
Gajah Gallery is pleased to announce its debut presentation at Frieze Seoul, featuring works by contemporary artists from across Southeast Asia. Conceived as a constellation of encounters, the presentation brings into focus the complexity and plurality of practices that define the region’s contemporary art landscape.
Among the sculptural highlights are recent works by four artists whose practices demonstrate the breadth of contemporary sculpture in Southeast Asia. Filipino National Artist Benedicto “BenCab” Cabrera continues his exploration of the human figure with Three Muses, alongside Mark Justiniani, who extends his longstanding Infinity series with Bleed, employing mirrored surfaces and shifting reflections to evoke the illusion of infinite space. Jemana Murti navigates the tensions between cultural preservation and technological advancement by deconstructing and reassembling cultural symbols into speculative forms, while ceramic artist Dzikra Afifah explores the mutable qualities of the body through figurative stoneware sculptures shaped by carving and hollowing.
Arin Dwihartanto Sunaryo and Kayleigh Goh each expand the language of painting through an acute sensitivity to material. Through experimental processes and unconventional pigments, Sunaryo explores how materials accumulate histories, inviting new ways of seeing the physical and cultural worlds they inhabit. Incorporating wood and cement into her compositions, Goh draws upon the visual language of urban environments to create contemplative paintings that reflect on the emotional rhythms of modern life.
I Gusti Ayu Kadek Murniasih (Murni) constructs an intensely personal and vividly imagined world centred on female identity and desire, transforming the visual language of Balinese painting into one of radical self-expression. Yunizar’s works are distinguished by their wit and deliberate simplicity, imbuing familiar forms with warmth and quiet humour.
Further expanding the presentation’s painterly vocabulary are Ridho Rizki, Erizal As, Ibrahim, and Uji ‘Hahan’ Handoko Eko Saputro. Hovering between realism and abstraction, Ridho Rizki’s seascapes foreground the perceptual conditions through which images come into focus. Erizal As and Ibrahim embrace abstraction as a language of intuition, while Hahan extends questions of perception into the digital realm, examining how images and meaning are continually negotiated within mediated environments.
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