While many in the art world are navigating through challenging times, Art Jakarta 2024 has emerged as a vibrant and ambitious event, showcasing an expanded footprint and innovative presentations that attracted a large, youthful audience during its opening on Friday.

Fair Director Tom Tandio highlighted the evolution of the event since he took the helm in 2019. “2019 was the first time we moved out of the Ritz Carlton hotel and into a convention hall,” he noted. “For an Indonesian audience, that was actually very new.”

Last year, the fair faced a sudden relocation due to the 43rd ASEAN Summit. “Sixty-something events were told to leave the hall,” Tandio recalled. “We scrambled and eventually found this space.” This year’s venue, JIEXPO Kemayoran, is situated a few kilometers north of the city center—a significant consideration in a city known for its heavy traffic. Despite the logistical challenges, attendees found the modern space and its high arched ceilings to be an impressive upgrade.

Galleries reported an increase in attendance compared to previous years, though sales were somewhat slower, reflecting a trend observed globally. Joseph Kong, Sales Manager at Gajah Gallery, remarked that the fair had “levelled up” since the pandemic, showcasing 3D-printed works by Balinese artist Jemana Murti priced between SGD $5,000 and $12,000, along with a significant painting by Indonesian artist Yunizar sold for SGD $50,000.

Dea Aprilia from ROH Gallery described the atmosphere as “vibrant,” expressing excitement about welcoming more international guests, including representatives from major institutions in Thailand and Japan. ROH's showcase featured Syaiful Garibaldi’s Antara Muara (2024), a striking installation made from laser-engraved mycelium leather.

Other notable works included Y (on repeat) (2024) by Bali-based artist Faisal Habibi, which creatively addressed Indonesia’s waste management issues using upcycled materials. Additionally, Tisna Sanjaya's Ganjel (2024) made a political statement with its sculpture referencing President Jokowi and his son, Gibran Rakabuming Raka, who is set to become Vice President later this month amid accusations of nepotism.

Among the most photographed booths was Galeri ZEN1, which featured a collaborative installation by Yudi Sulistyo and Mulyana that captured significant attention. Meanwhile, ShanghART presented a thought-provoking newspaper stand by Robert Zhao Renhui, reflecting on the nature of news cycles with art priced affordably at U.S. $8.

Mariia Zhuchenko from Sullivan+Strumpf noted the strong sales of Indonesian artist Enggar Rhomadioni's works, emphasizing the fair's success in connecting with new collectors.

Tandio underscored the importance of reaching out to a broader audience, stating that Indonesia boasts the largest collector base in Southeast Asia. This year, the fair collaborated with other independent events in the region to expand its reach, inviting collectors from Singapore, Malaysia, Thailand, Japan, and Korea.

With a focus on community and inclusivity, Art Jakarta 2024 is positioning itself as more than just an art fair. The commitment to fostering an art ecosystem is evident in the quality of the installations and the efforts made to engage corporate sponsors in meaningful collaborations with artists.

As the fair continues, the ambition and dynamism of Art Jakarta reflect a promising future for Indonesia's contemporary art scene, standing strong amidst global challenges.