Tromarama | Madakaripura [09.01.20 – 29.02.20]
Travelling from the corners of East Java to a 19th century church in Islington, Edouard Malingue Gallery (Hong Kong, Shanghai) is thrilled to present ‘Madakaripura’ the first solo presentation in London of the Indonesian collective Tromarama (est. 2006, Bandung). Marking the last exhibition in the gallery’s temporary project space, Tromarama transport us to a historical waterfall, which is believed to be the last place where Gajah Mada (c. 1290 – c. 1364) – a central figure in Indonesian culture who used to be a Mahapatih or Prime Minister in the Majapahit empire – meditated before he reached Moksa, a term for various forms of emancipation and enlightenment.
As the luscious greenery and water cascades, the gigantic projected image distorts in response to software collecting weather data – temperature, wind speed, air pressure – each of which are continuously collected from a localised weather forecast website. Transmitted and shared from one corner of the world to the other, ‘Madakaripura’ reflects on how, as technology evolves, we shift the way we contemplate. More pointedly, the immersive installation questions how we channel our self with the world, from nature to the realm of data.
‘Madakaripura’ – in its imagery, sound and setting – is engulfing, prompting thought on ecology, technology and our relationship with each: what it has been, is, and will be. Both are shifting continuously, but what do the developments of each mean for the way we connect and what, as well as how, we experience. Following from the two previous exhibitions in the project space that have investigated voyeurism and tranquility respectively, this final show calls into question the lines we draw between reality and fiction, and our consciousness of each.
Engaging with the notion of hyperreality in the digital age, Tromarama explores the interrelationship between the virtual and the physical world. Initiating as a collective in 2006 in Bandung, Indonesia, Febie Babyrose, Ruddy Hatumena and Herbert Hans create works that combine video, installation, computer programming and public participation depicting the influence of digital media on society’s perception of its surroundings. Channelling language, text, wit, sequence as well as interaction through their varied practice, Tromarama reflect on the cornerstones of Indonesia’s political and cultural environment [1], a form of perceptive engagement that applies globally.
Tromarama are widely considered one of Indonesia’s most exciting rising talents and have been exhibited around the world. They have held solo exhibitions at Centre A, Vancouver (2017); Liverpool Biennial Fringe, Liverpool (2016); Stedelijk Museum, Amsterdam (2015); National Gallery of Victoria, Melbourne (2015); and Mori Art Museum, Tokyo (2010) among other locations. Their group exhibitions include the Museum of Contemporary Art and Design (MCAD) Manila (2018); Singapore Art Museum, Singapore (2017); Gwangju Biennale, Gwangju (2016) ; Frankfurter Kunstverein, Frankfurt (2015); Samstag Museum of Art, Adelaide (2014); and the 7th Asia Pacific Triennial of Contemporary Art, Brisbane (2012).
[1] Enin Supriyanto, ‘How to Turn Trauma into Video Art: A Brief History of Tromarama’, for “MAM Project 012: TROMARAMA” catalogue, published by Mori Art Museum, (August 1 2010).
About Edouard Malingue Gallery & Project Space
Founded in 2010, Edouard Malingue Gallery aims to build critical dialogue between Asian and international contemporary artists who combine aesthetic concern with conceptual enquiry, working across different disciplines from video and installation to painting and sound. In addition to presenting dynamic solo and group exhibitions, the gallery pushes the boundaries of art in public spaces and stimulates artistic discourse through collaborations with curators and institutions worldwide.
Situated in a grade 1 listed building in Islington, Edouard Malingue Gallery’s London project space opened with the performative installation ‘Listen’ by conceptual artist Wang Wei (b. 1972, China) followed by the group exhibition, ‘Quest for Quiet’ that brought together the work of established artists Samson Young (b. 1979, Hong Kong) and Su-Mei Tse (b. 1973, Luxembourg) and emerging artist Tianyou Huang (b. 1992, China). Nestled in St Saviour’s Studios, which has a 30-year history of providing studio spaces for artists, the project space designed with the help of EBBA Architects sits as a complementary area for mutual exchange and will be accompanied by an active public programme bringing together curators, academics and audiences.