This debate reflects broader pressures affecting galleries worldwide, including an increasing dependence on art fairs as primary commercial platforms and rising participation costs. These dynamics are also pushing collectors toward markets that actively support the growth of the art industry. In the long term, such structural imbalances will inevitably affect the competitiveness of national artists while benefiting artists from other countries.
Let us now analyze how this situation has impacted the Brazilian presence at ARCO this year, both in terms of market performance and in relation to the new psychological dynamics shaping collectors’ choices and their perception of artistic content.
Galleries
Sewu Satu
Adi Sundoro
Belantara Data #3 (Data Wilderness #3), 2025
Two offset print on food-grade paper (folded & glued)
100 cm x 155 cm
Edition of 1+ 1 AP
Asking Price: $3500
Â
Ruci Art Space
The gallery presents a dual focus bringing together works by Aharimu and Cecil Mariani, highlighting two distinct yet complementary directions within Indonesia’s contemporary art scene. The booth articulates a dialogue between painterly intensity and research-driven practices, reflecting the diversity and vitality of emerging voices from the region.
Aharimu’s sweet, highly saturated oil paintings unfold in a visually immersive language, where color and surface play a central role in shaping emotional and narrative depth. In contrast, Cecil Mariani develops an interdisciplinary practice grounded in research, navigating between conceptual inquiry and material experimentation. Together, their works offer a layered perspective on contemporary Indonesia, where sensorial experience and critical reflection coexist, revealing the complexity of a rapidly evolving artistic landscape.
Cecil Mariani
Asking Price: $3.000
Sal Project
SAL Project joins a collective presentation spotlighting the dynamism of Indonesia’s contemporary art scene. Founded in 2020, the gallery has positioned itself as a key platform for emerging artists, fostering practices that engage with both local contexts and global visual languages.
For this edition, SAL Project presents works by Danni Febriana and Irskiy, whose practices navigate the intersection of historical memory, material experimentation, and contemporary culture. Through distinct yet complementary approaches, both artists reflect on how past narratives and evolving visual codes inform present-day artistic expression, offering a nuanced perspective on the shifting landscape of Indonesian contemporary art.
Ruang Dini
Ruang Dini presents a focused selection reflecting the strength and diversity of Indonesia’s contemporary scene, with a particular emphasis on the work of Andy Dewantoro.
Dewantoro’s practice unfolds through a multidisciplinary approach that spans painting, installation, and drawing, often combining personal narratives with broader cultural and historical references. His works are characterized by a layered visual language, where symbolic imagery, fragments of memory, and elements of everyday life intersect, creating complex compositions that invite both introspection and interpretation. Through this approach, the artist constructs poetic yet critical reflections on identity, collective memory, and the shifting dynamics of contemporary society.
Andy Dewantoro
On the Wild Side, 2026
Acrylic on Canvas
150 x 200 cm
Asking Price: $33.000
V & V
Founded in Jakarta in 2022, Vice & Virtue (V&V) has quickly established itself as a dynamic platform for emerging and mid-career artists, championing experimental practices across painting, sculpture, and installation. Rooted in a commitment to rigorous artistic inquiry, the gallery engages with key contemporary themes, from identity and historical memory to ecology, technology, and social transformation—while fostering long-term relationships with its artists.
Following its debut at Art Shanghai, V&V marks its second international fair participation at Art Central Hong Kong 2026, presenting a curated selection that bridges Jakarta’s vibrant art scene with the global stage. The booth brings together practices that explore materiality, cultural narratives, and the conditions of contemporary life, reflecting the gallery’s ambition to position Indonesian artists within broader international dialogues.
Puri Art
Puri Art Gallery presents a focused dialogue between two Balinese artists, Irene Febry and Ni Luh Pangestu, whose practices are deeply informed by the cultural systems shaping collective behavior. Rooted in the specificities of local traditions, their works offer a nuanced perspective on how inherited structures continue to inform contemporary life.
Rather than approaching these dynamics as abstract frameworks, both artists engage them as lived realities, inscribed in the body, embedded in materials, and negotiated through daily acts of making. Through this lens, their practices unfold as intimate yet critical reflections on identity, ritual, and the subtle mechanisms through which culture is continuously performed and transformed.
Irene Febry
Forest, 2026
Rice paddy paper, banana paper, washi paper, gouache paint, acrylic paint, screen-printing, graphite, photographs printed on acid free paper
44.2 x 39.1 cmÂ
Isa Art
ISA Art Gallery unveils a conceptually driven booth exploring the role of the line as a carrier of movement, narrative, and perception, drawing from both modernist thought and Indonesian visual traditions. Within this presentation, the gallery brings together practices that engage with the line not simply as a formal element, but as a structuring force through which space, time, and meaning unfold.
Among the artists presented, we particularly highlight Jumaadi, whose practice embodies this approach through a deeply narrative and introspective language. Based between Yogyakarta and Sydney, the artist constructs poetic visual worlds where love, whether romantic or familial, intertwines with mythological figures, spirits, and imagined creatures. His work unfolds as a form of storytelling rooted in personal memory and psyche, where fluid lines and delicate compositions trace emotional states and lived experience. Positioned at the intersection of intimacy and imagination, Jumaadi’s practice reflects a continuous negotiation between inner landscapes and cultural narratives.
This trajectory is further reinforced by his recent participation in institutional group exhibitions across Asia. At the Busan Museum of Contemporary Art, he is included in The Rhinoceros and the Unicorn, a project that reinterprets traditional folktales through largely wordless visual narratives, inviting viewers to construct meaning beyond fixed endings. In Shanghai, Jumaadi takes part in Down to Earth at TANK Shanghai, a curatorial initiative emerging from the TANK Curator Prize that reconsiders human relationships with land, ecology, and interspecies connection. Together, these presentations position his practice within urgent global conversations around rootedness, reciprocity, and coexistence.
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