Sopan Santuy: When Tradition Meets Playful Rebellion
You know an exhibition is interesting when the name is as fun to say as it is to experience: Sopan Santuy. The name itself is a playful twist on the Indonesian phrase sopan santun, which basically means good manners or social etiquette. But here’s the fun part—santuy is slang for chilling out, taking it easy, and not taking life too seriously. And this is exactly the vibes of this exhibition.
This group exhibition features four artists—Arwin Hidayat, Eka Sudarma Putra, Kuncir S.V, and Surya Subratha—who come from different cultural backgrounds but share a common thread: they’re all about honoring traditions and then turning them into something new. They draw parallels and are inspired by traditional craft, but with a twist.
This exhibition is even more special because of the dynamics between the artists. These four aren’t just collaborators—they are friends who share a mutual respect for each other’s work and a shared sense of humor. In fact, the name Sopan Santuy was born out of one of their early conversations at Ruang Arta Derau. How fitting, right? Together, they’ve created an exhibition that feels like an inside joke you’re invited to be part of, so you too, can join the fun.
The Artists: A Crew of Rule-Breakers
Sopan Santuy exhibition poster at Ruang Arta Derau
In an exhibition such as this, you can expect the crew to be, well–interesting, to say the least. Let’s meet them.
Arwin Hidayat is the only Javanese artist in a group of Balinese. Growing up in Yogyakarta, Arwin couldn’t escape the influence of Batik and Wayang (traditional Javanese shadow puppetry). He even chose to study traditional decorative arts over Western art in school. But don’t let that fool you—Arwin isn’t just about preserving tradition. He uses it as a springboard for his modern ideas. For Sopan Santuy, he created a series of ink drawings called Notes in Bali, inspired by his short residency at RAD (Ruang Arta Derau) with his wife and daughter. These works are a mix of his Javanese roots and the vibrant energy he found in Bali.
Then there’s Eka Sudarma Putra, a tattoo artist turned painter who’s all about bold lines and negative space. Eka’s work is like a visual punch in the best way possible. For this exhibition, he took inspiration from Lamak, a traditional Balinese temple decoration made from palm leaves. But instead of sticking to the old-school style, Eka created a 3D lamp sculpture called Keneketo. The name comes from a meme—Menyala Abangku (My Brother, You’re on Fire)—which is basically what his friends say whenever he posts his work online. Talk about turning internet culture into art with bold positive self awareness.
Kuncir Sathya Viku is the guy who grew up surrounded by Balinese rituals and sacred symbols. His dad’s a Hindu priest, so Kuncir was exposed to rerajahan—a form of sacred Balinese art that combines symbols and text. But instead of sticking to the traditional script, Kuncir decided to play around with it. Restless with the expectations of tradition, he sought to push boundaries and explore new possibilities. After earning his degree from ISI Denpasar and working as a designer, he began to explore how traditional Balinese art could evolve. His work Springrolls is a colorful, surreal take on modern Bali, complete with traffic jams, giant microbes, and even a buaya darat (land crocodile, aka a womanizer). It’s like a chaotic, satirical love letter to his homeland. Fun fact, allegedly, Kuncir is a fan of Agugn, who also has a studio in Ruang Arta Derau, adding another layer of connection between the artist and the venue.
Last but not least, there’s Surya Subratha, the youngest of the group. Surya studied fine art in Yogyakarta, which gave him the space to explore his own visual language away from the familiar frenzy of Bali. His Hello Summer series (made when he was preparing for his wedding) is a mix of ceramics, paintings, and stop-motion animation. It’s all about embracing change, even when it’s uncomfortable. One of his sculptures features a cactus, inspired by the dry landscape of Uluwatu. It’s a reminder that growth often comes from discomfort and challenging situation, but even in tough conditions, something beautiful can grow—and sometimes, the most resilient things are also the best for the environment.
The Exhibition: Tradition, But Make It Fun
As Johan Huizinga reminds us in his book, Homo Ludens, culture is born from play and creativity—so to preserve it, we must keep creating.
His notion is very much related to Sopan Santuy, where this exhibition balances tradition with a sense of playfulness. These artists aren’t here to lecture you about the importance of preserving culture. Instead, they’re showing you how to have fun while doing it.
Take Arwin’s Batik works, for example. Batik is a traditional Javanese craft, but Arwin’s pieces are anything but conventional. His series, I Can Not Write but I Can Draw, is a bold, colorful explosion of patterns and shapes. It’s like he’s saying, “Yeah, I respect tradition, but I’m also going to do my own thing, which resonates with the profound transformation of artistic consciousness in recent years, drawing attention to the relationship between traditional philosophy and art and modernity.
I Can Not Write but I Can Draw #1
Batik hand dyed on cotton fabric
195x115cm, 2024
Eka’s Keneketo lamp is another standout. It’s not just an object; it’s a statement. The stainless steel cover features his signature bold lines and ever-seeing eyes, lit up with a red glow. It’s playful, slightly eerie, and totally Instagram-worthy–perfect for the "in the now" kind of approach. The materials he uses have a mirror-like quality, giving the piece a futuristic vibe, thanks to the bold, simple lines and sleek details. The lamp is displayed on a red brick base, reminiscing of the surroundings Eka grew up with in Sanur. This piece is deeply personal, reflecting Eka’s nostalgia and strong connection to his upbringing. It’s all about his roots and the bonds he formed with his environment as a child. For example, the series includes a wooden element with a carved figure wearing a farmer’s hat, emerging from the wood and illuminated by light. This figure is a tribute to his grandfather, who played a significant role in his life. For Eka, this piece is a celebration of his childhood memories and the people who shaped him.
(left) Kak Anyar - Lamak Series
Merbau wood and mixed media
179x80x45cm, 2024
(right) Keneketo - Lamak Series
Stainless steel and mixed media
70x32x48cm, 2024
Kuncir’s Springrolls is like a melting pot of visuals of fever dreams. The bright colors and surreal characters are a nod to traditional Balinese art, but the content is pure modern chaos. It’s a commentary on the absurdities of life in Bali today, from traffic jams to black magic curses.The lengthy canvas also evokes the image of spring roll skin before it’s folded, blanketing a colorful mix of flavors that balance each other out. It’s a perfect metaphor for the local identity—rich, layered, and blending seamlessly with global references.
Springrolls 1
Acrylic on paper
17.5x122cm, 2024
And then there’s Surya’s Hello Summer series, which feels like a breath of warm weather after the monsoon season. His mix of tactiles ceramics and (5 mins?) stop-motion animation is a reminder that art doesn’t have to be serious to be meaningful. it maybe seems so easy to make, all those ‘Sometimes, it’s okay to just have fun and see where your creativity takes you. At first glance, it might seem simple to create, but there’s a joy and playfulness in the process that’s infectious. It’s clear in this new series that Surya is thoroughly enjoying the act of making and creating. For Surya, this series marks a shift toward more vibrant colors and new mediums. The ceramics are displayed alongside old tube TVs playing his stop-motion videos, accompanied by the sound of gamelan music transformed into noise. Interestingly, the gamelan music was created by a musician who is also a relative of Surya.
Hello Summer #2
Audio: Beser Eman Subandi
Video format Mp4 duration 05:31, 2024
Adding another layer of perspective to this exhibition is Gek Sri (or Sri W. Pande), the writer of the exhibition. Coming from a family deeply connected in the art world, Gek Sri brings a deep appreciation for both tradition and contemporary art. Her writing not only captures the essence of Sopan Santuy but also offers a compassionate, feminine perspective on the intersection of culture, humor, and creativity.
The Big Question: What Are Rules For, Anyway?
Sopan Santuy challenges the idea of rules—both in art and in life. The artists aren’t afraid to break the mold, and they’re not here to seek anyone’s approval.
When asked about the etiquette of being an artist, Kuncir gave a simple answer: “There’s a point of boredom once you’ve gone so far in your craft.” It’s not about being rebellious for the sake of it; it’s about pushing boundaries and exploring new possibilities.
Eka, on the other hand, sees change as an opportunity. His modern take on Lamak is a perfect example. While some might see the shift from traditional palm leaves to digital prints as a loss, Eka sees it as a chance to expand perspectives.
And then there’s Surya, who reminds us that discomfort is part of growth. His cactus sculpture is a metaphor for resilience—definitely something that many people can relate to.
As for Arwin Hidayat, he brings a unique perspective as the only Javanese artist in the group. One thing you’ll notice about Hidayat is that he creates a lot of work—so much so that it almost feels like he’s challenging the idea of exclusivity in art. It’s refreshing, in a way. It seems that this approach is deeply tied to his need to express himself. The act of creating appears to be a way to communicate his thoughts and emotions when words fall short. This is especially obvious in works like I Can Not Write but I Can Draw, where his visual language takes the spotlight.
The Role of Ruang Arta Derau: The Perfect Playground
Now, let’s talk about the space that made all of this possible: Ruang Arta Derau (RAD). Located in Tegallalang, Bali, RAD isn’t just an art space—it’s a creative hub that encourages collaboration, experimentation, and pushing boundaries. Co-founded by Sekarputi, RAD is all about creating a platform for contemporary art that’s rooted in local culture but open to global influences.
For Sopan Santuy, RAD was more than just a venue—it was a source of inspiration and a full-on supporter of the artists’ vision. RAD went all out for this exhibition, ensuring every detail reflected the playful, boundary-pushing spirit of the artists. The opening night proves how big RAD’s commitment to this exhibition is. They brought in Made Mawut, a blues musician recommended by the artists, to set the tone for the evening. RAD also provided a professional photographer by Lima5tudio to capture the event.
(From left to right) Kuncir S.V, Arwin Hidayat, Surya Subhrata, Eka Sudarma Putra, Gek Sri, Sekarputi
Moreover, RAD also organized a Riso workshop with Rinaldi from Black Hand Gang, a renowned printmaking studio. This workshop added another layer of interaction, inviting visitors to engage with the creative process.
The Riso workshop with BHG
RAD’s mission to blend tradition with contemporary art practices made it the perfect home for Sopan Santuy. As Gek Sri puts it: “Humor always connects people together, and we need a lot of it to survive this life. That is why play and fun is essential to camaraderie and solidarity.” And honestly, she’s spot on. RAD’s welcoming, experimental atmosphere allowed the artists to fully embrace that spirit of play and creativity.
In many ways, this exhibition is a living example of what Johan Huizinga described in Homo Ludens—that culture borns from play, and through creativity, we keep it alive.