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Opening February 6th 2018 :

PT JAKARTA LAND AND ISA ART ADVISORY invite you to join us at the opening of


An exhibition by Adam de Boer and Jumaldi Alfi

Opening night : 6:00 - 8:00 PM , February 6th 2018

The exhibition presents the work of two artists, Adam de Boer and Jumaldi Alfi. Born a decade and ocean apart, the experiences of each are distinctively different yet strikingly similar. Born and raised in Southern California, De Boer identifies as Dutch-Indonesian-American. Alfi, born in West Sumatra, speaks proudly of his time spent in Java and his special relationship to his adopted home, Yogyakarta. An examination of their paintings reveals the layered nature of identity, also raising the question of how one becomes, or is made part, of a contemporary (art) community or historical (art) tradition.

Lobby Area

World Trade Centre 2 Building

WTC Complex

Jl. Jenderal Sudirman Kav 29-31

Jakarta 12920


RSVP : vip.enquiries@isaartadvisory.com / (021) 7233905 or 085811568653


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Adam de Boer : Jungle Flame

Opening reception Friday, September 22, 4 pm.

On view September 22 - October 21, 10:00 am - 5:00 pm, or by appointment.

Redbase Foundation, Yogyakarta is pleased to present Jungle Flame, resident artist Adam de Boer’s first solo exhibition in Indonesia. As a current Fulbright scholar, based in Yogyakarta, this exhibition is the result of de Boer’s ongoing and intense engagement with Indonesian aesthetic and craft traditions. The seven new multimedia works that constitute Jungle Flame are a reflection of the artist’s multi-layered artistic process, steeped in his critical investigation of identity and the appropriation, or as he states, “misappropriation of cultural forms.” De Boer’s enquiry began in 2010 with his first trip to Indonesia; a trip that awakened his desire to understand his own hybrid identity as a Dutch-Indonesian-American born and raised in Southern California, thousands of miles from his family’s roots in the Central Java town of Purwokerto.

Fundamental to de Boer’s practice is his attention to materials that have, for centuries, dominated the practice of Javanese craft and culture, including batik, carved wood, and leatherwork. For Jungle Flame, de Boer builds on his interest in the possibilities afforded by the unlikely synthesis of seemingly contradictory elements, that when combined, become a congruous image, the result of his thoughtful layering of material, process, and conceptual themes.

De Boer’s work challenges its viewers to look twice as they move through the series, from a mirrored image of a young Javanese Muslim woman, representative of the paradoxes that exist in contemporary Indonesian society, to images of Java’s landscape, reminiscent of the Mooi Indie or “Beautiful Indies” aesthetic, whose rejection by Indonesian nationalists marked the start of a uniquely Indonesian art history distinct from the influence of their Dutch oppressors. The young women are not simply placed on the canvas, but are instead embedded in a batik design derived from the patterns of local “tegel” tile brought to Indonesia by European colonists in the 19th century. While the Mooi Indie landscapes ask what the effect is of an artist reengaging with an aesthetic both lauded and intensely hated by each side of his familial heritage, respectively.   

In the context of Yogyakarta, now recognized for its position on the global map of contemporary art, de Boer’s work is especially valuable for its assertion that tradition – be it from the perspective of aesthetics or material – remains relevant to the understanding of the continued development of visual cultures, both for individuals and societies, be they homogeneous or hybrids ever in flux.

In 2016, de Boer was awarded a Fulbright research fellowship to Indonesia that has allowed him to deepen his engagement with the region’s indigenous crafts. He has also received grants from Arts for India, the Cultural Development Corporation, DC Commission on the Arts and Humanities, and the Santa Barbara Arts Fund.

Adam de Boer received his MFA from the Chelsea College of Art, London, and his BA in painting from the College of Creative Studies at the University of California, Santa Barbara. Recent exhibitions include: Hunter Shaw Fine Art, Los Angeles (2016); Riflemaker, London (2016/2013/2011); Art|Jog|8, Yogyakarta (2015); Indonesian Contemporary Art Network, Yogyakarta (2014); Chelsea College of Art and Design, London (2014); University of California, Santa Barbara (2014); Escuela Taller, Bogotá (2013); ; Flashpoint, Washington, DC (2010).

Redbase Foundation Website

06/06/2015 - "Infinity in Flux", ART|JOG|8, Yogyakarta by Adam de Boer


Now in its eighth year running, ART|JOG has firmly established itself as one of the annual highlights of Southeast Asia’s contemporary art scene. Inspired by the Fluxus movement from the 1960’s, Infinity in Flux presents both Indonesian as well as international artists, emerging and established. This year’s featured artist includes a special presentation by Yoko Ono.   

6 - 28 June, 2015
Taman Budaya Yogyakarta
Soboman no. 234 RT 06 DK.X 
Ngestiharjo Kasihan,
Bantul, Yogyakarta 55182


by Adam de Boer for Art Jog 2015

Curator Bambang Toko Witjaksono selected my large batik installation, "Distintos Niveles de Bienestar", 2013, for exhibition at Art | Jog this summer. Though initially made for exhibition in Bogota, Colombia with a very specific audience and physical context in mind, the looseness of the batik mark-making and exaggerated color palette allow for wide interpretation. Staring out of windows and feeling the sensation of inside and outside, belonging or alienation, acting as voyeur or as the object of another’s gaze, are certainly universal situations and themes. I'm especially interested to see how Indonesian viewers will react to the use of batik in this particular fine art context: on a large scale and completely void of traditional textile motifs. 


Al Lado de la Libélula, 2013, wax-resist acrylic ink and crayon on linen, 79 x 118 inches

Al Lado de la Séptima, 2013, wax-resist acrylic ink and crayon on linen, 79 x 118 inches


Al Lado de la Séptima, installation