Face Phantasmagoria

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Erik

Pauh

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Foreword from the gallery

Happy Niu Year �009!

I like Erik’s works.

Why? To me, his works represent the duality in every human being; good and bad, the ego and the true self, past and future…it can be disturbing yet truthful. It is through diminishing the ego that a human can find the true self and be at peace. In his �nd solo exhibition here, he communicates with us through three carefully chosen media that he feels best represent his message.

And as I get to know him, his ideas, his goals, his passion in art and how he is willing to work hard to achieve his dreams, I’d have to say that Indonesia’s next generation of artists has just found its locomotive.

Talent meets hard working will bring fame and success.

Art lovers, enjoy Erik’s arts !

viviyipartroom

Pejaten, Jakarta �1.0�.09

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Face Phantasmagoriaoleh Asmudjo J. Irianto

“The grand debate of art in our time has not been the debate between figuration and abstraction, it has been the debate between the representation of the face and its impossibility.” 1

Mudah dijejaki bahwa citraan wajah dalam lukisan Erik Pauhrizi diambil dari foto. Demikian pula, patut diduga bahwa citraan foto tersebut diolah lebih lanjut menggunakan software komputer agar bagian-bagian tertentu menjadi baur dan samar. Pada ahirnya, citraan olahan tersebut yang kemudian menjadi acuan lukisan-lukisan yang dibuat oleh Pauh. Hasilnya cukup dramatis. Dengan nuansa warna hitam putih, dengan warna gelap yang dominan dan figur yang samar, lukisan-lukisan Pauh tampak misterius dan menghipnotis. Kendati sebagian besar lukisan yang ditampilkan oleh Pauh adalah lukisan sosok, tetapi yang paling menonjol dan penting adalah bagian wajah. Penggambaran wajah kembali popular belakangan ini, setelah sebelumnya sempat tenggelam di bawah bayang-bayang popularitas penggambaran tubuh, seperti diutarakan oleh William A. Ewing,

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“In the last decade of the twentieth century the body was a dominant theme in photography. And no wonder. Bodies were beginning to be seriously reconfigured and reconstituted by scientist and engineers.” �

Memang wajah tak dapat dipisahkan dari tubuh—dan sebaliknya. Tetapi jika penggambaran tubuh muncul bersama dengan wajah, maka wajah akan menjadi bagian yang lebih utama dan menarik perhatian pemirsa. Seperti jika kita berhadapan dengan orang lain, maka pusat perhatian dan komunikasi kita arahkan pada bagian wajah. Kadang tubuh pun diwakili oleh wajah. Hal itu misalnya dapat dilihat dari karya Barbara Kruger yang berjudul Untitle (Your body is a battleground. Dalam karya tersebut wajah seorang wanita muncul bersama teks Your body is a battleground. Bisa dikatakan wajah dalam karya kruger tersebut mewakili pula persoalan “tubuh” wanita.

Jika pada karya-karya Pauh sebelumnya terlihat sebagian wajah terhapus atau kadang tampak dalam proses “ditarik” sehingga memiuh, maka pada karya-karya barunya hanya tampak pengaburan (blurred). Selain itu dalam karya barunya setiap kanvas hanya terisi oleh satu sosok, berbeda dengan karya-karya sebelumnya yang kerap menampilkan kumpulan

sosok yang membentuk narasi. Dengan sendirinya wajah-wajah dalam lukisan baru Pauh tampak lebih tenang dan enigmatic. Dalam ruang pamer jajaran lukisan Pauh akan menghasilkan kesan seperti sekuen wajah dengan tampilan misterius dan tidak nyata, atau bisa disebut sebagai phantasmagoria. Sulit menetapkan wajah-wajah dalam lukisan Pauh sebagai wajah nyata, kendati kita yakin bahwa wajah tersebut diacu dari wajah real. Tentu bagi pemirsa wajah-wajah tersebut adalah wajah yang tak mereka kenali, yaitu wajah-wajah

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anonim. Sosok dalam karya-karya Pauh adalah sosok kaum muda, kebanyakan wanita dan tampak cukup menawan. Jika sebelumnya Pauh banyak mengambil citraan perempuan dari barang-barang cetakan, maka untuk karya barunya dia “memproduksi” sendiri citraan tersebut, mulai dari memilih, mengarahkan dan memotret modelnya.

Pemilihan warna hitam putih merupakan keputusan yang tepat, sebab menguatkan kesan imajiner dan misterius wajah-wajah yang ditampilkan. Yang juga menonjol adalah hampir seluruh karakter wajah dalam karya Pauh tampak dingin. Citraan wajah tersebut juga menjadi antitesa bagi ledakan citraan ala media (iklan) yang umumnya menampilkan wajah-wajah perempuan muda yang dipoles, penuh warna dan glossy—seperti yang kita lihat dalam citraan media sehari-hari. Karya-karya Pauh seperti menanggalkan atau menghapuskan identitas dan karakter wajah. Sulit bagi kita menduga karakter , watak dan identitas sesungguhnya dari wajah-wajah yang ditampilkan oleh Pauh. Padahal biasanya wajah merupakan jendela tempat kita mencoba menerka karakter, watak dan identitas seseorang. Sesungguhnya wajah juga menampung ekspresi “hewani” yang saat ini tersembunyi di belakang konstruk kebudayaan, seperti diutarakan oleh ahli primata Signe Preuschoft,

“Studying the face of non-human primates is like using a looking glass. Reflected back at the human beholder is an animal passionately involved in social events, communicating its emotional attitudes through its face—cheating, tricking, bluffing, but also behaving with baffling honesty.”�

Dalam kebudayaan kontemporer, identitas—seberagam apapun—merupakan realita yang hadir hampir-hampir telan-jang, tanpa tedeng aling-aling. Hampir tak ada lagi misteri dan ruang-ruang personal akibat penetrasi media yang dikendalikan oleh kekuatan kapital. Sepertinya semua konstruk identitas telah tersedia. Tak ada lagi misteri dan kejutan. Semua menjadi lebih predictable. Jika demikian halnya bisa dikatakan wajah-

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wajah dalam karya Pauh adalah wajah yang menanggalkan karakter, watak dan identitasnya. Apakah Pauh melalui karya-karyanya sedang berupaya membangun kembali ruang-ruang kemungkinan yang baru? Memberi jalan bagi misteri, kejutan dan ketidakpastian?

Karya-karya Pauh juga mengingatkan kita pada karya-karya Christian Boltanski, yang juga hitam putih, berkesan muram dan membangkitkan memori. Namun tidak seperti karya-karya Bolstanski yang kental berkaitan dengan memori hilangnya banyak nyawa manusia pada holocaust di masa Nazi, maka karya-karya Pauh jauh dari ingatan seperti itu. Karya-karya Pauh bicara mengenai persoalan yang lebih personal. Kalaupun sosok-sosok dalam kanvasnya memang bicara mengenai “kehilangan” , maka “kehilangan” tersebut lebih merujuk pada kesadaran tentang kefanaan manusia. Karya-karya Boltanski tak semata-mata berbicara ulang mengenai kekejaman Nazi dan akibatnya—yang sudah umum diketahui—namun, barangkali lebih “mempertanyakan” mengapa manusia bisa sekejam itu. Dalam konteks ini karya-karya Pauh pun bisa dilihat lebih bertujuan menyampaikan “pertanyaan”, “problem” barangkali pun “keraguan”, seperti pernah dilontarkan oleh Boltanski, “The function of the artists is not to transmit news or information, but rather to ask questions, postulate problems, or posit situations”�

Karya-karya Pauh berupa digital print di atas kanvas (Therefore I Disappear Series) tak jauh berbeda dengan karya-karya lukisnya. Hal itu disebabkan karya-karya digital print tersebut di-retouch dengan cat minyak. Namun demikian ada bagian-bagian digital print yang dibiarkan apa adanya, hal ini menampilkan nuansa kontras yang cukup menarik, kendati samar tetapi cukup kuat. Hal itu misalnya tampak pada lipatan baju yang digunakan, seperti pada karya dengan judul Zico, Arya dan Yogi. Pada karya-karya ini lipatan pakaian tampak

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lebih natural. Karya-karya pada seri Therefore I Disappear ini barangkali justru bisa dibedakan karena wajah yang tampil lebih samar-samar. Apakah tajuk seri ini bisa menjadi petunjuk bahwa seri dengan teknik digital ini muncul lebih dahulu dari seri lukisan yang bertajuk Fragile Face Memory. Hal itu bisa dilihat dari wajah-wajah pada seri Therefore I Disappear intensitas samarnya lebih merata di seluruh permukaan wajah. Sepertinya wajah-wajah tersebut menuju proses menghilang.

Dengan asumsi ini, maka wajah-wajah pada seri lukisan Fragile Face Memory sepertinya justru sedang dalam proses dari samar menjadi makin jelas, seperti proses ingatan yang terbentuk makin kental. Itu sebabnya wajah-wajah yang tampil dalam seri ini tampak lebih jelas dan solid.

Karya-karya dalam seri Post Mirrored Reality yang digarap pada permukaan stainless stell tampaknya menjadi karya yang paling kuat dalam pameran ini. Secara visual karya ini melibatkan pemirsa, hampir-hampir seperti karya interaktif. Permukaan stainless yang mengkilap merefleksikan bayangan pemirsa dan menumpuk dengan citraan blurred di permukaan stainless stell. Sebelum ditemukan fotografi, maka kaca cermin berlaku sebagai alat bagi orang-orang Eropa untuk melihat gambaran wajahnya. Demikian pentingnya cermin sebagai alat untuk melihat tampilan diri, sebagaimana dikatakan oleh sejarawan Veronique Nahoum, ‘The mirror stage is not only an important one for the baby of six months, but an important stage in the history.” � Kendati permukaan yang dipergunakan oleh Pauh bukan kaca melainkan stainless steel, namun justru karena itu dorongan pemirsa untuk melihat pantulannya semakin tinggi. Sebab melihat pantulan diri di kaca cermin sudah biasa, namun pantulan stainless steel tentu akan menghasilkan efek yang berbeda. Hal itu juga didorong dengan keinginan untuk “tampil” berdampingan dengan sosok samar yang telah

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ada di permukaan stainless steel. Pauh cukup cerdas dengan menampilkan sosok-sosok tersebut secara blurred, sehingga pantulan sosok pemirsa justru tampak lebih jelas. Pantulan pemirsa menjadi potret dirinya, menjadi yang utama (baginya), sementara sosok yang ditampilkan oleh Pauh, menjadi orang lain. Keduanya menjadi jalinan penting berkaitan dengan eksistensi diri dan identitas, sebagaimana dikatakan Sandy Nairne,

“The idea of the portrait connects to themes of identity, representation, power, and nationality, providing artists with fertile ground for reinvigorating the depiction of what arguably the most intriguing of all subjects: ourselves and others.” �

Tak bisa dipungkiri, tampilan sosok kabur dan pantulan audiens menimbulkan beragam sensasi dan pemaknaan bergantung pada siapa yang berdiri di depan karya tersebut.

Akhirnya, karya-karya Pauh tentu juga merefleksikan sejarah dan perjalanan personal sang seniman. Dalam hal ini karya-karya Pauh bisa mengingatkan pada karya-karya (lukisan) potret Gerhard Richter yang lebih personal—dibandingkan lukisan-lukisan abstraknya—dan seringkali berkaitan orang-orang yang dekat dengannya. Itu sebabnya efek blurred pada lukisan potret Richter ditengarai untuk memperkuat kesan memori dan kedekatan personal. Dengan sendirinya sosok-sosok dalam karya Pauh merefleksikan pula memori-memori khusus sang seniman yang tak dialami dan tak terbaca oleh pihak lain.

Seperti juga Richter yang berkarya dengan berbagai pendekatan, Pauh pun dikenal sebagai seniman yang menggunakan berbagai media. Pauh bahkan lebih dulu dikenal sebagai seniman new media dan fotografi yang cukup

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aktif dan kerap terlibat dalam kegiatan dan pameran new media di arena internasional. Itu sebabnya dalam pameran ini jejak-jejak fotografi dan new media masih dapat dirasakan. Sebagai contoh, efek-efek focus dan out of focus merupakan hal yang sudah diakrabinya sejak lama. Selain itu, terbiasa menggunaan beragam media, meyebabkan Pauh tak ragu mencoba kemungkinan baru, seperti ditunjukkan dalam seri karya Post Mirrored Reality yang tampil dalam pameran dengan menggunakan medium stainlees stell. Karena itu kita bisa cukup yakin bahwa ke depan Pauh akan tetap kreatif dan terus bereksperimen dalam mengembangkan karyanya. ()

Catatan Akhir

1 Jean Clair, �00�, dalam Face, The New Photographic Portrait, London: Thames and Hudson, �00�, hlm. �0.

� Ibid, hlm 10� Ibid, hlm. 1�� Linda Weintraub, Art on the Edge and Over, Litchfield: Art Insight.

Inc, 199�, hlm. 1��.� Loc cit, hlm. 1�� Sandy Nairne, The Portrait Now, London: National Portrait Gallery

Publication, �00�, hlm. �

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Face Phantasmagoriaby Asmudjo J. Irianto

The grand debate of art in our time has not been the debate between figuration and abstraction; it has been the debate between the representation of the face and its impossibility. 1

It is easy to see that images of faces in Erik Pauhrizi’s works have been based on photographs. One might also surmise that the photographic images have been processed further using some computer software, so that parts of them become blurred and vague. Eventually, it was such processed images which served as the reference for Pauh’s paintings. The results are rather dramatic. With the black-and-white nuances, the dominating dark hues, and vague figures, Pauh’s paintings appear mysterious and hypnotizing. Although most of the paintings that Pauh presents here are paintings of figures, the faces are the most prominent and significant part. The depiction of faces has become popular again these days, after having been overshadowed by the popularity of the depiction of the body, as William A. Ewing suggested:

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In the last decade of the twentieth century the body was a dominant theme in photography. And no wonder. Bodies were beginning to be seriously reconfigured and reconstituted by scientist and engineers.2

The face is indeed an inextricable part of the body—and vice-versa. But if the depiction of the body appears alongside with that of the face, the face will be the more prominent part and it attracts the audience attention better. Just as the face will be our center of attention when we are with someone else, and all of our communication will be directed to the face. Sometimes even the body can be represented by merely the face. This is for example apparent in Barbara Kruger’s painting entitled Untitle (Your body is a battleground). In this painting, a female face appears alongside the text “Your body is a battleground.” One can say that the face in that work represents the issue of female “body.”

While Pauh’s previous works present faces that are partly erased or ones that seem to be “pulled” and therefore distorted, his latest works present merely blurred faces. Besides, here each canvas has merely one figure, unlike his previous works where he often presented a group of

figures that create certain narratives. Faces in Pauh’s latest works seem therefore calmer and more enigmatic. In the exhibition venue, a row of Pauh’s paintings will seem to present sequence of faces in mysterious and unreal appearances—or one can call it ‘phantasmagoria.’ It is difficult to determine whether the faces in these paintings are real faces, although we are sure that they refer to real ones. Naturally, for the audience the faces are unknown faces, anonymous faces. The characters in Pauh’s paintings are young, mostly female, and look quite attractive. Previously, Pauh often took images of women from printed materials. For his new works, he “produced”

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the images himself, starting from choosing, directing, and photographing the models.

The choice of black and white is apt, as it strengthens the imaginary and mysterious impressions of the faces. What is also prominent is the fact that almost all the facial characters in Pauh’s works look cold. The images also serve as antitheses for the outburst of images in the clichéd style of the media (advertisements), which mostly present polished, glossy, and colorful faces of young women—as we see in the media every day. Pauh’s works seem to strip off or erase the identity and character of each of the faces. It is difficult for us to guess the true characters, nature, and identity of the faces that Pauh presents before us—while usually it is the face that serves as the window to one’s inner being, where we can try to fathom someone’s character, nature, and identity. The face actually contains “primal” expressions hidden before cultural constructions, as the primate expert Signe Preuschoft explains,

Studying the face of non-human primates is like using a looking glass. Reflected back at the human beholder is an animal passionately involved in social events, communicating its emotional attitudes through its face—cheating, tricking, bluffing, but also behaving with

baffling honesty. 3

In the contemporary culture, the matter of identity—no matter how varied—is a reality that exists almost naked, without any pretense. There is almost no mystery nor personal spaces, due to the media penetration controlled by capital might. It seems that all constructs of identity are readily available. There is neither mystery nor surprise. Everything has become more predictable. If this is indeed the case, the faces in Pauh’s works are ones that have abandoned their characters, dispositions, and identities. Is Pauh, through his works, trying to rebuild spaces of new possibilities? Open the path for mysteries, surprises, unpredictabilities?

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Pauh’s works also remind us to works by Christian Boltanski, which are also black and white, gloomy, and memory-inducing. However, unlike Boltanski works that are deeply related with the memory of the sheer loss of lives during the holocaust in the time of the Nazi, Pauh’s works are far from such memories. They talk about more personal matters. Even if the figures in his canvases indeed talk about “loss,” then such “loss” refers more to the awareness about the transience of human lives. Boltanski’s works do not merely talk about Nazi’s cruelty and its impact—which is a common knowledge—but also “question” how any human being can be that cruel. In this context, one can view Pauh’s works as having the objective of posing “questions,” “problems,” or perhaps also “doubts,” just as Boltanski once said, “The function of the artists is not to transmit news or information, but rather to ask questions, postulate problems, or posit situations.” �

Pauh’s digital prints on canvas (Therefore I Disappear Series) are not much different from his paintings. This is because the digital prints have been retouched with oil paints. There are, however, still parts of the digital prints that are left as they are; presenting therefore intriguing contrasts, vague but significant enough. This is for example apparent in the folding of the clothes that the characters use, as we can see in the works titled Zico, Arya, and Yogi. In those works, the garment folding seems more natural. Works in the Therefore I Disappear series are distinct perhaps precisely because the faces are vaguer. Does the title of the series serve to indicate that the series made using digital technique came first, before the series of paintings titled Fragile Face Memory? This is apparent in the fact that the faces in the Therefore I Disappear series are uniformly vague. It seems that the faces are in the process of disappearing. With such an assumption, one might view that the faces in the painting series of Fragile Face Memory precisely seem to be in the process of becoming better-defined, like the

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process in which our memories become more distinct. This is why the faces in the latter series appear clearer and more solid.

Works in the series of Post Mirrored Reality, which he made on the stainless steel surfaces, seem to be the strongest works in the exhibition. Visually, the works engage the audience, almost like interactive works. The bright surface of the stainless steel reflects the audience’s image and superimposes it on the blurred image Pauh made on the surface. Prior to the discovery of photography, mirrors served as a means for the Europeans to see their faces. As a means for self reflection, mirror is so important, just as the historian Veronique Nahoum said, “The mirror stage is not only an important one for the baby of six months, but also an important stage in the history.”� Although Pauh uses stainless steel instead of mirror surfaces, the audience has even greater desire to see their self reflections on the surface, as seeing our reflection on the mirror is a common thing, but the reflection on the stainless steel surface will certainly generate a distinct effect. This is also triggered by the desire to “be present” next to the vague figure on the stainless steel surface. Pauh is smart enough to create the figures as blurred images, so that the reflection of the viewer precisely looks clearer. The viewer’s reflection becomes his or her self portrait, the main part (for the viewer), while the figure Pauh made becomes the other. Both are importantly interlinked in relation with self existence and identity, as Sandy Nairne explained:

The idea of the portrait connects to themes of identity, representation, power, and nationality, providing artists with fertile ground for reinvigorating the depiction of what arguably the most intriguing of all subjects: ourselves and others. 6

The presence of the vague figures and the viewer’s reflection undeniably gives rise to myriad of sensations and meanings, depending on who is standing in front of the work.

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At the end of the day, Pauh’s works naturally reflects on the artist’s personal history and journey. In this case, Pauh’s works remind us to (painting) works of portraits by Gerhard Richter, which are more personal—compared to his abstract paintings—and often related to people close to him. That is why people see the blurred effect in Richter’s portraits as signifying his effort to strengthen the impression about memories and personal intimacy. Naturally, figures in Pauh’s works also reflect the artist’s specific memories that others do not experience nor see.

Just as Richter worked using a variety of approaches, Pauh has also been known as an artist who works using an array of media. Pauh was even known first as new media and photography artist, who was quite active and often involved in international new media activities and exhibitions. That is why one can detect traces of photography and new media art in this exhibition. For example, the focus and out-of-focus effects are things familiar to him. His familiarity with an assortment of media also makes him undaunted to try new things, as he shows in the Post Mirrored Reality series in this exhibition, where he uses the medium of stainless steel. We can therefore be certain that Pauh will stay creative and experimenting to develop his works in the future. ()

Endnotes

1 Jean Clair, �00�, in Face, The New Photographic Portrait, London: Thames and Hudson, �00�, p. �0

� Ibid, p. 10� Ibid, p. 1�� Linda Weintraub, Art on the Edge and Over, Litchfield: Art Insight.

Inc, 199�, p. 1��.� Loc cit, p. 1�� Sandy Nairne, The Portrait Now, London: National Portrait Gallery

Publication, �00�, p. �

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Andro (2009) DIgITAL PRINT AND oIL oN CANvAS - 190 x 145 Cm

Sandra (2009) DIgITAL PRINT AND oIL oN CANvAS - 190 x 145 Cm

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Krisna (2009)

DIgITAL PRINT AND oIL oN CANvAS - 190 x 145 Cm

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Zico (2009) DIgITAL PRINT AND oIL oN CANvAS - 190 x 145 Cm

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Arya (2009 )DIgITAL PRINT AND oIL oN CANvAS - 190 x 145 Cm

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Yogi (2009)DIgITAL PRINT AND oIL oN CANvAS - 190 x 145 Cm

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Amelia 01 - Fragile Face Memory Series (2009)oIL oN CANvAS - 190 x 145 Cm

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Amelia 02 (2009) oIL oN CANvAS - 190 x 145 Cm

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Astrellita 01 (2009)oIL oN CANvAS - 190 x 145 Cm

Astrellita 02 (2009) oIL oN CANvAS - 190 x 145 Cm

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Tara 01 (2009) oIL oN CANvAS - 190 x 145 Cm

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Tara 02 (2009)oIL oN CANvAS - 190 x 145 Cm

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Emirul (2009) oIL oN CANvAS - 190 x 145 Cm

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Sandra (2009) oIL oN CANvAS - 190 x 145 Cm

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Maman (2009)oIL oN CANvAS - 190 x 145 Cm

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Born in Bandung, 1st June 19�1 Home: Jl. Kopo �0�, Km.� Rt.0�/01, Bandung �0���, West Java, Indonesia | Studio: Jl. Sukaresmi iv, 1�a, rt0�/ rw0�, Bandung �0�91, West Java, Indonesia | Mobile(s): +��.�1�.�1��.�01� | E-mail(s): mukarupa@yahoo.com / mukarupa@hotmail.com

EDucATIon AnD TrAInIng2009-now Film- / Videokunst, Studiengang Freie Kunst,

Hochschule für Bildende Künste Braunschweig, Germany.

2001-2005 Fine Art and Design Faculty, Bandung Institute of Technology, (Majoring Textile Craft and Minor Media Art); Cum Laude.

1999-2001 Technical Faculty, Indonesian University of Education (Majoring in Mechanical Engineering).

2004-2005 Sweden Interior Textile Course, ITB and Boras Sweden Universities, Bandung, ID.

2003-2004 Extension Course Culture and Philosophy, Parahyangan University of Catholic, Bandung, ID.

2004 Biranul Annas Z. Fiber Art Studio (Residency), Bandung, ID.

2006 Magang Kelola Nusantara (National Residency), Goethe-Institut Indonesia, ID.

Erik Muhammad Pauhrizi

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grAnT, AwArD & ScholArShIPS2008 International Fellowship Program Finalist, Ford

Foundation 2007 Goethe-Institut Indonesia (Deutsch Language

Scholarship) 2006 & 2007 Kelola Art Foundation (Magang Nusantara &

Culture Organization Management) 2006 National Art Council Singapore, Singapore

(Bandung – Singapore Displacement Project) 2005 & 2007 Asia-Europe Foundation (The Third Asia-Europe

Art Camp, Bandung, ID & Dislocate – Reconnect Project, Tokyo, Japan)

2004 Second Winner - Bebegig Installation Art Award, Kota Baru Parahyangan Art Fest, Bandung Institute of Technology (ITB Student Care Center for Tsunami, Meulaboh, ID)

2002 - 2005 ITB Competent Academic, Supersemar and Indonesian Bank Scholarships

Solo ExhIbITIon2009 Face Phantasmagoria, Vivi Yip Art Room, Jakarta,

ID.2008 The Pleasure of The Text, Mes�� and LIP,

Yogyakarta, and Rumah Seni Yaitu, Semarang, ID.

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Thanks to

Vivi Yip Bre Redana Asmudjo J. Irianto Alm.Ibu Tata Rasta Omoy Yayu Candra Amalia Asep Willy Irawan Anggi Maharani Kaka Erdi Irmawan Adiyatna Dewi Pipip Agung Julianto Teguh A.P. Adika Omen Isti Muhammad Akbar Ade Muslim Ratna Juwita Faisal Reza Angga Hamzah Firdaus M.Reggie Aquara Bongkeng Rangga Oka Dimitri Banung Grahita Arum Radi Arwinda Tinton Satrio Yusuf Ismail Acu Erika Ernawan Dila Ayu Keni Anti Yogi Biondy Harun Suaidi Arya Rizki M. Zico Alin Krisna Aroika Sari Agustin Amelia Ayu Astrellia Andro Hadistian Emirul Tara Astari Indra Sandra Rianna Fatchi Maman Ali Robin Utje

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