Mid-tones

JAKARTA

Under new management by collector Tom Tandio and curator Enin Supriyanto, Art Jakarta (August 30–September 1) underwent a makeover in its 11th edition, with sleeker-looking booths at the Jakarta Convention Centre Senayan instead of its former home at the Ritz-Carlton. The fair also boasted an expanded lineup of 70 participants, 27 of which were Indonesia-based—a significant enlargement of the fair’s geographical footprint considering last year’s mostly local roster of 51 exhibitors, although galleries were still mostly small to midsized, with global blue-chip spaces notably absent.

A shaky Southeast Asian art market toppled regional sister fairs Art Stage Singapore and Art Stage Jakarta, but sales at Art Jakarta were reportedly robust. A (2018), while Ruci Art Space (Jakarta) brought Radhinal Indra’s (2018), a pastiche of the Dutch colonial Mooi Indie genre depicting a rocky landscape. Gajah Gallery (Singapore/Yogyakarta) noted that Erizal As’s recent abstract paintings sold well. Anomaly (Tokyo) placed Kei Imazu’s composition of fragmented photographs and internet iconography, (2019), in a private museum for an undisclosed sum. First-time participant TKG+ (Taipei) moved 70 percent of the works at its booth, including paintings by Mit Jai Inn and Sawangwongse Yawnghwe. Another first-timer, Nova Contemporary (Bangkok), sold Nipan Oranniwesna’s installation of coins in a wooden box, (2018), for USD 18,000 on the first day. Yavuz Gallery (Singapore/Sydney) reported that its highest-selling work was Ronald Ventura’s (2019), an installation of a lounge entered through the mouth of a giant sculptural gold cat.