In fact, what does identity even mean in relation to the truths, half-truths, non-truths that exist in the form of electronic memory?

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3 Algorithms are becoming increasingly complex, its definition becoming vast in tandem and parallel to time. Utilizing the search engine as permutation of an algorithm then, Novali looks towards himself through this vast trove of information. Typing his own name into the tab results in interesting findings through various changes in inputs. Who is the Aditya Novali that exists on and what does this generated information have to do in relation to reality? In fact, what does identity even mean in relation to the truths, half-truths, non-truths that exist in the form of electronic memory? Can something that exists solely as digital input, similar to the imaginary or fantastic, have any bearing towards the realities of who we are? These are some of the explorations Novali is interested as a continuation of his recent aesthetic explorations on acrylic. There is tension between the complexities of the subject matter he is dealing with the rudimentary form of abstract representation in these works that consist of bare, conceptual ink drawings on a transparent surface. Aditya Novali (b. 1978) is an artist based in Solo, Indonesia. He received his Bachelor of Engineering in Architecture from Universitas Katolik Parahyangan, Bandung, Indonesia in 2002 and an IM Master of Conceptual Design from the Design Academy Eindhoven, The Netherlands in Novali works with a variety of materials, often first conceiving an idea and then finding the right medium to transcribe his vision. His background in architecture plays an influential role in his work. His sensitivity to structure, space, and knowledge of construction shapes his approach and aesthetic. Addressing themes such as boundaries, identities, materialism, and urban life, Novali s work interacts with the viewer and transforms with each viewing. Novali s work has been exhibited in galleries and institutions all over the world, including in Indonesia, Singapore, Taiwan, UK, Italy, Switzerland, Japan, and Lebanon. Some of his previous exhibitions include Imaginary Synonym (2016), Tokyo Wonder Site, Japan; Aku Diponegoro (2015), National Gallery of Indonesia, Indonesia; Shout! Indonesian Contemporary Art (2014), Museo d Arte Contemporanea (MACRO), Italy; The Wall/Structure/Construction/ Border/Memory (2014), Ark Galerie, Indonesia; Dojima River Biennale (2013) in OsakaJapan; South East Asia (SEA)+ Triennale (2013), National Gallery of Indonesia, Indonesia; Beyond the Walls (2013), Primo Marella Gallery, Italy; Pressing (2013), Videoinsight Foundation, Italy; Of Human Scale and Beyond: Experience and Transcendence (2012), Hong Kong Arts Centre, Hong Kong. A Finalist in the 2010 Sovereign Asian Art Prize, Novali was also awarded Best Artwork in the Bandung Contemporary Art Awards (BaCAA) in the same year. He was most recently nominated for Best Emerging Artist Using Installation at the 2016 Prudential Eye Awards in Singapore and had his most recent solo exhibition entitled ACRYLIC in ROH Projects, Jakarta, Indonesia.

4 ADITYA NOVALI When I Baidu-ed in Hues Ink, on Plexiglass 31 x 22 x 3.5 cm each (set of 8 panels) INFO@

5 ADITYA NOVALI When I Baidu-ed in Hues (detail view) Ink, on Plexiglass 31 x 22 x 3.5 cm each (set of 8 panels) INFO@

6 ADITYA NOVALI When I Baidu Myself over Time Ink, on Plexiglass 22 x 16 x 3.5 cm each (set of 39 panels) INFO@

7 ADITYA NOVALI When I Baidu Myself over Time (detail view) Ink, on Plexiglass 22 x 16 x 3.5 cm each (set of 39 panels) INFO@

8 ADITYA NOVALI When They cannot find me in Baidu Ink, on Plexiglass 86 x 53 x 4.5 cm, 82 x 53 x 4.5 cm, 84 x 52 x 5 cm INFO@

9 ADITYA NOVALI When They cannot find me in Baidu (detail view) Ink, on Plexiglass 86 x 53 x 4.5 cm, 82 x 53 x 4.5 cm, 84 x 52 x 5 cm INFO@

10 ADITYA NOVALI When Things I Do gets Baidu-ed # Ink, on Plexiglass 40 x 27 x 3.5 cm, 43 x 22.5 x 3.5 cm, 40 x 22 x 3.5 cm, 37.5 x 26 x 3.5 cm INFO@

11 ADITYA NOVALI When Things I Do gets Baidu-ed # Ink, on Plexiglass 36 x 30 x 3.5 cm, 38 x 34 x 3.5 cm, 28 x 46 x 3.5 cm, INFO@

12 ADITYA NOVALI When Things I Do gets Baidu-ed (series detail view) Ink, on Plexiglass 36 x 30 x 3.5 cm, 38 x 34 x 3.5 cm, 28 x 46 x 3.5 cm, INFO@

13 ADITYA NOVALI When I don t know what I Baidu Ink, on Plexiglass 37 x 25 x 3 cm each (set of 4 panels) INFO@

14 ADITYA NOVALI When I don t know what I Baidu Ink, on Plexiglass 37 x 25 x 3 cm each (set of 4 panels) INFO@

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16 Syaiful Garibaldi s newer body of works provides a glimpse into a number of Garibaldi s different aesthetic interests, with a particular concentration in this case to human flesh and its decomposition. The decomposition of human flesh is commonly associated with negative connotations, especially with notions related to death. It is these kinds of preconceived notions, however, that Garibaldi often looks back upon and re-contextualizes. It is, in fact, through decomposition that Garibaldi instead observes a sense of reincarnation, or restoration of matter, into different forms of life. This process of decomposition, then, is broken down into its various components in conducting both a parallel investigation into existentialist concerns regarding the way death is to be perceived, as well as looking into how and why various forms of life cycles arise out of decomposition. Syaiful Aulia Garibaldi (b. 1985) is an artist based in Bandung, Indonesia who is interested in the intersections and interrelationships between natural science with our memory and ability to imagine. His practice involves engaging with and through a number of concurrent explorations in nature s various state of being. In this presentation, we include a glimpse of Syaiful past investigation into fungi that led him to the lichen, a composite organism that is never born in the traditional sense of coming into being, but rather arises from algae and a symbiotic relationship among laments of fungus. Just as it is becomes more difficult to identify the distinction between algae and fungi through lichen, Garibaldi shows that the boundaries between his creative processes and his more research-based scientific approach are blurred.

17 SYAIFUL GARIBALDI LARTUCIRA #2.5 LARTUCIRA # Lichen on Fibre Lichen on Fibre 80 x 60 cm 80 x 60 cm INFO@

18 SYAIFUL GARIBALDI Study for Rumkilu # Ink and Mushroom spore on Paper 188 x 128 cm INFO@

19 SYAIFUL GARIBALDI Rumkilu # Ink and Mushroom spore on Paper 110 x 88 cm INFO@

20 SYAIFUL GARIBALDI Study for Ariraria # Acrylic on Paper 75 x 56 cm INFO@

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22 Pastrana completed a short-residency in Bandung, Indonesia in June 2017, during which he met and consulted with Syaiful Garibaldi, resulting in one particular work that was presented in his solo exhibition clock map knife mirrors. In Conversation, playing at intervals on both screens are documentations of Pastrana s search for earthworms at a certain yard in his own place of residency, images of texts of the artist s personal musings or questions about his own process, as well images of texts that seem to be answers to his own questions. These are interviews with the self, so to speak. What had started as a certain fascination on the image of conjoining and splitting worms have become a staged search for these agents of cohesion and divisibility. Earthworms, as hermaphrodites, are interesting creatures that can be split in half and continue to live. This splitting, this breaking of relations, can be attributed to the dual-nature of the show that presents some past works together with the new. And at the same time, these imaginary lines, produced by their own division, are nothing but evidences of their becoming. Born in 1977 in Manila, Gary-Ross Pastrana received his Bachelor s degree in Painting from the University of the Philippines and was handed with the Dominador Castaneda Award for Best Thesis, and was granted with residency programs in Japan and Bangkok. Pastrana received the CCP Thirteen Artists Award in He has shown at the Singapore Art Museum, Metropolitan Museum of the Philippines, and the Jorge B. Vargas Museum. He was the country s representative for the New Museum in New York s 2012 Triennial The Ungovernables. He was part of the Aichi Triennale in 2010 and the Busan Biennale in Pastrana recently completed a residency program at the NTU Centre for Contemporary Art Singapore. He is one of the co- founders of Future Prospects Art Space and has regularly curated for shows both in Manila and abroad.

23 GARY-ROSS PASTRANA Conversation Single-Channel video Duration Varied