ISA Art Gallery

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11/06/2026

‘Present Presence’ brings together the practices of A. Sebastianus (A. Sebastianus), Chiara Hardy (CHIARA), and Chintia Kirana (Chintia Kirana (Li Nian)) in an exploration of what it means to be present in a world where memory, identity, and perception are always in flux. Through weaving, suspended installations, and time-bearing materials, the exhibition considers presence not as a fixed state, but as something continuously made and unmade through acts of seeing, remembering, and relating.

Moving across textiles, ash, fishing rods, photographs, incense, and found materials, the works invite us to inhabit the spaces between appearance and disappearance, origin and displacement, signal and reception. Rather than offering stable narratives, ‘Present Presence’ unfolds as a series of encounters where what is visible is inseparable from what remains hidden, and where meaning emerges through duration, transformation, and the traces left behind.

The exhibition asks us to reconsider presence not as certainty, but as a condition of becoming. What persists is not the permanence of form, but the relationships that continue to shape us: between body and material, self and other, memory and forgetting, past and present.

‘Present Presence;
2 May – 2 July 2026
ISA Art Gallery, Ground Floor, Wisma 46, Jakarta Pusat

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ISA Art Gallery invites you to join us during Jogja Art Week 2026 for ‘Sedulur Watu’, a two-person exhibition by A. Seba...
09/06/2026

ISA Art Gallery invites you to join us during Jogja Art Week 2026 for ‘Sedulur Watu’, a two-person exhibition by A. Sebastianus (.sebastianus) and Marten Bayuaji () at Omah Budoyo, Yogyakarta ().

Derived from the Javanese words “sedulur” (kinship) and “watu” (stone), ‘Sedulur Watu’ reflects on stone as a symbol of endurance, memory, and spiritual presence. Across cultures, stones have long embodied permanence, protection, and resilience, carrying histories and beliefs across generations. Within Javanese culture and Kejawen traditions, they are understood not merely as physical matter, but as vessels of ancestral energy, grounding, and balance between the human and spiritual worlds.

Through installation, material experimentation, and symbolic gestures, the exhibition considers the relationship between body, earth, and memory, positioning stone as both witness and companion through the passage of time.

Exhibition Period:
14 June – 14 July 2026

Omah Budoyo, Yogyakarta
Jl. Karangkajen No. 793, Yogyakarta 55153.

10 AM – 6 PM | Tuesday–Sunday
Open on Mondays by appointment.

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Chiara Hardy’s ‘Lure(s)’ (2026) unfolds as a quiet apparatus of attraction, transmission, and disappearance. Suspended f...
09/06/2026

Chiara Hardy’s ‘Lure(s)’ (2026) unfolds as a quiet apparatus of attraction, transmission, and disappearance. Suspended from above, fishing hooks, lead weights, fishing rods, glass drops, bells, and coiled incense form a delicate constellation of materials that seem to hover between ritual object and signaling device.

At the heart of the work are the incense coils, which slowly unravel as they burn. Their combustion transforms solid matter into smoke, releasing a call into space without any certainty of return. Rather than marking an ending, this gradual dissolution traces an invisible trajectory, where what is lost continues to circulate through air, memory, and time.

Building on Hardy’s ongoing exploration of the lure as both seduction and apparatus, the work considers attraction as a condition of perception itself. Fishing hooks and bobbers suggest the possibility of contact, while bells and suspended forms register unseen movement. Each element waits, responds, and gestures toward forces that remain just beyond the threshold of visibility.

Born in New York City and raised in Bali, Hardy’s practice often inhabits the space between natural and constructed systems, between what can be grasped and what inevitably slips away. In *Lure(s)*, presence is never fixed or complete. The installation invites viewers to consider how signals travel, transform, and disperse, and how meaning might persist not through certainty, but through the fragile act of reaching outward.

What remains is not the object itself, but its passage: a trail of smoke, a subtle vibration, a call cast into the unknown.

On view at our gallery:
‘Present Presence’
2 May - 2 July 2026

Follow us to discover more emerging, diaspora, and women artists.
For more information, contact +62 821-2858-6932 or DM us on Instagram at .id
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ISA Art Gallery is pleased to share a glimpse into the installation of ‘Liturgical Dwelling’ as part of our curation at ...
04/06/2026

ISA Art Gallery is pleased to share a glimpse into the installation of ‘Liturgical Dwelling’ as part of our curation at ArtMoments 2026 (.id)

The curation considers liturgy not solely as religious ritual, but as something embedded within the rhythms of everyday life. Through repetition, silence, gesture, care, and acts of return, ordinary routines become forms of inhabitation that carry emotional and spatial memory.

Bringing together practices by A. Sebastianus (.sebastianus), Aiman (), Arahmaiani (), Ardi Gunawan
(), Audya Amalia (), Dabi Arnasa (), Galih Adika (),
Hadassah Emmerich (.emmerich), Ida Lawrence (), Ines Katamso (.katamso), Jumaadi (), Luh’De
Gita (), Sillyndris (), Sinta
Ta**ra (), Vanessa Jones (), Yosefa Aulia (), Yuki Nakayama
(.art), and Zikry Rediansyah (), the exhibition explores how memory persists through material, gesture, ornament, architecture, landscape, and the body.

Across the works, surfaces hold traces of duration.
Fabrics fold, structures erode, gestures repeat, and spaces accumulate residue. “Liturgical Dwelling’ approaches dwelling as an ongoing negotiation with intimacy, labour, history, and the quiet endurance of everyday life.

‘Liturgical Dwelling’
ArtMoments Jakarta 2026
Agora Ballroom, Level L2
Booth

For more information, contact +62 821-2858-6932 or DM us on Instagram .id
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In ‘Would it change anything to derive from locality? Aren’t we all foreign to oneself?’ (2026), Alexander Sebastianus (...
29/05/2026

In ‘Would it change anything to derive from locality? Aren’t we all foreign to oneself?’ (2026), Alexander Sebastianus (.sebastianus) reweaves fragments of personal and historical memory into a suspended field of tension. Combining an image of land he once sold, a family photograph, a colonial archive, and a fragment of a stone carving from his home, the work asks whether identity can ever truly be resolved through origin, ancestry, or place.

Handwoven from photographic data into cotton threads, the images resist clarity and permanence. Figures appear partially dissolved, caught between emergence and disappearance, as if memory itself is still in the process of being negotiated. For Sebastianus, weaving is not an act of preservation, but transformation, where photographs are broken down into line, tension, labour, and duration before re-forming into unstable surfaces.

Rooted in the Javanese philosophy of Sangkan Paraning Dumadi (the origin and destiny of being) the work approaches the question “where are you from?” not as geography alone, but as a cosmological tracing of movement across spiritual, material, and familial histories. What surfaces is not a fixed archive, but a continuously shifting meshwork of attachment, rupture, and return.

Trained through an apprenticeship in East Java, Sebastianus treats weaving as both material process and ontological inquiry. The textile becomes a site where memory is physically produced through repetition, resistance, and strain. Suspended between heaviness and dissolution, the work holds form at the threshold of collapse without allowing it to disappear completely.

Rather than offering resolution, ‘Would it change anything to derive from locality? Aren’t we all foreign to oneself?’ leaves viewers within a condition of incompletion, where seeing is always partial, and belonging remains perpetually in negotiation.

On view at our gallery:
‘Present Presence’
2 May - 2 July 2026

Follow us to discover more emerging, diaspora, and contemporary artists.
For more information, contact +62 811-1317-023 or DM us on Instagram at .id
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Chintia Kirana’s ‘Notation (1998)’ (2026) emerges from a material language of residue, memory, and transformation. Creat...
28/05/2026

Chintia Kirana’s ‘Notation (1998)’ (2026) emerges from a material language of residue, memory, and transformation. Created during the recent government protests, the work incorporates ash collected from the Hwan Yin temple in Medan, gathered collectively with permission from the Goddess of forgiveness. Burned into the paper alongside carbon, heat drawings, gold leaf, and silver leaf, these materials hold traces of rupture, reconciliation, and shared hope within moments of social tension.

Rather than depicting history directly, Kirana allows memory to persist through material change. Ash and carbon are not symbolic stand-ins, but already-transformed matter carrying the imprint of combustion, duration, and lived experience. Through cycles of burning, layering, and accumulation, ‘Notation (1998)’ registers both fragility and endurance, where disappearance is never complete, but suspended within the surface itself.

Raised between Chinese-Indonesian, Buddhist, Christian, and diasporic contexts, Kirana’s practice often inhabits states of in-betweenness, where identity is negotiated through what is partially hidden, interrupted, or withheld. In this work, reflective fragments of gold and silver create unstable optical fields that shift between coherence and fracture, asking viewers to move closer, slow down, and sit within uncertainty.

Within ‘Notation (1998)’, memory does not appear as fixed narrative, but as pressure embedded into material. What remains is not absence, but residue — quiet, persistent, and continuously transforming.

Follow us to discover more emerging, diaspora, and women artists.
For more information, contact +62 821-2858-6932 or DM us on Instagram at .id

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ISA Art Gallery is pleased to present ‘Liturgical Dwelling’ as part of ArtMoments 2026 .id The curation considers liturg...
26/05/2026

ISA Art Gallery is pleased to present ‘Liturgical Dwelling’ as part of ArtMoments 2026 .id

The curation considers liturgy not solely as religious ritual, but as something embedded within the rhythms of everyday life. Through repetition, silence, gesture, care, and acts of return, ordinary routines become forms of inhabitation that carry emotional and spatial memory.

Bringing together practices by A. Sebastianus (.sebastianus), Aiman (), Arahmaiani (), Ardi Gunawan (), Audya Amalia (), Dabi Arnasa (), Galih Adika (), Hadassah Emmerich (.emmerich), Ida Lawrence (), Ines Katamso (.katamso), Jumaadi (), Luh’De Gita (), Sillyndris (), Sinta Ta**ra (), Vanessa Jones (), Yosefa Aulia (), Yuki Nakayama (.art), and Zikry Rediansyah (), the exhibition explores how memory persists through material, gesture, ornament, architecture, landscape, and the body.

Across the works, surfaces hold traces of duration. Fabrics fold, structures erode, gestures repeat, and spaces accumulate residue. ‘Liturgical Dwelling’ approaches dwelling as an ongoing negotiation with intimacy, labour, history, and the quiet endurance of everyday life.

‘Liturgical Dwelling’
ArtMoments Jakarta 2026
Agora Ballroom, Level L2
Booth A-14

For more information, contact +62 821-2858-6932 or DM us on Instagram .id

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Chiara Hardy’s ‘Loop’ (2026) transforms ISA Art gallery into a field of tension, where fishing rods, lead weights, charg...
25/05/2026

Chiara Hardy’s ‘Loop’ (2026) transforms ISA Art gallery into a field of tension, where fishing rods, lead weights, charging rocks, and suspended lines trace delicate arcs through space. Installed like a spatial drawing, the work responds to gravity and movement, creating a system that feels both precise and unstable. Rather than presenting a fixed object, Hardy constructs an environment that shifts according to the viewer’s position, where perception is shaped through duration, proximity, and attention.

Using the fishing rod as both material and epistemic instrument, Hardy explores how forces become legible only through relation and responsiveness. The bent rods register tension almost like extensions of the body, translating unseen pressure into form. Here, attraction operates not simply as visual seduction, but as a technical and perceptual condition, a lure that continuously redirects the viewer’s attention without ever fully resolving into certainty.

Born in New York City and raised in Bali, Hardy’s practice often navigates the space between earth and sky, visibility and obscurity, natural and constructed systems. In ‘Loop’, form remains probabilistic: what is seen never fully coincides with what is sensed. The installation invites viewers into a suspended state where perception folds back onto itself, and where meaning emerges through entanglement, repetition, and drift.

Follow us to discover more emerging, diaspora, and women artists. For more information, contact +62 811-1317-023 or DM us on Instagram at .id

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Ines Katamso (.katamso) presents “Biji Naga”, an installation activated through movement and sound by Siko Setyanto () a...
21/05/2026

Ines Katamso (.katamso) presents “Biji Naga”, an installation activated through movement and sound by Siko Setyanto () and Denny Rangipang () at Galeri Nasional Indonesia () , as part of ‘Indonesian Women Artists 4: On The Map’ at

Between soil, seed, and the moving body, “Biji Naga” unfolds as a reflection on the evolving relationship between humanity and the earth amid continuous transformation. Through installation and live performance that gradually develop within the exhibition space, the work traces the mythology of Antaboga, the primordial serpent associated with the origins of the land, as a way of revisiting changing landscapes, ecological crisis, environmental extraction, and the fragile possibilities of healing, care, and coexistence.

Indonesian Women Artists 4: On The Map
10 April – 30 June 2026
Building A, Galeri Nasional Indonesia
id ISA Art Gallery is proud to support and represent Ines Katamso.

Follow us to discover more about emerging, diaspora, and women artists. For more information, contact +62 821-2858-6932 or DM us at .id

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Address

Wisma 46/GF, Jalan Jenderal Sudirman No. Kav. 1
Jakarta
10220

Opening Hours

Tuesday 11:00 - 18:00
Wednesday 11:00 - 18:00
Thursday 11:00 - 18:00
Friday 11:00 - 18:00
Saturday 11:00 - 18:00

Telephone

+628111317023

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