1 May - 31 July 2009

Wiyoga Muhardanto was born in Jakarta, 1984. He has finished his study in Faculty of Art and Design Institut Teknologi Bandung, majoring Sculpture.
Three-dimensional medium has become Wiyoga’s choice eversince he was in college. On his previous works, Wiyoga oftentimes started out from the consumerism discourse and product fethisism issues in urban society, specifically the socialite. For Wiyoga, this phenomenon has been psychologically impacting the life of modern people. Wiyoga explores his ideas and translates them into parody and irony which he employs in form of his works. He has crafted daily articles, such as vehicles, electronic devices, or fashion products, into artworks after re-valuing it according to his ideas.

Performing the residency program in Cemeti Art House, for Wiyoga, means getting out of his comfort zone in making artworks. The overcrowded visual art activities in Yogyakarta including exhibitions, the rising of new galleries and alternative spaces, and big amount of workshops and artisans, are phenomenons minded by Wiyoga during his stay in Yogyakarta. He responded to this busy visual arts scenes by creating installation works, mural, and several new mediums he has never tried in prior. He tries to explore this notion as much as possible through reduplication-modification process he habitually did along the time.  


Rosalie Monod de Froideville was born in Breda, 1978. She has finished her study in Fine Arts, Willem de Kooning Academie of Arts, Rotterdam.
Rosalie’s artwork roots in her personal concern about the notion that humans are vulnerable creatures who are constantly subject to change. Each contact—with other people, with the time being, objects, media, etc—can be seen as a force capable of shaping a person, both physically and psychologically. Her works shift through ideas about facade and the self behind it: how people, based on their awareness of this vulnerability, create a shield or a false image, and apply a strong control directed both internally and externally. Rosalie’s art moves from this discourse of controlling the self to the efforts of freeing the self from this oftentimes suffocating grip, and trying to find out what happens when the self does let go of control.

The experience of a culture so profoundly different from her own in Yogyakarta has made Rosalie re-examines her self and her way of making art. It has also made her reconsider, and further, develop underlying themes like human vulnerability, facades, displacement and the influencing and contaminating others through human interaction. These new developments have resulted in works in which she tries to create an  interaction with her audience on a personal and intimate level. She has chosen to speak about her experiences with daily objects and situations like sugar, businesscards, and her bedroom.