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Hansen Thiam Sun

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Hansen Thiam Sun/ Djung Thiam Sun (Born in 1960 in Toho-West Borneo) lives and works in Ubud, Bali - Indonesia. He studied Yacth Design at The Westlawn School of Yacth Design, Connecticut USA and Mechanical Design at JiuChong Taipei Taiwan. At a very young age he served as an apprentice to a painter, Mr. Lim Ngo Chung at his hometown in Borneo Indonesia. His art works got the Excellence Prize from The Beppu Museum, Japan and he have been exhibited his artworks in many important event like Venice Biennale, The Beppu Asia Contemporary Art Biennale, The 6th Beijing International Art Biennale. And has had the exhibition in many country : USA, China, Italy, Germany, Spain, UK, Japan, Singapore and Indonesia.

Content: 1. Summary 2. Exhibition. 3. Bibliography. 4. References.

As we all know, many of our art observers and art critics try to comprehend that the accuracy of abstract paintings practices in Indonesia is not the same as the one in the Western countries. However, the birth of abstract expressionism in Indonesia was not based on coincidences or accidental practices. Even so, it is undeniable that the rising of abstract expressionism was caused by the correlation between our artists and different methods of the West. At this point, fine art academy is seen as one agent that introduces artists to abstract expressionism. Debates about abstract expressionism could not reach a conclusion of its own description, especially regarding to the question is it true that abstract expressionism in Indonesia originally initiated by our own artists without the influences from the West methods? What we might find is, probably, only many doors which lead to further discussions related to this matter. Ahmad Sadali, a famous abstract painting guru, could be the only person who tries to contradict the principles stating that abstract paintings in Indonesia are absolutely influenced by West methods. In early 1980s, in one of his writings, he issued that abstract expressionism had been practiced and had been resided within Indonesian culture for long. Ahmad Sadali’s reasons are very clear that Indonesia’s abstract expressionism tendencies were original which proven by some motifs or some patterns in its cultural artifacts all over Indonesia far from representations. In his article, he also concluded that the basis of antropomorpho- naturrealism similar to the one in the West was never really identified in different places in the Eastern world. To Ahmad Sadali, he is convinced that the basis of antropomorpho- naturrealism is a method of representative paintings which considers human as the centre and reaches the peak as can be seen in the Western culture. The basis of antropomorpho- naturrealism has become the dogma for artists in their processes of creation spreading the influence throughout the world affecting local cultures. This basis most importantly focuses on skills of anatomy drawing and perspective drawing. In Greek’s classic tradition, all artists painted their god and goddesses in the form of human. Paintings in Indonesia are merely the same, not showing ‘realist- naturalist’ tendencies but always showing abstraction, relevant to “ideal oriental”. Ahmad Sadali also thinks that differences in the base of abstraction are diversified from ‘pure’ representation; and abstract itself is a term used to describe absolute non-representative paintings. The facts remain that people in the East are not familiar with representations of their art, just as symbols and signs. In short, people in the East are more familiar with decoration, ornament, symbolism, and intangible forms as their expressions of art. Similar to Sadali’s provocation, critic Trisno Sumardjo tries to defend abstract expressionism with a theory that deformation tendencies and intangible forms have been long practiced by Indonesian culture. In the 1950s when S. Sudjono recommended every artist to refer back to realism, Trisno confronted: “Not only do our people understand realism, but they also understand other styles because most of us have known deformation in both forms and colours. Take notice of our traditional shadow puppets (wayang kulit), carvings of Borobudur temple, Balinese sculptures and paintings, etc. Don’t you think this artwork which was expressive, stylistic, and decorative is far from realism?”. Pros and cons about abstract painting practices in Indonesia reached their peak in the 1950s, when two opposite sides between Lekra and Culture Manifesto were up against each other regarding to this kind of art. Abstract style paintings were considered as a diversification from normal customs of fine art practices at that time which had the nationalism-society ideology. Abstract paintings were accused of being one deceptive genre to mislead everyone’s perceptions with forms which are not from reality of life. This genre which sometimes called non-objective art or non-representational art was regretted by Lekra side and was understood extremely as a representation of West’s neo-colonialism impact to Indonesia. Moreover, not only this art style was crossing Bung Karno’s revolutionary act, but also derived from the premise that Lekra strongly rejected abstract painting practices in Indonesia. On one hand, their basis of rejection was also accompanied by powerful politic demonstrations which triggered cultural arguments. On the other hand, this condition successfully created misunderstandings towards abstract paintings for a long time. It can be concluded that Lekra had created damaging absenteeism. Abstract expressionism was ‘founded’ by the people in the West, but they were not the only party that successfully pioneered this genre. However, we have to look at this matter from proportional perspective (having learnt from the history of the conflicts between Lekra and Cultural Manifesto). At this point, at least we can understand the context of Hansen’s abstract painting as a manifesto hoping to create a sufficient and – as mentioned before – a proportional abstract painting milieu. In the East, an object can not always be summarized, exchanged or mutated as an essence of the object itself thus eliminating its symbolic traces (index) because there are times when people in the East still consider the importance of presenting objects blatantly (immutable objects) intended to remind people of the real forms of these objects.


Perhaps one of the most exciting new global contemporary art scenes is Indonesia, where surprising risks are being taken by artists who are interested in merging Indonesian artistic traditions with Western currents in art practice. Nowhere is this more evident than in the bold minimalist abstractions of artist Hansen Thiam Sun, also known by the one-word moniker, “Hansen.”


Hansen’s complex, multi layered paintings are studied in texture, color, and visual line, but they are also vivid action painting in which the artist’s guest to rest at the moment of the painting. Are for reserved in writhing explosions of color. These expressionist moment in Hansen’s work surge and ride on his polychromatic backgrounds, and see all the more organic juxtaposed against the silhouettes of real-world objects which sometimes run along his bottom of his canvases. This dialogue between representational art and abstract expressionism in just one of the means by which Hansen challenges the notion of the canvas us unified context. He experiments not only with color and shapes, but also with the smooth versus rough, painterly textures of his paint. He sculpts the visual space of the canvas itself. Hansen’s work in contemporary abstraction reveals for us the random qualities of painting when it stands in harmony with the aesthetic philosophy behind the work. Multi-layered in intention as well as execution each of Hansen’s paintings presents a complete whole, a universe of its own unique palette.


Those who are already familiar with Hansen's abstract (non¬representational) work are likely as if there was 'aesthetic dualism 'in Hansen's creative process. 

I think Hansen's aesthetic dualism is a latent potency everyone and every artist has. In philosophical study dualism is characterized/marked by, for instance, interactions between immaterial and material 'forms' or, else, between spirit and body (in the Cartesian philosophical tradition, for example, there is the adage of cogito ergo sum "I think therefore I am" - 'I think" refers to immateriality while "I am" to materiality). To put it simply, what I have to say on this point is that for things on an artist's mind (Hansen's in this case) that are not easy to find synonyms in terms of visual physicality, the un associable 'representations' of (the artist's) thoughts will bring about obscurities, 'immateriality': abstraction abstract art (non-representational art). Conversely, things easily associable from certain forms, specific symbol the realization of thoughts about material things, will tend to generate representational art works. This is actually a simplification of something quite complex. Anyway, with respect to the potency of aesthetic dualism in artists we could at least note that artists do not necessarily always move along one single linear direction.

In fact since long art has not been believed as representing a linear process towards certain essentials with artists being imagined as proceeding to some peak of aesthetic achievement (or creation) that later becomes his/her characteristic mark. Anyway there will always be aesthetic developments and growths along his/her artistic career. Such developments and growths will often generate 'new aesthetics' previously unthinkable. Meanwhile, such process is closely connected with mental (psychological) and contemplative (spiritual) aspects and is affected by intrinsic (personal) and extrinsic (social) factors.

In such perspective artists are actually free beings with the right of self-determination concerning anything. In the paradigm of modern art this is recognized as the point of departure for building art's autonomy and an artist's integral identity. But still the paradigm gives rise to a sort of myth that makes an artist seem to have to stick to a certain aesthetic style and theme, in consistence with the creative process that he/she already developed before. The myth usually operates in the name of the consistency and commitment of the artist in question regarding himself/herself and the illusion of 'moral responsibility' in the face of the society he/she belongs. To get deeper into such dualism in Hansen's case, it won't be far-fetched if we begin with some glimpses of the history of our art.

The dualism that grows out of the desire to have autonomy (internal integration: individual) coupled with some social commitment (social integration) was in the long past a point of interest to the critic Trisno Sumardjo. He already wrote his opinions concerning the issue as early as the 1950s. He wrote, for instance: "I will not say that artists are extraordinary humans with feelings, thoughts and lives that are extraordinary, but, rather, it will seem more justified to say that they are ordinary humans but with one special quality, just the way every human has his/her own. I am beginning to say that artists are ordinary people like you."

Trisno Sumardjo's definition seems simple. Yet he soon takes the readers into a complex discussion.

"Artists' individuality is coupled with their strong will to pursue the realization of their concepts, imaginations and dreams not only in their artworks but also their living"

Artists are not merely 'individualists' seeking the fulfillment of all their wishes. At the same time they are also not ones who merely pursue essential values for the sake of quenching the thirst of their hearts and souls. Here what Trisno Sumardjo actually wants to impart is that being incarnated by the desire to find essential values, artists often look as if they stand ahead of other society members and behave coldly toward social conditions and ways common in a given era. Trisno goes on:

"In that state they no longer like what they daily see so they flee to the world .of their own aspirations, far beyond other people's feelings and attitudes to life in their era. Artists seem to be detached from their society, dissatisfied by what society offers, and they fled into the spheres of their own creations where they enjoy the tastes oj their beloved aspirations and inspirations. "

Trisno Sumardjo seems to be trying to understand that every 'modern artist' in Indonesia feels that way so they eventually sense that only few special people, or those who really have the relevant capacity, can understand them.

Up to this point Trisno Sumardjo effectively describes the process of elitism formation in our modern art. Such elitism or ivory tower is regarded as ignoring the people's needs and conditions.

Trisno Sumardjo did not, of course, recommend I'art pour I'art as the only attitudinal option for our modern artists although he was aware that such mindset was about drenching the era. "That's not what I mean", he said; "It would mean glorifying the spirit of I'art pour I'art while it feels to be a luxury unsuitable for the present stage of historical development in our country. Art as a natural product of its homeland soil should also regard life with all its manifestations and facets among all the people from all strata. "

Trisno Sumardjo then detected the shroud of dualism in the attitudes of our modern artists. The setting of Indonesian revolution, back then, confused artists when they were to define their positions or develop the appropriate formulation of their existence. Such a situation, as Trisno 5umardjo's writing implies, placed artists in the tug of war between ideologies, namely 'art for arts sake' and 'art for the people' or between the emphasis on 'individuality' and that on 'collectivity'. If the premise of 'art for art's sake' was to be pursued, said Trisno 5umardjo, considering that the people were still suffering, it would be improperly opulent. Yet, at the same time, artists are people described as lf you want to force them to use the yellow color while they wanted to use red, your wish will simply be turned down!" On another occasion 5. 5udjojono once declared the dualism of his position: While I hate today's society, I love the people ... "

In Hansen's case dualism concerns his experience; there are two biographical experiences that he has, which he later often refer as a phenomenon of Where East Meets West. The phrase highlights the hybrid figure of Hansen hybridity being a necessity in contemporary art practice.

For me a historical proof of dualism in an artist emphasizes what our art history has lined; moreover, it improves our insight into the character of indonesian artists and therefore it will always provide our 'typical issue"'(I don't want to call this the construction of Third World artists' identity). Besides, such reality plays a role in reducing the myth around 'artist' consistence and 'commitment' mistakenly taken by some as referring to the requirement that someone ought to always stick to a definite terms of reference, one single aesthetic track. This is to say that we should not suppose on artist to maintain consistence in a realist style to another. This doesn't only provide potency; it can possibly mean a chance for artist to freely make use of.

So we see that in wrestling with his artistic processes Hansen has two aesthetic abilities that can walk side by side without effecting any significant tension between them. Fluently and easily Hansen has managed to successfully make out of the two potencies strong artistic points for his works. These latest serial works of his demonstrate how the two can effectively operate together. One, there are the strong photographical realistic images given by Hansen's technical skills in painting. Secondly, there are images that retain the traits of abstract art. Both flat and dimensional images are presented to complement and fill each other while bringing about the notion of proportion that makes it hard to tell which are forms (or figures) to be taken as background and which ones are main subject. In the other words, although those figures are rendered by different techniques, their presence has equal significance. 

Exhibition:

SOLO EXHIBITION ( SELECTED )

2013  : -Cerulean Blues, at Artesan Gallery, Singapore

2012  : - Crimson Thread, at Artesan Gallery, Singapore

2009  : - In The Crowd, at H2 Art Gallery, Semarang – Indonesia

2008  : - Hansen – Global Warming, at Galeria Zero, Barcelona – Spain

2007  : - Immutable Objects II, at Cemara 6 Gallery - Jakarta - Immutable Objects, at SoemardjaGaleri – ITB - Bandung - Who Wore The White Glove, at The Legian – Bali

2006  : - East – West : Through Woman, at Alila Gallery – Ubud

GROUP EXHIBITION ( SELECTED )

2015  : -“The 6th Beijing International Art Biennale”, Beijing National Art Museum, Beijing. China

2011  : - “TepianMasa”, paintings Exhibition, the collections of Indonesia National Gallery, collections of Basoeki Abdullah Museum and the works of artists from Bali, NTB, NTT, at Museum Negeri 

 Mataram.

- Pameran Nusantara “ ImajiOrnamen”, at Indonesia National Gallery, Jakarta- Indonesia

2010  : - Muka : An Uninterrupted Countenance, at Artesan Gallery, Singapore -The Beppu Asia Biennale of Contemporary Art. Beppu Museum, Oita Japan. - "Art 2010 Preview NY" at Broadway Gallery, New York – USA.

2009  : - 12 X 12 x 122, at BECA gallery, New Orleans - USA - NY Art Venice Pavillion, Venice Biennale, Italy - Reborn, Group exhibition, at H2 Gallery. Semarang - Indonesia - Behind the Form, International Collective Exhibition, at Chelsea Art Gallery. London – UK.

2008  : - A love letter in the twelfth month, at O House Gallery, Jakarta – Indonesia. - Netherlands – Indonesia in Contemporary Arts, at Galerie Le Cocon, Hamburg – Germany. - LoroBlonyoKontemporer, Magelang, Indonesia - Structure and Transformation, at Agora Gallery, Chelsea New York, USA - International Arts Encounter, at Gallery Zero, Barcelona, Spain - MANIFESTO, atGaleriNasional Indonesia, Jakarta - CONNECTION International contemporary art exhibition, at BECA gallery, New Orleans, 

 USA

2007  : Shanghai International Art Fair, Shanghai China.

AWARDS : Excellence Price of The Beppu Asia Biennale of Contemporary Art award 2010. Beppu Museum, Beppu Oita Japan.


BIBLIOGRAPHY

Books 2014 -Top 10 of Asia 

As Asia 10 Most-Inspiring Visual Artists

2011 - Treasures of Bali II, Published by Museums Association of Bali (HIMUSBA) 2010 – Modern Indonesia Art from RadenSaleh to Present Day, published by KoesArtBooks 2008 – Masters of Today, published Masters Of Today Limited- London - Ubud&Beyon, published by Gateway Books International - Trends Contenporary Artist, published by Masters of Today Limited, London 2007 

– Shanghai Art Fair 2007, published by Shanghai Art Fair International

2006 - Treasures of Bali I, published by Museums Association of Bali (HIMUSBA)


Magazines 2009 ; - Arti Magazine edition 021, published PT Media Nusa Pradana - Arti Magazine edition 011, published PT Media Nusa Pradana

2008 : - ARTisSpectrum Magazine, The Chelsea Perspective, published by Agora Gallery, USA - NY Arts Magazine 11/12, published by New York Art Magazine, USA - NY Arts Magazine 7/8, published by New York Art Magazine, USA - Louisiana Home Gardens Magazine, published by Roger W. Smith, USA


2007 : - Visual Arts Magazine, published by PT Media Visual Art - The Yak Magazine, published by PT SakaWahanaCipta - Visual Arts Magazine, published by PT Media Visual Art

2006 : - The Beat Magazine, published by PT KubuDua Media 


Catalogues

2010 -The Beppu Asia Biennale of Contemporary Art 2010, published by Beppu City, Beppu City Board 

 Educations, Japan

2007 -Tribute to Barli, publihed by Bale SeniBarli -Inspiring Indonesian Contemporary Art, publish by Media Visual Arts


Arts NewsPaper 2010 : - Art Fairs International Newspaper, published by New York Art Magazines, USA

References: 1. Catalog of "IMMUTABLE OBJECTS", Soemardja Gallery - Jl. Ganeca 10 Bandung 

   Fine Art and Design Department - Bandung Technologie Institute
   Curator by Aminudin TH. Siregar

2. NY ARTS magazine, vol 13, No 11/12 www.nyartsmagazine.com 3. ARTisSpectrum vol,19, May 2008 www.Art-Mine.com/ArtistPage/Hansen.aspx 4. Catalog of "In The Crowd", at H2 Art Gallery-Semarang. 

  Curatorial by: Aminudin TH Siregar, Art Curator, Lecturer of Art - the ITB Bandung Institute of Technology

5. ART FAIRS INTERNATIONAL NEWSPAPER, New York, issue#8 2010- Jill Smith 

   www.artfairsinternational.com/ www.nyartsmagazine.com/ www.nyartsbeijing.cn/ www.artfairsnewspaper.com

6. Top 10 of Asia, Issue 5/2014 www.top10asia.org

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