Gajah Gallery

A set of 15 postcards were designed as a commemorative piece for the gallery's 15th year anniversary celebration. The set is a compilation of work by Ahmad Zakii Anwar, J. Ariadhitya Pramuhendra,[11] Jumaldi Alfi, M. Irfan, Mangu Putra, Nyoman Masriadi, Rudi Mantofani,[8] Teng Nee Cheong and Yunizar.[9]

Nyoman Masriadi's work Reconfiguring the Body offers a review of Nyoman Masriadi's works, his life and inspirations – through the words of art critics, TK Sabapathy and Goenawan Mohamed. Masriadi is Southeast Asia's most well-received contemporary artist.[12]

Nyoman Masriadi- Reconfiguring the Body Book Cover

The visual imagery and narratives in his paintings are derived from observation of social life. Reactive against formalism, his early works show him sparring with Western modernism in the guise of cubism but meshing it with caricature, the cutting street language Indonesians use and graffiti. The wit and humor embodied in his works are shaped by the computer game culture that he grew up with. He overdraws finished paintings with a marker.

Teng Nee Cheong's book Those the Gods Love Grow Mightier offers an insight on the life, works and thoughts of renowned Singaporean artist Teng Nee Cheong that span a period of 40 years. Art critic TK Sabapathy, art curators Low Sze Wee and Lindy Poh, as well as Jasdeep Sandhu, Suteja Neka and Teng Nee Cheong himself, have provided a commentary, uncovering the artist's works, as well as inspirations that have influenced him.

Nee Cheong's works encapsulate the influences of culture and traditions around Asia by using symbols of Balinese mythology, Hinduism, and Buddhism.

Seeing Paintings: Conversations Before the End of History highlights the development of painting in Indonesia over the past 70 years, from the late 30s – 40s to the late 90s – 2000, and the historical contributions by both artists and writers to painting in Indonesia. The artists included in the publication, such as Affandi, Oesman Effendi, Djoko Pekik, Lucia Hartini, Made Djirna, Mangu Putra and Yunizar, have contributed significantly to the field of history and are presented in a comparative framework. The publication shows the history of Indonesian art as a mode of discourse that consists of an intricate journey due to the process of acculturation and enculturation in the form of vocabulary, speech, criticism, polemics, writings, doctrine, bureaucracy, schools, social institutions, and so on.

Mangu Putra: Between History & the Quotidian introduces the artist's efforts to re-examine historic archival footage of the Dutch colonisation in Bali in the early to mid 1900s and to draw together visual and verbal narratives to stage an untold account of history. With essays from art historian Adrian Vickers and curator Jim Supangkat, the publication explores how Putra re-imagines historic scenes, changing the emphasis by placing the Balinese people at the center, and shifts his attention towards the degradation of the natural world and the neglect of those who made Indonesia, as part of a search for spiritual meaning.

Semsar Siahaan: Art, Liberation is the most extensive printed publication on the late Indonesian artist Semsar Siahaan – a seminal figure of the progressive movement in Indonesia, who tirelessly campaigned and used his art as a tool to advocate social justice. Art critics TK Sabapathy, Astri Wright and Aminudin TH Siregar discuss Siahaan's emergence and his art in relation to prevailing sociopolitical conditions. They propose perspectives for relooking at the often-overlooked artist, appraising him historically and projecting him with fresh impetus for critical attention, presently.