Exploring the Interdependence of Nature and Technology: Bagus Pandega's "Daya Benda"

Bagus Pandega's exhibition, "Daya Benda," at the Swiss Institute in New York, runs through January 4, 2026. The showcase features three installations that delve into the intricate relationships between human activity and natural resources. Central to the exhibition is "Hyperpnea Green" (2024), a large mechanical sculpture that integrates Indonesian minerals, American houseplants, and a biofeedback mechanism. This installation responds to the metabolic signals of both plants and viewers, releasing oxygen as visitors exhale carbon dioxide. The work highlights the unequal distribution of oxygen, emphasizing humanity's dependency on natural resources while simultaneously depleting them through consumption.

New York Observer

Pandega's work resonates deeply with his experiences in Indonesia, where rapid modernization has led to significant ecological degradation, including deforestation and resource extraction driven by global demand. Reflecting on the impact of COVID-19, he noted a temporary recovery of the Earth during lockdowns, which starkly contrasted with the ongoing environmental destruction. His installations, particularly "Hyperpnea Green," illustrate a symbiotic relationship between artificial and natural oxygen producers, showcasing a cycle of interdependence.

New York Observer

Pandega's artistic approach is characterized by a "hacker methodology," where he modifies existing technologies to create new forms of expression. His works often critique government policies regarding mining and land use, while also exploring alternative paradigms that emphasize harmonious relationships with nature. For instance, "Anim Wraksa" (2025) addresses the ecological damage caused by nickel extraction in Indonesia, transforming the process of nickel plating into a time-based artwork that accumulates metal on a plant, thereby reversing the traditional logic of extraction.

New York Observer

In his installations, Pandega incorporates traditional instruments and sounds, merging technology with ritualistic elements. His work "A Diasporic Mythology" (2021) combines Indonesian and Japanese string instruments with plant biodata sensors, creating a hybrid soundscape that reflects the interconnectedness of human and plant life. This exploration of "ancestral technologies" aims to recover older, more relational modes of existence in connection with nature.

New York Observer

Pandega's practice is not confined to fixed outcomes; instead, it embraces an open-ended inquiry into the coexistence of nature and technology. He aims to present art as a system of relations rather than static objects, encouraging viewers to engage with the ecological and humanitarian crises stemming from contemporary systems of knowledge. His ongoing projects, such as the electric motorcycle "Putar Petir Racing Team" (2025), further exemplify this experimental approach, blending artistic expression with practical innovation.

New York Observer

• “I try to keep it open-ended—an abstraction of something that exists in the world, presented as a hypothesis of an alternative.” — Bagus Pandega, Artist

New York Observer

• “Nickel plating is everywhere—in spoons, earrings, anything with that silvery finish—but the public rarely sees the actual process,” — Bagus Pandega, Artist

New York Observer

• “I feel more like a hacker—a mechanical hacker. I don’t invent things; I modify them and push them further,” — Bagus Pandega, Artist

New York Observer

Through "Daya Benda," Bagus Pandega invites audiences to reconsider their relationship with the environment and the technologies that shape their lives, fostering a dialogue about sustainability and ecological responsibility.

New York Observer