• Portrait of Me, Onda, and Brothers, 200 x 300 cm, 2016, Oil on Canvas
  • Hana Tan Hana, 330 x 180 cm, Resin & Video Art
  • Hana Tan Hana, 330 x 180 cm, Resin & Video Art, Detail
  • Confession #1, 20x15 cm, 2015, Oil on Canvas
  • Confession #2, 20x15 cm, 2015, Oil on Canvas
  • Confession #3, 20x15 cm, 2015, Oil on Canvas
  • Confession #4, 20x15 cm, 2015, Oil on Canvas
  • I Know What You Feel, 300 x 400 cm, Oil on Canvas
  • You Know What I Feel, 300 x 300 cm, Oil on Canvas

HANA TAN HANA: Life and Death of the Unknown

28 May - 28 June 2016
Solo Exhibition
I Dewa Ngakan Made Ardana

Ardana Ngakan Solo Exhibition "Hana Tan Hana: Death and Life of the Unknown" explores visual narratives encompassed in the common Balinese expression and logic "Hana Tan Hana", literally translated: [it] exists but also simultaneously does not exist, used as a metaphoric language to investigate the history around the 1965 event in Bali. Through the use of visual language in conducting experiments on how history is digested and presented, the artist brings forward hypothesis from which the audience can grasp fragments or pieces of the past that could be interpreted in various and personal ways. 

The Balinese utilize this philosophy as a frame of reference to understand concepts as abstract as gods and other immateriality of the transcendent. Similarly, Ardana seems to gesture toward the advancement of this philosophy in understanding genocide around 1965. In the realm of subjectivity of the multitudes, the genocide as a historical event depends on each singular subjectivity that interprets it. It is vivid and real to those older generations saturated by the propaganda of the New Order and especially is traumatizing to those living through it.

On the contrary, it is perhaps only a mythical past to some milennials remotely concerned with their own national history. It is hana, exists, but it is also tan hana, doesn’t exist at the same time. That space of ambiguity lingering in the semantic field of individual interpretation is what Ardana attempts to sustain through his artworks. Instead of contesting the value of truth of a certain version of history, be it official or critical, Ardana instead shifts the playing field to the intimate and the subjective.