28 Novembre / Frying Tahu / Vernissage

Sei artisti italiani, sei artisti indonesiani, sei collaborazioni. Art your own risk is back. Dalle 18.30

Frying Tahu (“tahu” means “bean curd” in Indonesian, but can also means “to know”) is an exploration that aims to have a self confrontation by bringing with us our respective backgrounds, towards the diversity of some concepts of life. Through them, the way we perceive and conduct our lifestyle are based on; those are: Spirituality and Assumption/Supposition.

The Interpretation of spirituality in this project is not only through the concept of something transcendent, immanent or anything that connect into a religious idea, but also through views that rotate around materialism, atheism, and other common ideologies that perceive a universal spiritual system as being dogmatic.

Frying a Bean Curd

The exchange of viewpoints between Indonesia and Italy is held to confirm the popular perception owned by the majority of a certain country’s population about the general condition of a far away region, with a culture and way of life that are likely to be different. In materialising this concept, in the beginning, the artists make two artworks.

One is the artist’s insight and experience of transcendency and spirituality in his/her own country. Regardless of his/her belief, whether it be religious, science, materialism or other diverse faith or philosophical systems or other ideologies. Of course, in this case, it includes the relationship between the artists’ professed belief system with the general condition in the surrounding society.
The second is the artists’ assumption/supposition about transcendency and spirituality that exist in the other country. The definition of assumption/supposition is used because no matter how much information is received from third parties, be it through the media or word of mouth, it will never be comparable to direct experiences.

Is an early evaluation of a certain fact, fits accordingly to our assumptions? Or it can be totally different?

Looking at the cultural aspect of globalization which structurally amalgamate various cultural patterns, it freely compiles a common system which is pampered by interaction through borrowing and reinterpreting symbolic representations already rooted in various civilizations. But acted without understanding their true meaning and the reason they are used in a certain context. By doing that, it forms a mindset that translates superficially those elements which have more complex meaning rather than merely visual component.

Internal layers of a system tends to be treated in a complete manner, whether by reason or using sense, from those who put into practice of particular systems in their daily life. It is not by just reading a lot of references one can assume to understand a certain matter, as if the knowledge gained by theories and references is comparable with the experiments proved in practical life.

Furthermore, the interaction between these poles is done between Frying Tahu's two art advisors through opinions in a form of discourse and writing. The Indonesian side is represented by Amrizal Salayan, while the European side is represented by Roy Voragen.


With the convergence of two poles inside the collaboration, each artist must automatically provide a gap to give up some room for the concept, space and style characteristics, as well as a balanced adaptation of all these elements for the other artist. If initially we were asked to create a personal interpretation that tends to be wrapped with ego, within the collaboration a habituation process occurs. Regardless of similarities or diversities between artists, just focused on how the two elements can be integrated together visually and concept wise through a process of synchronization. There is an ”enforcement” process in it. But enforcement in this context is fundamentally necessary to form a new element. It is like making bean curds, the soy have to lose its initial identity and merge with other substances to get through the later stages, and finally coagulated to form the tahu.

Dish Course

This collaborative effort is a simple step in order to open a gap in exposing the phenomena and refreshing the people who are involved, whether they are the artists who interact directly or appreciators who see the outcomes ready to be presented. So in addition to involve appreciation process and exploration through the artworks, Frying Tahu is also a small effort to avoid the tendency to have a one direction mindset and having partial point of views, which lead to move forward with strong but incorrect assumptions/suppositions about our own selves, another being, and also about what “we know”, and what “we do not know”.

When frying a tahu, with rudimentary means, the way to prevent it from scorching is to turn it over to the opposite side.