@studiopancaroba akan merayakan peluncuran publikasinya yang bertajuk Human Story in the In-Human World 🪱🍃🦋
Didukung oleh @bagasi.destinasi , Human Story in the In-Human World adalah sebuah dokumentasi oleh Studio Pancaroba yang berkeliling ke art book fair di berbagai negara Asia Tenggara. Publikasi ini dikembangkan melalui perjalanan antar kota dan percakapan sesama kreator yang menyatukan pengamatan dan filosofi pribadi yang ditemukan di antara seluk-beluk humor, kelelahan, dan kontradiksi, di mana cita-cita untuk berkarya harus dihadapkan dengan kenyataan yang pahit sebagai seniman.
Beberapa karya cetak dijual dengan harga yang terjangkau, dan ada juga karya edisi terbatas yang dapat dibeli. 30% Art, 70% Standing dirancang sebagai ajang interaktif. Para pengunjung disediakan ruang untuk mengobrol, bertukar pikiran, dan ikut terlibat, melalui satu hari yang dikhususkan untuk lelang.
30% Art, 70% Standing akan dibuka pada 13 Mei 2026 dari jam 13.00–19.00, pameran akan dibuka untuk umum dari 14–16 Mei 2026 di @studio22nya , Grand Wijaya Centre Blok G9-10, Level 2, Jakarta Selatan. Untuk informasi lebih lanjut, kamu bisa cek melalui @studiopancaroba dan @studio22nya .
📸: Studio Pancaroba/Studio 22nya
Am I sharing work, or trying to sell it?
Am I standing behind the work, or just staying on my feet?
Is visibility a part of my practice, or part of the job?
Is this a choice, or is it survival?
Opening: Wednesday, 13 May, 1pm – 7pm Exhibition: 13–16 May 2026, 1pm – 7pm Location: Studio 22nya, Grand Wijaya Centre Blok G9–10, Level 2, Jakarta 12160
Join us for the launch of ‘Human Story in the In-Human World’ by Studio Pancaroba. A book from moving along with no safety net.
supported by Bagasi and presented by Studio 22nya. Stay tuned for more information and details.
Show up, or don’t, we’ll be there having fun.
In this exhibition, @martiasaputri charts a journey through the aftermath of a burning house.
In ‘Three Witches’, she returns to soft sculpture to imagine a new image of home shaped by mutual reliance and feminine collectivity. First imagined by the artist’s daughter, Mina, these figures become a counter-image to the conventional household. Home is no longer defined only by strain, endurance, or self-sacrifice, but as a place where women sustain one another and where home can be reimagined. What begins as survival shifts into magic.
Thank you to everyone who came to visit the exhibition, shared stories with us, or sent us DMs about the works - we appreciate you! Today is the last day of ‘A house can still catch fire, even if you’re home 24/7.’
📸: @koolshootsfilm
In ‘A house can still catch fire, even if you’re home 24/7’, Ajeng Martia Saputri traces the collapse of home and the gradual work of remaking it.
In ‘Congratulations’ and ‘Best Wishes’, phrases linked to weddings, celebration, and new beginnings are placed on mirrors, shifting their meaning away from public ritual and towards the self. These works reflect acknowledgement, survival, and the possibility of beginning again.
We are in our last 2 days of the exhibition! Please come by if you haven’t already, we are open 1pm - 7pm.
📸 1-2: @koolshootsfilm
Thank you to everyone who joined us for the workshop yesterday, you all brought so many great conversations and an excellent vibe! Special thanks to our facilitator @iraaaaa_sm for guiding this session so generously and helping everyone level up their sewing and embroidery skills. See you at the next one? x
In ‘Furniture Relics’, the fire has already done its work. Miniature dollhouse furniture, broken and blackened, is thoughtfully arranged in vitrines. No longer able to fulfil its function, these fragments are preserved as evidence of collapse. Presented almost like museum relics, these works invite reflection on loss, memory, and the conscious work of rebuilding once home can no longer be taken for granted.
‘A house can still catch fire, even if you’re home 24/7’ by @martiasaputri continues until 29th April
📸 1-3: @koolshootsfilm
Introducing “Remembering a House: A Record of Rupture and Repair” by Ajeng Martia Saputri.
Developed alongside the exhibition “A house can still catch fire, even if you’re home 24/7”, this publication extends its themes through a collection of drawings and texts that narrate memory, fracture, and repair.
The book makes personal and intimate experience legible and shareable on the artist’s own terms. Its authority lies in how it structures the relation between enclosure and exposure, shaping materials drawn from lived experience and imagination into a form for both private reflection and public expression. In this sense, “Remembering a House” is not only an extension of the exhibition, but an objectified embodiment of the artist’s voice.
375K
Available at Studio 22nya
Exhibition is open Mon - Sat, 1-7pm until the 29th April.
In this collection of drawings are depictions of a house, a gate, a bed, a needle and thread, and safety pin.
Memory returns here in fragments: domestic forms scarred with instability, the physical and emotional aftermath of motherhood and birth, and disintegrating family dynamics. A red line runs through the series, sometimes as a red thread, but also carrying associations of blood, passion, and rage. Nostalgia, tenderness, trauma, anger, sadness, and the desire for healing are all held in relation.
Facade
2026
watercolour on paper
22,5 x 31 cm
Threads and Stitches
2026
watercolour on paper
32,5 x 17 cm (part of triptych)
The Broken Fence
2026
watercolour on paper
16,5 x 22,5 cm
By @martiasaputri
After years of working with resin, @martiasaputri returned to watercolour, a medium she had not used for a long time. What began as a cathartic process first took shape as abstract red marks and lines. That red line runs through the series as a whole, carrying associations of blood, thread, tension, anger, and the effort to hold things together. Returning to memory to understand how the past continues to shape the present is already central to Ajeng’s practice. What emerged unexpectedly here was the way watercolour allowed images to surface gradually over time.
Slide 6:
‘My Womb’
Ajeng Martia Saputri
2026
Watercolour on paper
16.5 x 22.5 cm
‘A house can still catch fire, even if you’re home 24/7.’
This pink candle-wax house was built brick by brick by the artist, then set on fire. In this gesture, the labour of constructing a house mirrors the labour of building a household: slowly, carefully, and never without risk. Drawn to wax for its closeness to resin but also for its fragility, the artist chose a material that could hold both tenderness and collapse. What emerges is the image of a home whose promise of safety can no longer be taken for granted.
‘The Burned House’
By @martiasaputri
2026
Pigmented wax
30 x 40 x 33.5 cm
