Fictional images, real responses
By Ian Tee

Midpoint is a monthly series that invites established Southeast Asian contemporary artists to take stock of their career thus far, reflect upon generational shifts and consider the advantages and challenges of working in the present day. It is part of A&M Dialogues and builds upon the popular Fresh Faces series.

Agan Harahap (b. 1980, Jakarta) is best known for his deft use of photo manipulation and sharp social commentary. His work questions the ability for images to represent reality and contends with the public’s sense of media literacy. These concerns remain urgent in the age of social media and the proliferation of generative artificial intelligence technology. Agan’s works are in major collections such the Sigg Collection in Switzerland, Freunder der Nationalgalerie in Germany, and Tumurun Private Museum in Indonesia.

Agan Harahap, ‘I was a Punk Before You’, 2018, archival pigment print on paper. Image courtesy of the artist.

Looking back, could you share a decision or event that marked a significant turn/moment in your path as an artist?

Becoming a single father of two.

Screenshot of news coverage on Agan Harahap’s ‘The Story of a Fish’ (2016), on The Jakarta Post.

When have been milestone achievements for you as artists, and why have they been particularly memorable?

There have been several important moments in my career as an artist. But the most memorable was when my artwork depicting a “communist fish” shocked the Indonesian people in 2016. And of course, when former president of Indonesia, Joko Widodo, responded to my work entitled ‘I was a Punk Before You’ (2018).

Agan Harahap, ‘Visit Indonesia (Kanye)’, 2015, archival pigment print on paper. Image courtesy of the artist.

Could you walk us through a typical work day, or a typical week? What routine do you follow to nourish yourself/your artistic practice?

I usually surf social media on a daily basis, trying to capture the various social upheavals that occur in our society.

Agan Harahap’s studio. Image courtesy of the artist.

Could you describe your studio/ workspace? How has it evolved over the years? What do you enjoy about it, and what do you wish to improve?

My studio is just a small desk with a computer in the corner. What I love is when I open the window in the morning and see the squirrels and birds playing in the trees.

What has become easier or more difficult to do as time has gone by?

As time goes by, my two children are getting older and need more of my attention. I often find it difficult to answer their absurd questions.

Agan Harahap, ‘The Border Line’, 2024, gumoil print on paper, 80 x 120cm, edition of 2 plus 1 artist’s proof. Image courtesy of the artist.

Recently, you presented ‘The Border Line’ (2024) at S.E.A. Focus 2025. It is an artist book produced in an Edition of 3 plus 2 Artist Proofs. Could you briefly talk about this work and your interest in such a format?

The condition of the planet is getting more and more worrying due to deforestation. Even with climate change, humans do not seem to reduce their greed in destroying the earth. I thought about how ancient people with various supernatural approaches could live in harmony with nature. I created a fictional village on Google Maps called Huta Babiat where the people still practice such ancient rituals. So the forest there is still preserved and they can live in harmony with nature. One of the rituals is to make an agreement with the tiger about the border line between humans and tigers in the forest.

What do you think has been/is your purpose? Has your purpose remained steadfast or evolved over the years?

I just accept it. I am sincere and grateful to be able to live the dynamics of my life. Whatever happens.

Agan Harahap, ‘The Idols (Rihanna)’, 2019, archival pigment print on paper. Image courtesy of the artist.

What do you think were the unique advantages and disadvantages you had when you were an emerging artist? Would you be able to comment on how you think this compares to the set of opportunities and challenges that artists have in Indonesia today?

For artists in Indonesia, the opportunities are certainly not the same as, let's say, 10 to 15 years ago. For example, since the pandemic, technology has developed rapidly so artists have a more diverse choice of perspectives and mediums in their work. However, on the other hand, the challenges are getting bigger because there are various gaps in society in dealing with such accelerated technological development.

Are there any upcoming exhibitions/ projects you wish to share?

I am currently doing research on traditional rituals and the supernatural in Indonesia for my latest series of works.

And finally, what would be a key piece of advice to young art practitioners? What has been a way of working, a certain kind of attitude etc. they can learn from to apply to their own careers?

None. Just believe in yourself.