C ON TEMPORARY

• some of our favourite shots from last Saturday. thank you for joining us at @ryukiagriardi ‘s opening! ꜰʟᴏᴄᴋ, ꜰʟɪɢʜᴛ, ꜱᴇᴛ! logs R. Yuki Agriardi ways of looking at birds and their coexistence with humans within the complex postcolonial landscape of Indonesia. With over 70% of its population projected to live in cities by 2045, rapid urbanisation augurs a warning for wildlife habitats and bird populations. Yuki finds himself nestled between two extremes: Indonesia, home to one of the most intense birdkeeping cultures in the world, and England, where birdwatching is practically a national pastime. The works in this exhibition were developed through a reflective framework he terms the “Wheel of Method,” a triadic practice weaving together autoethnography, speculation, and drawing. ꜰʟᴏᴄᴋ, ꜰʟɪɢʜᴛ, ꜱᴇᴛ! Another solo presentation by R. Yuki Agriardi 🗓️ 25 April – 4 June 2026 Opens daily, closed on Tuesdays and public holidays ⏰ From 1–7 PM 📍C ON TEMPORARY, Level 2 Gormeteria, Bandung

• C ON TEMPORARY welcomes back R. Yuki Agriardi for another solo presentation, reflecting on the development of his practice since his first one with us in 2021. Yuki presents drawings from his PhD research exploring human–bird relationships in postcolonial Indonesia. Through fieldwork in Jakarta, Bandung, and Denpasar, he examines how birds are kept, traded, and displaced, mirroring the process of migration and memory. His practice blends autoethnography, speculation, and drawing to transform personal memories into visual sequences. Through repetition, grids emerge, evoking both cage and liberation, where containment raises questions about resistance, identity, and colonial legacies. R. Yuki Agriardi (b. Bandung, 1984) is an artist and researcher at School of Design, University of Leeds. ꜰʟᴏᴄᴋ, ꜰʟɪɢʜᴛ, ꜱᴇᴛ! Another solo presentation by R. Yuki Agriardi 🗓️ 25 April – 4 June 2026 Opens Saturday, 25 April 2026 ⏰ From 1–7 PM 📍C ON TEMPORARY, Level 2 Gormeteria, Bandung The artist will be present, see you at the opening!

Rasa menyenangkan muncul, melihat tata pajang karya yang menyelinap, menyesuaikan ruang, juga tidak terduga untuk sebuah karya drawing milik Fffffandy. Strange Currencies adalah pameran tunggal terbaru Fffffandy, seorang desainer grafis sekaligus seniman yang kerap menggugah rasa penasaran, membawakan tema sarkas, dan pandangan personal dalam karyanya. Gagasannya berangkat dari kehidupan yang dijalani dalam kondisi sementara yang terus berlangsung. Dalam keadaan seperti ini, bertahan hidup sering kali terjadi melalui negosiasi terus-menerus, tidak karena sepenuhnya bebas, tetapi karena situasi yang terasa mengekang. Secara umum, manusia punya rumah, ada alamat tinggal, yang dibentuk menjadi sebuah ketetapan. Namun tak semua, bagi Fffffandy, pengalaman perpindahan setelah kerusuhan 1998 di Indonesia mengubah pemahaman tersebut. Setelah tinggal di luar negeri dan kemudian kembali, rumah tidak lagi dipahami sebagai tujuan yang stabil atau pencapaian yang diperoleh melalui kepemilikan. Menjadi sebuah lika-liku yang adaptif dan penuh sementara. Rasa ini tertuang pada karya drawing, objek furnitur, dan pendekatan yang dilakukan pada penataan karya. Terasa ringkih, hanya ditempatkan, juga ketidaknyamanan. Logika yang sama terlihat pada furnitur seperti kursi yang dirancang hampir tidak berfungsi sepenuhnya, sehingga tubuh yang menggunakannya tetap berada dalam keadaan menyesuaikan diri. Pendekatan artistik yang diterjemahkan dalam bentuk struktur ekspos, adanya plastik pelindung, dan ketidakutuhan, adalah intrepretasi dari negosiasi yang tiada ujung. Dalam Strange Currencies, rumah tidak lagi dipahami sebagai tujuan akhir, melainkan sebagai kondisi yang terus dirakit melalui kompromi kecil yang sering kali tak terlihat. Pink Is The New Punk Grong Socius 2026

• In ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ, Fffffandy’s figures — especially in his Head Check series — register a quiet, sustained fatigue. They do not seek resolution or transcendence; instead, they remain in a condition of carrying on. Formed through cycles of negotiation and compromise, these heads absorb discomfort rather than perform it. Humour appears subtly — not as relief, but as a working method, a small internal currency that makes endurance possible. On view until 29 March. Come by and spend time with the works — they’re best encountered slowly~ ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ Another solo presentation by Fffffandy 🗓️ 7 February – 29 March 2026 🕐 1–7 PM 📍 C ON TEMPORARY, Level 2 Gormeteria, Bandung (Closed on Tuesdays & public holidays)

• Some of our favourite snaps from the opening of ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ earlier this month! Building on @fffffandy ’s ongoing reflections around home 🏠 — as attachment, as ambition, as a structure that both holds and burdens — the presentation extends that inquiry into the realm of exchange. What do we accumulate, and at what cost? How do desire and attachment shape the ways we assign value to objects, labour, and even to one another? If home is the first site where we learn what to keep, what to protect, and what to let go of, then ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ asks what happens when those intimate economies spill outward. Thank you to everyone who came, stayed 🪑, and moved through these questions with us. __ On view until 29 March. Drop by, take your time, linger a little — and maybe leave with something that stays with you. ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ Another solo presentation by Fffffandy 🗓️ 7 February – 29 March 2026 🕐 1–7 PM 📍 C ON TEMPORARY, Level 2 Gormeteria, Bandung (Closed on Tuesdays & public holidays)

It's been a while visiting this gallery, an exhibition "strange currencies" by fffffandy is running until the end of March

🛋️ In Fffffandy’s furniture, domestic objects operate as carriers of habitus and become bodily proxies shaped by use. His chairs—conventionally associated with rest—are designed to barely function as furniture: they can be sat on, but never settled into, mirroring a body accustomed to coping rather than relaxing as comfort is deliberately withheld. In several drawings, chairs also appear misaligned or obstructive, operating less as supports than as provisional structures, recording how endurance is learned through repeated use. ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ Another solo presentation by Fffffandy 🗓️ 7 February – 29 March 2026 🕐 1–7 PM 📍 C ON TEMPORARY, Level 2 Gormeteria, Bandung (Closed on Tuesdays & public holidays) Slide 1 — Equal Weight (2026) Slide 4 — Familiar Grip (2026) Slide 11 — Partial Support #2 (2026) Slide 12 — Last Call (2026) Slide 13 — Match Making (2026) Slide 14 — Partial Support #1 (2026)
Slide 15 — Great For Business #3 (2026) 
Slide 16 — Couple’s Therapy (2026)

Tap the link in our bio to preview more works. 🪑 See you
at C ON!

• We’re back with another solo presentation by Fffffandy. 🙂🙂 Home is the earliest structure we inhabit, shaping how we learn to adapt, endure, and make sense of limitation. Over time, these learned adjustments harden into habit, informing why permanence is so often idealised—ownership over lease, settlement over mobility, rootedness over movement. Stability promises familiarity: a way of knowing how to be. For Fffffandy, home no longer takes the form of a fixed architecture. Marked by displacement and sustained through temporary arrangements, it emerges instead as an ongoing negotiation. ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ reflects this logic of living—where staying requires continual trade-offs, and endurance becomes a mode of survival rather than resolution. Join us for the opening next Saturday. ꜱᴛʀᴀɴɢᴇ ᴄᴜʀʀᴇɴᴄɪᴇꜱ 🗓️ 7 February – 29 March 2026 📅 Opens Saturday, 7 February 2026 🕐 1–7 PM 📍 C ON TEMPORARY, Level 2 Gormeteria Jl. Pasir Kaliki No. 176, Bandung (Closed on Tuesdays & public holidays) More information will be available via the link in our bio soon. Feel free to tag @c.on.temporary or the artist @fffffandy . We hope to see you soon 🏠

Kali (2024), Papermoon Puppet Theatre Kali is a metaphor for a river. It is the water that gives life to all living creatures. It was originally the front home, the face, and has now become the back, a place where everything is thrown away, forgotten. Kali… is an old giant, The forgotten giver of life. Four-colour Risograph on acid free, FSC®️ recycled fibres Freelife Cento Extra White 260gsm 🖼️ 265 × 380 mm (paper size), 200 × 300 mm (artwork), Editions of 10 🔗 Browse our e-catalogue: bit.ly/ecatalogueRYK (link in bio) — Papermoon Puppet Theatre was founded in April 2006 in Yogyakarta, Indonesia by Co-Artistic Director Maria Tri Sulistyani (Ria). She has since nurtured, developed, and expanded the company together with Co-Artistic Director Iwan Effendi, a visual artist and Papermoon’s puppet designer. Among other close collaborators, we work with a collective of puppeteers, which includes Anton Fajri, Pambo Priyojati, Beni Sanjaya, and Hardiansyah Yoga. To date, Papermoon Puppet Theatre has created performances and art installations and exhibitions, which we have toured to more than 10 countries. Papermoon Puppet Theatre believes that anything can come alive. Every creature, every object, every single thing in the world holds life somewhere inside of it. With our performances, installations, workshops, collaborations, and festivals, we hope to bring those things to life—through the amazing art form of puppetry, as well as by nurturing the good things around and within us. — The Riso (and Objects) You Wanna Keep in Your Room A Riso art print exhibition 16 Nov–15 Dec 2024 C ON TEMPORARY Gormeteria, Level 2 Pasir Kaliki 176, Bandung Opens 1–7 PM daily Closed on Tuesdays and public holidays — #FRRisoRoom

Neko Command Center (2024), Ardneks “Time. Cling. Stink. Play. Sleep. Chase. World domination.” An anchor that aids the artist to take care of his six cats. Many not realize the importance of having a life outside of their profession. Just like what jazz musicians always say, “Break the rhythm.” Four-colour Risograph on acid free, FSC®️ recycled fibres Freelife Cento Extra White 260gsm 🖼️ 265 × 280 mm (paper size), 200 × 300 mm (artwork), Editions of 10 🔗 Browse our e-catalogue: bit.ly/ecatalogueRYK (link in bio) — Ardneks is an Indonesian illustrator that hallmarks music while at the same time peels on the playful combination of cross-culture references, psychedelic colors, intergalactic deities, and dreamy tropicália. He started his graphics studio Paraiso Grafica in 2013 and has since focused working on music-related projects. From record jackets to gig posters and music festivals, he has worked with an array of bands and musicians across the globe such as Khruangbin, Unknown Mortal Orchestra, Mac DeMarco, Warpaint, Kikagaku Moyo, Night Beats, Moon Duo, L’Impératrice, Desert Daze Festival, Levitation and Lollapalooza just to name a few. He has also worked editorial pieces for international publications such as The New York Times, The LA Times, WePresent by WeTransfer, Kiblind Magazine and more. — The Riso (and Objects) You Wanna Keep in Your Room A Riso art print exhibition 16 Nov–15 Dec 2024 🔲 Riso Workshops Sat–Sun, 14–15 Dec 2024 C ON TEMPORARY Gormeteria, Level 2 Pasir Kaliki 176, Bandung Opens 1–7 PM daily Closed on Tuesdays and public holidays — #FRRisoRoom

Drum Roll for the Kong (2024), TUTU The spirit of play is an important aspect, as it sparks exploration in creativity. Game watch, a game that Tutu has enjoyed since childhood, became the theme of her work in this Riso exhibition. Though game watch is no longer played as often as before, it remains a part of Tutu’s studio space. This Riso work, themed around game watch, serves as a reminder of the importance of ‘playing,’ as there are many valuable lessons within the game itself, which can become significant for the player. Four-colour Risograph on acid free, FSC®️ recycled fibres Freelife Cento Extra White 260gsm 🖼️ 265 × 380 mm (paper size), 200 × 300 mm (artwork), Editions of 10 🔗 Browse our e-catalogue: bit.ly/ecatalogueRYK (link in bio) — TUTU was born and raised in Jakarta, Indonesia. As an artist born in the early 1970s, he has witnessed and experienced significant cultural and societal changes. His personal and social life has been shaped by influences such as animation, history, cartoons, and elements of science fiction, which have broadened his perspective and inspired forward-thinking creativity. TUTU approaches his work methodically, beginning with mapping narratives and anxieties, conducting research to study the materials of a medium, and identifying the most effective way to communicate his story. For several years, human development has been both an inspiration and a central theme in his work. His visuals often carry hidden meanings, leaving fragments of a puzzle for the audience to solve. In late 2021, one of Indonesia’s curators described his style as Retrofuturistic Deco Realism—a label he continues to embrace in his practice. — The Riso (and Objects) You Wanna Keep in Your Room A Riso art print exhibition 16 Nov–15 Dec 2024 🔲 Riso Workshops Sat–Sun, 14–15 Dec 2024 C ON TEMPORARY Gormeteria, Level 2 Pasir Kaliki 176, Bandung Opens 1–7 PM daily Closed on Tuesdays and public holidays — #FRRisoRoom

Hi Towel (2024), Anton Ismael The isolation during the pandemic forced me to re-evaluate what truly matters in life. In my room, things I once ignored began to feel alive. I started talking to towels and eggs, and seeing humans on my laptop screen as lifeless objects. and the people on my screen seemed distant and lifeless. I miss social interactions. Four-colour Risograph on acid free, FSC®️ recycled fibres Freelife Cento Extra White 260gsm 🖼️ 265 × 280 mm (paper size), 200 × 200 mm (artwork), Editions of 10 🔗 Browse our e-catalogue: bit.ly/ecatalogueRYK (link in bio) — Anton Ismael is a highly respected Indonesian photographic artist and eductor based in Jakarta, Indonesia. Ismael’s work is informed by an innate and profound connection with his Javanese culture and landscape, coupled with a longstanding fascination with the west, established in his formative years while studying in Australia. Through an empathetic approach to his themes and subjects, Ismael produces finely crafted, intimate and exquisite imagery. His multi-faceted approach to crafting his images includes the exploration of found objects, drawings and film. Identity is the underlying theme explored through 20 years committed to learning, producing and teaching. — The Riso (and Objects) You Wanna Keep in Your Room A Riso art print exhibition 16 Nov–15 Dec 2024 🔲 Riso Workshops Sat–Sun, 14–15 Dec 2024 C ON TEMPORARY Gormeteria, Level 2 Pasir Kaliki 176, Bandung Opens 1–7 PM daily Closed on Tuesdays and public holidays — #FRRisoRoom