Budi Agung Kuswara, known to friends as “Kabul”, presents his latest exhibition, Tiba Anak Cucu at The Back Room this August. Translated into English, the Indonesian title means “The Descendants Emerge”. The exhibition is produced in collaboration with Mizuma Gallery.
At the heart of Kabul’s work is the cyanotype, a technique where sunlight exposure transforms photo negatives into distinct blue and white images. It is a technique with a deep sensitivity towards the movements of the sun, articulating a relationship with time, memory, and the past.
In his previous series, Anonymous Ancestors, Kabul delved into the colonial archives to explore the visages of various Balinese women who were left unidentified. These nameless women became subjects of his imagination, becoming dressed in European regalia as a way of reclaiming their agency. In Tiba Anak Cucu, he extends this vision to create a family tree, a genealogy of the descendants of those nameless women. Here, the modus is excess, extravagance, an embrace of the figure of the tycoon as a way of reimagining these descendants as taking back the prosperity that should have been their ancestors’. The result is a blend of traditional Balinese aesthetics with lavish elements to create fantastical legacies, ones which leap out from the canvas with unapologetic flourish.
Through his cyanotypes, Kabul invites us to see the sun not just as a source of light, but as a bridge connecting past and present, a storyteller of untold histories and imagined futures.
Please join us in welcoming Kabul and his works to Kuala Lumpur with an artist talk and opening reception this August 3rd (Saturday).
This exhibition is made possible with the support of PNB Merdeka Ventures and Think City.
Artist Talk: Saturday, 3 Aug, 3:00pm
Malaysia Design Archive, 84B The Zhongshan Building
Moderated by Ong Kar Jin
Opening reception: Saturday, 3 Aug, 5:00pm
Exhibition dates: 3 – 25 August 2024
About the Artist
Budi Agung Kuswara (b. 1982, Bali, Indonesia), also known as “Kabul”, is an artist known for his multi-media practice that crosses cyanotype printing, photography, and painting. Kabul graduated with a BA in Fine Art from the Indonesia Institute of Arts (ISI), Yogyakarta, in 2009. Trained in kamasan painting (a traditional Balinese narrative painting style, in the past used to decorate temples and palaces on the island), Kabul retains the intricacy and delicate linework of this traditional art form in his contemporary works. His paintings celebrate the treasury of aesthetic and cultural influences on the Indonesian archipelago, marrying these baroque sensibilities with observations on social tensions and dynamics.
Notable past exhibitions include Repose: Under The Sun at Kiniko Art Room, Yogyakarta, Indonesia (2023); Residual Memory at Mizuma Gallery, Singapore (2021); Arus Berlabuh Kita at the Asian Civilization Museum, Singapore (2018); Love Me in My Batik at ILHAM Gallery, Kuala Lumpur, Malaysia (2016); and The Wax on Our Fingers, a collaboration with Singaporean artist Samantha Tio (Mintio) at the Indonesian Contemporary Arts Network, Yogyakarta, Indonesia (2012); and his debut solo exhibition, i.self at Komaneka Fine Art Gallery, Bali, Indonesia (2009). He has also undertaken residencies at Bamboo Curtain Studio, Taipei, Taiwan (2016); Fukuoka Asian Art Museum, Fukuoka, Japan (2012); and TAKSU, Kuala Lumpur, Malaysia (2012). Budi Agung Kuswara currently lives and works across Singapore and Bali, where he co-founded Ketemu Project Space, a visual collective and social enterprise with a focus on social engagement.
Installation shots
Artworks
Warisan Rahasia di Hutan Kolonial (from the Tiba Anak Cucu series), 2024, Cyanotype, acrylic, ink, and 24K gold leaf on canvas, 140 × 120 cm
Warisan Rahasia di Hutan Kolonial (2024) — Artwork Reference and Narrative
Title: Studioportret van twee vrouwen op Bali
Subject (topical): Balinese Women
Subject (geographic): Bali
Language: No linguistic content
Country: No place, unknown, or undetermined
Published/created: c. 1920
Once upon a time, in a country that was part of a colonial empire, there lived a young woman named Sariti.
Sari grew up in an old house surrounded by a dense forest. One day, as Sari was cleaning the attic, she discovered an old notebook filled with writing. It belonged to her great grandmother, who turned out to be the woman in the photograph. In the notebook, she found a story of her great grandmother who lived during the colonial era and was witness to important events. Her grandmother’s name was Yutinah, a strong and brave woman. She was known as a wise leader and was revered in her community. With her smart wit, she managed to maintain and conserve many traditions and local wisdoms despite being under the oppression of the colonial government. One of the stories recorded in the notebook was how her great grandmother had recovered an ancient map of secret trade routes and sacred places hidden deep inside the forest.
The notebook also recorded how her great grandmother met with strange and amazing creatures depicted in the portrait. There are huge flowers with lion faces that could talk, giant flying fish carrying important messages, and a cherubim that faithfully accompanied and protected her. All of these beings are the guardians of secret, hidden histories of the country. The more Sari read, the greater she felt her connection to her great-grandmother. She felt the calling to continue the duty of her great-grandmother as the keeper of the family’s history and legacy. With the help of the notebook, Sari decided to start her own adventure. She’s determined to unveil more secrets hidden in the forest and ensure that the stories of her ancestors are never forgotten.
In her journey, Sari faced many challenges and met with many strange creatures that could only be seen by the eyes of those of pure heart and sincere intent. With the bravery and wisdom inherited from her great grandmother, Sari succeeded in maintaining and preserving her family’s legacy. She became the new guardian of history and invaluable stories, ensuring that the past lives in the heart and mind of the future generation.
Warisan Kembang Desa (from the Tiba Anak Cucu series), 2024, Cyanotype, acrylic, ink, and 24K gold leaf on canvas, 140 × 130 cm
Warisan Kembang Desa (2024) — Artwork Reference and Narrative
Title: Studioportret van twee vrouwen op Bali
Subject (topical): Balinese Women
Subject (geographic): Bali
Language: No linguistic content
Country: No place, unknown, or undetermined
Published/created: c. 1933
In a lovely small village, during the colonial era, a young woman named Nila lived. She was known as the village flower due to her beauty and elegance. She often modelled in photos for photographers of the colonial era because of her natural beauty and gracefulness in her traditional attire. A famous photograph of her depicted Nila wearing a traditional garment with charming flower decorations, her facial expression holding untold secrets.
Although considered the village flower, Nila did not live an easy life. She lived under the oppression of colonialism, which forced her to adjust to swift social changes. Nevertheless, Nila preserved her dignity and traditional values. She married a kind gentleman and bore him a daughter named Rasa who inherited her beauty and talents, as well as learning valuable lessons from the story of Nila’s struggles.
Rasa grew up to be a tough and smart lady. Like her mother, she was also known for her beauty. However, she was faced with new challenges in the modern era. Rasa not only inherited her mother’s good looks, but also Nila’s fighting spirit and wisdom. Rasa often taught the children in her village of the importance of preserving traditional values, even as times were changing.
Later on, Rasa got married and had a daughter named Nisa. Nisa grew up with the stories of her grandmother, Nila, the village beauty. In the image, Nisa can be seen wearing elegant traditional attire, against a backdrop of lush forests and streaming waterfalls, kept lovely by her family’s efforts in preserving the nature of their village. She posed with all of its abundance.
Warisan Sang Penjual Air (from the Tiba Anak Cucu series), 2024, Cyanotype, acrylic, ink, and 24K gold leaf on canvas, 140 × 130 cm
Warisan Sang Penjual Air (2024) — Artwork Reference and Narrative
Title: Een Javaanse waterdrager
Subject (topical): Javanese Water Distribution
Subject (geographic): Java, Indonesia
Language: No linguistic content
Country: No place, unknown, or undetermined
Published/created: c. 1900
During the colonial era, in a small, enchanting village, there lived a man named Pak Jaya. He was a passionate and honest water vendor. Every day, he made his rounds from door to door, selling fresh water from the nearest mountain spring. Despite struggling beneath the oppression of the occupation, Pak Jaya’s spirit shone through, and he inspired others with his bravery. In this well-kept photograph, Pak Jaya looked dashing in his traditional attire, standing next to the water bucket that symbolised his humble but noble trade.
Pak Jaya had a daughter named Sri, who inherited her father’s courage and bravery. Sri grew up to be a strong and independent lady. Even through the toughest times, Sri always helped her father by taking over some of the work of selling water when Pak Jaya became too old to continue working. Sri was famed for her beauty and wisdom, and people came from far and wide to seek her advice.
One day, a Chinese trader named Mr. Li came to the village to trade. Mr. Li was a kind and honorable man, and he was interested in the local culture. The meeting between Sri and Mr. Li led to the blossoming of a sincere affection. They got married and built a life together, blending their traditions and creating harmonies out of their differences.
Sri and Mr. Li had a daughter named Nias Li. Nias was raised in an environment rich with culture and traditional values from both of her parents. In the modern era, Nias is known as a smart and talented woman, the steadfast guardian of her family’s legacy.
In this painting, Nias can be seen sitting gracefully, enjoying ice cream by the beach. On the table in front of her is a photograph of her grandfather, Pak Jaya, as a reminder of the struggles and sacrifices that brought his descendants to the present day. Nias wears a wide-brimmed hat and a bright yellow dress, the picture of a hopeful, colourful future.
Warisan Rosa (from the Tiba Anak Cucu series), 2024, Cyanotype, acrylic, ink, and 24K gold leaf on canvas, 140 × 130 cm
Warisan Rosa (2024) — Artwork Reference and Narrative
Title: Studioportret van twee vrouwen op Bali
Subject (topical): Balinese Women
Subject (geographic): Bali
Language: No linguistic content
Country: No place, unknown, or undetermined
Published/created: c. 1920
Rosa, a woman from a small village rich in traditions and culture, is immortalised in a photograph by a colonial-era photographer. The photographer attempted to capture the “exotic” image of the local people for Western audiences. Rosa was dressed in traditional Balinese attire, accompanied by a bottle of brandy held on her head, and a handful of Chinese coins strung on a thread, posing for the camera as directed by the photographer. Despite creating an interesting image, the photograph did not reflect Rosa’s daily life. The photograph was widely distributed and became a symbol of exoticism for its audience in the colonial fatherland.
Rosa had a son named Guntur. Since his childhood, Guntur had learned a lot from his mother regarding bodily hygiene and the importance of preserving his physical health. Rosa taught Guntur on the practices of traditional herbal use, a healthy diet, and the benefits of exercising, taking inspiration from their local culture. Thanks to this, Guntur grew to be a healthy and strong man, as he preserved the teachings of his mother, as well as the traditional values that were passed on to him.
Here is Sura, Rosa’s grandson, the son of Guntur, taking influences from the story of his grandmother and the teachings of his father on hygiene and self-care. As time passed, he became a well-known male model with captivating physical appearance. He values his family legacy and combines it with modern elements in his life.
Sura stands in full confidence, holding his immortalised grandmother, captured in photograph by the colonial photographer. He’s wearing an eye-catching modern attire, with a healthy, muscular body, a testament to the teachings passed on to him by his father and grandmother. In his hand, he holds a big cake that commemorates an important moment in his life.
The family was raised with the philosophical teaching of the East in reining in wild traits to nurture their overall human elegance. A small cherubim, the guardian of memories that reflects a blend of tradition and modernity, at the same time showing the rich culture that was passed on from Rosa to her future generations. Rosa’s grandson is proud of his cultural legacy and continues to honour his grandmother, who, despite once being made into an object of foreign exoticism by a colonial photographer, nevertheless continued to be a symbol of dignity and identification for her family.