Between the Bars



NETTIE HORN is pleased to present a solo exhibition by Berlin-based artist Yudi Noor, featuring a new body of sculptural works in the form of an installation as well as a new series of collages.

Through the use of diverse sourced materials and objects, Yudi Noor creates arrangements in a minimalist form of language exploiting notions of symbolism issued from cultural, religious, social and political fields. Noor’s work can be seen as a reaction to the themes and tendencies of our society, exploring questions of spirituality, belief, myths and their contexts within individual and collective notions of life practice. 
Born in Indonesia, Noor's origins in a culture which advocates religious pluralism and the idea of "unity among diversity" is a main characteristic which influences his practice. “Between the Bars” presents a new series of assemblage and collage, relating the history of Islam through visual story telling. Materials and elements from diverse origins and eras translate these re-imagined stories; sacred wood, stone, formed metals, and neon, are organized in compositions which reveal themselves through orders of a colourful and abstract nature. Here, Noor reflects on the origins and foundations of cultures as possible interpretations to the orders of complexities in contemporary thought.

Generated by a spontaneous and semi-autonomous approach to a daily ritual, Noor’s pieces are inhabited by a range of elements which have followed their own journey according to their histories and context. As Noor states “in a process of space and time, of proportion and direction, materials are brought together”. Determined by conditions of given origins and qualities, each object composing these sculptures and installations contributes to the way each work develops.

Noor’s collages reflect on memory and collective experience, presenting elements collected in places he has visited, such as embroidery, ornamental glass, ink-jet prints, and tape. These collages are manifest to the fragmentary nature of today’s daily situation, geometric shapes symbolizing elements of the fundamental human condition.  


Yudi Noor was born in 1971 in Java, Indonesia. He lives and works in Berlin.
Exhibitions include, “Mixed Opera”, Brigit Ostermeier, Berlin (SOLO SHOW) (2010); “Inkonstruktion”, Art Biesenthal, Germany (2010); “We have time”, Kunstverein Arnsberg (SOLO SHOW) (2009); Galerie Brigit Ostermeier, Berlin (SOLO SHOW) (2009); Let's go home, S-Kai, Am Sandtorkai 50, Hamburg, 2009; EINZUEINS RÜGEN - Skulpturensommer, Rügen, Germany (2008).


For inquiries regarding availability of works and prices, or additional information about the artist, please contact the gallery. 


Installation View, Yudi Noor, Between the Bars, NETTIE HORN

Installation View, Yudi Noor, Between the Bars, NETTIE HORN

Installation View, Yudi Noor, Between the Bars, NETTIE HORN

Installation View, Yudi Noor, Between the Bars, NETTIE HORN

Installation View, Yudi Noor, Between the Bars, NETTIE HORN

Installation View, Yudi Noor, Between the Bars, NETTIE HORN

Enter Commune, 2010
Teak wood, spray paint, canvas, rug and steal
118.5 x 167.5 cm

Enter commune is composed of an old traditional Javanese wooden door and a prayer carpet positioned onto a glittery fabric found on the stage of
The Deutsch Opera theatre in Berlin. The door, upside down and turned to the back, hides the elaborate wood carving which is a record of the hand worker. 
This work is based on the idea of circulation and cyberspace in a world in which our privacy and communication is secured by passwords and other formulas.
The colour green is used here as a symbol of Islam - representing the freshness of a healthy spiritual lifestyle.


Breaking the Water Picture, 2010
Jug, glass, Plexiglas and teak wood
132 x 40 x 40 cm

In Breaking the Water Noor has positioned the Venetian handmade glass caps according to a stellar constellation - their geometric shapes (hexagon, octagon and pentagon)
recall the omnipresence of mathematics in a number of religions. These caps accompany an ancient jug which was once used in everyday activities in Java and which, according to Indonesian beliefs, had the vocation of collecting the spiritual ghost believed to be a benefactor and advisory spirit. The black plexiglas surfaces form a cube within the proportions of a tall wooden plinth made from old Javanese boats. This work is politically charged in the way the artist recalls a time when the water was holy and pure,
and before it became a profitable industry coinciding with the pollution and waste from over-industrialization.


Joglo, 2010
Tamarind and teak wood, Rubix cube, spray paint, crystal glass and modelling clay
67 x 34 x 32 cm

Joglo is the name of the traditional Javanese house and is composed as such with an element made of tamarind root from the supporting structure,
a medicine box which belonged to the artist’s grand-mother, a Venetian glass charm as well as a new-generation Rubik’s cube.


Entering to Nothing Else, 2010
Neon light, transformer, teak wood, steal, plastic, tape and zinc
180 x 53 x 53 cm

The diversity of objects and material presented in Entering to Nothing Else, neon light, steel, a rice bowl, papaya peeler and part of a table, form a temple composition. 
As Noor describes, “your truth, my truth, and the true itself, if in harmony lead to nothing else, an emptiness of self and an acceptance of the other.” 


Hong Wilaheng, 2010
Old gong, paint, pen and cord
63 x 63 x 28 cm

Hong Wilaheng is a metal gong which once belonged to a Javanese community. It was commonly used during trans-dances and other rituals aimed to call the spirits.
This work is an invitation to think about the notion of animism – that an animate presence is inherent in natural elements and objects as well as living beings. 
A number of circles have been painted onto the object as symbolising the theosophical doctrine of “no end and no beginning”, and for an awakening, “do not double what is one”.


Star Became Sphere, 2010
Volcano roc, wooden box, rubber, metal and spray paint
27 x 57 x 52 cm

Star Becomes Sphere is a carved river stone, composed of ancient volcanic rock from the Merapi volcano in Java.  Filled with water, the piece initiates reflection.
Resting on the base of its shipping crate, with a hexagonal design, the work shifts an interior design product association
made with spiritual materialism to the physical and mystical presence of elements.


Ypsilon, 2010
Steal, copper, wood, spray paint, strings, plastic and nylon
73 x 53 x 20 cm

Ypsilon is composed of an unidentified iron form found in the trash outside a synagogue in Berlin. Iron is the most common element found on earth and this
work questions its origin and the enigma behind the way in which it was originally transformed into its solid state.  It is covered with copper spray. 
The strings and other bands are a light material wrapped and bound in an arc of the object as a metaphor for the function of thought.


The Bars, 2010
Neon light, steal and spray paint
40 x 54 x 62 cm

The Bars an outdoor steel design, is woven by fragile neon light – poetic security.  


Double standard, 2010
Steal, spray paint and neon light
54 x 25 x 62.5 cm

Double Standard refers to any set of principles containing different provisions for one group of people than for another, typically without a good reason
for having said difference. In this work, Noor refers to the colonisation of Asia and Africa with their troubled pasts due to the expanse of imperialism.


Don’t know who it was, 2010
Steal, marble, lamp, bulb, neon and spray paint
111 x 14 x 93.5 cm

Don’t know who it was is composed of a French café table found in Vienna alongside a symbolic combination of three different light sources.
The blue neon light is used as the system to verify the authenticity of bank notes while the Edison bulb refers to the origin of the expansion of industrial light -
this light bulb will soon be redundant and replaced by the current energy-efficient light bulbs; the reading lamp is a direct reference to learning and knowledge.


Ya Toyour Asmahan, 2010
Embroidery on fabric, photo, inkjet print on transparent paper, sand paper,
adhesive tape, cardboard, cell phone, sticker on glass, frame
42 x 32 x 5 cm

Ya Toyour Asmahan is a tribute to the Syrian-Egyptian singer Asmahan (1918-44) who was well known for her powerful voice and charisma.
Ya Toyour” is one of her most recognised love songs. Asmahan’s presence orchestrates the whole exhibition as an emblem of strength, beauty and mysticism.


Akhenaton, 2010
Ornamental glass, sand paper, tape, cell phone stickers, spray paint and frame
42 x 32 x 5 cm

The collage Akhenaton draws on history from the Egyptian king Akhenaton whose ideology reformed Egyptian polytheistic beliefs to
spread the modern idea of monotheism. The black tone as well as the vibrant colours here characterise Akhenaton’s jewels.


New Book, 2010
Ornamental glass, spray paint, sand paper, tape, embroidery, frame
42 x 32 x 5 cm

New Book refers to the notions of category and codes, and a concurrent order that could evoke equality and liberation from all rules. 


Revolver, 2010
Ornamental glass, canvas, ink, tape, cell phone stickers, cardboard and frame
42 x 32 x 5 cm

The collage Revolver is an effect in materiality, the relationship between attraction and repulsion.