BRUNO PIAZZA: MASTERPIECE

My beloved husband Bruno Piazza died at home in Bali, at dawn on Friday the 28th of October, 2011 after a long and courageous battle with cancer.

Bruno lived an extraordinary and beautiful life, and (not surprisingly) he died a remarkably beautiful death. He was not an artist, he was Art. His life was his masterpiece. Now he has completed and signed that masterpiece, with a flourish, and it is beautiful indeed. It is perfect.

Please forgive me, and forgive Bruno, for our shortcomings, and for any oversights or mistakes we may have made in the past, and for anything we ever did or said that caused you or anyone else any pain or suffering. The evening I dispersed Bruno’s ashes in the Indian Ocean, I saw a new crescent moon. That  bright sliver of a smile in the sky was the sign of a clean, happy, new beginning for us all.

Hic et nunc was Bruno’s mantra. I am beginning to understand it better and better.

A large-scale exhibition entitled Bali: Art, Ritual, Performance will open in February 2011 at the Asian Art Museum of San Francisco, one of the world’s most respected institutions for Asian art. This is big news. Exciting news. The show includes works on loan from numerous international collections, many which have never before been exhibited publicly. Unusual ritual objects ranging from palm-leaf offerings to gilded palanquins will complement the more familiar Balinese art forms such as sculpture, masks and textiles.

To say this show will be large-scale is an understatement; well over 100 objects are to be exhibited, and a richly-illustrated 416-page catalog (below) is due for release on 10 February, 2011. Pre-order the catalog at amazon.com now for just $29.70. That’s one third off the $45.00 release date cover price.

The author, Natasha Reichle (Associate Curator of Southeast Asian Art at SF Asian, below) and a team of researchers, conservators, and designers have been preparing for this landmark exhibition for several years. Here’s a blog post from over a year ago, evidencing the intense and wide-ranging preparations that a major show like this requires.

The museum is also preparing a variety of multimedia and interactive programs, and performances and workshops will be held during the show’s seven-month run. Such a long run will allow many thousands of people to enjoy the exhibition, and to learn a bit more about Bali, an island which in spite of its wild popularity is often misunderstood. Hats off to the San Francisco Asian Art Museum and many generous sponsors for supporting such an important and timely exhibition.

Our gallery of ancestral arts, ornament, weapons and textiles in Seminyak has been open for more than a year. Better late than never, at long last we have our website up. At present, there are 66 pieces from our inventory shown in the “collections” area of the site. We’ll be adding more material, and improving the site on an ongoing basis, so do bookmark it, and come back often to see what’s new. Expect refinements to design, additional functionality and fresh content during the weeks and months ahead. www.iconasianarts.com.

San Francisco must be the most enthusiastic city in the world when it comes to antique textiles, rugs and tribal arts. This week sees the soukification of the retro Motel Capri by the Antique Rug & Textile Art Association. While we are primarily lovers of flat textiles, and it’s a rug-heavy event (see snapshot from last year above), it’s still a must-go show.

The jewel-like quality of Michael Craycraft’s rugs alone (above), is reason enough to go just for the eye candy. Not to mention the extensive program of associated lectures and seminars. Forty dealers will throw open their motel room doors at 6pm on October 12, and the show runs through the weekend. Conveniently, it’s not far from SF Tribal’s fair at Fort Mason.

With museum exhibitions and fairs all over the calendar, San Francisco has no “season” for tribal arts and textiles. The most notable fall fair  Tribal SF 2010 starts later this week. It’s organised by the local independent dealer’s association, SF Tribal, and kicks off with a champagne preview reception on October 15th. The venue for this year’s fair (their sixth), is Fort Mason on the bay. Very convenient. Some of our favourite dealers will be there, including Thomas Murray, Andres Moraga, and Joe Loux. That’s Tom’s stand from a previous show above. Gorgeous. For more information click the links herein, or email Andres Moraga at moraga@lmi.net.

We’ve been applauding the Fowler Museum at UCLA for years. They’ve shown a keen understanding of Indonesian culture, and nobody beats the Fowler at curating and hanging a great show. Their shows always balance the aesthetic and the didactic in the best possible way. Now they’ve done it again, with Nini Towok’s Spinning Wheel, an exhibition of the traditional batik of Kerek, Java (above). Hats off, once again, to the museum’s curator of Asian and Pacific collections, Roy Hamilton.

In typical Fowler fashion, even their press releases and website writing are so good, that I have nothing more to say. Go read about the show here. It will be up until December, so if you will be anywhere near LA, don’t miss it.

San Francisco’s De Young Museum has just opened a splendid little exhibition of selections from their tremendous collection of world textiles, entitled To Dye For: A World Saturated in Color. It focuses on various techniques used around the world to imbue plain thread with pure colour, including tie-dye, ikat, and batik. A number of important Indonesian textiles are included in the exhibition, which runs until mid-January 2011. Sadly, the De Young’s website offers little in the way of imagery or information about the textiles in this show. The site is, overall, disappointing in comparison to the websites of other museums around the world. This seems especially peculiar given that the De Young is located in a city that’s famous for tech supremacy and creativity. Go figure.

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.

Last Saturday I presented a program on Indonesian arts and antiquities for a group of young CEOs in Ubud, at 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