Veronica Colondam champions the field of social entrepreneurship in Indonesia with the establishment of YCAB Foundation in 1999

Veronica Colondam was the youngest ever recipient of the UN-Vienna Civil Society Award, a World Economic Forum Young Global Leader, and received accolades throughout her career including Globe Asia’s Most Powerful Women in Indonesia, Forbes’ one of 10 most inspiring women in Asia and one of Asia’s 48 Philanthropists, and one of UN’s Solution Makers;  through YCAB Foundation she helms a social enterprise that aims to improve welfare through education and innovative financing, running programmes that have reached over 5 million underprivileged youth. She speaks with LUX Leaders & Philanthropists Editor, Samantha Welsh about creating a sustainable system that scales change.

LUX:  How have your spiritual beliefs informed your leadership values?

Veronica Colondam: I established YCAB Foundation in 1999 when I was 26 years old. Yayasan Cinta Anak Bangsa Foundation (YCAB) means ‘Loving the Nation’s Children Foundation’) and reflected my love for all Indonesia’s children and my aspiration to nurture intelligent and innovative young minds. As a committed Christian, I believe we are called to be the Salt & Light of this world, to be a Good Samaritan, to love our neighbour and to help all those in need. My leadership values foster a culture that prioritises Integrity, Service, Empathy, Resilience, Vibrancy, and Excellence (iSERVE.)

LUX:  Was there a catalytic ‘aha’ moment, when the scale of social injustice in Indonesia impelled you to set-up YCAB to drive change?

VC: For me it all started with education injustice.  About three years after YCAB was founded, I realized that the school drop-out rate in Indonesia was very high.  Millions of students did not complete their primary education. Further, the ASEAN Free Trade agreement 2010 put Indonesians at a competitive disadvantage as our schools did not offer teaching in tech and English.  In response, we launched our first Rumah Belajar (Rumah = house, Belajar = learning to improve English and tech literacy.  The ‘aha’ moment was when my 12-year-old daughter, Adelle took me as parent chaperone on her school community project and introduced me to the concept of microfinance.  This catalysed our YCAB family intervention model.

YCAB Foundation is the founding and flagship organisation in the YCAB social enterprise group which bases its operations on a mutually reinforcing and financially sustainable social change model

LUX:  What was the thinking behind that?

VC: We implement a family intervention model that empowers both mothers and children – ‘prosperous mothers smart kids’.  We can transform low-income families and lift them sustainably out of poverty. We focus on the mothers because research shows the critical impact of a mother’s prosperity on the household.  Economically-empowered earning mothers are in a better position to support their children’s education, reducing high school drop-out rates and lifting the family unit.

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LUX:  Why is YCAB’s microfinance model sustainable?

VC: This comes down to the integration of financial support with educational advancement.  We deploy capital to fund low-income women entrepreneurs ensuring their children’s education is a precondition for loan access.  This dual focus on immediate financial aid and long-term educational goals fosters a cycle of empowerment.  Additionally, YCAB’s transition into a self-reliant social enterprise, where profits from its ventures are reinvested into its mission, underpins its sustainability. The model’s success is evidenced by its recognition and supervision by the Indonesian Financial Services Authority, highlighting its impactful and sustainable approach to breaking the cycle of poverty and promoting community welfare

YCAB’s change model has one clear mission which is to improve welfare through education and innovative financing. YCAB aims to vitalize underprivileged youths to become self-reliant through economic empowerment and education, bringing them from mere subsistence to sustainable livelihood

LUX:  Twenty five years on, how successful has YCAB been in mobilising resources throughout Asia?

VC: We mobilized more than $120M US to reach over five million low-income young people, together with hundreds of thousands of mothers. This is equivalent to a per capita increase from $2 to the threshold of an aspiring middle class at $8.

LUX:  How did YCAB evolve from a not-for-profit to a social enterprise model?

VC: Honestly, I didn’t know anything about the concept of social enterprise back in 1999!  In fact, the term “social enterprise” only began gaining recognition in Indonesia about 12-15 years ago. I initially founded YCAB with financial sustainability in mind and after the first year, I started-up a company as the first business unit of the foundation.  Over time, we developed several business units to support the foundation’s mission and around 10 years’ later, after my INSEAD program, I realised we were operating under a social enterprise model.

LUX:  Where does microfinance fit within social impact entrepreneurship?

VC: Microfinance operates as a business model and enables the poor to access capital. This embodies the essence of social entrepreneurship, where business and social impact are integrated into the model. We leverage our for-profit businesses to support the mission of YCAB, the foundation, so we operate our education program under the YCAB Foundation structure, and the economic empowerment program for mothers (or MFi) under YCAB Ventures, a company licensed by the Indonesian Securities and Exchange Commission (OJK) since 2015. Under the Ventures structure mandated by OJK, we engage in equity-like investments to support SMEs and have expanded into impact investment. This structure allows us to consolidate all our companies that support YCAB’s mission into a portfolio — from our original business units to new impact investments. The Ventures structure provides us with the flexibility to engage in financing (MFi), investments across all business units and new impact ventures, all while advancing our agenda of empowering families out of generational poverty towards a prosperous future.

YCAB believes in the power of education to improve welfare. To date, YCAB has brought impact five millions underprivileged youths and hundreds of thousands of low income families

LUX:  YCAB’s partners rank among the world’s leading corporates;  what is it about your approach to partnerships over 25 years that secures engagement at this level?

VC: We are commited not only to meet the needs of our beneficiaries but also to align closely with the objectives of our partners, some being the world’s leading corporations. One key aspect of our partnership strategy is our engagement with governments. Sustainable change requires collaboration across sectors, so partnering with governments allows us to leverage their resources, expertise, and influence to optimise our impact. Furthermore, our board members bring their expertise, networks, and insights to the table which enhances the value proposition for our partners, because partnerships are strategic, impactful, and mutually beneficial. Successful partnerships are built on a foundation of trust, collaboration and a shared commitment to driving positive change.

Read more: Zahida Fizza Kabir on why philanthropy needs programmes to achieve systemic change

LUX: Was there any time that you overcame a barrier that, in retrospect, catalysed a systemic solution to a particularly challenging social problem?

VC: The first standout catalytic moment was our shift in focus from preventing youth drug addiction to primary prevention through education and soft skill development, addressing the root causes of youth curiosity toward substance abuse. However, gaining access to schools, the focus of our target audience was a significant challenge. In 2002, in a pivotal moment for YCAB, I and our board member Professor Rofikoh Rockim met the former Minister of Education, Mr. Yahya Muhaimin. He granted us his influential letter of recommendation so we could access schools and campaign with authority. This shows the impact of personal connections, advocacy, and strategic partnerships that sparked transformative change and empowered communities throughout Indonesia.

The second catalytic moment was the covid pandemic. During lockdown, we could only help people who had basic literacy and smartphones to access e-support, including e-donations.  We also used a WhatsApp-based chatbot. This revolutionised the financial literacy of mothers, the clients of our MFi program.  The pandemic also opened the door to financing social goods using capital market products, such as mutual funds. To coincide with YCAB’s 25th Anniversary in August 2024, we will launch financial products that offer financial returns with social impact. This is gamechanging because with philanthropy in Indonesia, there is generally no tax deduction for donations aside from Islamic zakat giving which is regulated by a national zakat collection body. For non-religious non profits like YCAB, giving is not tax deductible so private corporate CSR donations are taken from EBITDA, contrary to public-listed companies.

YCAB is now exploring ways to implement the last link in its change model, that is, to create a sustainable system whereby students who graduate and become entrepreneurs or employed can pay it forward

LUX:  What is impact exactly for a social impact entrepreneur and how can you measure it fully?

VC: At YCAB, we embed impact measurement into all our programs. With our microfinance initiative, for example, we conduct our “welfare survey” with our beneficiaries tracking our impact on their increased earnings, business expansion, and perhaps most significantly, the educational opportunities their children receive as a result of our interventions.

LUX:  Finally, how do governments and financial institutions benefit by partnering with SIEs?

VC: We are not sitting behind our desks, we are out there in the heart of communities, listening, learning, and understanding their real needs. These grassroots connections mean our initiatives are genuine and address issues where they make impact, right where people live and breathe. We are always pushing boundaries, finding fresh ways to tackle age-old problems. When governments and financial institutions join forces with us, they are tapping into that spirit of innovation. When we innovate together, that vision becomes more than just a dream – it becomes our shared reality.

ycabfoundation.org

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Reading time: 8 min
museum with kids

MACAN, in Jakarta, is Indonesia’s global standard contemporary art museum

Fenessa Adikoesoemo and Venus Lau are at the helm of MACAN, Indonesia’s premier contemporary art institution, founded by Fenessa’s father art collector, Haryanto Adikoesoemo. They speak with LUX Leaders & Philanthropists Editor Samantha Welsh, about their mission to foster cultural engagement across the ten nations of Southeast Asia, to further enhance MACAN’s reputation, and to elevate the perception of Indonesian contemporary art to the rest of the world.

LUX: Fenessa, why was your father’s focus drawn to collecting contemporary art?

Fenessa Adikoesoemo: He started collecting in 1992 after he visited a collector friend’s house in Bali. He saw how art can transform a home and made it feel more alive, so he began exploring the idea of acquiring art for his own house. He started with a lot of impressionist art. Unfortunately, when the financial crisis hit in 1997, he had to sell his beloved art collection.
When he started collecting again in 2001, the prices of impressionist works had gone through the roof. That was when he was introduced to contemporary art, and he fell in love with it. He feels that contemporary art is more in touch with our current times—a reflection of the world we live in today, capturing the essence of modern issues, societal trends, and cultural shifts.
On a more personal level, art has had a profound impact on my father’s life. It has served as a source of inspiration, fostering his own creativity and providing a sense of calm amidst life’s challenges. Engaging with art has taught him to appreciate different perspectives and embrace the beauty of diversity. He strongly believes that by engaging with art in general, including contemporary art, we can better understand and navigate the complexities of our world.

LUX: How is MACAN rolling out art education to extend the country’s cultural ecosystem?

FA: When we established the museum in 2017, we knew that we wanted to share art and make it more accessible to the public. We also knew that we wanted to focus on art education, especially for the younger generation. Our programs are rolled out to leverage the transformative power of art. By engaging with art, we encourage critical thinking and reflection, nurturing a community that values creativity and embraces the richness of cultural diversity.
Museum MACAN’s art education initiatives are designed to cultivate a cultural ecosystem that encourages mutual respect, understanding, and appreciation. Through our programs, we aim to promote dialogue and introspection, creating a space where diverse perspectives are welcomed and celebrated.
With the help of technology, we have reached educators from all over the country, giving them the resources and tools to teach art to their students and ensuring our programs can be easily integrated into the national curriculum. At year end 2023, the museum team was working with 736 schools and 3,162 educators from 23 provinces across Indonesia, and our programs have been accessed by more than 272,000 children and students.

two woman

Fenessa Adikoesoemo is the chairwoman of the museum and Venus Lau is the director.

LUX: Please tell us how this integrates with the Children’s Art Space and why early years’ engagement with the arts is so important?

FA: Museum MACAN’s commitment to promoting dialogue, creativity, and diversity of thought extends to our youngest visitors through tailored programs and interactive experiences. These values are integrated into the Children’s Art Space. We create a nurturing environment where children are encouraged to express themselves freely and think creatively, interacting with art in a different way.
For example, for our upcoming exhibition, CARE by Patricia Piccinini, which will open in May, our education team has come up with ideas for the Children’s Art Space that reflect on Patricia Piccinini’s ideas about care as a natural instinct that transcends species. Incorporating role play and spatial exploration to explore different love languages and acts of kindness, the experience aims to encourage curiosity, kindness, responsibility and acceptance, with an emphasis on kinship and kindness as an important element of care that can be nurtured in every child.
Early exposure to art is essential because it lays the foundation for a lifetime appreciation of creativity and cultural understanding. Art serves as a tool for exploration and self-discovery, empowering children to develop their unique voices and accept different viewpoints and can help them cultivate essential skills such as critical thinking, problem-solving, and empathy. By engaging with diverse artistic expressions, children learn to appreciate the beauty of diversity and recognize the value of collaboration and cooperation.

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LUX: What is your wish for MACAN’s legacy for Indonesia?

FA: I hope Museum MACAN can serve as a timeless beacon of cultural enrichment and inspiration, leaving a profound and lasting impact for the next generations, inspiring them to embrace art and help build the country’s cultural vibrancy and identity for years to come. I envision a legacy where the museum becomes an integral part of Indonesian society and plays a pivotal role in shaping the country’s cultural landscape, where it serves as a hub for cultural exchange, innovation, and collaboration, contributing to the country’s artistic development and global recognition.

LUX: Venus, how does MACAN support the national cultural discourse and help to shape Indonesia’s relationship with the rest of the world?

FA: Venus Lau: Several key initiatives are at play. Museum MACAN provides public access to contemporary art, including artists never exhibited in the country. For example, we will open Care, the first major solo exhibition in Indonesia by Australian artist Patricia Piccinini this May. In addition, with a diverse range of exhibition programs by local and international artists, we are building a cultural dialogue between artists, providing perspectives for understanding contemporary art within Indonesia and positioning Indonesian artists within the global art scene.
Museum MACAN also contributes significantly to art education, the institution’s mission. Education is not a one-way track: we deliver art knowledge through the programs, and at the same time, we learn from our audience and collaborators, who share with us their precious points of view that allow us to rethink art’s role in societies outside the box of the art world.
The educational aspect is vital for nurturing talents and encouraging critical thinking. The museum also serves as a space for dialogues and discussions on contemporary art and broader cultural (and social-political) issues. We host talks, workshops, and events that unite artists, curators, scholars, and the public. These dialogues and exchanges of ideas are essential in fostering a deeper understanding of Indonesia’s cultural identity and its relationship with the global art world.

LUX: What is the vision for MACAN’s programming across exhibitions and cultural activations?

VL: We aim to showcase diverse contemporary art practices to reflect the richness of artistic expressions and cultural perspectives. This diversity (perhaps our Indonesian archipaelago of 17,000 islands may be a good metaphor) allows visitors to encounter a huge variety of artworks, from traditional to experimental, and local to global perspectives. The museum presents inclusivity and celebrates the diversity of voices within the art world by presenting such exhibitions. Additionally, cultural activations at Museum MACAN are designed to encourage dialogue and interaction, inviting visitors to engage with art in different ways or even dimensions; for example, along with our exhibition by Patricia Piccinini, we are presenting a multi-sensory project at our Children’s space (all age groups are welcome!) that adds multiple dimensions of sense to the context of the exhibition.

kid looking at art

Exhibition of Agus Suwage “The Theater of Me”

LUX: How are contemporary artists in Southeast Asia exploring issues that concern our future generations?

FL: I think I may speak from my personal experience instead of for all the artists in the region (or any region), as every artistic practice has its own individual epistemological and affective cosmos. From the dialogues I have had with the SE Asian artists, issues including Asian diaspora, archipelagic thinking, spectralities and technologies, ecologies, and non-binary thinking are terms brought up pretty often. There are also a lot of discussions on how globalisation, urbanisation, colonisation, and decolonisation reshape the ideas of modernity and traditions. There are also practices of artists in the region exploring the concepts of non-Western futurism and technology (and its mythologies), which are themes rethinking the ideas of temporality and futures.

Read more: Magnus Renfrew on Singapore’s Art SG Fair

LUX: How will MACAN continue facilitating cross-cultural dialogues through contemporary art across Asia?

VL: Through targeted exhibition and education programs that initiate multi-disciplinary diversities, we encourage collaborations and foster cultural exchange. We are constantly initiating educational programs—organising workshops, talks, and digital programs to engage with our audience, locally and internationally. Through these efforts, we aim to actively contribute to a more form of connectivity and culturally enriched contemporary art landscape across Asia.

kid making a drawing

Agus Suwage is one of Indonesia’s leading artists whose practice emerged in the lead up to the tumultuous social and political changes in Indonesia in the mid-1990s

LUX: Finally, what influence does Indonesia have at the regional level in enhancing the cultural emancipation of the Global South?

VL: Speaking from our museum’s perspective, through our initiatives at Museum MACAN, we embrace archipelagic thinking and engage with diverse interests among the new generations. The museum’s approach reflects Indonesia’s rich cultural diversity, serving as a model for celebrating traditions and fostering creative expression.
We’ve learned the importance of inclusivity and dialogue from the museum’s audience. By showcasing diverse contemporary art and facilitating cross-cultural conversations, the Museum could inspire similar regional initiatives. This approach empowers the Global South to assert its cultural narratives and perspectives on the global stage, contributing to a more equitable and enriched cultural landscape.

www.museummacan.org

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Reading time: 8 min
art that looks like eyes
art that looks like eyes

Iwan Lukminto at the Tumurun Museum in indonesia

Iwan Kurniawan Lukminto is VP of Sri-Tex, one of Indonesia’s original and fastest-growing textile manufacturers, which supplies product to garment factories across the world, manufactures uniforms for 33 nations’ armed forces, workwear for global corporates, and merchandise for a significant number of global fashion multiples. Lukminto speaks with LUX Leaders and Philanthropists Editor, Samantha Welsh, about art philanthropy and national identity in a post-colonial world.

 

LUX: You are a much-awarded textile entrepreneur, what do good governance and philanthropy share in common?

Iwan Kurniawan Lukminto: Well, the basics of any good organization, whether it is focused on society where philanthropy is key or on corporate shareholders where good governance is required, both need to promote accountability, transparency, and adhere to ethical conduct. Both aim to have positive impacts. At the end of the day, the basics are the same; the difference lies in the contexts and settings where they are focused.

LUX: What is it about art philanthropy that appealed, as opposed to other ways of giving back to communities?

IKL: Art has always been my passion. In art philanthropy, we focus on the arts, starting with Indonesia’s art scene, which I feel is still lacking support from both the government and the private sector, despite its good potential and quality. Indonesia, with its unique historical background and multicultural diversity, has much to offer, yet it remains under the radar of the international art scene. Thus, I aim to preserve and promote it, hence the birth of the Tumurun Museum.

Art philanthropy interests me particularly because it is enriched with human experience. It tells stories about the past, the present, and the vision of the future in creative, thought-provoking ways. In art, we catalyze the essence of knowledge, looking beyond science, mathematics, politics, etc., and translating it in the most aesthetic way. For example, consider how Alicia Kwade talks about mass and physics by placing a globe on a plastic chair.

In short, art intrigues and excites me, making me see outside and beyond the box. Thus, I want more people to have the same experiences.

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LUX: What was the founding vision for Tumurun Museum?

IKL: Tumurun aspires to be a flag bearer for Modern and Contemporary Indonesian art while remaining inclusive and receptive to global artists who dialogue, engage, and enrich its core collection.

LUX: How are audiences responding to its outreach programs?

IKL: The city of Solo is one of the art centers in Indonesia, focusing on performance art, while Yogjakarta city (around 100km away) is another art center in Central Java. The absence of an art museum in the region enhances our visibility and perception among our audience.

a man and a woman standing next to each other

Iwan Lukminto founded the Tumurun Museum, Surakarta, in 2018 to house the extensive collection of modern and contemporary art amassed by the Lukminto family.

LUX: What was the art landscape when the so-called East Indies was a colony of the Dutch?

IKL: There are broadly two categories of audiences: the art community and those outside of the community. For those from the community, it is again subdivided into a few groupings: for those who are from the home community, such efforts are very much appreciated as curated narrations are not common in the scene, and any such effort would spark conversations for new findings and alternative perspectives, which is always positive. For those from the outside, outreach programs allow them a chance to come close to art that is not part of their daily life. Their appreciation might not be within the art historical context, but the joy and, more importantly, the curiosity of looking at something new, something beautiful, or even something strange are real.

LUX: How are artists developing new narratives from exotic ‘Utopia’?

IKL: During the 18th to 19th century, these Western artists were amazed by Indonesia’s tropical land and began recording all they saw and experienced with drawings and paintings. Then, Indonesian artists were directly taught by Western artists on how to draw and paint, strictly following the rules of Dutch School teaching with Romanticism style of portraiture or landscapes. This teaching persisted for generations until the 1930s, when the revolutionary era emerged, and artists began to oppose this approach to art-making.

Indonesia is not solely about beautiful landscapes and pretty people; we also face social issues such as poverty, discrimination, and genocide. Therefore, this group of artists shifted to freeform expression and discovered the true “Indonesian” identity in their paintings.

LUX: Is this shaping a new identity for the nation?

IKL: Indonesian modernist artists began to embrace nationalist “characters and elements” in their works, which was a direct critique of the colonial painters who, according to the modernists, were not depicting the real Indonesia. I don’t believe any art movement alone can shape a new identity for a nation. However, art always reflects the spirit of the time. After the WWII, with pro-independence movements rising all over Southeast Asia, the art of that era also reflected a desire for independence, respect for indigenous cultures and art, and the aspiration to be authentic Indonesians. This sentiment is not only evident in visual art but also in literature, music, films, and other forms of expression.

Read more: Hansjörg Wyss on his pioneering work in conservation

LUX: Can this benefit Indonesia’s international relations?

IKL: Yes. For centuries, art has been a tool for international relationships. Art speaks a language so gentle that many willingly listen, yet so powerful that it can incite nations to rebel. Regarding Indonesian art, it initially served as a promotional tool where the Dutch showcased the beautiful landscapes and cultures of Western Indonesia.

If this is referring to Tumurun, then I believe that as a private museum whose core collection aims to showcase a narrative of modern and contemporary Indonesian art within a local/Asian context and aspires to expand the dialogue to a global context, it would always be useful for the purpose of education, dialogue, and exchange. This contributes to a greater understanding and appreciation, which are the foundations of all foreign relations, between countries and, more importantly, between cultures.

LUX: What do you hope your legacy will be?

IKL: Tumurun originates from the Javanese phrase ‘turun temurun,’ which literally translates as “passing on from generation to generation,” standing at the heart of the founding principle of the museum. Committed to education, Tumurun collects, preserves, and interprets modern and contemporary art, and explores ideas across cultures and regions through curatorial and outreach initiatives. We hope that by standing proudly with our vision and mission, the collection could inspire more generations to come.

Tumurunmuseum.org

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Reading time: 5 min
Panel discussion held by YPO with speakers sitting on stage
Panel discussion held by YPO with speakers sitting on stage

One of the panel discussions at the YPO Edge global leadership conference in Singapore in 2018, an annual event that brings together nearly 3,000 business leaders

The YPO may just be the most influential organisation in the world that most people haven’t heard of. An association of major business owners and chief executives spanning Asia, the US, Europe, Africa, South America, Australasia and the former Soviet Union, it is part high-end networking forum, part extended family. It is notoriously difficult to join, and those who are in say its discussion groups, events and networks have transformed their business and, sometimes, their personal lives. LUX Editor-in-Chief Darius Sanai hears some insights from YPO members in Asia

Portrait of Joelle Goudsmit, CEO of Dimension-all Group, Philippines

Joelle Goudsmit

Joelle Goudsmit, CEO of Dimension-all Group, Philippines

YPO member since June 2012

LUX: How did you first come across the YPO in the context of your business?
Joelle Goudsmit: I took over the family company when I was 24, because my mother passed away quite suddenly. I had a liberal arts degree that I enjoyed but it did not really prepare me for working in construction and scaffolding, the family business in the Philippines. A degree in economics and Japanese literature does not prepare you for negotiating with contractors.

I was talking to someone in Hong Kong, who asked whether I’ve ever heard of this group called YPO and said that I really should join. I was a bit suspicious, as she was a random
person in my yoga class, so I answered that I was a bit overwhelmed just then and that I didn’t have room for anything else. Then YPO came up in a business context with several other people across Asia. So, I joined when I was 30, when there was critical mass with lots of people who were around my age, and it was wonderful.

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Leading a company is really quite lonely. You don’t necessarily have peers at work, you have colleagues who work for you. That’s a very different dynamic. When you work in a family business, there can be complications because the work tends to come home and your family then becomes stakeholders first, not necessarily family.

Your YPO forum does not have a vested interest in your business, they just listen, they are peers, and tend to be willing to share. Looking across the organisation, the common denominator is that the people come in with a willingness and a desire to constantly learn throughout their lives. I personally think that it doesn’t matter how challenging work gets, there is a point at which one gets a little stupid doing the same thing over and over. It’s much better t go to a YPO event to unplug, get inspired, and get new energy in order to bring that drive and inspiration back to work, and to maybe look at problems in a different way.

LUX: When you joined, did being a member help your business in specific ways?
Joelle Goudsmit: Yes, I have a number of examples of where I received unbelievable business support. When I purchased my first company, I was trying to find out about the business as quickly as possible. I decided I’d be doing business development straight away, not to be the CEO, just to go out, meet with potential clients and see whether the business was truly viable.

YPO has chapters and networks. The networks deal with your current interests , whether they be business or personal/social. I joined the deal network, I was quite active with them, and they organised these sessions around the world where you went in and met with a group. You were open about what your company needed at this point and whoever was in the room would volunteer leads for you or they could suggest someone they know or a chapter mate or someone in your realm. I remember I was in Dubai at that point and was looking for potential strategic partners. I put my need out to the table and really wasn’t expecting anything. Someone at the table goes, “come speak to me at work tomorrow”. They became my first client I acquired on my own for the company, and it was a wonderful “Phew! This company is viable” moment. It gave me a lot of confidence and hope for that company. That came out of YPO and has repeated a lot of times ever since.

I recently had breakfast yesterday with someone I met through YPO. Previously, he had a work colleague he had sent to the Philippines who needed emergency medical care. He didn’t know what to do, so he had sent a message out to the network. We responded and we were able to make a phone call to someone who owned a hospital close to where the man was, and was able to get him the right care.

So, at breakfast recently, he mentioned he was going to Kazakhstan, and I mentioned I’d like to explore potential business opportunities in Kazakhstan. So, he is phoning people to make introductions. You never know where these will lead, but it saves you having to go into a country that is very foreign, where you don’t know anyone. It’s a huge deal.

Audience at a YPO conference

Delegates at the YPO Edge conference in Singapore, 2018

Portrait of Asian businesswoman Jennifer Liu

Jennifer Liu

Jennifer Liu, Hong Kong-based owner of The Coffee Academics and founder of HABITŪ, Asia

YPO member since May 2017

LUX: Why did you join the YPO?
Jennifer Liu: When your entrepreneurial businesses reach a certain international scale, the YPO makes great sense, in terms of forming an alliance with other business friends and understanding the business environment.

I have not been a member for long, and I am getting active; for example, there is a very interesting event where YPO members in Hong Kong and the region visit the Greater Bay Area of China [the region connecting Hong Kong with mainland cities such as Shenzhen and Guangzhou]. YPO has a very selective process for its members. The calibre and the sophisticated mindsets of the people set it apart. I believe there are fewer than 100 members in Hong Kong. I went through three interviews.

LUX: What kind of questions were you asked?
Jennifer Liu: They want to know if you really are the person who makes all the important decisions in your company. Whether you’re an entrepreneur or a top manager. And whether or not you can impact your company and the city or the world, one way or another both in the business world or the charities space.

Read more: Tips for a successful application to one of London’s most exclusive members’ clubs

LUX: You have been a member for less than two years ; how has it been?
Jennifer Liu: I love it. There are the very senior members who have seen it, done it, and they have all the words of wisdom. They have so much to share and for us, coming into this point in time where you’re no longer a young business person and you’re quite big, but you still have a lot to work on and to learn about, YPO has that resource of some of the best talents in town and also in the region or in the world, to openly and safely provide suggestions or networks. So, I think, in a way, when we come out and we say we are YPOers, it immediately means a certain standard, in terms of trust, respect and confidentiality. And in YPO, there is no specific hierarchy. Everyone is equal, and we all share . When it comes to confidentiality, it very clear what is level one, what is level two, and you feel very comfortable to share things you can’t even share with your family or your spouse or your co-workers.

LUX: In what way is it useful for your business?
Jennifer Liu: It’s very useful for me as person to have a safe environment to open up and to know people and to know what’s going on in Hong Kong or elsewhere in the world. It has a well-built system where we are not soliciting business between each other, but it’s a platform where we share useful and trusted information, both for business and personal matters.

Portrait of Matthew Boylan CEO of matador singapore

Mathew Boylan

Matthew Boylan, President and CEO of Matador Systems, Singapore

YPO member since October 2010

LUX: How has YPO helped your business?
Matthew Boylan: YPO has done two incredible things . Number one, it is an amazing security blanket because for a company like mine the only way that we can survive is to be able to support clients in more than one location. Our clients need to work with one supplier for their entire IT support strategy whether that is in Singapore, Vietnam, Australia, Korea or Japan. That means we need to have operations in all of those countries, meaning we have to incorporate a legal entity in those countries, meaning we have to navigate the rules and regulations that apply to employing permanent staff in those countries.

Before I joined YPO, one of the experiences that we had when we wanted to set up an office and incorporate a legal entity in China, we started talking to corporate consultants in Singapore who provided that service. The frustrating thing was that we would receive a quote from one corporate consultant for US$30,000 to incorporate in Shanghai, we would receive another quote for US$300,000 for exactly the same service. You are going into a market that you don’t have much knowledge about or experience in, you have to put a certain amount of trust in third party suppliers, but it is very difficult if you have not been recommended to those third-party suppliers, you have to do your own diligence, your own research.

You completely bypass the entire process by being a YPO member. All you need to do is pick up the phone or send an email, in this case it was to a YPO member who is based in Shanghai, and ask, “Can you please provide me with a recommendation to a corporate consultant who you have done business with, who you can trust, who you know will be able to support our needs in Shanghai?”. You know straight away that you can trust whoever they recommend. No matter where you are doing business you know that through the YPO network you can receive trustworthy and credible recommendations to third parties you need to rely on.

Read more: Inside Bangladesh’s Rohingya refugee camps

Number two – and this is so important in today’s business world – YPO allows you to conduct business at hyper speed.

I have been able to leverage off Matador’s expertise and infrastructure and resources to incubate and accelerate a lot of other different businesses. So, if you are looking for a manufacturing partner in a certain market, you’re looking for a distribution partner in a certain market, again you can leverage off the YPO network to actually source those.

One of my new businesses for 2018 was releasing a new product into the Japan market, we needed to source a manufacturer either in China or Vietnam, and through the YPO network I was able to source potential manufacturing partners within 24 to 48 hours. The two business partners who I am working with are based in Tokyo, who are not in the YPO, they have been struggling with this for twelve months with no progress, and they just said, “Matt, how did you do this?” I said it was through YPO and they were fascinated. Basically, within a 48-hour period I was able to source a manufacturer in Vietnam and also a manufacturer in China and in both cases, they were recommendations from YPO members in those respected countries. So, you can really work at speed, which is critical.

A speaker standing on stage in front of a large audience

A speaker at the YPO Edge conference in Singapore, 2018

Portrait of Asian business woman Noni Purnamo

Noni Purnomo

Noni Purnamo, President Director of Blue Bird Group Holding, Indonesia

YPO member since November 2003

LUX: You were one of the first female YPO members in your region.
Noni Purnamo: Yes, I was first introduced to YPO about 15 years ago by a good friend who is a very successful businesswoman, Shinta Kamdani. When I joined there about only like three female members in Indonesia, including her and myself.

LUX: How has the YPO helped you?
Noni Purnamo: YPO has help me grow all sides of my life. I went through the ups and downs of various challenges. When I was in my mid thirties I was faced with this challenge of how do you balance being a mother and being a business person at the same time. It was the busiest time of my business life, when you have the most energy and so many things to do, you have so many things to handle and yet you have to handle young children because that’s normally what happens when you’re in your early thirties . So, during those times I was really relying on the YPO network, YPO experiences and YPO learnings. I have really relied on the forum [where up to ten members get together and talk confidentially], I have been in the same forum for the almost 15 years now, and they know more about me than I do myself! They have been through all the ups and downs of my life and the good thing about sharing this in a forum is because of the forum’s rules – it’s strictly confidential and there is no judgement, you can only share.

That structure really helped. At one point I faced what was almost a depression, and I went to the YPO Life, which is a five- day course for members in Mumbai, and doing it I learned a lot about myself. It saved me from that depression.

I then initiated the mother/daughter retreat in Indonesia. YPO is one of the organisations where you can get help in all aspects of your life. Some organisations are purely commercial, some organisation are purely networking, with this you can have a family, you can grow with it. That’s what I have gained from YPO.

Portrait of CEO ASIA BUCCELLATI business man Dimitri Goutenmacher

Dimitri Goutenmacher

Dimitri Gouten, CEO Asia, Buccellati

YPO member since 2012

LUX: Why did you join the YPO?
Dimitri Gouten: In my previous company [the luxury goods conglomerate Richemont], we were doing an entrepreneurship award with a similar organisation. Some members went on to join the YPO and they recommended it. For many reasons. The first reason being the networking; with the YPO you are not seven degrees of important people, you are one or two degrees because you can really access entrepreneurs, bankers, investors, in a very quick manner. And then once you join, you have a lot of expertise available to you, and there are events where there are presentations on different subjects, so it’s like a university . You can be talking about the US economy one afternoon, then the singularity another afternoon, and AI. There are many subjects that are discussed at a high level and that are very interesting for all the members.

There are also events related to family, also events with children, because the whole point is about learning something – so you can learn something with your children, or you can learn something with your spouse, there are different kinds of events that are organised to promote business, family and personal life. That’s the holistic approach that it offers.

Read more: Rosewood’s flagship hotel opens in Hong Kong

It’s a later stage the YPO forum comes, which is when you have this group of people that we gather every month to talk about personal, business and family subjects which are shared in an environment that’s 100% confidential, where you have trust with the different people. And the idea is really for everyone to really express themselves, share their emotions, share their values, and you know, tell you stories, memories that happened to them in a similar case to what’s happening to you or friends of theirs.

The idea is never to judge you, never to give you advice, but to just give you some relevant information that they see could help you make your own decisions. So, it’s not about “Oh you should do this, you should do that”, it’s really an open forum, where everybody can share and everybody can take the most out of what they want. It’s never about “Oh, I have this problem, what are the solutions?”, it’s “I have this problem, I’m going to do a small presentation to my forum mates, my forum brothers, and we will see and they all share”.

One of them can be in a family business, one of them can be an architect, one of them can be in the printing business, or finance.

LUX: It sounds like the forum is something that doesn’t really exist elsewhere?
Dimitri Gouten: Yes, and it’s true that you don’t really find it outside this forum because it’s ruled by confidentiality and trust, and the other aspect is the quality of the people, because the people who are also recruited join the YPO because of certain criteria that are fixed by the YPO itself.

LUX: And you found it useful in terms of business and personal support?
Dimitri Gouten: Very useful. As well as the forum, you also have all the rest of the YPO network, that you can also contact for certain things. For example, I can ask if there is anybody who has experience in importing jewellery into China? You will find somebody, and then you will have some sharing of information if the person wants . That’s the whole idea of the organisation, that you share with others and you benefit from that.

For example, a few years ago, we went to Taiwan with a member of my forum and we met other, different companies that belong to YPO and studied their business models . So, you mix that with excellent food on the trip, and it’s a very interesting experience. We also went to Japan at one time where we saw a company making electric cars. In Asia the YPO is very powerful, you can quickly touch some entrepreneurs, and most of the time we share because we know what YPO is and we are willing to share.

LUX: Is there a mechanism by which contact happens?
Dimitri Gouten: Yes, there is a website where you have access to all the members worldwide. It doesn’t accept solicitation, so it means a member can’t call me and say, “Do you want to buy this?” But they can send me a message and say “I’m in this type of business and I’m in Hong Kong next week, could we meet for a drink?” And you trust them, you know that they are in the same organisation and they also follow the same standards.

For more information visit: ypo.org

 

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Reading time: 16 min
large gorilla sits at edge of river looking into the distance surrounded by lush jungle
large gorilla sits at edge of river looking into the distance surrounded by lush jungle

Gabon is one of the few countries on this planet that is still relatively untouched by tourism, says Geoffrey Kent, it’s also where you can find mountain gorillas

In his latest column, Abercrombie & Kent Founder Geoffrey Kent considers the difficulties of discovering new destinations and crossing frontiers – from space travel to Gabon’s national reserves

In the noughties, I decided that having explored every continent in the world, I would set myself a new challenge: to add space travel to the range of tours offered by my company. Space is the ultimate unexplored destination.

Follow LUX on Instagram: the.official.lux.magazine

In South Africa, at a place called Thunder City – at the time, the site in Cape Town for ex-military jet flights – I boarded an English Electric Lightning plane, captained by a pilot named David Stock. We took off and went from zero to 40,000ft in one minute. We levelled out at 65,000ft and accelerated to full speed (Mach 2.2) whilst looking at the purple curvature of the earth. After I landed back on earth having taken on 5.5 GS, with my feet firmly back on the ground, I called the head scientist and engineer on my A&K Space team and asked about the chances of accidents occurring during space travel. He replied: “There’s a 100 percent chance we will have an accident”. I quickly took stock and decided to cancel the whole thing. It was too risky.

Omo valley tribesmen dressed in bright blue cloth holding wooden sticks and standing against a red mud wall

Suri tribesmen waiting for a stick fight (donga) to commence in the village of Kibbish in the North Western Omo valley, Ethiopia. Image by Trevor Cole.

It was one of my most audacious exploits, but a good entrepreneur knows to pull the plug when all the odds are against you. I may be a risk-taker in my personal life but when it comes to travel and my clients, safety is paramount. When some holidays have been dismissed by A&K staff as unfeasible, I have undertaken them myself to ensure they can be offered safely to travellers. This has involved travelling from the source of the Upper Amazon in Peru to where it enters the Atlantic Ocean – a hairy experience with a swift current and moving sandbanks – and cruising to the North Pole.

Colourful skyline of Tbilisi in Geogia

The colourful skyline of Tbilisi and Narikala Castle, Tbilisi, Georgia

It’s true that the world is well-travelled, but there are still unexplored spots. The limitation is that in these places there is no hospitality infrastructure, and few have a desire to really rough it like explorers of old. I launched my eponymous Inspiring Expeditions with Geoffrey Kent based on the question: why not take people to spots of immense beauty and interest, but where others rarely venture? I lead every expedition and if required, we bring in everything required: beds, Michelin-starred chefs, specialist guides, and even espresso machines.

Read more: Co-founder & CEO of Spring Francesco Costa on creative co-working

I’ll be at the South Pole with my guests this December. Next year on various voyages, we’ll travel by private jet to lesser-visited places like Georgia – that great cultural crossroads; Kamchatka, Russia’s last wilderness; the Omo Valley and the Danakil Depression in Ethiopia; and West Papua in Indonesia.

barren lake landscape of the Danakil depression in Ethiopia

Ethiopia’s Danakil Depression has one of the most extreme climates found on Earth

These Inspiring Expeditions are all about where I haven’t been. I’m mildly obsessed with an app called Been, in which I list all the countries to which I have travelled – around 140, which equates to 70 per cent. In a decade, I want that figure to be at 100 per cent.

One country to which I’d never been before but had the privilege to travel to recently is Gabon. An impressive 11 per cent of this unexplored part of Africa is designated as national reserves and, in this parkland, mountain gorillas can be found. From a luxury executive Puma Helicopter, I cruised the coast and flew over forests, the sand cliffs and Kongou and Djidji Falls. I fell in love with Loango National Park where I spotted elephant, hippos and buffaloes. One group of elephant were swimming off the beach with their trunks raised out of the water like snorkels. Tourism is still a fledgling industry in Gabon, but I predict it will take off in a big way and very soon, and I hope A&K can be at the forefront of that.

Find out more about Abercrombie & Kent’s ‘Inspiring Expeditions with Geoffrey Kent’: abercrombiekent.com/small-group-journeys/inspiring-expeditions-by-geoffrey-kent

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Reading time: 3 min

bali-5 Where is the best place to combine a proper luxury holiday, ancient, unknown temples and one of the most unique dining experiences? Bali resident MARY JUSTICE THOMASSON would tell you it’s right at her doorstep. Naysayers that say the ol’Bali charm has left the island are, quite frankly, full of it. As a 10-year resident of Bali, I can testify Bali’s never been better. Our culture remains beautifully intact and the Balinese thrive in the luxury of knowing that they are living in a form or paradise where, if they play their cards right, balancing good with evil in their Hindu ceremonies (translate, parties), things generally work out.

Sashaying palms, stunning girls and smiling, happy people abound and while pretikins line the beaches, in the distance are verdant mountains of terraced rice fields and varied volcanic landscapes that dot the island, lending well to multitudes of choices for surf and turf activities.

Bali continues to win travel awards like ‘world’s best island destination’ and ‘best island getaway’ and when you consider that 20 years ago the options for food were nasi goreng or nasi campur (noodles or rice with a little meat and veg thrown in), it’s nice to know that our international restaurants, including top new players like Bambu, now compete on the stage for culinary excellence. It’s true the south of Seminyak is teaming with faddish bars, boutiques, night clubs and parties that pop all day and night so if you want to see more of the ‘ye olde’ Bali, put those pretty little pedicures to the metal and explore. In the main areas of town there are several new delights that await you but many an enlightened visitor will head for the hills of Ubud and the coasts of the North to further explore the island. bali-1 A good start is in the northwest where English-born, Cordon Bleu chef and interior designer Diana Von Cranach cranks it up a notch or two at our perennial favorite resort, Puri Ganesha. Here, Diana has opened what must be one of the smallest and most unique restaurants on the island. Liperu (which in Bali slang literally means ‘where the hell is Peru?’) seats only 10 and has a small daily menu that tantalises diners with amazing combinations of Balinese-cum-Peruvian flavours, using purely local ingredients served on small bamboo baskets that reflect the seasons. True to her favourite vegan words, it’s all “rawfully good”.

Heading for the hills of Ubud, Von Cranach also teamed up with a friend and colleague, Dutch-born Anneke Van Waisberghe, whose colonial tents à la ‘Out of Africa’ overlook the river south of Ubud and where you can dine on the edge of the world. This is a romantic and ideal setting for Diana to showcase her culinary skills and reach a larger audience, far from her tiny laid-back luxury up north. They call it Dining Within Tent and it is splendidly theatrical with a natural grandeur that sets the tone for the evening. Here, the noises of the rainforest co-exist happily with the sentimental sounds of Waisberghe’s collection of prewar songs played on an old record player that wafts out into the night, mixing with the cackles of the guests’ laughter and the katydids outside.

The lucky night I went, the dinner party theme was the ‘Happy Valley Set’, aka ‘White Mischief’, a largely hedonistic British and Irish group of aristocrats and adventurers who settled in Kenya between the 1920- 40s. My character given in advance was party girl and socialite Lady Idina Sackville and my date was given the title Josslyn Hay, 22nd Earl of Erroll. Hedonistic and hilarious it was indeed, and our linens and silks from the evening had to be sent out for cleaning post haste in the morning. This evening should be pre-booked before your arrival and it will go down in the memoirs as memorable. We certainly enjoyed ourselves, from what we can remember.

And why not continue the theme of tented extravagance and check out Glamping Sandat where two stylish Italians have created glamping tents on the outskirts of Ubud. Our tent was complete with our own infinity pool perched on the forest edge and a private deck for sunbathing ‘au naturel’ in total privacy – perfect for those keen to reconnect with nature while not necessarily chipping a nail. We enjoyed our chandelier-lit tent and all the mod-cons which we didn’t end up using as the open air was far more refreshing. There are five tents and two traditional Balinese Lumbung villas laid out like a rabbit’s warren, with plenty of room for roaming. It has perhaps one of the prettiest gardens I’ve seen in Bali – more English in style than Balinese – with a wonderful assortment of flora and fauna that had been carefully thought out while remaining charmingly chaotic.

Bali continues to surprise me and I recently toured the ‘7 Temples of Enlightenment’ with the charming Professor and Curator of The Sukarno Centre, Enong Ismail, who has partnered up with one of the most exclusive and professional tour organisations on the island, My Private Concierge. To say we were gobsmacked is a gross under exaggeration. On this tour we visited seven world heritage temples and monuments that have recently received their UNESCO certification and for the first time, fully understood the origins of Balinese Hindu religion ‘Hindu Darma’. Our journey took us through the temples as we traced the evolution of this fascinating culture. Many of the temples and meditation places we visited are not even known to locals, let alone visitors and it was a rare opportunity to be one of the first visitors to these sites which are all part of the Pakerisan world heritage listed area. bali-2 bali-4 bali-3   Our day began with tea and smart talk with Pak Ismail at his charming home amongst rice fields on a ridge just off the sacred river of Pakerisan. Pak Ismail’s passion is infectious and he has been documenting Balinese culture since 1979. He sees his rare tours as a way to give back to the society he loves and to share his wealth of information. Most of the temples have been untouched other than the weather playing a role in their appearance. After a few sights, a lovely picnic lunch was laid out in the fields, and just when I thought I couldn’t be more blown away, we went into a 10th century meditation temple that is carved into the side of a stone hill and hidden amongst the rainforest. I wondered whether Indiana Jones might make a quick appearance just to add to the unreality of it all. While there, we were met by a local priest who conducted a blessing for us, wishing us well on our onward journeys in life. His appearance, as Pak Ismail wisely told us, belied his Balinese heritage as there was a distinct Indian flair to his features. Our priest was a sixth generation priest, and indeed I felt blessed. The day finished in a large temple that, in the 12th century, leaders of the Buddhist, Hindu Shiva and ‘respect your ancestor’ religions met and agreed to create one religion for all Hindu Darma, or Balinese Hindu, as it is known today.

Bali continues to be blessed with hidden treasures that can be explored for generations to come and that is what makes this island, in my opinion, one of the best destinations in the world.

puriganesha.com; glampingsandat.com; privateconciergebali.com

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Reading time: 6 min
Nautical Celebrations on Aqua Voyage

Sunseeker – The craft has a capacity of up to 14 cruising guests and comes with three en-suite cabins

Have your private, personal boat party — without having to fuss over the small things. ANDREA SEIFERT shows how

There is something about a sea voyage that lends itself to a celebration. Cruising the water on a luxury yacht is a true escape, and a welcome hiatus from the drudgery of everyday life on land.

So what better way to celebrate my husband’s impending 40th than with an intimate gathering of close family and friends on the water? The occasion needed to be marked with a show-stopping celebratory event, and a tailor-made journey on the sea with luxury yacht charterers Aqua Voyage seemed the perfect solution. With a myriad of options and destinations available, an overnight stay was eschewed in favour of a day trip on a sleek Sunseeker to Riau island in Indonesia. This would allow a full day of Saturday fun without cutting into busy schedules for an entire weekend.

Being a devoted epicurean, the adventure began with the most important aspect of the party – the menu. A consultation with the Aqua Voyage Executive Chef revealed that the culinary aspect of the event could be entirely tailored to personal preference; whether it be full onboard catering by a specific restaurant, or a bespoke menu prepared by Executive Chef Stacey Teo. As this was a day to spoil my better half, we devised a menu with a mixture of his favourite dishes from all around town and a few new surprises thrown in by Chef Stacey.

Wild Diver Scallops

Wild Diver Scallops with Orange Jam, Almonds

We set sail for Riau Island early in the morning, slightly bleary-eyed. Butlers were on hand to serve up decadent, buttery pain au chocolate and croissants from the Joel Robuchon bakery, freshly squeezed grapefruit juice and espressos. Departing from Singapore, the scene was set with a pre-programmed iPod on the stereo system playing soft bossa nova tunes, and mimosas swiftly followed the coffees to get the party going.

The cerulean waters and white sands of Riau island beckoned, and a lazy morning of swimming in the sunshine soon came to an end as the boat docked a lazy dozen or so meters from the beach, just in time for a luxe picnic lunch. There’s nothing better than an assortment of zesty salads in the tropics, and we started with a salad of handpicked crab, avocado, citrus fruits and toasted sunflower seeds from the newly opened restaurant, The Black Swan. This was accompanied by Chef Stacey’s Wild Diver Scallops with Orange Jam, Almonds and Micro-Cress Salad with Egg Dressing. Creamy, indulgent burrata and vine ripened tomatoes followed alongside home-made duck rillete and crusty baguette. The grand finale was my very own famously gooey brownies.

Nothing defines a tropical getaway like a pampering spa treatment. This was a day for sybarite excesses and pleasure, so two therapists from our favourite spa in town were recruited to come onboard and pamper us with aromatherapy oil massages and foot reflexology to ease any work week tensions. A few guests then retreated to the luxurious mastersuite complete with fine Egyptian cotton linen and fluffy duvets for a heavenly post treatment snooze. Given my husband’s provenance, Afternoon Tea at Sea was a given and served in delicate bone china cups with a selection of refreshing herbal Gryphon iced and hot tea, scones with jam and clotted cream, and an assortment of Indonesian tidbits as a tribute to the location.

Dock at the Marina

Dock at the Marina – Ready to set sail for a day out on the seas

Expertly timed fireworks alongside the brilliant scarlet sunset brought the day to a dramatic and triumphant close. Our favourite mixologist from a premium cocktail bar in Singapore had been drafted as a surprise to prepare hubby’s signature drink and arrived onboard to act as our very own flair bartender, dazzling us of gravity defying bottle juggling and glass pouring set to music. The final culmination of the perfect day was a round of our Aqua Voyage cocktails to toast the birthday boy with, and a unanimous group decision, to celebrate many more birthdays on sea.

aquavoyage.com

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Reading time: 3 min

Indonesian art is hot at the moment as collectors worldwide discover its variety, spirituality and depth. Arianne Levene, a leading global curator of Asian art, presents her four favourite Indonesian artists.

Agus Suwage

Agus Suwage

Agus Suwage

Agus Suwage is one of Indonesia’s most influential artists. I first came across his work in 2008 at the Shanghai Art Fair where he presented an impressive installation of 50 watercolour depictions of major 20th century artists. This particular work, portraits of our most controversial and challenging conceptual and performance artists, excited me not just for the artist’s exceptional drawing skills, but for his almost encyclopedic knowledge of and interest in art history. The work is a homage to those who have most informed Suwage’s practice (Marcel Duchamp, Nan Goldin, Sarah Lucas); its quotations of iconic and transgressive poses create a tissue of visual rhythms, presenting the body as a site of influence.

Eko Nugroho

Eko Nugroho

Eko Nugroho

Eko Nugroho is a key figure in the contemporary Indonesian art scene. His unique visceral visual language, which borrows from comic books, a combination of traditional Indonesian folk art, western painting and urban art, allows him to communicate serious political messages to both his contemporaries and to the younger generation. The hybrid characters in his art populate a mysterious universe, one which is disconnected to the rapidly changing nature of the world, dominated by social and political injustices around us. Nogroho’s multidisciplinary approach, which includes murals, paintings, sculptures, drawings and embroidery, add to his universal appeal whilst highlighting his creative talent.

Ariadhitya Pramuhendra

Ariadhitya Pramuhendra

Ariadhitya Pramuhendra

Ariadhitya Pramuhendra is rapidly making a name for himself as an artist to watch in Indonesia. His large-scale black and white charcoal portraits capture the viewer with their striking beauty and powerful spiritual undertone. As a Catholic in a predominantly Muslim country, Pramuhendra is continuously driven to question his own identity. I am particularly fascinated by his daring decision to revisit figurative painting, reviving the tradition of western selfportraiture as well as Christian iconography by repeatedly depicting himself in a position of authority. His most recent works search for the truth and divine in man by raising thought provoking questions regarding the legitimacy of universally accepted organisations, such as established ‘state’ religions and medical institutions.

Nyoman Masriadi

Nyoman Masriadi

I Nyoman Masriadi

Arguably the most well-known of the contemporary artists working in Indonesia today, Nymon Masriardi’s razor sharp observations of Indonesia’s male dominated society and, more precisely, its art world, are both highly entertaining and superbly executed. Superhero’s, boxers, footballers, athletes and men at work are characters that appear again and again in the artist’s theatre of the absurd and serve as both his alter ego and his contemporaries. Whilst his style has evolved tremendously in the last ten years from a more cubist inspired caricatural figuration to a comical realism, there remains a definite artistic stamp thanks to his signature black skinned figures.

Arianne Levene, Founder of New Art World. newartworld.co.uk

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Reading time: 2 min