Dates: Jul 25 2008 - Aug 23 2008
Opening Reception: Aug 25 2008
Although Heri Dono frequently exhibits sculptural installations, for this exhibition Dono creates a series of vibrant paintings drawing on the chaos of everyday life. Dono's composition, often richly colored, is composed of disordered fantastical figures on many scales. The disharmony he depicts often reflects upon the clashing orders and bureaucracies found in his native Indonesia.
In The Great Dummy, Heri Dono paints an image reminiscent of a factory floor, in which seven mechanical arms offer money to severed heads waiting to lick up the funds. Rifles break forth from the screens of three televisions neatly lined in a row. In the midst of all of this, The Great Dummy, a masked dummy smokes a pipe while three smaller militaristic figures worship its presence.
The Great Dummy suggests power of money in corrupt practices that take place throughout Indonesian society. The work also deals with the spread of violence in almost all sectors of life—from petty extortion in traditional markets, physical attacks based on faith and religions, to underground gangs. Meanwhile, the great dummy in the painting,insinuates the death of the intellectual tradition giving rise to identical views, mass tyranny, and collective folly.
Mr. Dono's work has been exhibited around the world in various exhibitions including the 1st Asia Pacific Triennial, the 23rd Sao Paulo Biennial, the 1st Kwangju Biennial, the 2001 Yokohoma Triennial, ARCO 2002, the 2000 Shanghai Biennial, the 2003 Venice Biennial, and at museums including the Asia Society, New York, and the House of World Cultures, Berlin. This is Heri Dono's second solo exhibition at the Walsh Gallery.