蘇華格

艾寧·蘇比彥托，《蘇華格：仍然癲狂》，Studio Biru，印尼，2010年，第162-163，646頁
林運強，《草兒因灌溉而綠》，林運強/ Indonesian Platform，印尼，2010年，第36頁

The work is in good condition overall, as is the canvas, which is clear and taut. There is evidence of light wear and handling around the edges of the painting, but the paint layers are well-preserved. Examination under ultraviolet light shows no sign of restoration. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

“An artwork can be a kind of reminder or stimulus and encourage sharing ideas, happiness and grief.” – Agus Suwage

Agus Suwage’s incredibly talented ability to express politics critically via art has placed him at the very forefront of contemporary art practices in Indonesia today; his works are iconic and full of wit and humor. The recurring imageries evident in his oeuvre, such as the skull, halo and pig, are symbols that point to the deeper meanings of being human; while the use of his own visual appearance has been the most prevalent motive throughout his artistic career. Understanding the society a collective social body, Agus erases any traces of personal identity and interjects himself as a social subject; his self-portraits are therefore a critique of humanity at large. The artist hopes to bring us closer to the truth via the investigations he put forth in his paintings. For the complex imageries points to our own hidden desires and questions the very core of humanity.

The present Lot Holy Politician is a visual satire of the artist’s apparent political stance: instead of a perfect golden aureole that emanates light, the ‘halo’ floating atop of Agus’s head is red in color; composed of thorns, it is dripping with blood. The icon is against the traditional notion of holiness. Hence, the imagery could possibly refer to the unbearable darkness of reality, while the title Holy Politician undeniably suggests a political undertone. Perhaps, the halo is a metaphor of a foggy, indistinct future tainted by the evils of corruption. Familiar icons circulating in our consciousness are reborn and transformed in Agus’s paintings; and the deliberate usage of a religious symbol here highlights the irony that marks his body of works.