Puri Lukisan
Neka Art M.
Agung Rai/ARMA
Rudiana M.
Duta Jasindo
Utama
Komaneka
Sika Contempory
Neka Gallery
Komaneka Gallery

The second generation. 0n the first floor, in a position of honor against the central wall of the Komaneka Gallery hangs an homage to Indonesia's father of modern art. It is a painting by Affandi. This is the only painting in the Ubud gallery that belongs to another time, to the past, in the chronology of Indonesian art. The rest of the paintings are contemporary, by the young and modern artists of the day. But the incongruity of the Affandi gradually becomes understood when one speaks with Kornaneka owner Koman Wahyu Suteja. The Affandi is a nod to the forefathers, the first generation of modern Indonesian art, while Komaneka is home to the second generation of artists who owe their progress to the bold experiments of the first. For Koman the symbol, and the name of the gallery, is rooted in family tradition. His father Sutedja Neka built the first commercial art gallery, the Neka Gallery, in Bali and was patron to the new artists of his day. Those artists who are now revered as the founders of modern art in Bali and Indonesia. Koman hopes to follow in his father's footsteps by offering a similar space to the modern artists who in 30 to 40 years time may be the respected masters of their generation. "This place is for fine paintings and for young contemporary Indonesian artists who bring a new vision, a new reflection of modern Bali says Koman.

The Komaneka Gallery on the bustling Monkey Forest Road is a modern, two-story sanctuary of white stucco, marble, dark wood and long vertical windows. The structure is designed to accommodate the often large canvases typical of contemporary work. Display is key and Koman has spent much time placing paintings so that light and position are ideal. The first floor is home to the more traditional styles of contemporary art: landscapes, Balinese portraits and religious motifs. The upstairs gallery is reserved for the more esoteric in modern painting and one of Koman's favorite artists, I Made Djirna, commands the front corner of the gallery. Also tucked into a corner on the second floor is a reading desk and library. Although Koman is a passionate curator, his interests are also vested in the commercial success of the gallery. Books about Indonesian art, artist biographies, even European art house catalogues are available for perusal for visitors to learn about the art works available not only in terms of aesthetics but also as investment. His aim is to offer new, young collectors access to Indonesian art. Where the works of the first wave of modern artists are sold at museum level prices, most of the paintings at Komeneka are accessible to the new collector in the one million to 20 million rupiah range. "Many collectors need a guide," he says.

The Komaneka largely features the works of young Balinese artists, however the works of Javanese artists now living in Bali are also displayed. Kornan is also a regular visitor to Yogyakarta to meet students at the art college and assess the potential of Indonesia's rising talents.