Joko Avianto's work, The border between good and evil is terribly frizzy, takes its title from Czech novelist Milan Kundera’s quote, “The border between good and evil is terribly fuzzy,” replacing the word “fuzzy” with “frizzy” to describe the curly shape of his sculpture for the Yokohama Triennale 2017, made out of 1,600 pieces of Indonesian bamboo.
Avianto (* 1976 Cimahi Indonesia) had previously exhibited monumental works using weaved bamboos, as in his work pohon besar (big trees) presented in 2015 during the “‘roots. indonesian contemporary art” exhibition at the Frankfurter Kunstverein, wrapping the museum façade with weaved bamboos.
For the Yokohama Triennale 2017 “Islands, Constellations & Galapagos,” which is his first time showing in Japan, he responds to the Triennale’s key themes, “connectivity” and “isolation,” by making visual and symbolic connections between his own works and the ancient Japanese braided rope called shimenawa, often strung across the Shinto shrine gateway (torii), demarcating the sacred and the profane, or the ideal and the secular.
Joko Avianto: The border between good and evil is terribly frizzy
Bambus Apus, Bambus Betung
1600 verwobene indonesische Bambusstäbe
Monumentale Skulptur, inspiriert durch die shimenawa, die verflochtenen Taue aus geschlagenem Reisstroh, mit denen in Japan die Welt der Götter von der profanen Welt getrennt wird. Installiert in der Eingangshalle des Yokohama Kunstmuseums während der Yokohama Triennale 2017
Joko Avianto
* 1976 Cimahi, Indonesien. Lebt in Bandung, Indonesien.
Siehe auch:
UiU Special: Yokohama Triennale 2017