Semesta

Terkembang
Jadi Buku
S o l o E x h i b i t i o n b y A i d i Yu p r i

Saturday, January 12, 2013

Art Space:1 - Art:1

Jl. Rajawali Selatan Raya No. 3 Jakarta 10720
Ph. (021) 64700168 (hunting), Fax: (021) 64712243
info@mondecor.com I www.mondecor.com
twitter: Art: 1 Museum Jakarta
facebook: Mon Decor
 Selamat tahun Baru! Kami dengan bangga membuka tahun 2013 dengan
This catalogue was published to accompany sebuah pameran tunggal Aidi Yupri melalui tema "Semesta Terkembang
the solo exhibition by Aidi Yupri
Jadi Buku" yang akhirnya bisa terealisasikan setelah direncanakan lebih dari
Semesta Terkembang Jadi Buku setahun yang lalu, setelah pamerannya yang terakhir diadakan di Mon
Decor Gallery.
12 - 26 January 2013
Sebuah kombinasi dari teknik yang sangat detail dan bahasa yang puitis
Venue dalam berkarya, Aidi Yupri masih konsisten dengan inspirasi alam.
Art Space:1 Karyanya terlihat kontemplatif, disajikan di atas kanvas tebal yang
berbentuk buku. Gagasan Aidi atas alam sekitarnya, berkembang karena
Curator
Suwarno Wisetrotomo keberadaan pohon yang tumbuh di sekelilingnya. Bagi Aidi, pohon bukan
sekedar bahan baku kertas, namun juga memiliki makna untuk mengingat
Colophon English Translation Pengantar Art:1 bahwa manusia sudah sepantasnya menjadi penjaga untuk kehidupan dari
Henny Rolan alam semesta; dan ketika mereka mengerti tujuan ini maka manusia bisa
mencapai hidup yang lebih religius dan spiritual.
Photographer
Art:1
Kami ucapkan terima kasih kepada teman-teman Art:1, seniman, kolektor
Published by dan pecinta seni atas dukungan nya di Art:1. Kami mengucapkan selamat
Art:1 berpameran kepada Aidi Yupri dan kami haturkan terima kasih kepada
Jl. Rajawali Selatan Raya No. 3 Jakarta 10720, Indonesia Bapak Suwarno Wisetrotomo selaku kurator pameran. Terima kasih kepada
Ph (021) 64700168 (hunting) Fax: (021) 64712243 Indonesia Tatler yang telah bekerja sama sebagai media partner serta PT
info@mondecor.com
David Roy Indonesia sebagai beverage sponsor. Akhir kata, kami ucapkan
www.mondecor.com
twitter: Art: 1 Museum Jakarta selamat menikmati karya-karya yang di pamerkan, dipilih khusus oleh team
facebook: Mon Decor Art:1. Semoga karya-karya tersebut membawa inspirasi dan membawa
semangat baru di dunia seni Indonesia di tahun 2013.

in association with: Salam hangat,

Monica Gunawan
media partner: Art:1

tea and coffee in partnership with:

02 03

Happy New Year! We're excited to kick off the year with a solo exhibition by
Aidi Yupri, titled "Universe Blooms Into A Book" - the exhibition which is
finally realized after being planned for over than a year, following Aidi Yupri's
last successful exhibition with us.
Combined with his reputable technique in details and his poetic language to
deliver his art, Aidi Yupri is still consistent with his nature-inspired paintings.
His recent artworks looks almost contemplative and spiritual, using
canvases that embody the form of a book. His inspiration comes from his
perpetual awareness to the life of trees not only as raw materials for the
pages in the book but as reminder that humans should place themselves as
Foreword Art:1
the guardians of the universe; and once they come to terms of this purpose,
thus making them more religious and spiritual.
We would like to give thanks to our friends of Art:1, artists, collectors, art
aficionados, for their love and support in the past. We would like to
congratulate Aidi Yupri for his solo exhibition and extend our thanks to Mr.
Suwarno Wisetrotomo for his curatorial and guide during the preparation on
this exhibition. Our gratitude towards Tatler Magazine as our media partner
and PT David Roy Indonesia as a beverage sponsor. Lastly, we hope you
will enjoy this exhibition especially selected and curated by Art:1. We hope
these artworks may continue to bring inspiration and a great start to
Indonesian art scene in 2013.
With warm regards
Monica Gunawan
Art:1
04
Pertanyaan tentang untuk apa seni/karya seni, rupanya tak pernah usang.
Setidaknya pertanyaan itu menjadi semacam 'gangguan kecil' (bisa juga
'gangguan besar') bagi setiap seniman, ketika berada dalam proses kreatif
berkesenian. Sang seniman tak akan terganggu apabila sejak semula ia
hanya asyik sendiri dalam dunianya sendiri; apabila sang seniman –
dengan sadar atau tak sadar – menciptakan jarak dengan lingkungan
sosial-masyarakatnya. Berkarya seni hanya menjadi pemuas hasrat-hasrat
personalnya, tanpa memikirkan tautan dengan lingkungan sekitarnya.
Seniman dengan tipe semacam ini cenderung akan merasa menjadi
makhluk istimewa yang menuntut siapapun untuk mengerti dan memahami
dirinya; menuntut siapapun mendatangi dirinya.
Sebaliknya, seniman yang terus merasa terganggu dengan pertanyaan-
pertanyaan mendasar terhadap aktivitas keseniannya, akan terus berupaya
Semesta
mengerti dan memahami lingkungan sosial-masyarakatnya. Ia akan
menyempatkan diri mendatangi penontonnya, mendatangi masyarakat,
atau siapapun, untuk menyerap pengalaman (bahkan pengetahuan) dan
Terkembang kemudian berbagi atau memperbincangkannya. Karya seni hanya sebagai
medium, sebagai bahasa untuk membicarakan atau untuk menyatakan
pandangan dan pendapat tentang “sesuatu” yang membuat kecewa,
Jadi Buku
bahagia, marah, benci, kritis, dan lain-lainnya.
Perbedaan yang kontras semacam itu akan berakibat pada karya-karya
yang digubah, setidaknya dalam hal kekuatan karya, tujuan, dan dampak
yang ditimbulkannya. Karya-karya para seniman yang hanya asyik sendiri,
Catatan: Suwarno Wisetrotomo yang hanya menuntut untuk dipahami, tidak memiliki daya ganggu bagi
penontonnya. Karyanya berhenti sebagai benda-benda yang bisu, dan
akan segera dilupakan. Sebaliknya karya seniman yang terus merasa
'terganggu' dengan sejumlah pertanyaan, seniman yang terus berusaha
mengerti dan memahami pihak lain, akan memiliki daya ganggu dan daya
gugat, yang menggelisahkan penontonnya. Ada gelombang yang mudah
ditularkan pada orang lain. Karena pada dasarnya, karya-karya yang
demikian itu bermula dari kepungan dan tekanan situasi krisis, dan sang
seniman ingin mengatasi serta berupaya keluar dari krisis tersebut.
Terdapat passion yang getarannya terasa oleh penonton.
05
 Kali ini kita menyaksikan karya-karya seorang perupa yang puitis, sekaligus
memiliki daya gugat dan daya gugah yang kuat. Karya-karya dalam
pameran ini memiliki karakter visual yang lembut, tetapi menyimpan
provokasi yang mengganggu kesadaran kita. Menikmati karya-karya ini
menemukan suasana hati (juga nalar) yang hampir sama ketika membaca
kumpulan puisi; menemukan serangkaian kata, susunan kalimat, baris-baris
kalimat, atau paragraf, yang ingin mengungkapkan 'sesuatu' (kenyataan)
dengan cara 'menyembunyikan' di balik serangkaian kata-kata itu. Sama
ketika kita melihat dan memahami semesta yang demikian nyata, tetapi
sekaligus mengajarkan berbagai makna di baliknya. Demikianlah, bahwa
semesta adalah “ayat-ayat atau kitab” gubahan Sang Maha Pencipta.
Tugas manusia – sebagai khalifatullah di bumi – untuk merawat, membaca,
memaknai, dan kemudian mengabarkan kepada siapapun dengan
berbagai cara serta bahasa yang dianggap paling sesuai dengan setiap
orang.
Semesta, Aidi Yupri, dan “Buku”
M. Aidi Yupri (kelahiran Magelang, 24 Desember 1981, lulusan Fakultas Seni
Rupa ISI Yogyakarta) adalah seniman yang menggubah karya-karyanya
karena terdorong oleh 'ayat-ayat Tuhan' berupa kehidupan di sekitarnya;
terutama ia belajar dari pohon. Baginya, sebatang pohon sungguh
merupakan sumber tumbuhnya pertanyaan sekaligus kesadaran dalam
menjalankan kehidupannya. Ia belajar dari pohon dengan renungan
sederhana; pohon tumbuh, hidup, dan memberikan manfaat bagi pihak
lain. Hampir setiap pohon, pada setiap bagiannya memiliki manfaat bagi
kehidupan pihak lain. Kehidupan pohon berada dalam proses yang runtut
dan wajar (perupa Tisna Sanjaya pernah mengatakan, “pohon tidak tumbuh
tergesa-gesa”). Sebatang pohon akan dengan lentur (adaptif) terhadap
lingkungannya, akan mencari ruang tumbuhnya masing-masing. Akan
memiliki kehidupan sesuai dengan kondisi tanah di mana ia tumbuh;
apakah cukup subur tanahnya, apakah cukup suplai pupuknya, apakah
cukup airnya, dan sebagainya.
Setiap jenis pohon, memiliki wataknya yang khas sesuai dengan lingkungan
di mana ia tumbuh. Terdapat pohon yang meranggas di waktu kemarau,
06
sementara pohon jenis lainnya tumbuh daunnya. Ada pohon yang demikian
kuat menahan angin karena akar tunjangnya, dan sebaliknya ada yang
mudah rebah karena terpaan angin. Kaktus dengan karakternya yang unik;
berbatang lunak, berduri, tetapi justru demikian kuat hidup di tanah tandus,
padang gurun. Aidi melihat setiap gejala semacam itu.
Aidi tak hanya melihat dan mempelajari pohon dari jauh, tetapi mendekati
dan menjamah langsung sang pohon. Karena, mengerti dan memahami
pohon, sama dengan mengerti dan memahami alam semesta. Bumi tanpa
pohon adalah ancaman bagi kehidupan. Karena itu, Aidi tergabung dalam
organisasi pencinta alam, yang aktivitasnya melakukan penanaman pohon
di daerah-daerah kritis, misalnya lereng dan desa-desa di sekitar Gunung
Merapi pasca erupsi. Lereng dan tanah pedesaan itu pohon-pohon
meranggas karena disapu awan dan lahar panas, termasuk tumbang oleh
banjir lahar dingin. Aidi terpanggil untuk bergabung dalam proyek sosial
tersebut.
Keterlibatannya itu mendekatkan dan meningkatkan kesadaran dirinya
terhadap semesta. Bagaimana sebaiknya manusia menempatkan dirinya
sebagai sang pemelihara semesta, bukan sebagai penghisap yang
semena-mena. Bagaimana pula sebaiknya manusia menyadari
eksistensinya di tengah semesta, yang membuat dirinya menjadi lebih
religious-spiritual.
Bermula dari pohon, memang, Aidi lebih terdorong untuk menyelami dunia
spiritualitas, keyakinan dan pemahaman terhadap Yang Maha Kuasa
terhadap semesta. Pohon merupakan bagian dari ayat-ayat Tuhan yang
terbentang di hamparan semesta. Pohon dengan akar, ranting dan
cabangnya, dapat digunakan untuk melihat diri sendiri. Apakah batang
pohon itu sudah cukup kokoh untuk menopang dahan, ranting, daun, dan
buah, serta apakah mampu menjaga keseimbangan kehidupan dan
pertumbuhannya. Maka Aidi segera menatap dirinya, sembari bertanya,
“apakah aku sudah hidup sewajar dan berguna bagi banyak orang seperti
dia (pohon)?” Pertanyaan reflektif itu terus muncul dari dirinya, sambil
menyaksikan ironi-ironi yang menimpa banyak pohon yang menimbulkan
ketidakseimbangan alam semesta.
07
 Renungan semacam itu mendorong Aidi untuk melakukan eksplorasi
bentuk pada karya-karyanya. Sampai akhirnya mengerucut pada bentuk
“buku”. Pohon, semesta, dan buku? Bagaimana hal itu bertautan?
Meskipun Aidi menghadirkan bentuk “buku”, tetapi bentuk itu sebuah
isyarat (metafora) belaka. Atau setidaknya menyorongkan makna ganda.
Pertama, buku-buku memang dibuat dari bahan baku kayu, sebagai bahan
dasar kertas. Kedua, bentuk “buku” sebagai isyarat untuk menantang
kesediaan kita semua agar mampu “membaca” semua ayat-ayat Tuhan
yang terhampar di sekitar kita. Saya menjadi teringat salah satu ayat dalam
Al-Qur'an, ayat pertama dari Surat Al-'Alaq, yang berbunyi Iqra' bismi
rabbikal-ladzi khalaq (Bacalah dengan [menyebut] nama Tuhanmu yang
menciptakan). Sangat jelas perintah Tuhan ini, yakni “bacalah”; tentu saja
agar membaca seluruh ayat Tuhan – dalam berbagai bentuk, tanda,
lambang – yang ada di dalam semesta ini. Kegagalan untuk memiliki
kemampuan 'membaca' ayat-ayat Tuhan, saya kira adalah kegagalan
manusia sebagai khalifah Tuhan di bumi.
Aidi memilih bentuk yang sederhana, “buku”. Tetapi dengan bahasa itu, Aidi
sekaligus menunjukkan kepiawaiannya memainkan metafora. Aidi lincah
memainkan “dimensi” yang berlapis-lapis, baik dari aspek bentuk maupun
makna. Ia menghadirkan bentuk buku, baik secara ilusif, maupun melalui
kanvas yang dibentuk sedemikian rupa menjadi menyerupai bentuk buku.
Hampir semua gubahan lukisan-lukisannya menghadirkan bentuk buku
dalam posisi terbuka. Bentuk ini menegaskan isyarat iqra' (bacalah);
membaca kitab, membaca ayat-ayat kehidupan.
Apa yang terjadi pada alam, bagi Aidi adalah sebuah “suratan” Tuhan yang
harus terjadi; bagai pena raksasa yang menorehkan garis, bentuk, warna,
dan peristiwa pada semesta (lihat karya “Pesan di Balik Awan”). Kemudian
dalam upaya “membaca”, tentu terjadi tegangan, kegagalan, juga
optimisme (lihat karya “Terus Bergerak”: bentuk tangan tengah membuka
buku tebal, huruf-huruf rontok, tetapi di halaman berikut tampak langit biru
dengan awan tipis). Meski demikian, setiap langkah, setiap upaya harus
dilakukan dengan cermat dan dikalkulasi dengan teliti (karya “Renungan
Langkah”; sebuah karya dengan perspektif unik, yang mampu
08
menghadirkan 'ketebalan' sebuah buku). Kesemua ikhtiar itu, yang harus
diingat adalah peran “kekuasaan” Tuhan dan manusia (lihat karya “Berbagi
Ruang”; antara tangan, huruf, dan pohon saling bertautan, saling
mendukung, tetapi bisa juga menjadi saling mengancam; atau karya
lukisan “Batang Penyangga”; bentuk-bentuk tangan yang pada seluruh
ujung jarinya tumbuh menjadi pohon, ranting, daun). Bukankah nasib
pohon-pohon itu sesungguhnya berada pada “tangan-tangan” para
penyangganya? Saya anggap karya itu berhasil menghadirkan 'puisi' yang
kuat dan menyentuh perenungan dan pemahaman kita.
Di samping bentuk buku, Aidi juga menggunakan metafora bentuk jendela
dan pintu; yang juga mengisyaratkan makna berlapis. Lukisan bertajuk
“Dalam yang Terluar, Luar yang Terdalam”, sangat impresif; sebuah buku
dibentangkan, dua halaman tersambung, di sana terdapat gambar-gambar
jendela bersusun, terbuka dengan kelebaran tidak penuh. Aidi sangat
menarik dalam memainkan “dimensi” yang berlapis. Karya yang hampir
sama dapat dilihat pada “Labirin Akal”; dua halaman buku yang
tersambung, buku itu dijilid dengan kawat spiral, dan di halaman itu hanya
dilukiskan panorama langit biru, dengan awan tipis bergulung. Sungguh,
yang tampak tak terbatas (akal manusia) sesungguhnya terbatas pula
adanya. Yang tak terbatas adalah kekuasaan-Nya (karya “instalasi” dari
bentuk jendela dan pintu, juga dihasratkan dapat memancing pemahaman
antara keluasan dan keterbatasan semacam itu).
Saya juga terkesan dengan karya bertajuk “Sari Pati”; kertas-kertas
berlembar-lembar agak tebal, dalam bentuk seperti diperas, yang membuat
huruf-huruf di dalamnya rontok, namun tertampung di atas bentuk daun.
Aidi seperti mengingatkan kita, bahwa kesemuanya akan kembali ke asal.
Dunia “buku”, sungguh menyimpan makna multidimensional.
Puisi Rupa, Puisi Bentuk
Pameran ini menunjukkan pergulatan seorang seniman dalam mencari dan
menemukan ide-idenya yang kuat, yang memiliki daya gugat maupun daya
kontemplasi baik bagi dirinya maupun bagi orang lain. Karya-karya Aidi
09

Yupri berhasil memprovokasi kesadaran orang lain, meski dengan cara
yang lembut dan metaforik.
Bagi saya, karya-karya Aidi Yupri menghadirkan suasana puitis; karena
karya-karya itu (bagi saya) memang dapat dilihat dan dipahami sebagai
“puisi”. Bentuk-bentuk yang mudah dikenali, tetapi tidak serta merta dapat
segera kita mengerti makna dan tujuannya. Persis seperti ketika diri kita
tengah larut dalam baris-baris puisi. Kata-kata, sebagai rangkaian
keseluruhan, tak lagi bisa kita kenali dengan segera makna dan tujuannya.
Ia menjelma menjadi 'mantra', menjadi lambang, menjadi 'menyembunyikan'
sesuatu di baliknya. Demikian pula karya-karya Aidi Yupri, bentuk-bentuk
yang mudah kita kenali itu (pohon, tangan, huruf-huruf) ketika menjadi
kesatuan konstruksi yang utuh, menjelma pula menjadi lambang-lambang,
simbol-simbol, atau sanepo (kiasan) yang menyembunyikan maksud yang
berlapis. Pameran ini mengajak kita untuk bertualang, menelusuri puisi rupa
dan puisi bentuk yang – mungkin saja menyembunyikan, mungkin pula
mengatakan apa adanya – maksud-maksud (ide-ide) senimannya.
Semesta terus terkembang dengan segala kompleksitasnya, demikian pula
“buku-buku” terus hadir di sekitar kita. Iqra'. Bacalah!
10
We will never tire of asking the question about the purpose of art(works). At the
very least, questions like that can become a 'small disturbance' (or a 'large
disturbance', even) to an artist, especially when he or she is ensconced within
an artistic, creative process. The artist will not be 'disturbed' if he is left alone
happily pottering about in his own world; when the artist—consciously or
otherwise—has created a distance between himself and his social-
community. It seems that for them, creating art should have been a fulfillment
of personal desires, without having to think about relationships and
connections with their surroundings. Such an artist tends to feel as though he
is a special person, who demands everyone to know and understand him.
Such an artist demands everyone to come to him.
On the other hand, an artist who is always disturbed by fundamental
questions regarding his artistic activities will always try to know and
understand his social-community. He will make time to meet his audience,
The Universe to meet with society or whoever, to absorb experiences (even knowledge),
to share and to discuss what he has learned. Artwork is not merely a
medium. It is not just a language to talk about or to make statements about
Blooms views and opinions on “something” that upsets, gladdens, angers, hates,
criticizes, etc.
Into a Book
Such contrasting outlooks lead to differences in the way artworks are
composed, at least concerning their strengths, aims, and effects. Works by
a self-indulgent artist, who only demands other people's understanding,
rarely touch or disturb the audience. On the contrary, an artist who
unerringly tries to 'disturb', to know and to understand other people, will
Notes by: Suwarno Wisetrotomo
create works with the potent capacity to disturb and to indict, to create
anxiety amongst his audiences. His work will become like infectious waves
that reach out and touch others in a profound way. Essentially, the latter kind
of works rises up from the pressures and sieges in times of crisis, from
situations that the artist wishes to escape from. His passion reaches his
audience.
Today, we shall witness the works of a poetic artist, who is strongly
evocative and critical. Works at this exhibition show gentle visual
characteristics, yet retaining the sort of provocation that can disturb our
consciousness. To enjoy his works is to discover an inner atmosphere
(perhaps a kind of rationality, too) often found when reading a handful of
11
 poetry. In a poem, we may discover a chain of words, a structure of
sentences, and rows of paragraphs wishing to disclose 'something' (some
reality) yet 'hiding' them behind intricate strings of words. We get a similar
encounter when we look at and try to understand our real universe, while still
wondering and even teaching about the meanings hidden behind them.
Thus, the universe acts as “scripture verses”, composed by the
Omnipotent. The task entrusted to us humans then—as shepherds on
earth—is the task of nurturing, reading, contemplating, and proclaiming to
everyone about these holy verses, using ways and words that may vary
according to each particular need.
The Universe, Aidi Yupri, and “Books”
M. Aidi Yupri (born in Magelang, 24 December 1981, graduated from the
Faculty of Art, ISI Yogyakarta) is an artist who composes his works
motivated by “holy verses” manifested in the things found around him,
especially trees. For him, trees are the root of questions and consciousness
in leading his life. He learns from the trees using a simple contemplation:
trees grow, live, and provide for others. The life of trees follows an ordered
and coherent process (Tisna Sanjaya, the artist, once remarked how “trees
do not grow hastily”). A tree always adapts to its environment [flexibly],
seeking its own space to grow. It will live according to the condition in which
it lives. Is the soil healthy enough? Is it well-fertilized? Does it have enough
water? And so on.
Each type of tree has its own unique characteristics, according to the
environment to which it belongs. There are trees that shed their leaves
during the summer, while others grow them in abundance. There are trees
that can withstand high winds thanks to prop roots, but there are also trees
that bend in the wind. The cactus, for instance, is unique: soft-stemmed and
prickly, it endures arid deserts. Aidi absorbs all these indications.
Aidi does not look at and learn about these trees from afar. Instead, he
approaches each tree and touches them. For him, to know and understand
the tree is to know and understand the universe. An earth without trees is a
threat to our existence. This was what urged Aidi to join a nature-lover's
group. With them, he began to plant trees in critical lands, on mountain
12
slopes and villages; as he did around Merapi post-eruption, for instance.
The trees on these valleys and in these villages had lost their leaves to hot
lava and scalding clouds; some were even swept away by cold lava flow.
Aidi heeded their calls and participated in this social project earnestly.
His involvement drew him closer to and nurtured his consciousness of the
universe. He began to learn how people must place themselves as
guardians of the universe, rather than as ungrateful leeches. He learned
how people must come to understand their existence in the midst of the
universe, making them more religious and spiritual.
It began with trees, certainly. Aidi is now even more motivated to explore the
world of spirituality, faith, belief and to seek a deeper understanding of God
through the universe. Trees are seen as part of a holy scripture, laid open in
the vastness of the universe. Trees and their roots, branches, limbs and
twigs. He uses them to look at himself. Is the branch strong enough to
support every bough and every limb, each little leaf and fruit? Is it strong
enough to maintain the balance of its life and growth? Thus, Aidi will look at
himself, asking, “Have I lived realistically? Am I useful to other people as the
trees do?” These reflections flow out of himself, as he continues to witness a
flow of ironies assaulting these trees, tipping the balance of nature and the
universe.
Such contemplation has drawn Aidi to conduct an exploration of forms in
his works. Until finally they culminate in a “book”. Tree, universe, book? How
are they connected, really?
Although he presents the form of a “book”, it is merely a sign (metaphor),
something that offers a dual meaning, at least. First, books are made from
wood (as the main ingredient for paper pulp). Secondly, the form of a
“book” serves as a sign that challenges our readiness in reading God's holy
verses that are strewn around us. I am reminded of a verse in Al-Quran, the
first verse in Al-Alaq: Iqra' bismi rabbikal-ladzi khalaq (Read, in the name of
your Lord who created). God's will is clear in this verse: “read”. Certainly, it
tells us to read all of God's words—in all forms, signs, and symbols—found
throughout this universe. I think that the failure to nurture the ability to “read”
God's words is man's failure to make good of his role as God's caliph on
earth.
13
 Aidi has chosen the simple form of a “book”. However, through this
language, Aidi is also demonstrating his skill in playing with metaphors. Aidi
deftly plays amongst layered “dimensions”—in both form and meaning. He
presents the “book” either illusively or through canvases made to look like a
book. Almost all of his paintings are in the form of an open book. They
emphasize the iqra' (Read!): a call to read the scriptures, to read the verses
of life.
For Aidi, occurrences in nature are like divine destinies (suratan, what is
written); as though a great pen has drawn lines, forms, colors, and events
into the fabric of the universe (see “Pesan di Balik Awan” [lit. Message from
Behind the Cloud]). In our attempts to “read”, we will encounter tension,
failure, and even optimism (see “Terus Bergerak” [lit. Always Moving]; a
hand turning a page of a thick book, tumbling words, crumbling alphabets,
and thin clouds on blue skies as we turn to the next page). Even so, each
step and every attempt must be performed carefully and calculated
precisely (see “Renungan Langkah” [lit. Contemplation of the Steps];
displaying a unique perspective that is somehow able to present the
'thickness' of a book). Through this entire endeavor, we must remember the
role of God's might and the people within its sphere (see “Berbagi Ruang”
[lit. Sharing Space]; the intertwining of hands, words, and trees, supporting
one another, but also threatening one another. Also “Batang Penyangga” [lit.
Supporting Branches]; hands whose fingers have turned into trees,
branches, twigs, and leaves). Does the fate of trees not lie in the “hands”
supporting them? I feel that these works present a kind of 'poetry',
simultaneously strong and touching, inspiring our contemplation and
understanding.
In addition to “book” forms, Aidi also uses windows and doors as
metaphors for layered meaning. “Dalam yang Terluar, Luar yang Terdalam”
[lit. In the Outmost, Out of the Inmost] is quite impressive indeed: a book is
laid open with two pages joined, on which windows upon windows are
drawn, not quite fully open. Aidi plays with layered “dimensions”. An almost
similar work can be seen in “Labirin Akal” [lit. Mind's Labyrinth]: two joined
pages of spiral-bound book, and on these pages is a blue-skied panorama,
with soft clouds rolling along. Indeed, what seems limitless (the human
mind) is actually limited. The only limitless thing is God's Might (Aidi's
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“installation” in the form of windows and doors is intended to draw out an
understanding between vastness and limitations).
I am also impressed with his work, “Sari Pati” [lit. Essence]: a sheaf of thick-
ish paper, presented as though wringing out the words inside, falling
alphabets caught in the form of leaves. It seems that Aidi wishes to remind
us that all things return to their origins. The world of “books” contains a
multidimensional meaning.
A Poetry of Shapes and Forms
This exhibition shows an artist's struggles in search of, and then finding,
strong ideas. It shows an artist who has the capacity to indict and
contemplate issues of himself and of others. Aidi Yupri's works have
managed to provoke the audience's consciousness, through a gentle and
metaphoric manner.
Personally, Aidi Yupri's works provide a poetic atmosphere, because his
works (for me) can actually be seen and understood as “poetry”. The forms
are easily recognizable, yet we don't immediately know their meaning and
purpose. Just like how we can lose ourselves in lines of poetry where words,
as a whole, can no longer be immediately recognizable for their meaning
and purpose. They have turned into spells and chants, into symbols,
“hiding” something behind them. Such is with Aidi Yupri's works: these
easily recognizable forms (trees, hands, words and alphabets) are
transformed into symbols and idioms (sanepo) that hide layers upon layers
of meaning. This exhibition invites us to explore, to trace the poetry of forms
and shapes that may hide, or even outrightly declare, the artist's ideas and
message.
The universe continues to bloom and grow in all its complexity. So does the
“books” that continue to present themselves around us. Iqra'! Read!
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16 M.e.m.o.k.o.t.a, acrylic on canvas, 200 x 195 cm, 2011 17
 Batang Penyangga
acrylic on canvas
99 x 110 cm (2 panel)
2012

18 19
20 Membaca Melalui Bayang, acrylic on canvas, 160 x 130 cm, 2010 Renungan Langkah, acrylic on canvas, 180 x 140 cm, 2012 21
22 Gerak Kata Refleksi Diri, acrylic on canvas, 140 x 140 cm, 2012 Dalam yang Terluar, Luar yang Terdalam, acrylic on canvas, 120 x 200 cm, 2012 23
 Bingkai Pandang
acrylic on canvas
90 x 110 cm (2 panel)
2012

24 25
26 Bayang Perspektif Ilmu, acrylic on canvas, 140 x 160 cm, 2012 Labirin Akal, acrylic on canvas, 120 x 200 cm, 2012 27
Pesan Dibalik Awan
acrylic on canvas
120 x 150 cm (2 panel)
2012

28 29
30 Untuk Lebih Membumi, acrylic on canvas, 160 x 140 cm, 2011 Membunyikan Kata, acrylic on canvas, 180 x 180 cm, 2011 31
 Terus Bergerak!
acrylic on canvas
90 x 100 cm (2 panel)
2011

32 33
34 Sari Pati, acrylic on canvas, 140 x 200 cm, 2012 Segmen Vertikal, acrylic on canvas, 130 x 200 cm, 2011 35
 Membaca Diri, oil on resin, 78 x 135 x 22 cm, 2012

36 37
38 Berbagi Ruang, acrylic on canvas, 160 x 140 cm, 2011 Celah Tanpa Batas, wood, installation, variable dimension (10 windows panel), 2012 39
CURRICULUM VITAE
Born in Magelang, 24 December 1981
Bachelor of Fine Art, Indonesia Institut of Fine Art, Yogyakarta
Solo Exhibitions
2013
Semesta Terkembang Jadi Buku, Art Space:1, Art:1, Jakarta
2010
Alam Menggugat, Mon Décor Gallery, Jakarta Art District, Jakarta
Selected Group Exhibitions
2011
Bandung Contemporary Art Award, Lawangwangi, Bandung
Sin City, E(art)H Project, National Gallery, Jakarta
Nation of Landscape, Museum Basoeki Abdullah, Jakarta
UOB Painting of the Year, UOB, Jakarta
Homo Ludens#2, Emmitan CA Gallery, Surabaya
Flight for Light: Indonesian Art and Religiosity, Art:1, Jakarta
2010
3G [3 GENERATION], Semarang Contemporary Art Gallery
Action'01, Taman Budaya Yogyakarta
Korea International Art Fair, booth Mon Décor Gallery, Korea
Jogja Art Share, Jogja National Museum, Yogyakarta
M. AIDI YUPRI
2009
DISTANCE, Tonyraka Art Gallery, Ubud, Bali
Subjects Expose(s), Pure Art Space, Jakarta
Up & Hope, D'Peak Art Space, Jakarta
Paramitra, Mon Décor Gallery, Jakarta
2008
Celebrating The Differences, Elegance Art Space Jakarta
The Ironi of Signs Mon Décor Gallery, Jakarta
Most Wanted, Galeri Biasa Yogyakarta
2007
Hitam Putih, Hotel Melia Purosani Yogyakarta
Banaran Café, Jogja Gallery Yogyakarta
Open Art Project, BOK Art Hause Semarang
1001 Misteri Borobudur, Borobudur Magelang
Shout Out, Festival Kesenian Yogyakarta, Taman Budaya Yogyakarta
Pameran Seni Rupa Nusantara,”Demi Mas(s)a”, National Gallery, Jakarta
Belok Kanan Jalan Terus, Sangkring Art Space Yogyakarta
Bumi, Mon Décor Gallery, Jakarta
Awards
2011 Finalist of Bandung Contemporary Art Award, Bandung
2010 The best Painting Competition '60 Tahun Suara Merdeka, Semarang
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