薩伊夫．加里波第 Syaiful Garibaldi

1985 Born in Jakarta, Indonesia

Lives and works in Bandung

Education

2010 BA Fine Art, Fakultas Seni Rupa dan Desain, Institut Teknologi

Bandung,Bandung, Indonesia

2005 Agronomy, Fakultas Agrikultur, Universitas Padjajaran, Bandung, Indonesia

Solo Exhibition

2018 Lemniscate, curated by Keong Ruoh Ling, Mind Set Art Center, Taipei, Taiwan

2017 Limaciform, Silverlens Galleries, Manila, Philippines

2016 Quiescent, ROH Projects, Jakarta, Indonesia

2014 Interstitial Terhah. ROH Projects, Jakarta, Indonesia

Abiogenesis: Terhah Landscape, Pearl Lam, Singapore, Singapore

2012 Regnum Fungi, Padi Artground, Bandung, Indonesia

Selected Group Exhibition

2018 Art Fair Philippines 2018, Ayala Center, Makati, Philippines

2017 Westbund TALENT, Westbund Art Centre, Shanghai, China

Jogja Biennale 2017, Jogja National Museum, Yogyakarta, Indonesia

re:emergence, Selasar Sunaryo Art Space, Bandung, Indonesia

4th Media Art Festival Arad, Cinema ARTA Arad, Arad, Romania

ω, Edouard Malingue Gallery, Hong Kong, China

Art Stage Jakarta 2017, ROH Projects, Jakarta, Indonesia

OK. PANGAN, OK. VIDEO: Indonesia Media Arts Festival 2017, Gudang Sarinah Ekosistem,

Jakarta, Indonesia

IDENTITY XII, Nichido Contemporary Art, Tokyo, Japan

ARTJOG 10: Changing Perspective, Jogja National Museum, Jogjakarta, Indonesia

OPQRSTUDIO: Two Years In (2015-2017), ROH Projects, Jakarta, Indonesia

Art Fair Philippines 2017, Silverlens Galleries, Makati City, Philippines

Art Stage Singapore 2017, ROH Projects, Singapore, Singapore

2016 ALL IN, Art Stage Jakarta and Bazaar Art Jakarta 2016, ROH Projects,Jakarta, Indonesia

Sea plus Triennale, Galeri Nasional, Jakarta, Indonesia

Constituent Concretness, Mizuma Gallery, Singapore

2015 Alam/Benda, Ark Gallery, Yogyakarta, Indonesia

Effervescence, Gillman Barracks. Singapore, Singapore

#familyandfriends, ROH Projects. Jakarta, Indonesia

Getok Tular, Omni Space, Bandung, Indonesia

ABC Learning Town, Siheung, South Korea

Myco Expo, Aula Barat ITB, Bandung, Indonesia

Prudential Eye Zone, Art Science Museum, Singapore

Japan New Media Art Festival, Selasar Sunaryo Art Space, Bandung, Indonesia

2014 Trienale Patung 2, Galeri Nasional, Jakarta, Indonesia

Typotopia: The 2nd Korea Indonesia Media Installation Art Exhibition, Lotte Venue, Ja-

karta, Indonesia

Recognition System, Kuandu Biennale, Taipei, Taiwan

Lumieres, L’espace Contemporain. La Rochelle, France

Windows Project, Niort, France

2013 Pressing, VideoInsight, Turin, Italy

Pameran Finalis BaCAA #3, Lawangwangi Art Space, Bandung, Indonesia

2012 Trick or Truth, Fang Gallery, Jakarta, Indonesia

Indonesian Contemporary Fiber Art, Art:1 Museum, Jakarta, Indonesia

Design Art Renegotiating Boundaries, Lawangwangi Art Space, Bandung, Indonesia

Wahana Extranoema, Padi Artground, Bandung, Indonesia

What do Pictures Want. Art:1, Jakarta, Indonesia

2011 Survey #2.10. Edwin’s Gallery, Jakarta, Indonesia

Hybrid Project: The Butterfly Effect, Barli Museum, Bandung, Indonesia

Pameran Ilustrasi Cerpen KOMPAS, Bentara Budaya, Jakarta, Indonesia

2010 S. Soedjojono dan Kawan-kawan. Galeri Kita, Bandung, Indonesia

Un-segmented Galeri Kita, Bandung, Indonesia

Manifesto: Percakapan Massa, Galeri Nasional, Jakarta, Indonesia

Bandung new Emergence #3, Selasar Sunaryo Artspace, Bandung, Indonesia

Post Historia, Building Enterprise 1, Singapore, Singapore

Monoprint, Grand Indonesia, Jakarta, Indonesia

Let’s Bounce, Grand Indonesia, Jakarta, Indonesia

Almost White Cube, CG Artspace. Jakarta, Indonesia

2009 Post Mortem, Vanessa Art Link, Jakarta, Indonesia

Inhabitant. Galeri Padi, Bandung, Indonesia

Survey #2, Edwin’s Gallery, Jakarta, Indonesia

2008 Going Beyond, CMNK, Bandung, Indonesia

Parbinula Jarkuli, Aarmuh Space, Bandung, Indonesia

Seni Grafis Indonesia Sekarang, Tembi Contemporary, Yogyakarta, Indonesia

2007 15 x 15 x 15: Scale. Galeri Soemardja, Bandung, Indonesia

US/Industry. Galeri Rumah Teh, Bandung, Indonesia

2006 Triennale Seni Grafis, Bentara Budaya, Jakarta, Indonesia

Exhibition and Workshop: Graphic Art, Semar Gallery, Malang, Indonesia

Ka Art Ini, UNJ, Jakarta, Indonesia

Drawing Exhibition: Black Hole, Universitas Pendidikan Indonesia, Bandung, Indonesia

2005 Self Portrait. Ruang Alternatif KGB, Bandung, Indonesia

Award

2015 ABC Learning Town, Siheung, South Korea

2014 Centre Intermondes, La Rochelle, France

Residency

2016 Tempo Magazine Award. Best Artist. Jakarta, Indonesia

2013 Bandung Contemporary Art Awards #3. Best Artwork. Bandung, Indonesia

2006 Triennale Seni Grafis 2. Finalist. Bentara Budaya, Jakarta, Indonesia

2005 Mural Competition. 2nd Winner. Cihampelas Walk, Bandung, Indonesia

可信

的微

生物

#2Porculen M

icroorganisms #2

壓克力顏料、畫布

acrylic on canvas

206×

477 cm

2018

×

關於策展人

龔若靈 1996 年加入佳士得新成立的現代與當代東南亞藝術部門，並於 2000 年成為該部門

主管 ，與東南亞私人收藏家們共同推動許多來源優秀的拍賣會，不僅為許多東南亞藝術家奠

下超越前例的輝煌紀錄，亦逐步以專業及學術樹立了此範疇的典範。此部門由新加坡遷往香

港之後，龔若靈在 2011 年離開佳士得。

2016 年，龔若靈創立 at Present，致力於策劃思想深刻、同時帶著有趣視角或實驗精神的

東南亞當代藝術展覽。at Present 是一個流動性的策展主體，策略性地於不同城市呈現策劃

內容，其唯一宗旨是帶領藝術家超越本土的疆界並維繫與在地觀者及藏家聯繫。成立以來，

at Present 推出的第一個展覽是 2016 年 10 月於新加坡吉門營房展出的菲律賓藝術家聯展

「Paper Matters」。at Present 策劃的第二個展覽「無窮」，則是來自印尼萬隆的年輕藝術

家薩伊夫．加里波第的個展，本展與台北的安卓藝術及雅加達的 ROH Projects 共同合作。

龔若靈亦致力於東南亞現當代藝術的評論書寫與教學。

About the CuratorKeong Ruoh Ling joined Christie’s in 1996 as a junior specialist of the very young department of

Modern and Contemporary Southeast Asian Art and became the head of department in 2000. When

she left Christie’s in 2011, the Modern and Contemporary Southeast Asian Art department has gone

through a relocation from Singapore to Hong Kong and numerous auctions with private collections of

pristine provenance which would not only established unprecedented auction records for the many

artists from the region but would also eventually define the category with a distinctive mark of profes-

sionalism and scholarship.

She set up at Present in 2016 that aspires to present thoughtfully curated exhibitions with a play-

ful twist or an experimental edge by Contemporary Southeast Asian artists. At Present is a nomadic cu-

ratorial entity that will strategically presents its program in various cities with a singular purpose of ex-

posing the artists beyond home ground whilst staying in sight of their audience and collectors back

home. At Present has since its inception in 2016 organises its first exhibition by a group of contempo-

rary Filipino artist with the titled show Paper Matters in October 2016 at Singapore’s Gillman Barrack.

Lemniscate which is a solo show by the young Indonesian artist Syaiful Garibaldi from Bandung is the

2nd exhibition organized under the entity of at Present and in partnership with Mindset Art Center in

Taipei and ROH Project in Jakarta.

Keong writes and lectures on Southeast Asian Modern and Contemporary Art in English and Chi-

nese regularly.

可信的微生物 #1Porculen Microorganisms #1

壓克力顏料、紙acrylic on paper

200 × 131.5 cm

2018

可信的微生物 #3Porculen Microorganisms #3

壓克力顏料、畫布acrylic on canvas

114 × 85 cm

2018

Exhibition Briefby Keong Ruoh Ling

Syaiful Garibaldi (b.1985 Indonesia, Jakarta) obtained a Bachelor of Arts from Institut Teknologi

Bandung (ITB) and is currently based in Bandung, Indonesia. Syaiful, fondly known as Tepu amongst his

friends had started as a student of the agricultural department in the university but eventually gradu-

ated with a Bachelor of Arts majoring in printmaking from ITB. This exposure to the 2 disciplines would

henceforth inform his art practice, an artistic expression that is cross-disciplinary where art and science

meets.

Tepu’s interest in the microorganism that ranges from fungus to various decomposers in biosphere

probes him into observing the life cycle of fungus and more recently the decomposing phase of hu-

man flesh, which underlying the macabre and morbid subject, nevertheless comes through a source

of endless life and pulsating energy. Metaphorically and biologically, the decomposition process rep-

resents a cycle of death, decay, regeneration and birth that repeats itself incessantly. Observing this in-

finitesimal world under the microscope allows the artist an endless source of inspiration to create com-

positions, which are visually intriguing and philosophically illuminating: a visual feast of colours and

forms that is essentially the fundamental spring of life where decomposing, is to allow regeneration.

This is a poignant commentary on the existential state of being for all things living and dead.

For the artist, this life cycle is occurring constantly around us almost inconspicuously because of the

minuscule size of their structures, and their cryptic lifestyles either subterranean or on dead matter,

and yet with such an enormous diversity of taxa, with varied ecologies that interact and communicate

amongst one another, is a constant revelation and wonderment. To that, Tepu responds by creating

imageries on various media, to construct a cosmology that is based on the ecologies of the microor-

ganisms he has observed. What eventually comes about is the creation of a unique vision that is both

fantastical and empirical. Although based on objective observations, the artist nevertheless depicts the

mutating and morphing forms under the lens with a certain degree of poetic interpretation, demon-

strating an inherent penchant for an existence of a certain colony or ecosystems, at times real and at

other times imaginary, a network that is at work, quietly but powerfully, an existence that beckons

greater attention that promises beauty and life when one looks closer; a visual theoretical underpin-

ning for the cosmic belief of Tepu’s which is that of : Life is an Infinite state of Being, ever Evolving but

always Magnificent.

關於展覽龔若靈

薩伊夫．加里波第（1985 年生於印尼雅加達）於印尼的萬隆科技大學（Institut Teknologi

Bandung）取得藝術學士學位，目前居住於印尼萬隆。朋友稱為 Tepu 的加里波第，大學期

間原本就讀於農業學系，卻逐漸轉往藝術，並從萬隆理工大學取得版畫主修的藝術學位。橫

跨兩個領域的經驗自此共同形塑 Tepu 的藝術實踐，發展出藝術與科學交會、跨學科的表現

體系。

Tepu 對於微生物的高度興趣擴及真菌類與生物圈中的各種分解者，他深入觀察真菌的生

命週期，近期並拓展到人類肉體分解過程的研究，這個過程關乎死亡與疾病的根本，同時卻

是生命脈動得以無止盡循環的根源。就新陳代謝及生物學的角度視之，分解過程再現了死亡、

腐敗、再生以及新生命的週期。透過顯微鏡觀察微生物世界為藝術家提供了源源不絕的啟發，

從而創作出在視覺上激發人們好奇心、在哲學上深具啟發性的作品：一場本質上關於生命基

本泉源、融匯了色彩與形式的視覺饗宴，這當中，分解使得再生成為可能。這是一則關於所

有生或死的物質，其生命存在狀態的評注，既辛辣且切題。

對於藝術家而言，微生物的構造如此細微，加上生活在地底或逝者中的隱秘特質，它們的

生命週期持續以一種隱晦的方式在我們周遭進行。然而，微生物龐大的多樣性以及彼此之間

保持互動、交流的不同生態環境，構成一種持續不斷的天啟與景象。Tepu 以不同媒材所創

作的圖像作為回應，以他所觀察的微生物生態為基礎，建構出獨特的宇宙論。於是，一個既

奇幻同時以經驗為依據的獨特視野逐漸成形。即便立基於客觀的觀察，藝術家的詮釋總是帶

有某種程度的詩意，他描繪顯微鏡下特定菌落或生態系的突變及變形構造，彰顯其與生俱有

的生命力，融混了真實與想像，展現一個進行中的生命網絡，安靜且充滿力量，當細細觀看，

能夠感受到一種召喚更大觀照、應允美與生命的存在。生命是無止盡的存在狀態，不斷進化，

並且總是壯麗動人。