2008
装置, 石墨抛光, 沙Installation, Graphite finished, Sand
阿古斯 苏哇格早期以其自描自绘的作品而闻名. 他利用自身的各种肖象姿态画, 聪敏幽默地评述政治社会现象. 在处理有关自身, 人体以及个人与社会的磨擦问题时,他将含有社会政治意味的艺术与他本人肖象里的多种姿态融合于当代绘画艺术中, 表现了艺术家富有创意的突破.
阿古斯 苏哇格在新近的作品里, 更注入了“死的警告”的理念和风格. 这在印度尼西亚当代的艺术家之中是极罕见的. 他在近期的作品里, 不断追究人在反笛卡尔思想的存在价值: 以人体为人存在之重心. 在那只有赤裸裸的头壳和白骨的构式中, 示意人的遗体、存在和自尊的结束.(馆长 埃宁 苏伯里仰多)
Agus Suwage is well-known for his self-depicting images in his previous works. He employs his self portraits in various poses and gestures to make witty and humorous comments on social-political issues. These works show the artist creative breakthrough in combining socio-political type of art with the extensive possibility of self-portrait genre in contemporary paintings dealing with the issues of self-identity, the body, as well as the tension between the individual and the society. Just recently, Agus Suwage moves further, bringing in the concept and form of memento mori into his works—which is rarely utilised or developed by other Indonesia contemporary artists. His recent works shows that the artist intensively involves in questioning the value of human existence in an almost straightforward anti-Cartesian way: body as the center of gravity of the human existence. In its totally bare naked form, of only skull and skeleton, the body remains, exists—and the ego ends. (Enin Supriyanto | Curator)