15.09.25 — 12.10.25

Masih Bernadi

A group exhibition by Abdi Setiawan, Agus Suwge, Ahmad Zakii Anwar, Anusapati, Arin Dwihartanto, Dadang Rukmana, Dolorosa Sinaga, Eddie Hara, Eko Nugroho, Entang Wiharso, Goenawan Mohamad, Handiwirman Saputra, I Dewa Ngakan Made Ardana, I GAK Murniasih, Jumaldi Alfi, Justian Jafin, Kokok P Sancoko, Mella Jaarsma, Rizka Azizah Hayati, Samsul Arifin, Takashi Kuribayashi, Taufik Ermas, Teguh Ostenrik, Ugo Untoro, Yusra Martunus

25 Years of Nadi Gallery: An Equal and Flexible Partner

“Imagine that there were no art galleries. How then would we learn about contemporary art? We would have to visit studios. Our galleries allow seeing a great variety of art relatively quickly. In one busy morning in Manhattan, you can cover galleries in the Upper East Side; in a long afternoon, you can walk through Chelsea. If a show isn’t promising, it’s easy to move on. Studio visits require an appointment, and even if you’re disappointed, it’s rude to stay only briefly. Of course, you can wait until art arrives at the museums, but then usually its appeal has been tested. What often is most challenging for the critic is seeing art whose value has not yet been established—and that happens frequently in the galleries. By being an intermediary between artist and collectors, the dealer plays an essential practical role.” — David Carrier and Darren Jones, The Contemporary Art Gallery: Display, Power, and Privilege (2016: 5)

“Indeed, good gallerists are knowledgeable art lovers, often investing all their money and more in the futures of artists they believe in.” —Kyung An dan Jessica Cerasi, Who’s Afraid of Contemporary Art (2017: 73)

Twenty-five years ago, inside the office of an architecture firm, Nadi Gallery came into being. Its debut was marked by the presentation of Heri Dono’s solo exhibition, Humor and Rumor in Republic of Cartoon (September 15 – October 1, 2000), which was a remarkable commercial success.

“I even had to hold a lottery to determine who could acquire Heri Dono’s work in that exhibition”, recalled Biantoro Santoso, founder and owner of Nadi Gallery. “Sensational! Collectors had to pick a lot to purchase artworks from a newly born gallery!”

Only twelve days after Heri Dono’s exhibition, Nadi Gallery presented its second show, Fantasy of Body (October 13 – October 29, 2000), a solo exhibition by I Gusti Ayu Kadek Murniasih. Once again, this exhibition proved commercially successful. Which was an astonishing feat, since at the time, Murniasih was still a nobody in Indonesian art world. Yet, Nadi Gallery amazingly sold dozens of her artworks during the show. “Perhaps it’s because her artworks were still relatively affordable at the time,” Biantoro Santoso stated.

A couple of weeks later, Nadi Gallery opened Erica Hestu Wahyuni’s solo exhibition, My Dream and Diary (November 17 – December 3, 2000). Following its predecessor, this too achieved extraordinary commercial success.

“Everything is sold out, none remained,” claimed Biantoro Santoso.

The main driving forces behind the success of these exhibitions, all curated and written by Hendro Wiyanto, were the combination of keen observation sense in reading the dynamics of supply and demand for prominent artists’ works sought after by collectors or Indonesian art market and the courage to bring forth new, distinctive and fresh works by little-known local artists.

That combination, supported by thoughtful curation, incisive writing and carefully designed presentation, established Nadi Gallery’s benchmark for exhibitions, whether solo, group, or in local and international art fairs. That standards remain intact to this day. Consequently, with all the high-quality exhibitions and artworks, Nadi Gallery splendidly build and cement its reputation over the past twenty-five years.

Building on that, to borrow the words of Hannah Wohl in Bound by Creativity: How Contemporary Art is Created and Judged (2021: 31), there are three creative consensus that will be carefully negotiated in Nadi Gallery’s interaction with artists and curators: what kinds of work artists make, how to arrange these works in the exhibition space, and the exhibition timeline.

“Yet, I always try to remain flexible,” emphasized Biantoro Santoso. “I always prioritize an equal, friendship-based approach.”

Evidently, as how Biantoro Santoso stated, he successfully convinced respectable and reputable artist, such as Heri Dono, to conduct his solo exhibition, either at Nadi Gallery or other venue that is organized by Nadi Gallery, multiple times. In Nadi Gallery’s archive, there are four records of Heri Dono’s solo exhibitions, in 2000 and 2002 (both at Nadi Gallery), 2004 (at the National Gallery of Indonesia) and 2008 (at Nadi Gallery).

The same ethos proved to be more impactful on Agus Suwage. Referring to same archive, Agus Suwage has had nine solo exhibitions with Nadi Gallery, scattered across several venue — at Nadi Gallery (2001, 2002, 2007, 2012, 2014, 2015), The National Gallery of Indonesia (2003), ARTSingapore (2004) and CIGE, Beijing, China (2008).

Following their footsteps, Handiwirman Saputra also developed a strong relationship with the gallery. According to the archives, he had six solo exhibitions with Nadi Gallery: at the gallery itself (2004 and 2007), and other international venues organized by the gallery such as CIGE, Beijing, China (2008), Singapore Show Case (2008), The National Gallery of Indonesia (2011), TOLOT/heuristic Shinonome, Tokyo, Japan (2015).

Other artists who have had multiple solo exhibition with the gallery include Ugo Untoro (2002, 2009, 2025), Eddie Hara (2007, 2011, 2017), Abdi Setiawan (2007, 2022), Jumaldi Alfi (2008, 2011), Laksmi Shitaresmi (2010 at Nadi Gallery; 2012 at The National Gallery of Indonesia) and S. Teddy D. (2007, 2015).

From the artists’ perspective, such repeated collaborations have been made possible by Nadi Gallery’s ability to support their creative vision. To quote Hannah Wohl (2021: 9), “Creative visions represent a bundle of meaningful consistencies within a body of work, which changes over time as the body of work evolves.”

I Dewa Ngakan Made Ardana acknowledged and testified that it was that ability that made his solo exhibition, In the Face of the Shadow (February 25 – March 15, 2020), possible.

“Nadi Gallery did not invite me, but rather it was me who proposed my solo exhibition to Mr. Biantoro, because I have faith on him to understand and embrace my creative vision through my exhibited works,” Ardana told me by phone last August in our two-hours conversation.

Similarly, it was the same spirit of recognition and openness that shaped earlier collaboration., such as Jendela Group’s group exhibition, The Ordinary (July 20 – August 1, 2005), Sanggar Sakato’s Re-Reading Landschap (September 6 – 29, 2005), Iwan Effendi and others’ Freedom in Geekdom (January 20 – February 9, 2009), Angki Purbandono and others’ contemporary photography exhibition, Look! See? (February 9 – 23, 2010), Made Wiguna Valasara and others’ Unload/Reload (March 14 – 26, 2012), Sanggar Sakato’s Menolak Sekaligus Merengkuh (August 8 – 28, 2017) and NU-Abstract’s group exhibition, NU-Abstract: Political Aesthetic (July 5 – 22, 2018).

With Biantoro Santoso’s openness to artists’ evolving creative visions along these past twenty-five years, it is undeniable that Nadi Gallery has built and nurtured its relationship with all its artists, not merely based on economic interests but also mutual respects.

While economic interests, such as promotion, distribution and money, are indeed valuable, as Kyung An and Jessica Cerasi remind us (2017: 73), “often the most important support comes in the form of helpful feedback and advice.”

In other words, align with Henrik Hagtvedt’s point of view in Money and Marketing in the Art World (2025: 48), galleries and artists “can also establish close social bonds and function more like a friend and mentor than a business partner or employer.”

Perhaps this is the secret that enables Nadi Gallery to thrive these past twenty-five years, a significant, mature or even can be considered advanced age in Indonesia’s art scene today.

That secret underpins Nadi Gallery’s distinctive role and contribution, sustaining it to this day and making it MASIH BERNADI (still pulsing). Marking its name as a pivotal subject in Indonesia’s art scene during this past two and a half decades. Recording 152 art exhibitions (68 solo exhibitions and 84 group exhibitions) with 235 artists from across generations, both Indonesian and international.

Thus, let’s regard this exhibition, MASIH BERNADI, as a humble celebration for celebrating the 25th anniversary of an art gallery. With that in mind, let us all witness and honestly evaluate all the artworks by all the participating artists in this exhibition.

What the audience may encounter in this modest celebration is something rare and resonant, works imbued with depth, significance, and affection, that together pay tribute to the enduring stature and dignity of Nadi Gallery.

In accordance to the dignity, I recall the words of Matthew Israel in his book, A Year in the Art World: An Insider’s View (2020: 3):

“Art history is not just the story of artists and movements, but of all the people and institutions that collaborate with and support those artists and their work (...) It was fascinating to realize just how much a great gallery can influence an artist's career.”

In this 25th anniversary, I want you to believe that Nadi Gallery is a part of that story.

Jakarta, September 15, 2025
WAHYUDIN