Susi Johnston Bali Blog

It’s too splendid to miss. An exhibition of  300 artefacts from Sumatra opened last night at the Asian Civilisations Museum in Singapore. “Sumatra: Isle of Gold” runs from today through 7 November 2010, giving us all plenty of time to plan a Singapore stopover to see the show, which is the first international touring exhibition about Sumatran culture.

The dizzying array of objects exhibited includes a diamond-studded crown worn by the Sultan of Siak, silk and gold-threaded textiles, beadwork, sculpture, and a glorious trove of  jewelry and ornament. Many pieces are from the ACM’s permanent collection, while others are on loan from the Indonesian National Museum in Jakarta, the National Museum of Ethnology in Leiden, and from private collections, making this an unsurpassed opportunity to appreciate the rich spectrum of this rich island’s culture from the bronze age to the present day.

Kevin Lim has already posted a set of photos of the exhibition opening party on flickr (below), and some of the pieces on show (magical inscriptions in an antique Batak book, above).

Personally, it is gratifying for me to see a major exhibition on the arts and artefacts of Sumatra, as I have been collecting Sumatran textiles, baskets and beadwork for the past two decades. My collections are, of course, available for purchase at ICON Asian Arts and Macan Tidur in Bali.

We are in Brussels today, where the arbitrary is deliberate, and the unexpected is . . . well . . . expected. Eccentricity is ordinary, serendipity is a ubiquity, and we keep bumping into people we know, as if it were all scripted . . . for the theatre of the absurd. We love it. Discovery du jour, after a stroll through the marvelous Marolles flea market, was the showroom of K. Loan on Rue Blaes.

Bruno says it is like a set from Luc Besson’s Le Dernier Combat. In Brunese, that means, “it’s great.” It is. The photos here do not do it justice, nor does their tiny website. Here is a master of mise en place, who takes weathered industrial steel and juxtaposes ordinary objects and extraordinary ones against them in such a way that voilà! it is a still life. Everybody thinks they can do the same these days. But they are wrong. It takes the eye of one such as K. Loan. A very rare eye indeed. Delightful.

Last Saturday I presented a program on Indonesian arts and antiquities for a group of young CEOs at our shop in Ubud, Gallery Macan Tidur. Based on these snapshots it looks like I gave an animated performance – - despite the fact I was on crutches, having only just been liberated from a pesky leg cast following an injury last month. My crutch served well as a pointer (below), to indicate the locations of various peoples in the Indonesian archipelago.

The approach we took to consider Indonesian arts and antiquities was to observe the contrast between tribal or primitive styles and courtly or “classical” ones. One finds strongholds of primitive, tribal and archaic cultures to this day in the inland, and mountainous areas of Indonesia, as well as on less-accessible or less-trafficked islands, while more courtly styles tend to be found in coastal areas which were centers of trade and cultural exchange.

We explored how this pattern of distribution allows us to reflect on the nature of society throughout the region during various periods from pre-history to the present day. To illustrate these themes, we examined a variety of textiles, objects, weapons and jewelry from a wide range of cultures across the archipelago, dating from the stone age to the information age.

I very much enjoyed meeting this group of young business leaders who were in Bali to participate in a weekend gathering of the Pan-Asia chapter of YPO (The Young President’s Organization). Their weekend schedule, masterfully organized by Balistarz, was chock-a-block with every imaginable activity that Bali has to offer. Including a Saturday night barbecue bash at the Morabito Art Villa which they were kind enough to invite me to join. Great party, but a bit difficult to negotiate with only one foot functioning. Great company. The vivacity, intelligence and creativity of YPO’s Pan-Asia chapter members gave me new optimism for the future of the region. Go, YPO.

The Ashmolean’s Jousef Jameel Centre for Islamic and Asian Art has a splendid online database of textiles. One of the collection’s superstars is this radiant sun, blazing at the centre of a 19th century Rajput royal flag. The colour is so full of muscle, it knocks you off your chair, and the simplicity of the composition will knock your socks off.

So, there you are sprawling sockless in front of your Mac. Restore your dignity now, by researching  some of the ancient textile fragments in the collection. You will see motifs  that have been seminal in textile design for over two millenia all around the globe. It is an eye-opening experience for connoisseurs of Indonesian textiles. Many of the most coveted traditional Indonesian textile designs were inspired by Indian examples, many centuries ago. And that’s not surprising, when you consider the beauty of  ancient Indian textiles, like this 13th-14th century Gujarati block print (above). Do you see a geringsing at all?

Images © Ashmolean Museum, University of Oxford

Due to convoluted immigration and security procedures, passengers arriving at Bali’s airport are now forced to queue for up to four hours before they are finally released from its insalubrious underbelly. Ours is now surely the worst airport in the world in terms of user satisfaction. Only the Russian communists during their heyday, or the Chinese during the Cultural Revolution, ever orchestrated queues like this. I think I heard someone say, “It’s like waiting to buy meat in Minsk back in the bad old days.”

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This pair of bowls is exquisite. It is the pairing that makes them so. Together, they tell us so much about blue. And about how we see objects in the world.

Offered at Bonham’s Chinese & Asian sale on 10 May in Knightsbridge. The estimate is £600 to £1,000 the pair, and they come with a Japanese wood box. They would make a marvelous wedding gift.

Image © 2002-2010 Bonhams 1793 Ltd.

Stereo.type, the subject of the current exhibition at Kendra Gallery, is one of the myriad projects of artist-designer-activist Ebon Heath. It consists of metamorphosed typography which transmits subtle messages about printed words themselves and their broadest meanings. The title Ebon selected for his website, “listeningwithmyeyes” voices eloquently the peculiar effect of freeing typography from its familiar context. Text moves from the page into the atmosphere, where it is more seen than heard-in-the-head, as one hears words while one reads them on a page. Released from the page, text can be sensed in new ways. Ebon is experimenting with a form of synaesthesia, which I suspect  he feels himself and always has, in relation to text and typography.

No surprise then, that Ebon has for over a decade been a pioneer in graphic design, exploring divergent paths in typography, and in other graphic means to transmit urgent and potent messages. His graphic work evidences an innate understanding of the prevailing conditions of his clients’ publics. He fathoms just how deeply we wallow in a surfeit of text, messages, text messages and constant clever clamoring after our attention.

Ebon seems to propose his mobiles as a means to float above the imperatives of prolific message making. They are not the products of an assignment to Ebon the graphic designer, requiring him to hit a target with a specific message shot from a grassy knoll into a cluttered world. Rather, they seem to be his own response to the nebulous nature of the printed word itself as a phenomenon. And equally, as an expression of Ebon’s own understanding of that phenomenon, or cluster of phenomena, after years of deployment on missions as a sniper on the battleground of printed messages. Me, I can’t help but like this stuff, as a veteran of the sharp-shooting message squad myself (JWT, O&M, etc).

I’m not sure that Ebon has achieved the full effect  he hopes to achieve with Stereo.type, yet. Nevertheless, his trail-breaking at this juncture still affords us access to paths that were not previously available. In other words, there is value in the Stereo.type project, and one would do well to follow its course and expect even greater work as Ebon conjures forth his word-clouds (as above, at Kendra).

The art products comprising Stereo.type are primarily undulating and exploding mobiles of typography which release printed words from the constraints of the two dimensional page. Words hang in the air. Words fly. Poetry floats. We are invited to feel in a spatial and physical way how real words really are. As embodied beings ourselves, we witness an analogous embodiment of the texts that fill our world. In this way we can begin to comprehend what the printed word is actually doing in our world, from religious texts to text messages to political campaign slogans. Everything written, printed, and distributed is hovering in the atmosphere around us, twisting and drifting like Ebon’s mobiles (above).

As text is decontextualised in Ebon’s artworks, so is the artist himself deliberately decontextualised. He drifts wantonly away from the orthodoxies of the contemporary art market, disregarding agreed-upon categories of fine art as we know it. He is colouring outside the lines that separate fine art from, say, interior decoration, graphic design, body ornament and indeed, activism. Ebon’s mobiles are “going retail” later this year as constituent elements for high-design interiors. As are other Stereo.type art products, including laser-cut typographic earrings, cuffs and belts (above).

Photographic prints are another form of art objects within the Stereo.type project (above, visible to the right of a word-cloud). A dozen or so of these these limited edition prints are avaible through Kendra, and several are hung in the gallery now. They twist the text-to-art story into yet another permutation, by first taking the printed page into three dimensions (mobiles), then intentionally flattening it out again (photographs of mobiles), but with its earlier 3-D state having transformed the text in disorienting yet salient ways. It’s all as twisted as the morphed, warping words whirling slowly in the air-con at Kendra, now through 16 May. Go. Spend an hour or two in the gallery if you are in Bali, and consider how words and text exist among us, take form, move, morph, move, and insinuate themselves into our very atmosphere.

Kim Randall, la femme chef d’affaires of Kendra Gallery, was radiant on the occasion of Ebon’s vernissage last Saturday, as she always is (above, with Chun Gee of Bule Fusion studio). She’s an object lesson in natural beauty, which has nothing to do with airs and everything to do with graces. That characterises Kim (below, far right), who was on fine form on the night. The artist, on the other hand, initially seemed to be on less than fine form, having not yet appeared until well into the second hour of the vernissage. Kim explained matter-of-factly, “Gosh, Susi, he’s been up for three days working on the installation. Now he’s crashed out asleep in his room!”

Kendra is situated at Uma Sapna, one of the few well-designed boutique villa hotels in Seminyak. It, and Kendra Gallery, were discreetly created by their ineluctable éminence grises, Bruno Wauters and his enchanting partner Sekar Warni (above, third from right, beside interior designer Laure DeGuillaume and architect Cheong Yew Kwan). Given the fact that Ebon was staying at Uma Sapna, he was understandably inclined to recharge – -  after three days discharging the painstaking duty of affixing innumerable strings of typography to walls and ceilings he had never seen before.

But lo and behold! The artist ultimately emerged! At the very moment the crowd reached maximum numbers, which were impressive numbers indeed (see above), Ebon Heath popped out like a rabbit from a hat, and proved to be remarkably personable, approachable, affable, relaxed, and generous in answering questions and discussing his work – - not to mention, beaming smiles for miles. I guess the mattresses and sheets at Uma Sapna are top-drawer, and the rooms are as serene as a Trappist monastery. It seems that a two-hour siesta there is equivalent to eight hours of shut-eye anywhere else.

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Brazilian diva Bebel Gilberto gave a surprise concert last Friday at Hotel Tugu Bali. The lovely Lucienne Anhar, la princesa de Tugu is always full of surprises. She and her mischievous friends Valentina Audrito and Abhishake Kumbhat cooked up the idea of the concert just three days in advance. Bebel was in Bali, taking a break from her Asian tour, when Lucienne, Valentina and Abhi proposed the idea, and of course, she said, “Why not?” Spontaneity is magic. Three cheers for spontaneity.

Tugu as a venue is magic, too. This time it was spiced up with the wild and whimsical furniture creations of Word of Mouth (Valentina and Abhi’s daring design nexus here in Bali). On the night, Bebel herself was decked out in Word of Mouth designs (Val and Abhi do innovative, wearable fashion as well as furniture, architecture, lighting and accessories). Bebel was so taken by her strappy slinky WoM outfit (above), she wore it again for a concert in Singapore, her next stop after Bali.

Spontaneity is very Bali. It’s how we live. So it was no surprise that despite the moment’s-notice nature of the event, over 300 Bebel fans turned up, buzzing with anticipation. Invitation was almost exclusively by word of mouth (pun intended). Valentina and Abhi tell us that this kind of synaptic networking is part of the Word of Mouth mission statement. Hence, the name. It expresses an unwavering faith in the interconnectedness of like minded people the world over, and in the ways that webs of inspiration work . . . without planning, without paperwork, like an ecosystem.

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This big apartment block is set to rise down in Kedongan, south of Kuta. It’s called The Donga. What’s a Donga? Normally, Donga is a district in Nigeria. In this case it seems to be a truncation of the name of the town where this semi-blobistic  fantasy will soon appear.

We have seen designs for The Donga by Yoka Sara, and more complete ones by Piter Gan. We don’t know who won the beauty pageant, or if it’s a collaborative effort. Superstar Balinese architect Yoka Sara for his version of the Donga drew on inspirations as diverse as M.C. Escher and the traditional Cirebon batik design megamendung (storm clouds). Gan’s designs, shown here, seem to have been more influenced by provincial airports of the 1960s.

Will there be one square inch of Bali left? Here’s a villa resort project designed by DPA Architects, Singapore for Jakarta developer PT Pancaran Kreasi Adiprima.

This multistorey modern complex will soon drop from the sky onto 100 meters of beachfront, bringing 100 more guest rooms and seven chalets, plus clustered residential villas, restaurants and a spa to sleepy Sanur.