Distorted Alteration  
 Bagus PANDEGA Solo Exhibition
《失真轉換》 巴格斯‧潘得佳個展
​   2018.02.03-2018.03.01

Project Fulfill Art Space is pleased to present Distorted Alteration, a solo exhibition by Indonesian artist Bagus Pandega opening in February, in collaboration with ROH Projects gallery in Jakarta, Indonesia. The works in this exhibition were triggered by his previous work What Is Tomorrow Project produced during his artist in residence at Taipei Artist Village in 2016. Since then Pandega has expanded the concept of ‘tomorrow’ as a process of change. For this exhibition Pandega will reinterpret the work What Is Tomorrow Project as well as present new works Vertical Slash, an installation using light and digital print, Bough, a kinetic installation, and the Indecisive Things series is a site specific series created at Project Fulfill, using photographic print, light and found electronic objects. The opening reception will be on Saturday 3 February at 4pm, join us in our exploration of the enigmatic question ‘what’s next?’
 
Distorted Alteration extends from Bagus Pandega’s interest in the unpredictable, uncertain, unknown, and the randomness of the future. He questions the possibility of what’s next, whether it is over a long period of time or even the slightest intervals. The concept of ‘what’s next’ and ‘tomorrow’ translate to a process of “changing” where he considers the factors and effects of change; such as the period of time that is needed; the amount of change produced, how it affects people, our surroundings and society; is change for better or for worse?
 
While in Amsterdam he visited the Openbare Bibliotheek Amsterdam, where a book’s cover design caught his attention. The title of the book was Awakenings: 20 Years of Techno, detailing the history of techno music and the techno scene in the Netherlands, with many DJs and music producers contributing to the book. Pandega randomly opened a page and the first text he read highly intrigued him, it was a text by Derrick May; “Maybe there’s no future for techno, but there certainly is a future for electronic music. Myself and all the guys that created it are still very much in sync and focused on what we’re doing. But we don’t represent the new generation. I think the whole concept of electronic music or techno is about change. I’m looking forward to it. I’m looking forward to it evolving and being called something else, being designed as something else. I’m looking forward to some young guy coming along and just blowing everybody out of the water for the next thirty years. It’s got to happen, because at some point you just start going around in circles. We need to be challenged so that we can keep a fresh take on this, keep it vibrant and keep the doors open to adventure and creativity. Without change, we become stale and old and boring. And that’s not fun, that’s not cool, that’s not creative. And that’s not what it was supposed to be about.”
 
This piece of writing left a lasting impression on Pandega and remains a pivotal text through which he examines ideas of change over time, “even if it’s already an aging and old music genre it could keep in shape and alternate with time and technology”. This constant adaptation can be seen reflected in our everyday lives, where Pandega describes change as an accumulation of choices, decisions and paths, in which small occurrences can lead to the next big step into the future of the unknown.
 
Artist Introduction
 
Born in 1985 in Jakarta, Indonesia, Bagus Pandega graduated from Institut Teknologi Bandung (Bandung, Indonesia) with a Bachelor of Arts (Fine Art) in 2008, majoring in Sculpture, and later obtained his Masters in Fine Art at Institut Teknologi Bandung in 2015. His work has been exhibited in Jakarta, Singapore, Manila, Stuttgart, Utrecht, and Beirut. Working primarily through kinetics, sounds and lights, Pandega often challenges the preconditioned relationship between objects and their audience by emphasizing the notion of the physical space around the latter. His inclination in assembling together various electronic systems as ‘modules’ in his work and constant medium explorations of voice recorders, cassette and record players, lamps and electronic circuit boards to name a few, plays with the accumulation of perceptions. Many of his artworks encourage audience interaction through movement, sound and light. After winning third place at Bandung Contemporary Art Awards #2, Pandega completed his first residency at Le Centre Intermondes, La Rochelle, France in 2012. Recent exhibitions include Random Black at ROH Projects, Jakarta (2016), Prudential Eye Zone, Artscience Museum, Singapore (2015) and Causality, 1335 Mabini, Manila (2014). The artist currently lives and works in Bandung, Indonesia.
Solo exhibitions: Distorted Alteration, Bagus Pandega Solo Exhibition, Project Fulfill Art Space, Taipei, Taiwan (2018); Random Black, ROH Projects, Jakarta, Indonesia (2016); Xian Chang: Art Review Asia, ROH Projects, Art Westbund Shanghai, China (2016); A Monument That Tells Anything, Cemeti Art House, Yogyakarta, Indonesia (2015); Clandestine Transgression: Discoveries Section, Art Basel Hong Kong with ROH Projects, Hong Kong (2015)
Selected group exhibitions: Amsterdam Light Festival 2017, Amsterdam, Netherlands (2017); ArtJog|10 : Changing Perspective, Jogja National Museum, Yogyakarta (2017); OPQRSTUDIO : Two Years In (2015-2017), ROH Projects, Jakarta, Indonesia (2017); Art Stage Singapore 2017, ROH Projects, Singapore, Singapore (2017); It really, really could happen, Taipei Artist Village, Taipei, Taiwan (2016); London Design Biennale, Somerset House, London, United Kingdom (2016); Effervescence, ROH Projects, Gillman Barracks, Singapore, Singapore (2015); Transformaking, Jogja National Museum, Yogyakarta, Indonesia (2015); New. Future: The 3rd Korea-Indonesia Media Installation Art Exhibition, AGSI, Art Space:1 and Art:1 Museum, Jakarta, Indonesia (2015); Cryptobiosis, Seeds of the world: Special Exhibition from the Japan Media Arts Festival, Selasar Sunaryo Art Space, Bandung, Indonesia (2015) Wunderkammer Vinyl Vol. X, Oberwelt e.V. Stuttgart, Germany (2014); MANIS, Le Centre Intermondes, La Rochelle, France (2012)
Residencies: Taipei Artist Village, Taipei, Taiwan (2016); 1335 Mabini, Manila, Philippines (2014); Instruments Builders Projects #2, iCAN, Yogyakarta, Indonesia (2014); Le Centre Intermondes, La Rochelle, France (2012)
Awards: Sovereign Asian Art Prize, Finalist (2016); Kompetisi Karya Trimatra Nasional, Finalist, Komunitas Salihara, Jakarta, Indonesia (2013); Bandung Contemporary Art Awards #2 (Third Winner) Bangdung, Indonesia (2012)


就在藝術空間2018年初首檔展覽很榮幸於二月份推出印尼藝術家巴格斯‧潘得佳個展《失真轉換》，此次也是就在藝術空間與位於印尼雅加達的畫廊ROH Projects的首次合作。藝術家延伸他2016年在台北國際藝術村展出的創作計畫《明天是什麼》，將「明天」的概念發展為變化的過程。在《失真轉換》個展中潘得佳將重新詮釋《明天是什麼》計畫作品，並以此為發想呈現3件全新創作：運用光及數位輸出的裝置作品《Vertical Slash》、機械裝置《Bough》以及一件包含影像輸出、光、現成機械物件的現地製作《Indecisive Things》系列。開幕活動訂於2月3日(週六)下午4點，歡迎與我們一起探索「未來是什麼？」的可能性。
 
《失真轉換》延續潘得佳的興趣對於未來不可預測，不確定，未知和隨機性，無論是經過漫長的時段還是短暫的間隔，將「下一步」與 「明天」描述於變化過程，持續思考變化的因素和影響，所需要的時間，產生的變化量，如何影響人類與社會環境，是好轉還是壞？
 
潘得佳在阿姆斯特丹期間，參觀阿姆斯特丹公共圖書館，有一本書的封面引起了他的注意，這本書的標題是「覺醒：20年的Techno(科技舞曲)音樂」，詳細介紹了荷蘭techno音樂的歷史與文化，包含許多DJ和音樂製作人的參與寫作，藝術家隨意打開一個頁面，讀取的第一篇文章為美國電子音樂家德里克·梅所寫，讓他非常感興趣：
「也許techno音樂沒有未來，但電子音樂絕對有未來的發展性，我自己和所有電子音樂的創作者仍然非常同步，專注於我們正在做的事情，但我們並不代表新一代。我認為電子音樂或techno音樂整個概念將進行轉變，令我很期待，我期待著它的發展，被稱為別的東西，被設計為別的東西。我期待著一個年輕人來到這裡，在接下來的三十年震撼所有人，這是必須發生的，因為到了某個時段你只是開始在繞圈子。我們需要受到挑戰，讓我們能夠保持新鮮感，保持活力，並保持冒險和創造力的大門敞開著。沒有了改變，我們將變得陳舊又無趣，ㄧ點都不好玩，也不酷，沒有了創造力，也失去了電子音樂的意義。」
 
這篇文章讓藝術家留下了深刻的印象，並給了關鍵的啟發點，透過電子音樂的演變來思考時間與變化的概念「即使它已經是一個老舊的音樂流派，它可以透過時間與科技來保持形式」這種不斷的適應可以在我們的日常生活中體驗到，潘德加形容這種變化是選擇，決定和路徑的積累，小事件可能導致未知的下一個重大步驟。
 
藝術家介紹
1985年出生於印尼雅加達，目前在萬隆生活和工作。於2008年畢業於萬隆理工學院藝術設計系，主修雕塑藝術，並在近期取得萬隆理工學院美術碩士學位。他的作品曾在雅加達，新加坡，馬尼拉，斯圖加特，烏得勒支和貝魯特展出，巴格斯‧潘得佳是不斷應用並開發動力學與聲音概念於雕塑作品中的印尼年輕藝術家之一，作品有時也結合光的元素。他經常挑戰物體和觀眾之間的關係並強調空間感的概念。潘得佳擅長以各式電子系統設計為新的組件，他經常將錄音機，唱機，卡帶播放機，電路板，電纜，燈和其他電子設備重組並讓它們產生新的功能和不同感知的累積。他的作品結合了不同的機械裝置，與觀眾的互動也是在他的作品中一直很重要的概念之一。在獲得萬隆第二屆當代藝術獎的第三名後，潘得佳於2012年在法國拉羅謝爾跨國研究中心進行他首次駐村，近期特展包含「Random Black」ROH Projects，雅加達，印尼 (2017); 「Prudential Eye Zone」藝術科技博物館，新加坡 (2016); 「因果關係 (Causality)」1335 Mabini，馬尼拉，菲律賓 (2014)。
個展: 「失真轉換」巴格斯‧潘得佳個展，就在藝術空間，台北，台灣 (2018); 「Random Black」ROH Projects，雅加達，印尼 (2017);「Art Review Asia現場」ROH Projects，西岸藝術博覽會，上海，中國 (2016); 「A Monument That Tells Anything」切曼提藝術春，日惹，印尼 (2015); 「Clandestine Transgression: Discoveries Section」 ROH Projects香港巴塞爾藝術展，香港 (2015)
重要聯展: 「阿姆斯特丹燈節Amsterdam Light Festival 2017」阿姆斯特丹，荷蘭 (2017); 「ArtJog|10 : Changing Perspective」日惹的國家博物館，日惹，印尼 (2017); 「OPQRSTUDIO : Two Years In (2015-2017)」ROH Projects，雅加達，印尼 (2017); 「藝術登陸新加坡Art Stage 2017」ROH Projects，新加坡 (2017); 「即將如此，如此，如此成真」台北國際藝術村，台北，台灣 (2016); 「倫敦設計雙年展」薩默塞特府，倫敦，英國 (2016); 「冒泡(Effervescence)」ROH Projects，Gillman Barracks，新加坡 (2015); 「製造轉變(Transformaking)」日惹的國家博物館，日惹，印尼 (2015); 「新未來：第三屆韓國與印尼媒體裝置藝術展」 AGSI, Art Space:1、Art:1博物館，雅加達，印尼 (2015); 「Cryptobiosis, 世界的種子: 日本媒體藝術節特展」Selasar Sunaryo Art Space，萬隆，印尼 (2015); 「Wunderkammer Vinyl Vol. X」Oberwelt e.V. 斯圖加特，德國 (2014); 「MANIS」跨國研究中心，拉羅謝爾，法國 (2012)
駐村：台北國際藝術村，台北，台灣 (2016); 1335 Mabini，馬尼拉，菲律賓 (2014); 儀器製造計畫 #2 (Instruments Builders Project #2) iCAN，日惹，印尼 (2014); 跨國研究中心，拉羅謝爾，法國 (2012)
獲獎：「傑出亞洲藝術獎」，入圍 (2016); 「立體創作國家獎」，入圍 Komunitas Salihara，
雅加達，印尼 (2013); 「萬陸當代藝術獎 #2」(三獎)，萬陸，印尼 (2012)

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