Works
Bio
Press
Curicullum Vitae
1949
 
Born in Apuan, Baturiti, Tabanan, Bali, the youngest of ten children of I Gde Labdana, the temple priest of Pura Pucak Padang Dawa, Baturiti, Tabanan, Bali. As a child he learns classical Balinese dance and other ritual arts.
1970 - 1974
 
Attends the Indonesian Institute of Fine Arts (ASRI) in Yogyakarta, Java. Joins the Balinese gamelan and dance group. Helps found the artists’ association Sanggar Dewata Indonesia. Learns batik painting technique from Yogyakarta batik artists. Meets Intan Kirana, an engineering student and granddaughter of Ki Hajar Dewantara.
1975 - 1977
 
Lives and works in Belgium, employed as a batik painter at Le Barong Restaurant in Brussels. First direct exposure to European painting.
1978
 
Studies technique of classical Balinese painting with I Nyoman Mandra in Kamasan, Klungkung.
 
Solo Exhibition
1976
 
One-man exhibition at the Centre Culturel Jacques Frank, Brussels, Belgium. Marries Ir. Intan Kirana in Indonesia and returns with her to Brussels.
1977
 
Hotel Indonesia, Jakarta.
1981
 
Stedelijk, Feestzalen, Botermarkt, Mechelen, Belgium.
1985
 
Taman Ismail Marzuki, Jakarta.
1988 - 1989
 
the Club Mediterranee, Nusa Dua, Bali.
1990
 
the Gedung Seni Rupa, Department of Culture and Education, and Taman Ismail Marzuki, Jakarta.
1991
 
Jernander Art Gallery, Brussels, Belgium.
1992
 
Bunkamura Gallery, Tokyo, Japan.
Hyatt Regency, Surabaya.
1993
 
exhibition to raise funds for AIDS prevention research in Southeast Asia, at Fort Mason Center, San Francisco, USA.
1994
 
EP-Gallerie, Dusseldorf.
1995
 
exhibition GNB (Non-Aligned Nations) at the Department of Culture and Education, Jakarta.
Installation Happening Art at Apuan, Bali.
Installation Happening Art at Gajah Wong River, (Museum Affandi) Yogyakarta.
1999
 
Darga Lansberg Gallery, Paris, France.
2000
 
Bhagawan Giri, Ubud.
Sembilan Gallery, Lodtunduh, Ubud.
Aminity Gallery, Tokyo.
Rudana Museum Ubud, Genta Fine Art Gallery, Lodtunduh, Ubud and GRP Sanur, Bali.
2001
 
Santi Gallery, Jakarta.
Amankila, Manggis, Karangasem, Bali.
Ganesha Gallery Four Seasons Resort, Jimbaran, Bali.
2002
 
Frangipani Gallery, Hamburg, Germany.
Dmitry Semenov Gallery, Saint-Petersburg, Russia.
(“Puisi Rupa”) at Bentara Budaya, Jogjakarta.
2003
 
Gaya Gallery, Ubud, Bali.
Canna Gallery, Jakarta.
2007
 
"Natural Flowing", James Gray Gallery, Santa Monica, USA
2005
 
?Calligraphy in Song?, Emmitan Gallery, Surabaya
?The Sign of Paradise?, Mike Weiss Gallery, New York, USA
The Contemporary Asian Art Fair, Art Singapore 2005
 
Group Exhibition
1972
 
Senisono Art Gallery, Yogyakarta.
1974
 
Gedung Purna Budaya, Yogyakarta.
1977
 
Gallery Antiques, Ghent, Belgium.
1985
 
National Painters at Taman Ancol, Jakarta.
1987
 
National Painters at Taman Ismail Marzuki, Jakarta.
The Biennale Seni Lukis Indonesia, Taman Ismail Marzuki, Jakarta.
1991
 
Art Expo 1991 (Europe-Indonesia) in Jakarta.
Taman Impian Jaya Ancol, Jakarta.
1992
 
Jakarta Art & Design Expo 1992 in Jakarta.
Taman Ismail Marzuki, Jakarta.
1993
 
“Art for Flores” at Hotel Tandjungsari, Sanur, Bali and Jakarta
1994
 
“Hitam Putih Plus” (Black & White Plus) at Andi’s Gallery, Jakarta.
Shangri-La Hotel, Jakarta.
“The Best of Indonesia”, Department of Culture and Education, Jakarta.
1995
 
“Bursa Lukisan (Panting Bourse), Regent Hotel, Jakarta.
“Two Generation”, World Trade Center, Jakarta.
1996
 
“Gelegar Seni” (Art Thunder), Radisson Hotel, Jakarta.
Artiade, Atlanta.
1997
 
“Catur Yuga” an intercultural dialogue between two artits from Bali, Indonesia and Basel, Switzerland.
1998
 
Darga Lansberg, Paris, France.
2001
 
(“Crossing Lines”) at Museum der Kulturen, Basel, Switzerland.
Saint-Petersburg, Moscow, Russia.
National Gallery, Jakarta.
2002
 
Jezz Gallery, Denpasar, Bali.
2004
 
? Membaca Dunia Widayat? Museum Widayat, Magelang
 
Exhibitions
1979
 
Exhibition of National Art, Manado, North Sulawesi.
Asian Art Exhibition, Japanese Embassy, Jakarta.
15th Asian Modern Art Exhibition, Tokyo, Japan.
1980
 
Exhibition of Asian Artists, Taman Ismail Marzuki, Jakarta.
Exhibition of Contemporary Arts, National Museum, Singapore.
1981
 
ASEAN exhibition of Panting, Graphic Arts and Photography, Bangkok, Kualalumpur. Singapore, Jakarta, Manila.
Exhibition of Asian Artists, Dacca, Bangladesh.
1984
 
Third ASEAN exhibition of Painting, Graphic Arts and Photography, Bangkok. Kualalumpur, Singapore, Jakarta, Manila.
1985
 
Second Asian Art Show at the Museum of Fukuoka, Japan.
1987
 
First Asian Arts Festival at the Club Mediterranee, Nusa Dua, Bali.
1990
 
Festival of Indonesia in the United States of America (KIAS)
1993
 
“Indonesian Modern Art”, Amsterdam, Netherlands (PAKIB).
Asian Watercolors 1993, Jakarta.
Tresors d’Art 1993, The Asian International Contemporary Art Fair, Singapore.
1998
 
Made Wianta’s Evolution, Tokyo Station Gallery, Japan.
“Catur Yuga”, Denpasar Bali.
“Catur Yuga” at La Salle SIA College of the Arts, Singapore.
1999
 
Happening art “Art and Peace” Padanggalak Beach, Sanur, Bali.
2000
 
Performing art “Street”, Ubud.
Langkawi International Festival of Art, Langkawi, Malaysia.
2001
 
Art Collaboration with Big Nazo from USA in Apuan, Tabanan, Bali.
 
Others
Selected as Corresponding Academician of Accademica Intern, Greci Marino, Italy.

CONCEPT OF MADE WIANTA

The magical and ambivalent power is everywhere and takes many forms and guises. A circle, a triangle or squares are clearly recognizable as geometrical forms or symbolic signs. Wianta?s challenge is to transpose the vital energy, the soul and the spirit of these forms into the visible world. In this work, Wianta combines triangular shapes line and color to create a very expressive power.

Wianta is back with triangularities in a relatively destructured way. The main feature is the use of red and bright color, which are definitely pulled to the visual foreground. He marries regularity and disorder in a dream like game of color.
The painting not just become an optically sensual but a symbolic value for brave, differences and special energy. First of all, the geometrical paintings are conceived in a constructive world. But at the same time, they contain a symbolism and cosmic spirit, which Wianta is pleased to compare with that of the famous Balinese master builder?s of ancient time. ?there is one breath, one way, to see Bali, as something holistic?