The Irony of Being
Agus Kama Loedin - Loka Suara - Uuk Paramahita
A little and a lot of art, life and many other things. A group exhibition with contemporary artists Agus Kama Loedin, Loka Suara and Uuk Paramahita. Exploring the ironies experienced in our internal realities when at odds with the world we live in. Through the structures of form, emotions, faith and creative process.
Loka Suara
Loka Suara is an Indonesian contemporary visual artist from Bali. He has exhibited since 1993 both nationally and internationally. Through explorations of techniques and visual characteristics. A conceptual thinker, a silent, deep observer of the emotional and psychological currents that ebb and flow through every day. A romantic non-conformist.
Irony in the World of Loka Suara
Irony is a principle that must reside both in the mind and the actions of an artist. Why is it so fundamental? In Bali, there’s a saying that to be a true artist (pregina), one must be buduh—which translates to being "crazy" or unconventional. If an artist is not buduh, it means they have not yet reached their peak or their freedom.
Being buduh—or "crazy"—in creation and action is a vital aspect of this freedom. Irony, in this context, is part of the buduh principle. If you take an unconventional or nyeleneh (misaligned) approach, it signifies that you are stepping beyond conventional norms. If this irony is absent, it reflects that the artist has not yet achieved a deeper level of freedom, especially when influenced by commercial or tourist-driven pressures.
Processing Irony
Loka Suara accepted the challenge to translate the concept of irony into the application of his visual process. Thwarting his process inside out, going from the imagined ideal and working backwards into the raw and fractured aspects of figurative visualisation. Raw canvas, in place of primed, rather than getting closer to a visualisation that is more complete, works more abjectly towards a final depiction that is the result of an ironic application of acceptable techniques.
In music, for example, scales are structured, like in gamelan, where notes are often inverted, turned inside out and upside down. Playing gamelan in reverse is a greater challenge, but if you have the courage to invert these structures, it is a sign of freedom—freedom from restrictive norms and a move toward original thinking.
Loka Suara's creativity comes from a deep well of gentle and modest observations that are deep with sensitivity. Capturing most effortlessly many of life's ironies without effort from the detached honesty of an individual who is perched comfortably in the corner of any situation.
Uuk Paramahita
Made Gede Paramahita aka Uuk Paramahita. Contemporary Indonesian artist from central Denpasar Bali. Uuk’s works often feature small figures set against broader thematic issues. Mapping the world through a visual simplicity that holds within much deeper and poignant philosophical observations.
Mapping Emotions
Uuk Paramahita is a conceptual cartographer. He is not mapping terrains or boundaries of landmarks. Instead, he maps feelings and emotions. By what he terms an ‘exploration of the sense of release and the emotional effects of his process, ’ he maps the emotional states one feels through life’s daily routines. Translating them into a visualisation of that journey. Very much through an expressive mapping that tells its own story.
Some things disappoint us or make us uncomfortable. I will address these issues directly in my work.
Every person wants to do the right thing, something positive. After we've done all we can and understood the situation, why is it that reality feels so different? Why does it feel empty? People are calm within themselves; they don’t want to experience regret. Even when they put in the right effort and do their best, the results don't always feel fulfilling.
When we step outside of ourselves, and when people face chaos or clear challenges, they don’t always approach them with self-awareness. Sometimes they follow the confusion, the disorder. In chaotic situations, rather than becoming more aware, they end up following the chaos and amplifying it. Often, this starts with small things, but it can escalate quickly.
Calon Arang, an Ironic Inspiration
The series of works by Agus Kama Loedin is specially dedicated to Dr.Ina Erna Slamet-Velsnik, aka Ratna Mangali.
Agus Kama Loedin’s work for ‘Irony of Being’ draws deeply from the story of Calon Arang, as discussed in the writings of I Made Swastika and explored further by Darma Putra. His artistic exploration began with an initial interest in chaotic art, which later shifted in a personal direction after the passing of his mother-in-law. This event brought forth memories of his mother-in-law, who, under the pen name Ratna Mangali, had a deep connection to Calon Arang. The pen name Ratna Mangali is the name of the beautiful child of Calon Arang. This connection led Agus Kama Loedin to investigate the mystic elements embedded within the Calon Arang narrative.
The irony at the core of Calon Arang is on the one side, the destructive power of magic and the suffering it causes. However, despite the negative aspects of the story, Calon Arang reveals a duality, where the practice of Dharma also exists alongside this destruction. This paradox, which runs throughout the tale, mirrors real-life contradictions. For example where a person engages in actions that may cause harm, yet continues his spiritual journey without stopping and practicing goodness.
Irony in Knowledge
Within Loedin’s work is the concept of Putusing Angaji (the stage where you stop learning). Ironically, it is a teaching that emphasizes the endless nature of Dharma. Dharma is not something that can be concluded; it is a continuous process of learning, understanding, and spiritual growth. This ongoing journey forms a core principle in Loedin’s exploration.
Travelling Between Two Worlds
The artist also delves into the concept of Pasuk Wetu Bhuwana. Inspired by the works of Mpu Bharada, who described the tension between the realms of Bhuana Alit (the small world) and Bhuana Agung (the larger world). The accounts of Mpu Bharada suggest that he is able to transcend these two worlds. Though it is never fully explained.
The Beauty of Wedawati
In this context, the figure of Wedawati plays a crucial role. Described as a skilled and knowledgeable person, particularly in the Vedas, Wedawati is portrayed as both beautiful and tragic. Her life is marked by the sorrow of her mother’s death, though the illness remains unspecified in the text, adding an element of mystery to her story.
While Mpu Bharada is often associated with Calon Arang, the true authorship of the tale remains unclear. What is undeniable is Mpu Bharada’s profound influence on the narrative, particularly through his extraordinary ability to raise the dead. This power speaks to his deep understanding of life, death, and the mystical forces that govern both.
Ashes to Ashes Dust to Dust
As part of his exploration, Loedin created a work that introduced the concept of Aksara for Bhoemi—the phrase "ashes to ashes, dust to dust." This symbolic phrase encapsulates the story's essence, reflecting the cyclical nature of life and death and the interplay between mysticism and existence.
The Central Irony in the Works of Agus Kama Loedin
The use of skulls throughout Loedin’s work symbolizes death, an unavoidable and ever-present part of life. Skulls serve as reminders of the impermanence of existence, highlighting that both death and Dharma are constant companions. The imagery invites reflection on the cyclical nature of life and the essential balance between opposing forces.
The central irony in Loedin’s work lies in the relationship between life and death, horror and goodness. These elements are not opposites but complementary forces, working in harmony to maintain balance. By exploring these paradoxes, Loedin’s art reveals the necessity of both forces for the continuation of the cycle of life.
Special Thanks
The artists thankAlam Semesta, Sawidji, Biji Art Space, Putu Suasta, Putu Bonuz, Devy Ferdianto, Darma Putra, Angga Waskita, Arif Hendrasto
With a special thanks to Dr. Ina Erna Slamet-Velsnik, Apel Hendrawan,Nyoman Butur Suantara.
Credits:
E-Catalog and Photography Sawidji Studio and Gallery