艺术家简介 About the artist
结合数字时代中超现实这一概念，特罗拉马不断探索现实和虚拟世界之间的相互联系。自 2006 年印尼万隆成立至今，三名成员菲比·贝比罗斯（Febie Babyrose），赫伯特·汉斯（Herbert Hans）和路迪·哈图瑁拉（Ruddy Hatumena）创作出涵盖视频、装置、电脑编程和公众活动等反映数字媒体影响对当下社会环境认知的各类作品。将语言、文本、机智、序列和交互融入其多样的实践中，特罗拉马以一种全球的认知方式对印尼的政治和文化环境作出深刻思考。特罗拉马被视为印尼最具潜力的艺术家团体之一，他们的作品于世界不同的地方展出。特罗拉马曾于芝加哥DOCUMENT（2021）、温温哥华亚洲当代艺术国际中心（2017）、利物浦双年展周边项目（2016）、阿姆斯特丹市立博物馆（2015）、墨尔本维多利亚州国立美术馆（2015）、东京森美术馆（2010）等地举行个展。大型群展包括墨尔本维多利亚州国立美术馆（2020）、澳大利亚国家美术馆（2019）、马尼拉当代艺术设计博物馆（2018）、新加坡美术馆（2017）、光州双年展（2016）、法兰克福艺术协会（2015）、阿德莱德Samstag美术馆（2014）、第七届亚太当代艺术三年展（布里斯本昆士兰艺术馆及新现代美术馆）（2012）等。
Engaging with the notion of hyperreality in the digital age, Tromarama explores the interrelationship between the virtual and the physical world. Initiating as a collective in 2006 in Bandung, Indonesia, Febie Babyrose, Ruddy Hatumena and Herbert Hans create works that combine video, installation, computer programming and public participation depicting the influence of digital media on society’s perception of its surroundings. Channelling language, text, wit, sequence as well as interaction through their varied practice, Tromarama reflect on the cornerstones of Indonesia’s political and cultural environment, a form of perceptive engagement that applies globally. Tromarama are widely considered one of Indonesia’s most exciting rising talents and have been exhibited around the world. They have held solo exhibitions at DOCUMENT, Chicago (2021), Centre A, Vancouver (2017), Liverpool Biennial Fringe, Liverpool (2016), Stedelijk Museum, Amsterdam (2015), National Gallery of Victoria, Melbourne (2015), and Mori Art Museum, Tokyo (2010) among other locations. Their group exhibitions include National Gallery of Victoria, Melbourne (2020), National Gallery of Australia, Canberra (2019), the Museum of Contemporary Art and Design (MCAD) Manila (2018), Singapore Art Museum, Singapore (2017), Gwangju Biennale, Gwangju (2016), Frankfurter Kunstverein, Frankfurt (2015), Samstag Museum of Art, Adelaide (2014), and the 7th Asia Pacific Triennial of Contemporary Art, Brisbane (2012).
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