Aliansyah Chaniago

Prefer to be both painter and performance artist, Aliansyah Caniago (Alin) was born in 1987 in Tangerang, Indonesia. Studied painting at Bandung Institute of Technology Faculty Art and Design, graduated at 2011. He participated in many performance art workshops, with Boris Nieslony (German), Waldemar Tatatchuk and Janusz Baldyga (Poland), Lee Wen (Singapore), Seiji Shimoda (Japan), Aor Nopawan (Thailand). He is now one of the disciples of Melati Suryodarmo in his performance art practice in Solo, Indonesia

Known as a performance artist that concern toward activism and social realism in public space. He did intervention, site specific and help communities to make art movement that could blend-in with the society, to enter conflicted area creatively through art and together trying to repair the damaged environment. Often asked public participation, to actively get involved in the process of his art making, installation, and time-based (durational) pieces

While known to have participated in some group exhibitions and performance art events, both local and international, Alin was also one of the founder of an artist collective space in Bandung, Ruang Gerilya. This space has function to provide experimental works and concern to the artist who has interest in process, strong research, unique method. This space also held some small discussions, artist talks and workshops. He also received an honor as 4th Bazaar Art Award Jakarta 2011, Indonesia, Top Honor Indonesian Art Award in Jakarta 2015, Indonesia and The Winner of Bandung Contemporary Art Award 2015, Bandung, Indonesia

His last Solo Exhibition – Point of Return (2014, 2015, 2016) was part of an ongoing art project he did in Situ Ciburuy, a lake located in a ‘peripheral’ area of Bandung. A damaged Lake that contaminated by industrial and home waste that built around the Lake. In his performance piece, he asked a fisherman to give his abandoned old boat to be pulled out of the lake to be dragged towards ‘the central’ (the 0 km landmark in Bandung). He dragged the boat through the road, to bring a representation of neglected negative impact of modernization from ‘the peripheral’ – like what happened in Situ Ciburuy, towards the ‘central’ of attention. And then he made an installation, from the artifact of performance, in the gallery. Through these act, Alin choose it as strategy to spread the issue towards wider audience and public




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