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Feature image for Artemis Art's participation in Art Central Hong Kong 2024 featuring "Scarlet Re-Born" by Dedy Sufriadi

Dedy Sufriadi: Scarlet Re-Born at Art Central HK 2023

Artemis Art returns to Art Central Hong Kong with a solo presentation by Dedy Sufriadi. Entitled Scarlet Re-Born, the collection of works is based on selected popular media from which Dedy has derived insights and realisations, presented as paintings conveying what he has gleaned as highly textured contemporary abstract works. Apart from being well-read, particularly in the area of existentialist philosophy, Dedy is also a fan of popular media, be it books, films or music. For him, popular media is much more than simply entertainment, and much can be learned from the many stories told.

This year’s edition of Art Central begins with the Press Conference and Tour, Private View and VIP Preview on 27 March, followed by the Vernissage on 28 March; after which the fair opens to the general public from 28 – 31 March 2024. With the last two editions held at a different location, Art Central is set to make a highly anticipated return to Hong Kong’s iconic Central Harbourfront and is presented in partnership with UOB.

We have included Chinese translations for portions of this webpage. Many thanks to YiPei Lee for her kind assistance in getting these portions translated.  We will update this webpage with more details about Dedy Sufriadi’s participation as the art fair draws closer. For advance information, email us at in**@ar***************.com.

Press Release

The press release (in English, PDF format) for our participation in Art Central Hong Kong 2024 may be downloaded via this link. Contact us via email at in**@ar***************.com if you require an editable version.

Contact us for Enquiries

微信 / ID: UC-ArtemisArtKL

WeChat QR Code - UC (edit)

Scarlet Re-Born

Popular media sometimes gets a bad rep for being a cause of moral decay and societal dysfunction. It’s a convenient scapegoat to blame when actual root causes of worrying behaviours and phenomena are usually far more complex. One example is the decades-long debate about whether violent films and computer games contribute towards violent behaviours in real life1.

But popular media can also be a source of inspiration and positivity. In his latest body of work, Scarlet Re-Born, Dedy Sufriadi (b. 1976 in Palembang, Indonesia) visually articulates insights he has uncovered from selected popular media he’s come to be acquainted with over the years. Apart from being well-read, in the area of existential philosophy particularly, Dedy is also a fan of popular media, be it books, films, or music.

As a keen observer of the world around him, popular media for Dedy is a lot more than just a source of entertainment. In this series of works, ideas and realisations from selected popular media have been translated into richly textured contemporary abstract works to articulate insights he has gained from them, expressively executed mixed media compositions.

Scarlet Re-Born is also an opportunity for popular media to be re-examined, to be “reborn”, as it were, so the valuable insights and subtexts conveyed by them may continue to be appreciated and reflected upon.

There are several derived thematic insights in this collection of works, among them the power of love, human imagination, and human resilience. But there is one common element the artworks in the entire collection share; that element is none other than Hope.

The title Scarlet Re-Born itself is a wordplay on the song title “Scarlet Ribbons (For Her Hair)”, a popular Christmas standard originally released in 1949 by Jo Stafford2. It has since been covered by many popular singers, notable among them Harry Belafonte3, Cliff Richard4, and Sinead O’Connor5. Those familiar with this song will recognise that it is very much about the almost magical quality of Hope.

And in these troubling times, Hope is what all of us could do with a lot more of.

鮮紅重生

大眾媒體有時候被指責為道德敗壞和社會功能失調的罪魁禍首。當令人擔憂的行為和現象背後的真正原因通常複雜得許多時,它就成了一個方便的代罪羔羊。例如,關於暴力電影和遊戲是否導致現實生活中的暴力行為的爭辯已經持續了長達幾十年6

但大眾媒體也可以是靈感和正向的來源。在戴迪·蘇菲阿迪 (1976年出生在印尼巴倫邦) 在他的最新作品《鮮紅重生》中,以視覺藝術的方式闡述了他多年來熟悉、精選的流行媒體中獲得的啟示。除了廣讀群書之外,尤其是在存在主義哲學領域,戴迪也是書籍、電影或音樂流行媒體的粉絲。

作為周遭環境的一個敏銳觀察者,流行媒體對戴迪來說不僅僅是一種娛樂來源。在這一系列作品中,選定的流行媒體被用來表達他從中獲得的見解,並將其概念轉化為質感豐富、且富有表現張力的當代抽象作品。

《鮮紅重生》也是流行媒體重新審視與「重生」的一個契機,使其過往傳達的寶貴見解和弦外之音仍然可以持續被欣賞和反思。

在這次的系列作品中衍生出三個主題,包括:愛的力量、人類的想像和人類的韌性。而整個貫穿整個創作系列的一個共同元素正是:希望。

標題《鮮紅重生》本身也是歌名「鮮紅色絲帶 (紮她的髮) 」的雙關語,這是一首經典的流行聖誕歌曲,最初由喬·斯塔福德 (Jo Stafford) 於1949年發行7。此後,許多流行歌手也陸續翻唱了這首歌,當中最著名的是哈利·貝拉方提 (Harry Belafonte)8、克里夫·理查爵士 (Cliff Richard)9 和辛妮·歐康諾 (Sinead O’Connor)10。熟悉這首歌的人會意識到這首歌很大程度是在講述「希望」近乎神跡的本質。

在這個令人不安的時期,「希望」是我們所有人可以做的更多的事。

Dedy Sufriadi

b. 1976 in Palembang, Indonesia 

Dedy Sufriadi is one of Indonesia’s leading contemporary artists of his generation. His artworks provide insights to the changing world around him through the use of visual elements frequently found in his artworks, among others, text, textures, naïve figurations, and gestural strokes. There is an aura of philosophical simplicity to be found in Dedy’s artworks, despite the multi-layered presentation often achieved through complex processes. In part, this could be attributed to the artist’s almost decade-long immersion in existential philosophy early on in his career. There is also the transition from strict logical application of compositional techniques to Dedy allowing his intuition to fully take charge; it is a process that the artist has progressively been infusing into his artistic practice. 

Complete Artist Bio

戴狄・蘇非阿迪

1976年出生於印度尼西亞 巴倫邦

戴狄・蘇非阿迪 (Dedy Sufriadi) 是印度尼西亞最傑出的當代藝術家之一。他的作品中經常發現文字、紋理、樸素的形象和手勢筆觸,通過這些視覺元素,回應他周圍不斷變化的世界提供了另一種洞察力。儘管戴狄經常通過複雜的過程實現多層次的展示,但在他的藝術作品中可以找到一種哲學上的簡單的光環。在某種程度上,這可以歸因於藝術家在其職業生涯的早期沉浸在存在主義哲學中近十年之久。這是他從嚴格的邏輯應用組合技巧到直覺領先的轉變過渡;也是藝術家逐漸融入藝術實踐的過程。

完整的藝術家簡歷

eCatalog

The electronic publication for Scarlet Re-Born contains the complete collection of works, plus extensive notes for each artwork, presented in English and Chinese. Our heartfelt thanks to Yipei Lee for her assistance with the Chinese translation, both in the eCatalog and on this webpage. The publication may be read online here or you may download a copy for offline reading (PDF format). 

Coming Soon!

Scarlet Re-Born Collection of Artworks

The following is the complete collection of works plus detailed notes about each piece. Click on any artwork images below to display a larger-sized image (best viewed on a PC or tablet).

Menang Jadi Arang, Kalah Menjadi Abu (2023)
(To Win is to become Charcoal, To Lose is to become Ash)
(贏則成為木炭,輸則化為灰燼)


Mixed Media on Canvas, 150 x 150 cm
油畫複合媒材, 150 x 150 公分

Menang Jadi Arang, Kalah Menjadi Abu

(To Win is to become Charcoal, To Lose is to become Ash)
(贏則成為木炭,輸則化為灰燼)

Inspired by Steven Spielberg’s 1993 film Schindler’s List, this work hints back to the dark period of World War II, Dedy’s visual reminder that war is not a solution to any problem. But until today, mankind takes little heed of this costly lesson and has not fully learned from the tragedy. The artist hopes that the horrors of past wars serve as an impetus for us to continue striving for our world to be at peace, a world where everyone can develop positively and live harmoniously.

If history has taught us anything, it is that war only causes destruction and that any victory is a pyrrhic one, as described by the Indonesian proverb that forms the title, which translates to “to win is to become charcoal, to lose is to become ash”.

這件作品的靈感源自史蒂芬·史匹柏於1993 年拍攝的電影《辛德勒的名單》,讓人回想起二戰的黑暗時期,戴迪以視覺提醒人們戰爭並不能解決任何問題。然而,直到今天,人類還沒有認知到這個代價高昂的教訓,也沒有完全從這場悲劇中學到教訓。藝術家希望過去的恐怖能化為我們繼續前進的動力,讓我們的世界變得和平,一個人人都能良善發展與和諧相處的世界。

如果歷史教會了我們什麼道理,那就是戰爭只會造成破壞,任何勝利都是得不償失的,正如作品標題印尼諺語所描述的「贏了就變成木炭,輸了就化為灰燼」。

Dalai Lama: Human Affection (2023)
達賴喇嘛:人性

Mixed Media on Canvas, 150 x 200 cm
油畫複合媒材, 150 x 200 公分

Dalai Lama: Human Affection
達賴喇嘛:人性

A world figure popular media often spotlights and one whom Dedy admires for his hopeful and positive outlook is the Dalai Lama. This work is inspired by several of the Dalai Lama’s writings, which state that Love and Human Affection are what the world sorely needs. At this juncture in human history, perhaps more so.

This artwork, plus two other related minor works, serve as an antithesis to Menang Jadi Arang, Kalah Menjadi Abu – if war causes all sides to lose, with Love everybody wins.

主流媒體經常關注的一位世界名人是達賴喇嘛,戴迪因其充滿希望和積極的觀點而欽佩他。這件作品的靈感來自達賴喇嘛的幾本著作,其中指出愛和慈悲心是世界迫切需要的。在人類歷史的此刻契機,或許更是如此。

這件藝術品,加上另外兩件較小的作品,與《贏則成為木炭,輸則化為灰燼》形成一個對比——如果戰爭導致雙方失敗,那麼有了愛,每個人都會獲勝。

Dalai Lama: By Love (2023)
達賴喇嘛:通過愛

Mixed Media on Aluminium, 100 x 80 cm
鋁板複合媒材, 100 x 80 公分
By Practice of Compassion (2023)
達賴喇嘛:通過慈悲的實踐

Mixed Media on Aluminium, 100 x 80 cm
鋁板複合媒材, 100 x 80 公分
Natural Born Killer (2023)
閃靈殺手

Mixed Media on Canvas, 180 x 150 cm
油畫複合媒材, 180 x 150 公分

Natural Born Killer
閃靈殺手

When Oliver Stone’s Natural Born Killers (1994) hit the big screens, the film was mostly taken at face value, receiving much criticism because of how violence was glorified in it. But the film is, in fact, a sharp critique of how mass media sensationalises crime, sometimes to the point of being irresponsible (as depicted in the film). Sensationalism in crime reporting happens more often than many realise, almost a conscious effort to keep to the adage “if it bleeds, it leads”, coined in the late 19th century by newspaper magnate William Randolph Hearst.

But apart from the film’s key subtext that what the popular media presents rarely tells the complete story – especially with events that have been sensationalised by news media – Dedy gained another very interesting insight from the film: no matter how good or bad a person is, no matter how heroic or villainous, there will always be Hope within them.

當奧利佛·史東的《閃靈殺手》(1994) 登上大銀幕時,表面上看來這部電影大多由於影片中對暴力的美化而受到諸多批評。事實上,這部電影是對大眾媒體聳人聽聞的犯罪行為的嚴厲批評,有時甚至達到了不負責任的地步 (正如電影中所描述的那樣)。犯罪報導中的聳人聽聞情況比許多人意識到的還要頻繁,這幾乎是有意識地遵循報業大亨威廉·倫道夫·赫斯特在 19 世紀末創造的格言「見到血,才會上頭條」。

但除了影片的關鍵潛台詞,大眾媒體呈現的內容很少能講述完整的故事 — 尤其是那些被新聞媒體炒作的事件。戴迪從影片中獲得了另一個非常有趣的見解:無論一個人有多好或多壞,無論是英雄還是惡棍,他們的內心永遠都存有「希望」。

Redemption Song (2023)
救贖之歌

Mixed Media on Canvas, 150 x 150 cm
油畫複合媒材, 150 x 150 公分

Redemption Song
救贖之歌

Redemption Song is the last track on the twelfth and final studio album, Uprising, by Bob Marley and The Wailers, released in 1980. Considered to be one of Marley’s most important works, key lyrics were derived from a speech by Pan-Africanist orator Marcus Garvey entitled “The Work That Has Been Done”, delivered at Menelik Hall in Sydney, Nova Scotia, in 1937.

In the song, Marley urges us to emancipate ourselves from mental slavery, since it is only we who can free our own minds. Although the direct reference here is to the long-lasting multi-generational psychological burden of human slavery, these words continue to resonate with a much wider audience. They remain relevant today and could refer to many things that mentally enslave us, such as detrimental ideas and beliefs. It gives us hope to realise that in the end, we are in complete control of our own destinies.

《救贖之歌》是鮑伯·馬利 (Bob Marley) 和痛哭者 (The Wailers) 於1980 年共同發行的。收錄在第十二張也是最後一張錄音室專輯《Uprising》中的最後一首曲目。歌曲被認為是馬利最重要的作品之一,關鍵歌詞源自泛非主義演說家馬科斯·加維於 1937 年在悉尼新斯科細亞省的孟尼利克大廳發表了題為「已完成的工作」的演講。

在歌曲中,馬利主張我們將自己從精神的奴役中解放出來,因為只有我們自己才能解放自己的思想。儘管這裡直接討論的是奴隸制度長期存在於多個世代人的心理負擔,但這些話仍然引起了廣泛的共鳴。 它們在今天仍然具有意義,指向許多在精神層面上有害的意識形態和信念。它讓我們充滿希望,意識到最終我們是掌控自己的命運。

Land of Hope (2023)
希望之國

Mixed Media on Canvas, 150 x 150 cm
油畫複合媒材, 150 x 150 公分

Land of Hope
希望之國

There is hope behind tragedy or disaster. The award-winning film “The Land of Hope” (2012), written and directed by Sion Sono , is a fictional story inspired by actual events surrounding the 2011 Fukushima nuclear disaster, which in real life and as depicted in the film, naturally caused widespread paranoia.

The key takeaway that Dedy wants to share with the audience is that any human endeavour can potentially have both positive and negative impacts and consequences, depending on prevailing circumstances. And that even in the darkest of times, there will always be silver linings; hope should never be lost.

悲劇或災難的背後總有希望。日本獲獎電影《希望之國》(2012) 由園子溫編劇和導演,故事建構的靈感源於2011 年福島核災的真實事件,現實生活如電影中所描繪的那樣震撼。

戴迪想要與觀眾分享的關鍵重點是,任何人類的努力都可能造成正面和負面的影響和後果,這取決於當時的情況。 即使在最黑暗的時期,也總會有一線希望;永遠不該拋棄希望。

Tears in Heaven (2023)
淚灑天堂

Mixed Media on Canvas, 150 x 150 cm
油畫複合媒材, 150 x 150 公分

Tears in Heaven
淚灑天堂

Tears in Heaven is a song by renowned guitarist/singer/songwriter Eric Clapton, co-written with lyricist Will Jennings. It appeared on the soundtrack for the film Rush (1991), which was written and performed by Clapton, and was later released as a single in 1992.

The song was written in the wake of the tragic death of Clapton’s four-year-old son Conor in 1991, less than a year after the legendary American guitarist Stevie Ray Vaughn, whom he greatly admired and often played alongside, died in a helicopter crash.

After a period of isolation, Clapton returned to work composing music for Rush, during which time he wrote Tears in Heaven with Jennings. The song, and the music he created, became a catharsis that aided in the emotional healing from the unimaginable loss of his son.

Time, as the song states, may bring you to your knees and break your heart. But Dedy doesn’t fail to note, too, that with time comes healing, and eventually peace.

《淚灑天堂》是由著名吉他之神艾力·克萊普頓 (Eric Clapton) 與作詞家威爾·詹寧斯 (Will Jennings) 共同創作的歌曲。它收錄在電影《迷途枷鎖》(1991) 的原聲帶中,後來於1992年作為單曲發行。

這首歌是在1991 年克萊普頓四歲的兒子康納不幸去世後創作的,同時距離克萊普頓非常崇拜且經常一起演奏的美國傳奇吉他手史蒂維·雷·沃恩 (Stevie Ray Vaughn) 的直升機失事件去世不到一年。

經過一段時間的隔絕,克萊普頓重新開始為《迷途枷鎖》創作音樂,這段期間,他與詹寧斯共同創作出《淚灑天堂》。這首歌以及音樂的創作成為一種宣洩,幫助他從失去兒子的痛苦中獲得情感療癒。

正如歌詞中所寫的,時間可能會令我們屈膝,令我們心碎。然而,戴迪也注意到,隨著時間的推移,傷口會癒合,最終會帶來寧靜。

Alice in Wonderland (2024)
愛麗絲夢遊仙境

Mixed Media on Canvas, 150 x 150 cm
油畫複合媒材, 150 x 150 公分

Alice in Wonderland
愛麗絲夢遊仙境

The 2010 reimagined Alice in Wonderland, brought to the big screen by director Tim Burton, is the popular media inspiration for this artwork. Based on the 1865 novel by Lewis Carroll, and its 1871 sequel “Through the Looking-Glass”, the film combines live-action and state-of-the-art animation to create and bring to life an enthralling world of fantasy that the books had conjured in the minds of children for over a century prior.

What fascinated Dedy most was the film’s ability to develop an extraordinarily imagined and seemingly boundless visuality. It reinforces the fact that whatever is created today begins, first and foremost, with the human imagination, later translated by knowledge and logic to become something real and tangible. The power of the human imagination is certainly not something to ever take for granted.

2010 年重新構思的《愛麗絲夢遊仙境》是由導演提姆·波頓搬上大銀幕,成為這件藝術作品的靈感來源。這部電影改編自路易斯·卡羅爾 (Lewis Carroll) 1865 年的小說以及1871年的續集《愛麗絲鏡中奇遇記》,結合了真人電影和先進動畫,創造和呈現了一個多世紀以前的原著、在孩子的腦海中浮現出令人著迷的奇幻世界。

最讓戴迪著迷的是這部電影展現出非凡的想像力和看似無限的視覺效果。它強化了一個事實,即今天所創造的一切首先始於人類的想像力,透過知識和邏輯轉化為真實和有形的存在。人類想像力的力量並非天生的理所當然。

Scarlet Re-Born (2024)
鮮紅重生

Mixed Media on Canvas, 150 x 150 cm
油畫複合媒材, 150 x 150 公分

Scarlet Re-Born
鮮紅重生

The name given to the entire body of work, as well as the title of this specific painting, is a wordplay on the song title Scarlet Ribbons (For Her Hair), as previously indicated in the introduction.

In the song, a child prays to God for “scarlet ribbons for my hair” just before she goes to bed. This prayer is overheard by her parent, who is heart-wrenched because it’s late in the day and all the stores are closed, thus making it impossible to go out and buy some for the child. But upon peering into the child’s room the following morning, there on her bed miraculously lay a heap of scarlet ribbons. According to the song, how they appeared and where they came from shall forever remain a mystery.

For Dedy, the moral of the story conveyed by the song is that we should never lose hope that our prayers to the Almighty shall one day be answered. It underscores the notion that come what may, hope must always be kept alive. With hope anything is possible, perhaps even the most miraculous of things.

整個系列以及這件作品的命名,是源自歌名「鮮紅色絲帶 (紮她的髮) 」的雙關語,如前面的概念介紹所述。

歌詞中,一個孩子在睡覺前向上帝祈禱「為我的頭髮配上鮮紅色的絲帶」。這個祈禱被她的父母無意中聽到,但因為天色已晚,所有商店都關門了,因此無法出門替孩子買絲帶而到傷心。但第二天早上,當父母走進孩子的房間時,發現她的床上奇蹟般地出現著絲帶。根據這首歌,絲帶是何時出現以及從何而來的永遠成為一個謎。

對戴迪來說,這首歌所傳達的故事寓意是,我們不應該失去對全能者的祈禱有一天會得到回應的「希望」。它其實揭露一個觀念:無論發生什麼,都必須永遠保有希望。有了希望,一切皆有可能,甚至是最神奇的事。

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