Buletin Seniman Jogja: 2010

Jumat, 27 Agustus 2010

= Yogyakarta Gamelan Festival.

Buletin Mocopat Syafaat Yogyakarta Gamelan Festival bersama KiaiKanjeng Di Concert Hall Taman Budaya Yogyakarta. Malam ini, Minggu 18 Juli 2010 Pukul 19.30 sd 23.00 Wib. Pengisi al: Sumunar Gamelan Minnesota USA, Bronze Age California USA, Kiai Kanjeng Yogyakarta & Collaboration

Selasa, 24 Agustus 2010

= OBAMA

http://korananakindonesia.wordpress.com/2010/02/27/dibalik-rencana-kedatangan-obama-ke-indonesia/

Buletin Sniman Jogja - GROUP

http://www.facebook.com/?ref=home#!/group.php?gid=87018052783&ref=ts

Sabtu, 17 Juli 2010

= = Grand Opening BaliWood Resort Art & Culture Centre

Grand Opening BaliWood Resort Art & Culture Centre

Time July 26 · 5:00pm - 10:00pm

BaliWood - Jalan Penestanan Sayan Ubud 80571 Gianyar Bali Indonesia

Created By	Baliwood Resort - Wellness Culture Entertainment

Hearsay Ten local painters face to face 26th July - 26th September 2010 Over a century ago, some of the most celebrated pioneers of modernist painting departed from their European homes in the search of new lands which, untarnished by the pressures imposed by Western societies, woul...d grant them new sources of inspiration. Whilst some, with Paul Gauguin as the most renowned example, ventured into colonies such as French Polynesia, others established new homes in what was then known as the East Indies: Indonesia. Driven by a search for a rawness of expression in painterly form, along with a newly sought sense of naïveté which was perceived to be at the core of life in this exotic, almost mythical region, these artist-explorers aimed to encounter new forms of representation critiquing the European painting tradition they travelled away from. Painting as we commonly think of it today was unknown to the local population at the time. Yet today we find that whilst in the West postmodernism – as a critical revision or rejection of modernism – implies a radical transition from painting as a pivotal means of representation to other media, in Indonesia painting is flourishing at exponential rates in both quantity and quality. How did this geo-cultural transition occur? In its historical genesis, the answer lies not in an increase of institutionalised art education, or a progressive globalisation in the art market leading to the ‘importation of new masterpieces, resources and museums into South East Asia. Of course, all these elements did play a role into the new wave of painting that is registerable today in this area of the world; but the primary launching factor can be accredited to, well, pure and simple hearsay. When at the beginning of the 20th century European artists moved to Indonesia, often residing in Bali as their prime home base, this was not without clamour. At the time, the island was not yet flooded with tourists, and foreigners represented a sort of ‘curiosity’ to the local population just with the same intensity as the locals epitomised a peculiar essence of ‘otherness’ in the eyes of their new guests. Soon enough, these artists, Willem Hofker and Theo Meier as renowned examples, were both learning from their surroundings, its people and their traditions, as well as welcoming young keen artists (even children!) into their homes, forging new friendships and mutual apprenticeships. They henceforth left an imprint in the local culture, incorporating a tradition of painting which was previously exclusive to the West into new modes of representation through the skilful hands on their pupils. A radically different generation of artists all around the archipelago was born, and in turn shared the fruits of their lifelong findings with the next generations to come. Once more we may return to our question as to why, given the circumstances, the postmodern dogma in the West arguably ‘killed’ painting whilst in the East the use of this medium is acquiring more and more variety and depth as we speak. New directions in Asian art are gaining world-wide acknowledgment; through the surfacing of notable investments in recently established creative hotspots, it is now Eastern artists who are leading the way to a cutting-edge, fresh perspective on an otherwise declining tradition of painting. The booming Chinese art market has so far marked a vital driving force for this phenomenon: more lately, emerging Indonesian painters are finally also starting to attract a huge amount of attention, across both national and international art scenes. If it is true that, from an art historical perspective of painting, those who were once apprentices have now surpassed their masters, this is due to a radical shift from an initial stage of imitation of the modernist tradition to a fully matured stage of artistic consciousness which only hints at its Western descent. As painters all across Indonesia started to aim at more self-conscious and unique forms of representation, they also solidified their own cultural identity. It is not surprising, then, that looking back at this last century of Indonesian painting as evidence of a phenomenal artistic melting pot, we can trace the source of a promising future for the history of painting in a completely evolved context, rendering the breach of its tradition as a starting point for several, rather than just a single Eurocentric heritage. It is this new life of painting, this accidental divergence in its history, that the upcoming exhibition Hearsay aims to explore. But even more than its mere theoretical background, for the opening of BaliWood Art and Culture Centre we are interested in celebrating the manner in which the process of it all has unfolded: experientially, through the passing on of information, subjective information, which with its revealing lies and underlying truths has led to a new wave of artistic formations. As a starting point for such a discourse, we depart from an active confrontation of a number of local artists; by local, we do not necessarily mean that they are from Bali, but that by residing in the island they have become part of it, and its culture part of them, like a wondrous process of reciprocal osmosis. As a consequence, to this day, in each of the painters we notice a glimpse of the other. An untraceable trace which, whether directly or not, lingers about and is passed on through the mouths and ears of a compound of subjectivities which is than the sums of its parts: a closely knit community which, we believe, is worth treasuring for generations to come. Ephemeral Imprint A photographic installation by Karel Tijsse When asked about his profession whether informally or on an application form, Karel Tijsse responds with one word: ‘life’. Though he may fund his several and extensive travels around the world through teaching tennis, though he may be a renowned Dutch photographer, he perceives such occupations as activities he dips in an out of, along what he believes is the incredibly short yet wondrous journey of life. Art, for Tijsse, is something that he stumbled upon rather than pursuing as a career choice. After several years of living in various countries, from India to Australia, and documenting such adventures through the lens of a camera, he came to the realisation that he had created an interestingly insightful body of work which was deemed to be ‘artistic’ by many. The aforementioned element of ‘insight’ in his work is somewhat ironic, as this photographer, unlike many others, constantly strives for an element of detachment between himself and the surrounding world. Tijsse hence thinks of himself as a spectator of nature, or society, rather than a part of it. Each snapshot, therefore, can be interpreted as an ephemeral act of reaching out to another form of being, to then depart once more into the unknown. In Tijsse’s upcoming exhibition, featuring a series of photographic works juxtaposing doors and portraits, the artist explores his fascination for temporality and human character with images taken from Balinese living compounds. Though beautifully constructed, these images are far more than simple aesthetic experiments, as they tend to create an in-depth dialectic between people and their homes, drawing on Tijsse’s own travel experiences around Bali. A door, just like a face, acts as both a facade and a threshold to one’s soul, a sort of existential mould where time sculpts the passing of life. Each crack in the wood, just as each wrinkle on the skin consequently becomes a testimony of such a process. See More

Hearsay
Ten local painters face to face
26th July - 26th September 2010

Over a century ago, some of the most celebrated pioneers of modernist painting departed from their European homes in the search of new lands which, untarnished by the pressures imposed by Western societies, woul...d grant them new sources of inspiration. Whilst some, with Paul Gauguin as the most renowned example, ventured into colonies such as French Polynesia, others established new homes in what was then known as the East Indies: Indonesia. Driven by a search for a rawness of expression in painterly form, along with a newly sought sense of naïveté which was perceived to be at the core of life in this exotic, almost mythical region, these artist-explorers aimed to encounter new forms of representation critiquing the European painting tradition they travelled away from.
Painting as we commonly think of it today was unknown to the local population at the time. Yet today we find that whilst in the West postmodernism – as a critical revision or rejection of modernism – implies a radical transition from painting as a pivotal means of representation to other media, in Indonesia painting is flourishing at exponential rates in both quantity and quality. How did this geo-cultural transition occur? In its historical genesis, the answer lies not in an increase of institutionalised art education, or a progressive globalisation in the art market leading to the ‘importation of new masterpieces, resources and museums into South East Asia. Of course, all these elements did play a role into the new wave of painting that is registerable today in this area of the world; but the primary launching factor can be accredited to, well, pure and simple hearsay.
When at the beginning of the 20th century European artists moved to Indonesia, often residing in Bali as their prime home base, this was not without clamour. At the time, the island was not yet flooded with tourists, and foreigners represented a sort of ‘curiosity’ to the local population just with the same intensity as the locals epitomised a peculiar essence of ‘otherness’ in the eyes of their new guests. Soon enough, these artists, Willem Hofker and Theo Meier as renowned examples, were both learning from their surroundings, its people and their traditions, as well as welcoming young keen artists (even children!) into their homes, forging new friendships and mutual apprenticeships. They henceforth left an imprint in the local culture, incorporating a tradition of painting which was previously exclusive to the West into new modes of representation through the skilful hands on their pupils. A radically different generation of artists all around the archipelago was born, and in turn shared the fruits of their lifelong findings with the next generations to come.
Once more we may return to our question as to why, given the circumstances, the postmodern dogma in the West arguably ‘killed’ painting whilst in the East the use of this medium is acquiring more and more variety and depth as we speak. New directions in Asian art are gaining world-wide acknowledgment; through the surfacing of notable investments in recently established creative hotspots, it is now Eastern artists who are leading the way to a cutting-edge, fresh perspective on an otherwise declining tradition of painting. The booming Chinese art market has so far marked a vital driving force for this phenomenon: more lately, emerging Indonesian painters are finally also starting to attract a huge amount of attention, across both national and international art scenes.
If it is true that, from an art historical perspective of painting, those who were once apprentices have now surpassed their masters, this is due to a radical shift from an initial stage of imitation of the modernist tradition to a fully matured stage of artistic consciousness which only hints at its Western descent. As painters all across Indonesia started to aim at more self-conscious and unique forms of representation, they also solidified their own cultural identity. It is not surprising, then, that looking back at this last century of Indonesian painting as evidence of a phenomenal artistic melting pot, we can trace the source of a promising future for the history of painting in a completely evolved context, rendering the breach of its tradition as a starting point for several, rather than just a single Eurocentric heritage.
It is this new life of painting, this accidental divergence in its history, that the upcoming exhibition Hearsay aims to explore. But even more than its mere theoretical background, for the opening of BaliWood Art and Culture Centre we are interested in celebrating the manner in which the process of it all has unfolded: experientially, through the passing on of information, subjective information, which with its revealing lies and underlying truths has led to a new wave of artistic formations. As a starting point for such a discourse, we depart from an active confrontation of a number of local artists; by local, we do not necessarily mean that they are from Bali, but that by residing in the island they have become part of it, and its culture part of them, like a wondrous process of reciprocal osmosis. As a consequence, to this day, in each of the painters we notice a glimpse of the other. An untraceable trace which, whether directly or not, lingers about and is passed on through the mouths and ears of a compound of subjectivities which is than the sums of its parts: a closely knit community which, we believe, is worth treasuring for generations to come.

Ephemeral Imprint
A photographic installation by Karel Tijsse

When asked about his profession whether informally or on an application form, Karel Tijsse responds with one word: ‘life’. Though he may fund his several and extensive travels around the world through teaching tennis, though he may be a renowned Dutch photographer, he perceives such occupations as activities he dips in an out of, along what he believes is the incredibly short yet wondrous journey of life. Art, for Tijsse, is something that he stumbled upon rather than pursuing as a career choice. After several years of living in various countries, from India to Australia, and documenting such adventures through the lens of a camera, he came to the realisation that he had created an interestingly insightful body of work which was deemed to be ‘artistic’ by many. The aforementioned element of ‘insight’ in his work is somewhat ironic, as this photographer, unlike many others, constantly strives for an element of detachment between himself and the surrounding world. Tijsse hence thinks of himself as a spectator of nature, or society, rather than a part of it. Each snapshot, therefore, can be interpreted as an ephemeral act of reaching out to another form of being, to then depart once more into the unknown. In Tijsse’s upcoming exhibition, featuring a series of photographic works juxtaposing doors and portraits, the artist explores his fascination for temporality and human character with images taken from Balinese living compounds. Though beautifully constructed, these images are far more than simple aesthetic experiments, as they tend to create an in-depth dialectic between people and their homes, drawing on Tijsse’s own travel experiences around Bali. A door, just like a face, acts as both a facade and a threshold to one’s soul, a sort of existential mould where time sculpts the passing of life. Each crack in the wood, just as each wrinkle on the skin consequently becomes a testimony of such a process.

See More

Kamis, 15 Juli 2010

= Presentasi Riset Colin Cahill

-o0o-

Ivaa Shop Presentasi Riset oleh COLIN CAHILL,
Iconography and Violence: The value of Historical Context in Copy
Culture...(Ikonografi dan Kekerasan: Nilai Konteks Historis dalam
Budaya Mengkopi) KAMIS, 15 JULI 2010, JAM 16.00 WIB | di
Perpustakaan IVAA, Jl. Patehan Tengah 37 Yogyakarta | ...Moderator
... : Sekar Mangalandum | Pen...anggap : Alit Ambara | GRATISS | http://www.facebo...ok.co/event.php?eid=136904643005911&ref=mf

Jumat, 09 Juli 2010

== Foto Fairuzul Mumtaz - undangan pentas dan diskusi publik KM Assarkem

Foto Fairuzul Mumtaz - undangan pentas dan diskusi publik KM Assarkem

= "EGOCENT(U)RY"_Solo Exhibition by ANDI CAKRA ABBAS

"EGOCENT(U)RY"_Solo Exhibition by ANDI CAKRA ABBAS

Date:

Saturday, June 5, 2010

Time:

5:00pm - 9:00pm

Location:

VIVIYIPARTROOM2_Annexe Ciputra World Marketing Gallery

Street:

Jl.Prof. Satrio_kav 11 Casablanca

City/Town:

Jakarta, Indonesia

EGOCENT(U)RY

Menyambut kepribadian Baru

Egocent(u)ry merupakan integritas dari “centuries of egocentric”. Abad egosentris dalam konteks popularitas sangat memungkinkan lahirnya sosok pribadi baru yg berperan seiring tuntutan profesionalitas. Dalam proses membentuk kepribadian itu, menanggalkan jati diri menjadi figur yang fleksibel dan penuh trik menghadapi berbagai hal yang sekiranya dapat menjadi kendala, sering terjadi banyak improvisasi yang diantaranya bertentangan hingga hanya menjadi momok untuk diri sendiri. Mau tak mau, sebagai makhluk egosentristik- ketakutan-ketakutan untuk menentang kepribadian hakiki akan menjadi kekuatan untuk mengambil alih dan menyambut kepribadian baru.

Menjadi pribadi seutuhnya adalah suatu dilema tersendiri dalam menghadapi pluralitas kehidupan yang semakin mengejar personalitas yang popular. Adanya hasrat untuk mengangkat diri ke permukaan hingga menjadi perhatian publik, merupakan permasalahan yang kerap mengorbankan jati diri. Konsekuensinya, berbagai referensi menjadi perisai utama demi melindungi jati diri sebagai “aku”, dan mengedepankan sesuatu yang lebih dapat diterima oleh orang banyak. Jika seseorang menjadi dirinya sepenuhnya, terkadang hal tersebut belum dapat diterima oleh orang lain. Dengan demikian, hak asasi pribadi terbatas pada hak asasi orang lain.

Popularitas membuat individu-individu yang seharusnya memiliki ruang privasi, akhirnya menjadi komsumsi publik. Dengan mudah ruang gerak privasi tersebut menjadi panggung spektakuler. Hal ini adalah konsekuensi dari penyandang “popularitas”. Identitas menjadi ambigu atas tuntutan profesionalitas , bahkan menjadi target market dari brand-brand terkemuka untuk menjadi bagian dari world business. Kepribadian asing yang dulunya hanya sebagai topeng, lambat laun melekat kuat sebagai the new personality. Semakin dikenal semakin congkak, selektif berkelas dan anti-regenerasi. “Penyakit” ini sering menjangkiti the young popular.

Siapakah aku? Apakah aku asisten pribadi publik? Kehidupan teatrikal di luar ruang privasi sungguh melelahkan. Semua palsu, kerinduan menjadi pribadi yang utuh dan ruang privasi yang steril, berbalik menjadi impian. Namun citra kepopuleran yang telah didapat, bukan berarti sia-sia. Dalam konteks popularitas, konsisten terhadap basic personality menjadi tantangan bagi anda yang popular.

Andi Cakra Abbas, S.Sn

= Annual Summer Exhibition : New York to California Opening Reception

Annual Summer Exhibition : New York to California Opening Reception

Date:	Thursday, July 1, 2010
Time:	6:00pm - 9:00pm
Location:	Wendt Gallery Laguna Beach
Street:	1550 S. Coast Highway #102
City/Town:	Laguna Beach, CA

An opening reception will take place in the Laguna Beach gallery Thursday July 1st from 6 to 9 pm. Cocktails and hors d'oevres will be served. If you would like to attend or would like more information, please contact Wendt Gallery at 877-936-3838 or email info@wendtgallery.com.

Full press release here:

http://www.facebook.com/notes/wendt-galleries/annual-summer-exhibition-new-york-to-california/139343816081915

Minggu, 11 April 2010

= http://buletinsenimanjogja.blogge.rs/

http://buletinsenimanjogja.blogge.rs/

Jumat, 02 April 2010

= = GLOMMY ALLONE EXHIBITION BY DAKI BEBAL

GLOMMY ALLONE EXHIBITION BY DAKI BEBAL

Waktu Mulai:

01 Mei 2010 jam 19:00

Waktu Selesai:

05 Mei 2010 jam 22:00

Tempat:

Elpueblo Cafe

Nama Jalan:

Jl Patangpuluhan Gg. Kesehatan 2A, Sonosewu, Ngestiharjo, Kasihan Bantul, Indonesia 55182

Kota/Daerah:

Yogyakarta, Indonesia

MARIA MAGDALENA, NURUFI & OPET, TIGA SENIMAN MUDA INI TERGABUNG DALAM SEBUAH KELOMPOK YANG KEMUDIAN MENAMAKAN DIRI DAKI BEBAL , DALAM PERJALANAN BERKESENIANNYA KELOMPOK YANG SEMUA ANGGOTANYA ADALAH PEREMPUAN INI AKAN MEMAMERKAN KARYA-KARYA DRAWINGNYA DIELPUEBLO CAFE. GRAND OPENING PAMERAN AKAN DIRAMIKAN DENGAN PERFORMANCE DMERKI SAWANGSINAWANG & KELOMPOK MUSIK DARMO GANDUL.

CP : 085726366399 (artist) & 081578989419 (elpueblo)

Selasa, 23 Maret 2010

= Performativity in The Visual Arts

Performativity in The Visual Arts

During her residency period at IVAA, Katerina has been interested in tracing performativity in the visual arts in Indonesia. More than generalising about the topic, her interest was related in seeing how some artists have a performative approach in their works.

The talk will start with a short introduction on the term performativity which will be used during the discussion. After this, there will be a presentation on traditional Javanese performances, which have been updated addressing contemporary topics. This subject matter will be explained in some examples of wayang and ketoprak performances, which have been used for certain political and social purposes.

The discussion continues giving some examples of visual artists who work in a multidiciplinary way and create works with a performative character. For instance, works that have a theatrical aspect and immerse the audience in the artwork. The talk will leave some questions open to discuss with the audience.

Katerina Valdivia Bruch is an independent art curator and contemporary dancer based in Berlin, Germany. She studied Philosophy in Lima at the Pontifical Catholic University of Peru and in Germany at the Freie Universität Berlin. She holds a postgrade in Cultural Policies and Management of the Universitat de Barcelona and a diploma of the Independent Study Programme of MACBA, Museum of Contemporary Art in Barcelona, Spain.

She has been working in the field of arts management since 2001, including working for institutions such as House of World Cultures in Berlin and the Hirshhorn Museum and Sculpture Garden in Washington DC, USA. After her work as Exhibitions and Programme Coordinator at Casa Asia, Barcelona, she started curating contemporary arts in 2006 with IN_FUSION, an exhibition about Peruvian contemporary art. IN_FUSION was presented at Cervantes Institute Berlin in 2007 and at Cervantes Institute Munich in 2008. She was invited as a curator for the International Prague Triennale in Czech Republic in 2008 with her project Hybrid Identities in Urban Landscapes. She has curated the yearly programme of exhibitions for the gallery IAC-Berlin after its opening in February 2008. Her latest project, Fragments of Feminity, was presented at CCCB (Centre of Contemporary Art of Barcelona) in Barcelona in December 2009. Katerina works also as art critic and has been writing for some printed and online magazines, such as Kunst Magazin Berlin, Artfacts.net and the Spanish newspaper La Vanguardia.

As a contemporary dancer, she has performed in Peru, Brazil, Spain, Poland, Serbia and Germany working for different dance companies, but also presenting her own choreographies. She usually does collaborative works within a multidiciplinary approach and works with visual artists, sound artists and experimental musicians. At the moment, she is teaching contemporary dance technique for Tembi Dance Company at Tembi Rumah Budaya.

During her first residency period in Indonesia, held at MES 56 from December 2008-February 2009, she researched on contemporary Indonesian art, Indonesian recent history, and focussed her research mainly on artists’ initiatives in Indonesia. Back in Berlin, she gave a talk on artist initiatives in Indonesia during the Asia Pacific Weeks in Berlin in October 2009, invited by IfA (Institute for Foreign Cultural Relations). The same month, she was awarded with a curatorial scholarship from Goethe Institute to do a curatorial residency at IVAA (Indonesian Visual Art Archive). During her tenure at IVAA, December 2009 – March 2010, she has been focussing her work on performativity in the visual arts in Indonesia and on video art from Indonesia.

This April, she will present an exhibition on video art from Indonesia and will give a conference during the contemporary art symposium that will be held in the city of Guanajuato, Mexico, organised by the Department of Media Arts of the University of Guanajuato and the Jesús Gallardo public gallery in León. The video art exhibition is curated by Katerina Valdivia Bruch, in collaboration with Ade Darmawan and Hafiz from ruangrupa.

More information: www.artatak.net

A talk by Katerina Valdivia Bruch
Moderator: Agung Kurniawan
Translator: Syafiatudina
Venue: Indonesian Visual Art Archive (IVAA) Library Patehan Tengah 37, Yogyakarta, Indonesia
March 22nd, 7.00 pm

http://www.ivaa-online.org/home/performativity-in-the-visual-arts/

Senin, 15 Maret 2010

>> Buletin Seniman Jogja II

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buletinsenimanjogja@yahoo.com

Jumat, 15 Januari 2010

= Biennale Anak

Minggu, 10 Januari 2010

=

Selamat datang,

Selamat datang di Buletin Seniman Jogja,

Foto Jurnalistik dalam bentuk Jurnalistik Online ini dipersembahkan oleh Kang Tiyas untuk para praktisi seni, pecinta seni dan lain sebagainya, untuk memuat karya - karya mereka atau pendapat mereka, sehingga bisa dinikmati oleh masyarakat seni dan masyarakat umum Indonesia atau warga masyarakat DUNIA.

Redaksi dan Redaktur/Editor oleh Kang Tiyas.
Terimakasih kami ucapkan kepada Ki Joko Wasis, Pak Pras dan teman-teman lain yang telah memberikan semangat untuk terciptanya website /weblog ini.

Semoga bermanfaat.

__________________________

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Dear Brother and sister,

(01). Bila anda ingin membaca artikel / berita /laporan yang
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Message :

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open smileys

_______________________________________

Selamat datang

Selamat datang di Buletin Seniman Jogja,
Foto Jurnalistik dalam bentuk Jurnalistik Online ini dipersembahkan oleh Kang Tiyas untuk para praktisi seni, pecinta seni dan lain sebagainya untuk memuat karya - karya mereka atau pendapat mereka sehingga bisa dinikmati oleh masyarakat seni dan masyarakat umum Indonesia atau warga masyarakat dunia.
Redaksi dan Redaktur/Editor oleh Kang Tiyas.
Terimakasih kami ucapkan kepada Ki Joko Wasis, Pak Pras yang telah memberikan semangat untuk terciptanya weblog ini.
Semoga bermanfaat.

Pengurus Dewan Kebudayaan Provinsi DIY 2009-2013

Pengurus Dewan Kebudayaan Provinsi DIY 2009-2013

Pengrs Dewan Kebudayaan DIY (DK-DIY) periode 2009-2013 sdh terbntuk & dikukuhkan oleh Sri Sultan HB X, pd 5 Agstus 2009 di Bangsal Kepatihan Yk, ditandai dg Orasi Budaya oleh Sri Sultan HB X. Pngurus DK-DIY tsbt: Sri Sultan HB X (Pelindung), Yuwono Sri Suwito (Ketua), Suwarno Wisetrotomo (Wk Ketua), Djoko Purwanggono (Sekretrs), H. RM. Wahyoe Widiyatmo (Bendahara), Anggota: KRT. H. Jatiningrat, KH. Abdul Muhaimin, KRT. Thomas Haryo Nagoro, G. Budi Subanar, Djohan Salim, Eko Agus Prawoto, Djuliani (Nia), Haryani Winotosastro, Sunardi.

Buletin Seniman Jogja