Indieguerillas

Yogyakarta, Arts Festival Yogyakarta, June 22 - July 2, 2007

The work is in good condition. The acrylic plates and digital prints are in good condition with neither scratches nor chips.
"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."

In their work, Indieguerillas often speak about their identity as Javanese living in an era of globalization. Sometimes they find their situation awkward. Inside they are still genuinely Javanese, espousing their Javanese culture and value; however the strong influx of western influence in Indonesia creates in them a longing to appear like they are part of the global or western society. Kanoman Overdrive, in which ten figures from the wayang lore, Cangik, Genawa, Lembu Sura, Buta Cakil, Dasa Muka, Hanoman, Gareng, Petruk, Bagong, are given makeovers to look like cartoon characters dressed in the hip hop style.

Indieguerillas' background as graphic designers also plays a strong role in executing this work. The medium they used and method of execution were not commonly practiced as art forms in Indonesia. They combined more traditional materials such acrylic paint on wood pickets, with digital print on acrylic sheets or plates which are shaped using digital laser cutter. When they completed the present work in 2007, it was the first of its kind in the Indonesian Contemporary Art scene. Conceptually this process demonstrates how globalization and technology influence tradition not only in visual arts, but more significantly in the evolution of a nation.