Victory March - odetoart.com · Vani dayatur ahman 2 3 Victory arch The often socio-political nature of Indonesian contemporary art has earned it a strong voice when it comes to regional

Victory March

Vani Hidayatur Rahman

Victory March

Vani Hidayatur Rahman

Vani Hidayatur Rahman 2 3 Victory March

The often socio-political nature of Indonesian contemporary art has earned it a strong voice when it comes to regional diction. Whether it is a return to childlike forms or a drive forward to abstract permutations, each individual artist communicates their own brand of truth; but all their works burn with a common fire of meaning, of an urgent message they want to convey through their medium. Despite my years of working with a variety of powerful Indonesian artists, I am sometimes still surprised by the intensity of this fire. Witnessing the evocative art of Vani Hidayatur Rahman was one such memorable moment.

Born in 1981, Vani’s acrylic paintings are decidedly modern, using urban imagery to reflect his life growing up in a rapidly developing Indonesia. He is especially gifted with textures, using colour and strokes to elevate flat paint into the grit of grey stone or the translucent sheen of plastic.

Technique aside, the visuals themselves are arresting, creating intriguing juxtapositions that tell the audience they are just as layered conceptually as they are aesthetically. In his work ‘Inevitable Pollution #2 The Flower’s Future’, for example, he paints vibrant roses formed entirely of plastic wrappers, rising from a garden of refuse. His message of conserving the planet before it is too late hits home even before the work’s title can be viewed. His typewriter series is another work delving into such modern malaise, addressing topics such as the divisive nature of diversity, or the growing consumption of vapid information over meaningful data and debate.

Knowledge, signified by a fountain pen, is a common symbol found in his artworks, glorifying intellectual warfare as the modern weapon of choice.

While his colour palette is vivid, it encompasses a restraint that denies idealistic perfection to choose realism instead.

Foreword

The nature of Vani’s works imbues them with an almost universal appeal, asking timeless questions that are integral to the human condition. But the artist does not do so with judgment, only asking to incite meaningful thought. The composition is such that his overarching message cannot be escaped—but it can be responded to on a very individual and personal basis. It is with this dynamism in mind that this collection of artworks was put together. Each response, understanding and assimilation of their meaning contributes to the ecosystem of forward thinking that contemporary Indonesian artists are fighting to uphold.

Vani’s works serve to first draw audiences byway of visuals, and then retain them with the inherent depth they find. Whether it is for the aesthetics or the implications of them, it is my hope that this collection makes you stay.

Jazz ChongDirectorOde to Art


The reality of life and our personal expectations of it create a balance that is key to maintaining order in the existence of human civilization. The body, as a physical, tangible material that is connected with everything outside of it, grounds the self and regulates the turbulent nature of thought. On the other hand, hope is self-sufficient and enables one to realize thoughts and feelings. These manifestations first find their place in the subconscious mind, and at certain stages of maturity and influence in life, the desire to realize them can reappear.

Time makes up an entire series of moments which underline the process, deed, or situation that takes place. Time and space serve as traps for human life as they limit the body, whereby every encounter will inevitably reach a separation, just as how birth will lead to death. In spite of this, humans possess the capacity for ideas and thoughts that exceed their time. Therefore, an artist is able to enter, and eventually transcend time and space to become an eternal entity with his or her art.

This exhibition serves as a visual representation of Vani Hidayatur Rahman’s thoughts of his past experiences which have found a place in his subconscious mind. Memories from his childhood up until today are expressed clearly, and some have become visual ideas through his artwork, creating a basis in contemplating a lived life, and art itself.

Vani Hidayatur Rahman is the sixth of seven children, and was born in Jeruk Raya, Peterongan, Semarang, Central Java,

Rebuilding TimeExhibition PrefaceVani H R at Ode to Art a city made up of dense populations and buildings. There

are several parts of his life story that can be traced, in order to discern the background of the visual tendencies in his paintings. To begin with, his family became the starting point for understanding the ways of thinking that inspired Vani’s works. Vani felt, deeply, the warm and harmonious atmosphere in his family home, and through this condition that he had experienced, he had always tried to avoid the clashing of ideals and problems. He believes that there is always a compromise in finding a solution; after all, problems stem from misunderstandings. As humans have the ability to relieve such misunderstandings based on the depth of their bond with one another, a relationship is a “building” that needs to be designed to be as strong as possible.

Since childhood, Vani knew how to design buildings from his father, who works in the Public Works Department of Semarang City. His father and several of his older siblings had pursued work as civil engineers and architects, allowing Vani to become accustomed to the drawings of buildings. The emergence of building objects or the architectural atmospheres in his paintings were probably derived from those memories, coupled with his childhood, when he took his time playing between the densities of homes at that time.

There are several important things that can be taken as a sign of interest in art, as well as the tendency towards certain objects in the arts. In kindergarten, Vani displayed an interest in drawing, and found joy in using any tools around him, such as wood, plywood, and even the walls of the house. As a primary school student, he liked to buy toy cars, and then proceeded to dismantle and modify them, even as his siblings were trying to paint them. Since childhood, he also possessed an interest in machines that worked mechanically such as the typewriter.

First Ticking


Whether this is a conscious or an unconscious effort, these machines now appear to dominate visually in his work. Is there a strong connection between his past experience and Vani’s art today? Or are these objects a way of avoiding the current reality?

In psychological theories about creativity, there are stages in which the subconscious plays an important role. In a book, titled “Psikologi Seni Sebuah Pengantar” by Irma Damajanti, M.Sn., published by Kiblat Buku Utama in 2006, on pages 68-69, Graham Wallas explains that in the creative process there is a stage called “incubation”. At this stage, the unconscious takes over and solves the problem. In the subconscious stage, the stored data, information, and experiences are interrelated, formulated and eventually lead to a solution. This can be related back to Vani’s creativities, where all of his experiences are submerged into data and information that will one day appear again, consciously or unconsciously.

The Vani family moved from downtown to a suburb, close to a village. It was when he had entered junior high school that it his lifestyle changed from a suburban to an urban one. Vani witnessed the juxtaposition between the remnants of an agricultural village and booming industrialization. On one side, there was a village with vast farms and children who are still amazed by technology which was introduced by city dwellers. On the other side, he saw factory workers riding bicycles on the road when they left or went home from work.

Entering high school brought Vani to a “talk” with social life on the streets. It began with his interest in playing the guitar, and

music whose content exemplified social criticism. At that time, there were singers voicing out and fighting social imbalances due to the policy of power. He began collecting tapes and making clippings about the musicians’ lives to understand the way of thinking that enables one to produce arts that contain criticisms for the ruling party. With that, a strong relationship between the reality of life on the street and the words of hope in songs was born.

By singing on the streets, Vani could experience street life. Street life has a different sense of comfort and rules when compared to that of the family. Several times, he faced problems that caused quarrels and even fights, and he realized that “loyalty between friends” must be held in order to survive the rigors of life. He also discovered the power in the lyrics of songs which contained meaning against the authorities, alongside the physical clashes of problem-solving in real life. The combination of these two realizations lead Vani to the idea that every problem could be solved with thought and feeling, not with “physical dialogue”.

It is possible that the material or nonmaterial entities in the world are connected with each other, and they may even be unified. In quantum physics, it is found that subatomic particles sometimes behave as particles of matter, and sometimes they behave as waves of energy. There is a possibility that an observer’s thoughts may influence the shape of the subatomic particle into matter or wave energy. Whether intentionally or not, Vani has found a “power” in the mind, to change his physical dialogue into a dialogue toward a solution. Is every object that blends with the machines in his art representative of such a consciousness?

During Dialogue


Since graduating from high school, Vani worked at every given opportunity, all the while playing with his friends, until one day, his parents asked him to enter college for the sake of his future. Along with the news about an art school in Yogyakarta and armed with his interest in drawing since childhood, Vani proceeded to study at Akseri to explore more about graphic design in 2001.

The bustle of the art world reconnected him to a distance past – his home. This separation often made him silent, as life in time-spaces contains struggles of alienation and yearning. Such distances could be “cheated” at that time, where the phone served as a healer for the thirst of longing. However, when his mother passed away in 2004, this feeling of loss awakened an awareness to the importance of togetherness despite the indifferences of some of his family members. Togetherness is an expensive “treasure” with the past lying at an unattainable distance. Time is so mighty, unbeatable.

As time stops for no one, so does life. Vani refused to stay in the past and trudged onwards into the future with a sense of optimism. After graduating in 2009, he married a woman from Bantul, Yogyakarta. Not long after, in 2010, his father passed away. Again, Vani lost someone that was very close to him, someone who always understood and supported him. It was a maturing process as he felt the solitude of building a family without the guidance of his parents. Contemplating life makes one aware of the importance of controlling emotions, as Man is built and driven by emotions. Could it be that these colorful little humans are emotions that are building themselves up into a human?

In the science of psychology, color is closely related to the emotions. Colors can be used to express or to affect someone’s emotions. Geographically, every place has a special response to color, based on its traditions and cultural heritage. In Javanese culture, there is a meaning to four colors. These colors are symbols of the emotions that move a person’s life, named as the sedulur papat lima pancer (four siblings, and the fifth is the center). The air element of yellow represents

“ambition”, the fire element of red represents “emotionality”, the water element of white represents “sincerity” and the earth element of black represents “control” or “mastery”.

In general, Vani’s art in this exhibition is a series made up of the pieces from his experiences and feelings. The past, present, and future unite in the grand scheme of life, tying facts and expectations of time-space as a whole, the confidence to make the world better, and an optimism that can change the world through simple actions. There are two theories that can be learned from this thought.

Firstly, it is light of speed theory that explains how time will slow down for a person when he or she moves near the speed of light. Theoretically, someone is able to travel between time dimensions (past or future) by moving beyond the speed of light. The question is what kind of relationship does Vani want with the past and the future?

The second is the butterfly effect theory, a term used by Edward Norton Lorenz. A flutter of butterfly wings in the Brazil jungle could produce tornadoes in Texas a few months later. The value that can be drawn from this theory is that a small

The Emotional Distance of the Past

Rearranging


action that is being carried out in the present moment holds the ability to bring about major changes in the future. Taking this in mind, perhaps Vani’s present hope in his works could become a reality in the future.

Vani’s works may have been created from intimate and personal thoughts. But if we look closely, there is a desire to change the global circumstances through the display of objects or figures that are well known. The process of change does not have to start physically because civilization begins with thoughts that transcend its time or era. The final conclusion of each work in this exhibition is the right of each audience to form his or her conclusions, because every human being has personal experiences and different realities. Vani, who used distinct markers according to the conditions and situations of his time have created paintings that are distinctively of this era.

Janu PU


Unity #212018 Acrylic on canvas 180 × 120 cm


Change the world #92017 Acrylic on canvas, 140 × 100 cm


Change the world #62016 Acrylic on canvas, 200 × 120 cm


Change the world #8 2017 Acrylic On Canvas, 150 × 130 cm


Unity #172017 Acrylic on canvas, 200 × 120 cm




Message in the bottle #22016 Acrylic on canvas, 180 × 120 cm


Bird of Peace2018 Acrylic on canvas, 150 × 150 cm

Refresh #22017 Acrylic on Canvas , 200 × 150 cm


Unity #18; About A Time2017 Acrylic on canvas, 150 × 120 cm


About A Time #12017 Acrylic on canvas, 200 × 100 cm

About A Time #22017 Acrylic on canvas, 200 × 100 cm


Refresh #12017 Acrylic on canvas, 200 × 100 cm


Unity #19; Reconstruction2017 Acrylic on canvas, 200 × 100 cm

36 37 Victory March

Unity #10 2016 Acrylic on Canvas, 150 × 150 cm

38 39 Victory March

Unity #11Acrylic on canvas, 130 × 150 cm


VICTORY MARCHVani Hidayatur Rahman

In life, we go through many events and situations. These moments can be filled with either joy or sadness, peace or anger, envy or contentment. Regardless of the affairs or their consequences, we often contemplate and reflect on them until we reach a point where a lesson can be learnt.

This piece, Victory March, refers to a relentless march forward independent of time. Rather, we focus on the process of life. Drawing on our past, present and ideals of the future, we are motivated with new dreams and goals to strive towards.

Vani conveys these ideals through the media of painting with Victory March. Victory March, in particular, contains hope for peace, hope for the spirit and determination to confront current hurdles through teamwork. Using Lady Justice as a symbol of morality and impartiality, this piece invokes a sense of self-criticism and self-awareness that are vital to building solutions and upholding positive spirits.

This amorphous spirit is continually modified and improved, full awareness, to become a better human being – much like a March with thunderous sounds, moving with an enthusiastic rhythm.

This is a song of victory and hope (and peace as well) with a spirit of togetherness to overcome diversity for me, you, him, her, they, and us in the world.



Change the world #10; Homage to Joseph Swan & Thomas Alva Edison 2017 Acrylic on canvas, 160 × 130 cm


44 45 Victory March

The Times They Are A-Changin’ #1 (Bob Dylan)2017 Acrylic on canvas, 100 × 130 cm

The Times They Are A-Changin’ #3 (Bob Marley)2017 Acrylic on canvas, 100 × 130 cm


The Times They Are A-Changin’ #2 (John Lennon)2017 Acrylic on canvas, 100 × 130 cm

The Times they are a Changin’ #5 (Ludwig Van Beethoven)2018 Acrylic on canvas, 100 × 130 cm

Vani Hidayatur Rahman 48 49

The Thinker Series #2; For Green and Peace2018 Acrylic on canvas, 150 × 150 cm

Unity #15; Ode to Auguste Rodin2017 Acrylic on canvas, 150 × 150 cm

51 Victory March50

The Thinker series; Build a Civilization2018 Acrylic on canvas, 150 × 120 cm

The Thinker Series #3; Building A Peaceful Civilization2019 Acrylic on Canvas, 150 × 150 cm


Unity #22; Ode to Ludwig Van Beethoven2019 Acrylic on Canvas, 120 × 160 cm

The Times They Are A-Changin’ #4 (Jimi Hendrix)2018 Acrylic on Canvas, 100 × 130 cm

54 55 Victory March

Song of Peace2019 Acrylic on Canvas, 200 × 150 cm


The Times They Are A-Changin’ #7 (Mick Jagger)2019 Acrylic on canvas, 100 × 130 cm

The Times They Are A-Changin’ #6 (Kurt Cobain)2019 Acrylic on Canvas, 100 x 130cm


UOB Art Space, Art Stage Singapore

Walking Home And Killing Pain: Studi Cahaya #1, Photography Exhibition, Bentara Budaya Yogyakarta Art Charity: Mandiri Sahabat Negeri, Graha Bimasena & Plaza Mandiri, Jakarta Art of ASEAN; Our Exhibition, Bank Negara Malaysia Museum and Art Gallery, Kuala Lumpur, Malaysia

Parallel Event Biennale Jogja XIII: Hacking Conflict, with Kulon Progo Printmaking, Jogja National Museum, Yogyakarta.

Art Expo Malaysia Plus, with Ode to Art Gallery, MECC Matrade, Malaysia.

Bazaart Jakarta, with Ode to Art Gallery, Ritz-Carlton Pacific Place, Jakarta.

Spirit Membangun Negeri, Mandiri Art Award Painting Competition, Plaza Mandiri, Jakarta. Next Pics: The Series, Albert Gallery, Jakarta.

Tanda Mata X, Bentara Budaya Yogyakarta.

Di Antara/In Between, Trimatra Nasional Competition, Galeri Salihara, Jakarta.

Vox Populi Vox Dei / Photography / Exposure Magazine 69th Edition.

Walking Home and Killing Pain #2: Page Not Found, Photography Exhibition, Bardiman Coffee Shop, Yogyakarta.

GasPol RemPol, Lapak 36 Art Space, Yogyakarta.

Victory March, Ode to Art Gallery, Singapore

B. Semarang, 17 June 1981UOB Painting of The Year 2013, UOB Plaza, Jakarta.

Maritime Culture / ART JOG 13, Taman Budaya Yogyakarta.

Tafsir Mimpi / kel. Batu Asah, Bentara Budaya Yogyakarta.

Meta-Amuk, National Gallery of Indonesia, Jakarta.

Ideal World (Interpreting a Perfect Life) / Jakarta Art Award, North Art Space, Jakarta.

Indonesia Tanpa Diskriminasi, Pisa Cafe&Gallery, Jakarta.

Return to Home, International Union of Unified Ummah Cartoon Contest 2012, Iran.

Weekly Cartoon Contest / Week 2&3, www.irancartoon.com.

Indonesian Art Now: The Strategies of Being / ART JOG 10, Taman Budaya Yogyakarta.

Percakapan Masa / Pameran Besar Manifesto, National Gallery of Indonesia, Jakarta.

Spacing Contemporary / JAF # 2, Taman Budaya Yogyakarta.

How Art Lives / FKY 21, Benteng Vredeburg, Yogyakarta.

Menilik Akar, National Gallery of Indonesia, Jakarta.

Golden Box # 2, Jogja Gallery, Yogyakarta.

Art Project # 1 / Pra Biennale Solo, Taman Budaya Surakarta.

Warna-warna Jakarta / Jakarta Art Award, North Art Space, Jakarta.

Jogja Art Fair #1 / FKY 20, Taman Budaya, Yogyakarta.

Man + Space, Dahara Gallery Semarang.

Domestic Art Object, Jogja Gallery Yogyakarta.

Rupa-Rupa Sculpture, Rumah Budaya Tembi Yogyakarta.

EXHIBITIONS

VANI HIDAYATUR RAHMAN

2018

2019

2016

2015

2014

2013

2012

2010

2009

2008

2007


Double Taste reFresh the Harmony, Sika Gallery Bali.

Hero Off the Day, Benteng Vredeburg Yogyakarta.

Pameran PEKSIMINAS VIII, Makasar.

Pameran Selekda PEKSIMINAS VIII DIY, Sanata Darma Yogyakarta.

Parallel Art Show, SKY biz Café, Bandung.

Art for Jogja, Taman Budaya Yogyakarta.

Jawa dalam Imajinasi, Rumah Budaya Tembi Yogyakarta.

K_art_ini, Jakarta State University.

Vaningalanifun Segawon, Galeri Biasa Yogyakarta.

Kotakatikotakita / FKY 17, Taman Budaya Yogyakarta.

Heritage, Faith & Peace, Borobudur Magelang.

Mal Praktik, Fort Vredeburg Museum, Yogyakarta.

Environmental Art, Dies Natalis Sasenitala, Bebeng, Yogyakarta.

Art for Love, Pondok Tingal, Magelang.

In Collaboration, Java Café, Yogyakarta.

Reply / FKY 15, Taman Budaya, Yogyakarta.

Saji Seni, Muhammadiyah University of Purworejo.

One Tone Part One, PDM Kota Yogyakarta.

Festival Seni & Budaya, PDM Kota Yogyakarta.

Kel. Pertelon, Pasar Ngasem Yogyakarta.

Finalist Mandiri Art Award

Finalist Trimatra Nasional Salihara Competition

Silver Award Established Artist UOB Painting of The Year 2013 region Indonesia

Best Painting “International Painting Competition” Jakarta Art Award- 10 Besar Pertama Lomba Lukis Puisi Esai Denny JA ”Indonesia Without Discrimination”

Finalist Jakarta Art Award

10 Besar Selekda PEKSIMINAS VIII DIY

Runner Up Java Caligraphic DIY

2006

2005

AWARDS

2015

2014

2013

2012

2008

2006

20052004

2002

2003

63 Victory March

Victory MarchVani Hidayatur Rahman

First published 2019

Ode To Art Raffles City252 North Bridge Road,Raffles City Shopping Centre, #01-36E/F,Singapore 179103Tel: +65 6250 1901Fax: +65 6250 5354

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Victory March - odetoart.com · Vani dayatur ahman 2 3 Victory arch The often socio-political nature of Indonesian contemporary art has earned it a strong voice when it comes to regional