di International Institute of Fine Arts di Modinagar,
India dan menghabiskan musim gugur 2013 di Bogot, Colombia sebagai seniman
residensi di laagenicia.
Adam de Boer (b. Riverside, California 1984) graduated with a BA in Painting
(2006) from the College of Creative Studies at the University of California, Santa
Barbara and an MA in Fine Art (2012) from the Chelsea College of Art and Design,
London. Selected solo exhibitions include All is Well (2006) at the Santa Barbara
Arts Fund, Finca (2010) at Flashpoint Gallery, Washington, DC, Jalan (2013) at
Rifemaker, London, UK, Distinto Niveles de Bienestar (2013) at Escuela Taller,
Bogot, Colombia, and Moving Monuments (2014) at the University of California,
Santa Barbara. De Boer has received various awards from the DC Commission
on the Arts and Humanities, the Cultural Development Corporation, the Santa
Barbara Arts Fund, and in 2011 won the Arts for India Scholarship to support his
post-graduate studies. In the fall of 2012 he participated in a studio and teaching
residency at the International Institute of Fine Arts in Modinagar, India and spent
the fall of 2013 in Bogot, Colombia as a resident artist at laagenicia.
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For the last 25 years or so, Yogyakartas has built up a history of artists concerned
with socially engaged and political framed works - from installations, new media,
painting and street art; I am interested in the relationship between art and activism
and how the citys ever growing topography is a refection of Indonesias past and
future identities. In this exhibition I explore for the frst time the relationship
between my wall paintings and works on canvas; creating an immersive installa-
tion that plays on illusionary space, geometric pattern and the space we occupy as
bodies.
Selama kurang lebih 25 tahun, Yogyakarta telah membangun sejarah seniman
yang perduli pada kerangka kerja politis yang terlibat secara sosial--dari instalasi,
media baru, lukisan dan street art; saya tertarik pada hubungan antara seni dan
aktivisme dan bagaimana topograf kota yang terus berkembang adalah cerminan
masa lalu Indonesia dan identitas masa depannya. Dalam pameran ini saya meng-
gali untuk pertama kali hubungan antara lukisan yang saya buat di atas dinding dan
karya saya di atas kanvas; menciptakan instalasi menghanyutkan yang memper-
mainkan ilusi ruang, pola geometri dan ruang yang kita tempati sebagai tubuh.
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A British artist of Balinese descent, Sinta Tantra was born in New York in 1979. She
studied at the Slade School of Fine Art, University College London 19992003 and
at the Royal Academy Schools 200406. Tantra is well regarded for her site-specifc
murals and installations, many in the public realm. Tese include works for the
Southbank Centre, Canary Wharf Group and Liverpool Biennial. Recent interna-
tional show include group exhibitions in New York, Jakarta, Hong Kong and Te
Hague. A recipient of many awards including research grants from the British
Council, Arts Council England and the prestigious Deutsche Bank Award, Tantras
work is in the collections of the UKs Government Art Collection and private inter-
national collections.
Seorang seniman Inggris keturunan Bali, Sinta Tantra lahir di New York pada
tahun 1979. Ia belajar di Slade School of Fine Art, University College London
1999-2003 dan di Sekolah Royal Academy tahun 2004-2006. Tantra dikenal luas
untuk karya-karya mural dan instalasinya yang site-spesifk dan banyak bera-
da di ranah publik. Ini termasuk karyanya di Southbank Centre, Canary Wharf
Group dan Liverpool Biennial. Pameran terbarunya yang berskala internasional di
antaranya pameran bersamanya di New York, Jakarta, Hong Kong dan Te Hague.
Sinta telah menerima banyak penghargaan termasuk hibah penelitian dari British
Council, Arts Council Inggris dan Deutsche Bank Award yang sangat bergengsi.
Karya Tantra dikoleksi oleh Government Art Collection di Inggris dan banyak
kolektor dunia.
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Cemeti Art House was founded by Nindityo Adipurnomo
and Mella Jaarsma in 1988, and has since been exhibiting and
communicating the works of both Indonesian and foreign
contemporary artists. Cemeti is a not-for-proft organization
that works to promote discourse in the feld of visual arts in
Yogyakarta and operates a robust exhibition platform, hosting
regular public discussions and workshops. Te Indonesian
Visual Art Archive (IVAA) runs parallel to Cemeti Art House,
focusing on documentation, education and information. www.
cemetiarthouse.com
Ruang MES56 is a not-for-proft arts institution established in
Yogyakarta in 2002 by a group of local contemporary artists.
Te institution places emphasis on photo-based art with an
experimental and multidisciplinary approach. Te mission of
Mes56 is to develop contemporary art discourse and visual
culture, while optimizing the South East Asian regional art
network through programmes such as residencies, discussions
and inter-disciplinary art projects. www.mes56.com
iCAN (Indonesia Contemporary Art Network) works on
promoting multidisciplinary dialogue between visual art and
another division of art and sciences through art projects,
research and education. canmanage.net
Artist International Development Award programme is a
750,000 fund, jointly funded by the British Council and Arts
Council England. Te programme ofers early stage develop-
ment opportunities for individual freelance and self employed
artists based in England to spend time building links with art-
ists, organisations and/or creative producers in another country.
Arts Council England champions, develops and invests in
artistic and cultural experiences that enrich peoples lives. Tey
support a range of activities across the arts, museums and
libraries - from theatre to digital art, reading to dance, music
to literature, and crafs to collections. Between 2011 and 2015,
Arts Council England invested 1.4 billion of public money
from government and an estimated 1 billion from the National
Lottery to help create these experiences for as many people as
possible across the country. www.artscouncil.org.uk
British Council creates international opportunities for the
people of the UK and other countries and builds trust between
them worldwide. We call this work cultural relations. We are on
the ground in six continents and over 100 countries bringing
international opportunity to life, every day. Each year we work
with millions of people, connecting them with the United
Kingdom, sharing our cultures and the UKs most attractive
assets: English, the Arts, Education and our ways of living and
organising society. We have 80 years experience of doing this.
www.britishcouncil.org
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