Writer, To a Light That Never Goes Out, artwork analysis in Fracture/Fiction group exhibition at ILHAM Gallery for Plural Art Mag, Singapore, 2019

The exhibition Fracture/Fiction at ILHAM Gallery in 2019 showcased contemporary artworks by 45 South Asian and Southeast Asian artists exploring themes of socio-political change and the concept of "in-betweenness." One highlighted piece is Tak Kunjung Padam (2009) by Indonesian artist Muhammad "Ucup" Yusuf, a woodcut print addressing the ongoing Sidoarjo Mud Flow disaster in East Java that began in 2006. The artwork focuses on the social impacts of the catastrophe, depicting a family surrounded by imagery symbolizing unity and resilience. Ucup's work also portrays the challenges faced by the affected communities, including corruption and environmental degradation. The artist believes that hope lies in the "in-between" spaces, where light can shine ever brighter, reflecting the exhibition's overarching theme of navigating complex socio-political landscapes.

“His solidarity lies with the common people who find themselves trapped in an “in-between” state, where there seems to be no way out of this mess.”

– Excerpt from To a Light That Never Goes Out by Amanda Ariawan, 2019.

Read Amanda’s full analysis of Tak Kunjung Padam (2009) by Muhammad "Ucup" Yusuf on Plural Art Mag: pluralartmag.com/to-a-light-that-never-goes-out

Plural Art Mag

Plural Art Mag started out as a student blog founded by Pauline Gan, Luke Chua and Usha Chandradas, three friends who met in art school while pursuing Master’s degrees in Asian Art Histories in Singapore. Art historians might recognise “plurality” as a term that’s bandied around liberally in essays. Here, it encapsulates their founding members’ initials (PLUral) and their outlook on art writing – embracing difference and individuality. United by nothing more than a deep love of the arts, a wicked sense of humour and a burning desire to simplify the language of art academia, they started blogging as a way to reach out to people who want a deeper understanding of Southeast Asian art, but don’t care to be mired in technical gobbledygook. (pluralartmag.com)