Agan Harahap

(Yohanes Paganda Halasan Harahap)

Born in Jakarta, January 28th, 1980


Education

2015

STDI (Design and Art College) in Bandung, Indonesia 


Selected Solo Exhibitions

2017

"ART|JOG|10:Changing Perspective", Jogja National Museum, Yogyakarta, Indonesia

“Social Realism Of Agan Harahap”, Mizuma Gallery, Singapore


2012

“Garden Fresh”,Element Art Space, Singapore


2011

“Holy War”, Richard Koh Fine Art, Kuala Lumpur Malaysia

 “Holy War”, Singapore Art Stage, Project Stage at Marina Bay, Singapore

“Superhistory”, Ion Art Space, Singapore


Selected Group Exhibitions

2017

“The History of Boys: The MES 56 and Beyond”, DECK. Singapore

“Chobi Mela Photo Festival IX”, Dhaka. Bangladesh

“Globalisation and Identity”, Liechtenstein National Museum, Vaduz, Liechtenstein.

“Artstage Singapore”, Marina Bay. Singapore 


2016

Shanghai Biennale 2016: “WHY NOT ASK AGAIN”, Power Station of Art, Shanghai. China

Singapore Biennale 2016: “An Atlas Of Mirrors”, Singapore Art Museum, Singapore

“Dear Art World”, VISMA Gallery, Surabaya. Indonesia

“Why Are We Doing What Are We Doing?”, Mizuma Gallery, Gilman Barracks, Singapore

Artstage Jakarta, Sheraton Ballroom Gandaria City, Jakarta

“Kolektif Kolegial”, Cemeti Art House, Yogyakarta

“ART|JOG|9:Universal Influence”, Jogja National Museum, Yogyakarta

“Costume National : Contemporary Art From Indonesia”, AXENEO7, Quebec, Canada

“Historia Docet”, D Gallerie, Jakarta

“Artstage”,Marina Bay Sand, Singapore 


2015

“No Other Color”, Kunstkring Gallery, Jakarta

“Effervescene”, Gillman Barracks, Singapore

“Jogja Biennale XIII, Jogja National Museum, Yogyakarta

“Transformaking [RE}-Affirmation Channels”, Jogja National Museum, Yogyakarta

“Noorderlicht Photo Festival ( Making One Self)”,Noorderlicht Photo Gallery, Groningen, Netherlands

“Bittersweet”, Cemeti Art House, Yogyakarta

“Pursuing The Future”, Ruci Art Space, Jakarta

“Full House”, Mes56, Yogyakarta

“ART|JOG|8:Infinity in Flux”, Taman Budaya Yogyakarta, Yogyakart

“No Wories: Halal”, Vanessa Quang Gallery, Paris, France

“Fad Democracy”, Mizuma Gallery, Singapore.


2014

"#Masalalujamanbaru", Sarang Building, Yogyakarta

“Put Up A Signal”, Mes56, Yogyakarta

“Kontrak Dan Transaksi Lainnya”, Mes56, Yogyakarta

“Afterimage: Contemporary Photography from Southeast Asia”, Singapore Art Museum, Singapore

“The 5th Indonesian Contemporary Art and Design”, Grand Kemang Hotel, Jakarta

“Local Fest”, Grand Indonesia, Jakarta, Indonesia

“MANIFESTO #4”, Galeri Nasional Indonesia, Jakarta, Indonesia

“Fiesta Kota Tua”, Kantor Pos Fatahillah, Jakarta, Indonesia

“La Super Expo !”, Sakura Gallery, France

“The Invisible Monuments”, ART LONDON 14, England

“SUPERHEROS”, Galeries Forum Meyrin, Geneva, Switzerland


AWARDS

2008 

Nominee Indonesia Art Award,  at Galeri Nasional Jakarta


Representative by

Old Master

120 x 150 cm | Archival pigment print on aluminum protected with transparent acrylic
ed 1/3
2016

Concept

Di era teknologi digital ini, citra menyebar di dunia maya secepat cahaya. Kecepatan, ilusi dan kesolidan realitas maya membuat kita kerap merasakannya sebagai realitas sesungguhnya. Tanpa pernah menyaksikan lukisan aslinya dan merasa berjarak dengan paradigma dunia seni ‘tinggi’ di Indonesia, Agan Harahap menemukan citra sosok-sosok karikatural yang dikenal sebagai identitas “blue-chip” lukisan Nyoman Masriadi. Lukisan-lukisan bercitra koboi-pemburu dan kesatria mirip samurai itu tahun lalu dipajang di sebuah galeri terkenal di New York. Agan Harahap “melukis” atau menafsir ulang citraan mashyur itu dengan perangkat lunak komputer. Kejanggalan yang ditemukan pada lukisan Masriadi diperbaiki menjadi citra fotografis yang lebih ‘sempurna’ dengan merekayasa sejumlah foto rujukan dan model citra temuan. Kendati tetap condong sebagai fiksi, karyanya memberi asosiasi tokoh yang benar-benar ada di dunia nyata. Karya olahan fotografinya menjadi parodi dari citra lukisan yang—entah dengan mekanisme apa—ditahbiskan sebagai “kandidat apresiasi” yang bernilai sangat tinggi.

 

 

In this era of digital technology, an image multiplies in the virtual world in the speed of light. The speed, the illusion and the solidity of virtual world make us often feel it as a true reality. Since he never watched the real painting and still feels a distance from the paradigm of "high" art world in Indonesia, Agan Harahap found the image of caricature figures known as the "blue-chip" identity of Nyoman Masriadi's painting. Those paintings, which depict the cowboy-hunter and the knight which looks like a samurai, were displayed at the famous gallery in New York. Agan Harahap "paints" or redefine those famous images using computer software.  He fixed and turned the oddness that he found in Masriadi's painting into a more 'perfect' photography image by engineering some reference photographs and found image model. Despite these works still tend to be a fiction, his pieces associate to the figures that actually exist in the real world. His processed photography becomes a parody of the image of the paintings that—through whatever mechanism—were ordained as the very high value "candidate of appreciation".

Bounty Hunter

155 x 100 cm | Archival pigment print on aluminum protected with transparent acrylic
ed 1/3
2016

Concept

Di era teknologi digital ini, citra menyebar di dunia maya secepat cahaya. Kecepatan, ilusi dan kesolidan realitas maya membuat kita kerap merasakannya sebagai realitas sesungguhnya. Tanpa pernah menyaksikan lukisan aslinya dan merasa berjarak dengan paradigma dunia seni ‘tinggi’ di Indonesia, Agan Harahap menemukan citra sosok-sosok karikatural yang dikenal sebagai identitas “blue-chip” lukisan Nyoman Masriadi. Lukisan-lukisan bercitra koboi-pemburu dan kesatria mirip samurai itu tahun lalu dipajang di sebuah galeri terkenal di New York. Agan Harahap “melukis” atau menafsir ulang citraan mashyur itu dengan perangkat lunak komputer. Kejanggalan yang ditemukan pada lukisan Masriadi diperbaiki menjadi citra fotografis yang lebih ‘sempurna’ dengan merekayasa sejumlah foto rujukan dan model citra temuan. Kendati tetap condong sebagai fiksi, karyanya memberi asosiasi tokoh yang benar-benar ada di dunia nyata. Karya olahan fotografinya menjadi parodi dari citra lukisan yang—entah dengan mekanisme apa—ditahbiskan sebagai “kandidat apresiasi” yang bernilai sangat tinggi.


In this era of digital technology, an image multiplies in the virtual world in the speed of light. The speed, the illusion and the solidity of virtual world make us often feel it as a true reality. Since he never watched the real painting and still feels a distance from the paradigm of "high" art world in Indonesia, Agan Harahap found the image of caricature figures known as the "blue-chip" identity of Nyoman Masriadi's painting. Those paintings, which depict the cowboy-hunter and the knight which looks like a samurai, were displayed at the famous gallery in New York. Agan Harahap "paints" or redefine those famous images using computer software.  He fixed and turned the oddness that he found in Masriadi's painting into a more 'perfect' photography image by engineering some reference photographs and found image model. Despite these works still tend to be a fiction, his pieces associate to the figures that actually exist in the real world. His processed photography becomes a parody of the image of the paintings that—through whatever mechanism—were ordained as the very high value "candidate of appreciation".