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Montien Boonma and Bayu Utomo Radjikin
Transcript of Montien Boonma and Bayu Utomo Radjikin
installation art? BAYU UTOMO RADJIKIN
b. 1969 Installation Art Leading force behind a group of young artists called ‘Mata Hari’ (eyes of the soul) MULTI-SENSORY EXPERIENCE Space SPACE 'Lotus Sound,' 1992,
Terracotta, lotus petals,
gold leaf MONTIEN BOONMA
1953-2000 The use of SPACE The use of MATERIALS + and Symbolism 'Self-Portrait: A Man Who Admires Thai Art,' 1982, Colour pen on photograph Heavily influenced by his Buddhist faith and sourced a lot of his symbols from there Inspired by the contrast between traditional Thai culture and contemporary, modern society Society, Culture,
Space & Structure How is this installation constructed? What is it made of? If you were the viewer, how would encountering the installation make you feel? What kind of space does it form? 'Arokhayasala: Temple of the mind,'
1996, Steel, aluminium and herbs MATERIALS How is this installation constructed? What is it made of? If you were the viewer, how would encountering this artwork make you feel? What do these materials symbolise? Sight Smell Sound Used materials from his surroundings associated with his life, culture and religion, instead of using expensive and traditional art media such as oil paints and canvas. Buffaloes from field to town, 1988
Assemblage (rice sacks, unhusked rice, buffalo horn and stools) The sacks of rice Symbolism symbolizes the farm produce, the fruits of labor of the people that have to toil day and night. The horns represent the farm animals that are being put to work, particularly the buffaloes. This is because buffaloes are closely related to the harvesting of rice. The straw is another material commonly found in a farm, which again highlights the essence of farm life. The stools juxtaposes with the other materials. It symbolizes rest, which contrasts greatly with the other materials that are linked to hard work and labor. House of Hope, 1997 SPACE Lang Kachang, 1991, Mixed media Montien Boonma “When I work with primitive materials, I want people to rethink the content they stand for. It does not symbolize that I want people to return to the forest. As an artist you are not an expert on environmental problems, but you realize that they exist. Then, if we are sincere about the situation, we can directly show it. But it is not the work of the artist that is the solution. It is the results of the work and what kind of thoughts it inspires in people.” Started as a sculptor, making his name by building a larger than life, raw and expressive metal warrior Lang Kachang War and suffering is his principle motif, in order to confront an audience with this issue What is the artwork made of? How is the artwork made? What kind of experience does it create for the viewer? What do the materials symbolise? What do these materials symbolise? What kind of space does it form? Salas for the Mind, 1995 'Tak Bernama,' 2012, Charcoal and Acrylic on paper “As a Malaysian I know the sensitivities of the community. These are the fences that frame my work. I don’t want to hit the fence; people will not be able to understand it, let alone accept it. My work is a confrontation, it doesn’t solve anything. But if I want to confront people I have to speak their language, otherwise it is useless.” Bayu Utomo Radjikin SPACE MATERIALS VIEWER How does your use of space and choice of materials symbolise and express your artwork's message in an effective way?