With 73 exhibitors presenting a diverse range of works, alongside a tailored programme of events, Art Jakarta 2024 was a vibrant cacophony of contemporary art, insightful not only in its exploration of the Southeast Asian contemporary art scene, but also to observe its position in the global art market.

Art Works’ Artist Liaison Marie Deneux and Gallery Coordinator Pristine Acoba share their key takeaways and highlights of the fair. Reflecting the ecosystem of contemporary art in Asia, the growth and changes happening were particularly exciting to witness at Art Jakarta. From themes of ecology and environment to explorations of culture and politics within the contemporary context, below we bring you our top highlights, and trends not to miss.

Key Takeaways and Trends

ALTERNATIVE MEDIUMS

With regards to trends that ran throughout the fair, alternative mediums consolidated their presence as a long-term development in the art market. A significant number of textile works, a global trend already observed at Frieze Seoul, take on a particular significance here as they resonate with the culture and heritage of both Indonesia and other Southeast Asian countries. This ode to regional cultural history is a common theme among Southeast Asian artists, a reflection of artists’ focus on retaining and celebrating their culture within the context of the global contemporary art stage. Marcos Kueh, a Malaysian artist whose works were one of the highlights at ArtSG earlier this year, was a standout at Art Jakarta as well with his striking textile works. He combines techniques learned from his experiences with industrial weaving mills in the Netherlands and more traditional weaving practices in Borneo.

Image Source: Art Jakarta, Instagram @artjakarta

HYPER-REALISM

Reimagining classic techniques is a staple of contemporary art, and hyperrealism has left its mark on the global scene in the past few years. Kiniko art gallery presented M. Fadhlil Abdi’s V2 (2024), a still life reminiscent of a Renaissance painting, with a young woman’s head placed on a table adorned with various objects and plants. The woman’s sickly pallor combined with the deep hues of the fruit framing her hair result in a haunting piece that plays with the boundaries between life and death.

HERITAGE, BETWEEN CONSERVATION AND CONTEMPORARY EXPRESSION

Presented by Singaporean gallery Yeo Workshop, Filippo Sciosaia’s works combined these two themes of culture and hyper-realism that bring discussions of preservation with regards to culture in the modern world. Candi Mendut (2018) presents the decay of the 9th century Buddhist temple in Central Java; building preservation is always a key concern with regard to heritage sites and Sciosaia has brought awareness to this through the cracked texture of his works. The works are reminiscent of vintage postcards that presented the heritage sites through an exoticized lens, bringing in the question of colonialism and the orientalist lens that is often placed on sites of cultural significance and history in Southeast Asia.

Highlights

AIR PASANG (2023), IWAN YUSUF

An installation piece consisting of both used and new fishing nets, marine debris, iron, and ropes, Iwan Yusuf’s Air Pasang (2023) explores the relationship between the sea and human influence on nature. In the region, the ocean has long held powerful significance in regard to trade, political power, religion, sustenance and most aspects of life in an archipelago. Yusuf, having witnessed how the high tide brought in debris back onto reclaimed land in Manado, brings to light the question of humanity’s attempt to manipulate and control nature. Moreover, within this work lies a box shaped forest that was inspired by the Banyan tree fences in Yogyakarta, bringing in regional species and natural heritage. Pancasila, the foundational philosophy of Indonesia, is articulated through the symbols of the banyan tree, rice, cotton, and sky. Through the intricate interweaving of symbols of Indonesia, of the emblematic representation of the philosophies upon which the country was founded and of current environmental concerns, Air Pasang captured the attention of every visitor.

Air Pasang, Iwan Yusuf, 2023

 

NEW FOREST (2024), ROBERT ZHAO

ShanghART presented Robert Zhao’s New Forest (2024), a newsstand installation piece depicting the decay of a fallen Albizia tree in Singapore. A prominent artist who represented Singapore at the Venice Biennale this year, Zhao collaborated with The Institute of Critical Zoologists (ICZ) to document the daily changes occurring between the fallen tree and the ecosystem around it. Using a motion-sensitive camera connected to a network, daily updates are published and turned into daily newspaper editions, published by ICZ and ShanghArt. The aim of this piece is to document the decaying process until the entire tree has decomposed; alongside access to the footage and images captured by the instant camera, the newspapers were available for visitors to purchase. The themes of decay and ecological cycles are prevalent in this piece, provoking the viewer to consider the micro and macro manifestations of environmental decay. The interconnectedness of death and regrowth amidst an increasingly globalised and self-destructive world made this installation relevant, especially as it created a dialogue with the installation presented in Venice.

New Forest, Robert Zhao with The Institute of Critical Zoologists Singapore, 2024

BETWEEN THE BARS, HAPPY HOUR (2024), VERTICAL SUBMARINE

Between the Bars, Happy Hour (2024), an installation by Vertical Submarine, a collective group of artists based in Singapore was presented on Friday by Kuala Lumpur-based gallery A+. The piece consisted of steel bars of varying widths, caging the paintings inside, much like a prison cell. Both the striking physicality and the symbolism and connotations of the installation made it a crowd favourite. The bars created a sense of segregation as the viewer must enter alone; this sense of solitude and division reflecting the divisiveness that exists in our current society, whether that be due to religion, race, gender, or sexuality, or the barriers to entry that can make the art world seem inaccessible. Endless possibilities lay within the interpretations of the installation, perhaps leaving viewers to consider what they see as barriers within their own life or within their relationship to art.

Between the Bars, Happy Hour, Vertical Submarine, 2024

ETERNAL WAITING SERIES (2022), NESAR EESAR

Finally, Nesar Eesar’s evocative paintings presenting the plight of refugees escaping violence and conflict. Born in 1990 in Zabul, Afghanistan, Eesar completed his studies at the Indonesian Institute of the Arts, Yogyakarta, and the Bandung Institute of Technology. By depicting the journey of a refugee, Eesar highlights not only the physical struggle of the act of fleeing, but he raises the question of identity, or the loss of it. Denied of rights to work and education, as well as basic human rights, refugees face a number of obstacles that inhibit their ability to create a new life away from disaster and conflict. From the refugees seen covered in flames and humanitarian aid workers, to those turning a blind eye or those in power who appear to be watching the suffering like a spectacle, this series provokes the viewer to consider their own role and accountability within global human rights crises. Within the context of 2024 and its number of conflicts that have created an overwhelming number of asylum seekers, this series feels particularly apt and powerful.

Eternal Waiting 10, Nesar Eesar, 2022

 

Conclusion

Art Jakarta saw regional Southeast Asian and East Asian galleries presenting global artists, demonstrating the cementation of the Southeast Asian market onto the international art stage. The spotlight appears to have been on celebrating the culture and history of Southeast Asia through a contemporary lens, highlighting artists who have brought a modern perspective to more traditional practices. It also highlighted the ways in which regional heritage can be introduced to the global art market and the discussions that collectors can become a part of. Global themes of ecology and conflict encouraged conversation around not only the role of art and artist amidst these issues, but also the position of the viewer and their role as spectator through the works. Art Jakarta 2024 was as thought-provoking as it was celebratory of the works of current contemporary artists.