Minister Supratman introduced the Jakarta Protocol at Indonesia Digital Conference (IDC) 2025 as a mechanism to strengthen copyright protection for journalistic content and improve royalty distribution for the news industry. Reporting across other media shows that the government’s ambition was broader than news alone. Officials described the protocol as covering music, audiovisual works, journalistic content, and digital platforms, with the larger goal of correcting structural inequality in cross-border digital royalty flows.

A central policy argument behind the initiative is that Indonesia is a major digital market but captures disproportionately low royalty value from platform-based exploitation of copyrighted works. In one widely quoted statement, Supratman said Singapore can receive around 13 percent in copyright royalties while Indonesia receives only 0.018 percent, using that contrast to justify a push for more consistent international royalty treatment. He also argued that the issue is not merely tariff-setting, but fairness for musicians, composers, artists, recording businesses, journalists, and publishers whose works generate traffic and monetization in the digital economy.

As the concept developed, Indonesian institutions began turning it into a more formal diplomatic project. The Directorate General of Intellectual Property (DGIP), the Ministry of Law’s policy body, and the Foreign Ministry met in late September 2025 to prepare a roadmap for the Jakarta Protocol. According to DGIP, the roadmap was meant to improve royalty governance, build a centralized copyright data system, define emerging digital rights more clearly, and guide Indonesia’s international coalition-building through short, medium-, and long-term phases that could lead to a zero draft and final text.

By late October 2025, several Indonesian media outlets reported that the initiative was being prepared for discussion at a World Intellectual Property Organization (WIPO) meeting in Geneva in early December 2025. However, as of April 2026 there is no official report that the Jakarta Protocol has already been adopted as a binding international instrument or enacted as a finalized legal regime. Hence, the current status is best described as an Indonesian government initiative under roadmap development and international advocacy, rather than a completed treaty or fully operational regulatory framework.

In practical terms, the story so far is one of policy escalation: a complaint about unfair digital royalty economics evolved into a named protocol, then into a draft-oriented roadmap, and finally into an effort to place Indonesia’s proposal on the international copyright agenda.

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The dispute centers on whether later-registered marks used by PT Bandeng Juwana Indonesia are confusingly similar in name and visual presentation to the earlier Bandeng Juwana business that has long been associated with the souvenir market in Semarang, the capital of Central Java province. Media reports describe the claimant as the business behind Bandeng Juwana Elrina, a brand said to trace its commercial roots to 1981, when the enterprise began as a home-based operation before expanding into a prominent Central Java gift-food business.

The product itself is pressure-cooked milkfish (“bandeng” in Indonesian language) that is later individually vacuum-wrapped and sold mainly as edible souvenirs for tourists visiting Semarang.

Reporting across several outlets identifies the main plaintiff as PT Bandeng Juwana, represented in court by counsel Haposan Gilbert Manurung, while the main defendant is PT Bandeng Juwana Indonesia, whose side has been represented publicly by lawyer Kevin Lumentut. Is it is required in such case, the Directorate General of Intellectual Property is also included in the lawsuit as co-defendant because it issued the challenged registrations.

The plaintiff’s narrative is that the Bandeng Juwana/Elrina identity was built over decades and that the disputed later marks risk consumer confusion and reputational harm. According to testimony cited by media, the name “Juwana” was linked to the hometown of founder Ida Nursanty, while “Elrina” referred to the initials or names of the founders’ children, and the business used fish imagery and related design elements as part of its brand identity from early on.

The defense, however, has argued that its marks were not entirely new creations. In the 2 April 2026 hearing report, a defense witness and Surabaya-based IP consultant, Beny Muliawan, said he had assisted with registrations related to “Juwana” from 2008 to 2023 and described an earlier filing history that included “Juwanna” in 1995 and “Juwana” in 2004, along with objections, counterstatements, and a successful appeal before the trademark appeal body. The defense has therefore framed the matter as part of a longer chain of registrations and renewals, while also arguing that logo changes are normal in business development.

The plaintiff has tried to narrow the controversy by arguing that its claim does not attack every historical use connected with earlier successors, but specifically targets marks registered after 2020 in the name of PT Bandeng Juwana Indonesia. He also asserted that his client is the lawful owner under both first-to-file and first-to-use principles as recognized by the Indonesian IP system.

Other media coverage adds commercial context as PT Bandeng Juwana said it only discovered the allegedly overlapping registrations in 2024 when dealing with BPOM (Indonesia’s food and drugs licensing authority) licensing, after regulators asked for clarification because similar Bandeng Juwana marks were already recorded at the DGIP. That account helps explain why a dispute involving a legacy regional brand surfaced publicly only recently, despite references to much older underlying registrations.

The latest publicly reported status is that the case is still ongoing. Official and media reports in March 2026 said hearings were continuing with fact and expert witnesses, and in 2 April 2026 a media report confirmed that the court would proceed with further examination of evidence and testimony. Until a judgment is issued, the Bandeng Juwana dispute remains an active test of how Indonesian trademark law will weigh long-term market recognition, filing chronology, alleged bad faith, and the risk of confusion surrounding one of Semarang’s best-known souvenir brands.

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Indonesia’s Industrial Design Law (Law No. 31 of 2000) has been in force for over two decades and is now considered outdated in light of technological advances, evolving industrial practices, and international legal developments. Recognizing the need for modernization, the Indonesian government and the House of Representatives (DPR) have been working on a comprehensive replacement bill – the  Industrial Design Bill (RUU Desain Industri) – since at least mid-2010s.

The reform initiative aims to strengthen the protection of industrial designs, support the competitiveness of Indonesian creative industries and small and medium enterprises (SMEs), align domestic law with international standards (including the Hague Agreement on international design registration), and address gaps in the current regime related to enforcement, examination procedures, and the scope of protection.

Current Legislative Status

The Industrial Design Bill was formally included in the National Legislation Program (Prolegnas) in 2018 as a bill to amend or replace Law No. 31 of 2000. It has remained on the legislative agenda and was designated as a priority bill in the 2024 Prolegnas. In December 2025, the DPR established a Special Committee (Pansus) to advance deliberations on the RUU Desain Industri, signaling renewed momentum toward its enactment. However, as of March 2026, the Bill has not yet been passed into law, and Law No. 31 of 2000 remains in full effect.

The Directorate General of Intellectual Property (DGIP) has declared 2025 as the “Year of Copyright and Industrial Design,” underscoring the government’s strategic focus on this area and its commitment to finalizing the legislative reforms.

Key Proposed Changes

Public materials from the DGIP, DPR, and legal commentators indicate that the Industrial Design Bill includes several substantive changes:

• Dual Protection System: The Bill introduces a recordal (unregistered) system for designs with short commercial lifecycles (e.g., textiles and fashion), offering a three-year protection period from first publication. This complements the traditional registered design system and provides faster, simpler protection for rapidly evolving products.
• Revised Protection Term: Registered industrial designs will receive an initial protection period of five years, renewable for up to two additional five-year terms (15 years total), replacing the current non-renewable 10-year term.
• Substantive Examination and Novelty: The Bill strengthens substantive examination requirements, particularly with respect to novelty assessments, to reduce consumer confusion and prevent unfair competition.
• Industrial Design Appeals Commission: A new independent administrative body, the Industrial Design Appeals Commission (Komisi Banding Desain Industri), will be established to hear appeals against refusal decisions, corrections, and the granting of industrial design rights. This mechanism aims to provide faster, more accessible remedies and reduce the burden on commercial courts.
• Enhanced Enforcement and Sanctions: Updated provisions on cancellation, dispute resolution, and enforcement include criminal and administrative sanctions for infringement, as well as potential liability for shopping centers and e-commerce platforms that facilitate the circulation of infringing goods.
• Alignment with International Standards: The Bill is designed to facilitate Indonesia’s effective participation in the Hague System for international industrial design registration, enabling Indonesian creators to seek protection in multiple jurisdictions through a single application.

International Context and Compliance

Although Indonesia has been a signatory to the Hague Agreement since 1950, the current law requires domestic registration and does not fully align with international best practices or the TRIPS Agreement in all respects. Legal scholars and practitioners have emphasized that ratification of the Geneva Act of the Hague Agreement and harmonization of domestic law with the Hague System are urgent priorities to ensure full compliance with Indonesia’s international IP obligations and to strengthen regional trade cooperation, including within the ASEAN IMT-GT framework.

Outlook and Implications

The establishment of the Special Committee in late 2025 and the continued prioritization of the Bill suggest that enactment may occur in 2026. Once passed, the new law is expected to significantly improve the effectiveness and efficiency of industrial design protection in Indonesia, encourage greater innovation and creativity in the design sector, enhance legal certainty for rights holders and investors, and better position Indonesia within the global intellectual property landscape.

Stakeholders—including designers, manufacturers, legal practitioners, and investors—are advised to monitor official announcements from the DPR, DGIP, and the Ministry of Law for updates on the Bill’s progress, final text, and effective date.

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Legislative Progress

On March 12, 2026, Indonesia’s House of Representatives (DPR-RI) formally approved the Amendment to Copyright Law as a legislative initiative during its 16^th Plenary Session of the Fourth Sitting Period for the 2025–2026 legislative year. The decision received unanimous support from all eight political party factions in parliament, signaling strong cross-party commitment to strengthening copyright protection in the digital age.

Legislation Body (Baleg), the specific permanent organ of the DPR tasked with managing all legislation process in the house, has set an ambitious target to complete the amendment draft by April 2026. Bob Hasan, Chairman of Baleg, acknowledged the dynamic nature of the deliberations, noting that while the draft was nearly completed previously, it underwent further revisions to address emerging concerns. The legislative body is currently conducting a harmonization process through a series of discussion meetings and public hearings scheduled for late March to early April 2026.

Constitutional Impetus

The amendment initiative follows a pivotal Constitutional Court ruling in February 2024, which determined that Articles 10 and 114 of the existing copyright law must extend coverage to user-generated content (UGC) platforms. The Court found that digital service providers were effectively outside the reach of copyright enforcement provisions, leaving rights holders with limited protection against unauthorized use on online platforms. This decision took immediate effect through its binding interpretation and catalyzed broader legislative reform efforts.

Key Proposed Amendments

The revision has evolved from initial targeted amendments into a comprehensive overhaul designed to align Indonesia’s copyright framework with contemporary technological realities. The drafting process involves multiple stakeholders, including leading university law faculties, the Indonesian Music Publishers Alliance, the Directorate General of Intellectual Property (DGIP), and intellectual property consultants.

Artificial Intelligence and Copyright: One of the most significant proposed changes addresses AI-generated works. According to the DGIP’s position, content created with human involvement will be eligible for copyright protection, whereas works produced entirely by artificial intelligence without human input will not receive protection. This distinction aims to balance technological innovation with the protection of human creativity.

Digital Platform Regulation: The bill strengthens requirements for digital platforms and user-generated content services, closing loopholes that previously allowed unauthorized use of copyrighted works. New provisions will address digital content management, including metadata, digital rights management (DRM), watermarking, and blockchain-based licensing mechanisms.

Royalty Management Reform: Substantial reforms to royalty management and distribution systems are proposed, particularly for the music industry. The amendments aim to implement real-time royalty payments and strengthen the role of the National Collective Management Organization (LMKN) in managing royalty distribution to creators. Public hearings in November 2025 featured input from prominent Indonesian musicians, including members of Padi and Noah, highlighting industry stakeholder engagement in the reform process.

Fair Use and Traditional Cultural Expressions: The bill maintains fair use provisions for education, research, parody, news reporting, and accessibility for persons with disabilities, while introducing special considerations for digital content. Additionally, the revision includes enhanced protection for traditional cultural expressions, addressing concerns about the commercialization of Indonesia’s rich cultural heritage.

International Alignment: The reform reflects Indonesia’s commitment to aligning its intellectual property regime with international best practices and treaty obligations. As a signatory to various copyright and related rights treaties, Indonesia aims to enable national authors and creators to compete effectively in the international marketplace while providing robust legal certainty for rights holders.

In October 2025, Minister of Law Supratman Andi Agtas announced the “Jakarta Protocol” proposal at the Indonesia Digital Conference 2025, emphasizing that strengthening copyright protection is crucial for upholding the nation’s intellectual sovereignty.

Industry and Economic Impact

The planned amendments are expected to significantly impact Indonesia’s creative economy, which has become one of the country’s economic mainstays. By addressing gaps in digital-age copyright protection and modernizing royalty management, the government aims to foster growth in the creative industries while ensuring fair compensation for creators, performers, and rights holders.

The Directorate General of Intellectual Property has affirmed its commitment to providing maximum protection for creators as the foundation of a thriving royalty ecosystem. The reform is viewed as essential to maintaining relevance in an era of rapid digital transformation and emerging technologies that continue to reshape creative production and distribution.

Outlook

With the bill now officially designated as a DPR initiative and harmonization discussions underway, stakeholders across Indonesia’s creative industries are closely monitoring the legislative process. The targeted completion in April 2026 would represent a significant milestone in Indonesia’s intellectual property modernization efforts, potentially serving as a model for other developing nations navigating similar challenges at the intersection of copyright law and digital innovation.

The post Indonesia Advances Major Copyright Law Reform to Address Digital Era Challenges appeared first on Batavia Patentservis Asia | Indonesian Patent Attorney.

The dispute began after Yoni Dores reported Lesti to the Regional Police of Jakarta in May 2025, accusing her of performing and circulating his songs without permission, with media reports saying the complaint referred to songs allegedly used since 2018 and was linked to uploads on YouTube and social media. One report said the issue centered on the song “Bagai Ranting yang Kering” while a later police explanation highlighted another Yoni Dores song, “Arjuna Buaya,” as part of the factual background reviewed during the inquiry. In October 2025, Lesti appeared for questioning at the Police, where she was examined as the reported party while publicly signaling that she was open to a peaceful resolution.

The turning point came when investigators reviewed the underlying performance arrangement and found a contractual clause stating that royalty clearance was the responsibility of the event organizer rather than the singer. Police also found that the performance video later uploaded to YouTube did not come from Lesti Kejora’s personal account, a fact that weakened the allegation that she herself had unlawfully distributed the work online. According to news reports and follow-up coverage, investigators questioned multiple witnesses and experts before formally deciding on 29 January 2026 to stop the inquiry because the matter was considered not to constitute a criminal offense.

After the closure became public in February 2026, Lesti’s side said the singer had not been found to have committed a criminal act and indicated there was no need for a meeting with Yoni Dores because the legal position was already clear. Her husband also spoke on her behalf, said the family wanted the matter to end and described the experience as a lesson in being more careful about song selection and licensing issues. Outside straight news coverage, legal commentary and academic discussion around the case argued that the dispute exposed wider weaknesses in Indonesia’s copyright ecosystem, including confusion over licensing practice, royalty administration, and the division of responsibility between performers, organizers, and digital uploaders.

Lesti Kejora is the stage-name of Lestiani, a dangdut singer whose claim to fame began when she won a talent competition held by a national TV station in Indonesia at just 14 years old. Amassing more than 28 million followers in Instagram, she is now one of the most popular as well as the highest-paid singers of the genre, which is homegrown in the country combining elements from Arabic, Indian, and western-style rock music.

The post Lesti Kejora’s Copyright Infringement Allegation: Complainant’s Case Closed After Lack of Criminal Offense appeared first on Batavia Patentservis Asia | Indonesian Patent Attorney.

According to Puan, protection for journalistic works is being treated as a key point in the draft amendment because quality journalism must remain sustainable amid digital disruption. She also linked the bill to the larger question of platform responsibility, arguing that digital platforms should become fair partners for creators rather than merely extracting value from works without proper compensation.

Bob is also in support as he framed the issue in classic copyright terms: every work carries an exclusive right attached to its creator or owner, and that principle should also apply to journalistic output produced by media organizations. He said that reuse of journalistic works for redistribution or incorporation into other content should require prior permission from the rights holder, and that such use may also trigger a royalty obligation.

That proposed direction is significant because Indonesia’s current Copyright Law No. 28 of 2014 already recognizes exclusive rights and economic rights in copyrighted works, while also containing specific exceptions for limited quotation and reporting of actual events. The debate now is whether future amendments should make journalistic works more expressly protected in statute, especially where news content is commercially reused, aggregated, summarized, or repurposed on digital platforms.

The policy push is also tied to concern over AI and the weakening economics of the press. Dewan Pers (an independent council that oversees the freedom of the press in Indonesia) has warned that rapid AI development could erode journalism and newsroom employment, while media stakeholders in the 2026 National Press Declaration urged the state to classify journalistic works as copyrighted works and pressed digital and AI platforms to provide fair and proportionate compensation for their use. Those concerns align with earlier official remarks highlighted by national media that AI-generated summaries can reduce public access to original news sources, making legal protection and compensation mechanisms more urgent for publishers.

For the future law, the central legal question will not be whether journalism has public value, but how Indonesia balances that public value with copyright exclusivity, fair information flows, licensing, and permissible exceptions for news reporting. If the revision ultimately codifies stronger protection for journalistic works, Indonesia could move toward a clearer publisher-rights style regime in which commercial reuse by platforms, aggregators, and monetized creators requires authorization and, in some cases, payment.

The post Indonesia’s Future Copyright Law Puts Journalistic Works at the Center appeared first on Batavia Patentservis Asia | Indonesian Patent Attorney.

Coming from Sampang, a small town in the island of Madura, Annas faced serious financial difficulties during his undergraduate studies at Unesa. Instead of taking a leave of absence, he chose to work as a scout instructor at three schools simultaneously to finance his education and ultimately secure a place in the master’s program.

“I decided not to take a break from my studies. I worked as a scout instructor to support myself financially while continuing my education,” Annas explained in an interview with local media.

Once enrolled in the master’s program at the Faculty of Education, Annas began working on his thesis from the first semester, treating research as a continuous process rather than a final requirement. His project secured funding from the Directorate of Research, Technology, and Community Service (DPPM BIMA) under the Ministry of Education, Culture, Research, and Technology, placing him in the science and technology research cluster.

By June 2025, his article had been published in a Scopus Q1-indexed international journal, giving him the option to graduate without a thesis defense—a privilege he deliberately declined to honor the formal academic process. “I believe the academic process should be completed properly and with dignity. Even though I qualified to graduate without a defense, I chose to go through the normal process,” he stated.

To date, Annas has published more than 23 scientific papers in national and international journals, a remarkable achievement for a master’s graduate. Parallel to his publications, he has amassed 142 intellectual property certificates, most of them in the form of copyright recordation for educational products he designed, such as teaching media, learning models, and teaching modules.

Local coverage highlights that this accumulation of intellectual property rights started from his undergraduate years and continued consistently through his master’s studies. This level of IP portfolio is considered exceptionally rare for a graduate student in Indonesia’s higher education system.

Annas is known primarily in the field of mathematics education, where he integrates ethnopedagogy—the use of local culture as a learning resource—into classroom practice. One of his highlighted innovations is mathematics learning media that incorporate Madurese cultural elements, including the traditional bull-racing festival “karapan sapi”, to make abstract mathematical concepts more relatable for primary school students.

Annas’s achievement represents a significant milestone in Indonesian higher education, particularly in demonstrating how graduate students can combine rigorous academic research with practical intellectual property development.

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On Tuesday, March 19, 2024, the Director General of Intellectual Property, Min Usihen, attended a hearing session at the Parliament Compound in Jakarta, which was held by Commission II of DPR-RI to specifically discuss the second amendment of the Patent Law. In her official statement during the hearing, Min cited technological development in various sectors of trade has increased the need for the proposed amendment, along with several shortcomings recognized in the current law. Among the shortcomings cited by the Director General are too restrictive definition of invention, lack of clarity in the scope of computer program’s patentability threshold, patent implementation by the government that is so far limited for domestic purpose only, and novelty grace period that is considered too short.

Min also expected that the proposed amendment would bring the Law 13/2016 more aligned with the TRIPs agreement, as well as rules implemented by other fellow members of both the WTO and WIPO.

Law 13/2016 is the third in a series of patent law enacted by Indonesia since its independence. The first patent law enacted within the territory of what is now Indonesia was the Netherland’s Octrooiwet in 1910, which was also ratified in the colony that then was known as the Dutch East Indies. As Indonesia proclaimed its independence in 1945 and its sovereignty recognized in 1949, the existing patent law was rendered unenforceable since its heavy dependence to Netherlands-based examination authority.

Indonesia’s first national patent law was enacted in 1989 (Law 6/1989), which was subsequently amended in 1997 (Law 13/1997) following Indonesia’s ratification of the TRIPs Agreement as part of the WTO Agreement. In 2001, Indonesia introduced a new patent law (Law 14/2001) to replace Law 6/1989 and its 1997 amendment. The law existed until being replaced by the current law in 2016.

Law 13/2016 contained a number of new provisions that were considered quite progressive at the time of enactment. Those provisions, among others, were obligation to disclose the source of genetic resource materials or traditional knowledge in the patent description, as well as acknowledgement to inventors of inventions filed by government institutions, to the extent that they are granted rights to claim co-ownership of the patent instead of merely being named as inventors.

First amendment to Law 13/2016 occurred within the scope of the Omnibus Law no. 11/2020 concerning Works Creation, wherein the obligatory time frame to either grant or refuse application for utility models is cut short to six months from the filing date instead of the initial twelve months. However the Omnibus Law amendment is still inadequate to catch up with recent development, which render the proposed second amendment necessary.

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The Director of Copyright and Industrial Designs, Anggoro Dasananto, stated that traditional musicians in Indonesia are numerous and spread all over the country’s 38 province. While, according to Anggoro, many of them are quite productive in their respective region, most are still uncovered by the existing CMOs.

Creation of traditional music oriented CMOs had also been facilitated by the Directorate of Films, Music and Media (“DFMM”) of the Directorate General of Culture of the Ministry of Education, Culture, Research, Technology and Higher Education (“Kemendikbudristekdikti”). It was in 2021 during the 1^st Nusantara Tradition Music Congress held by DFMM that the idea of forming CMOs specific for the needs of traditional music was formalized as one of the congress’ formal recommendation.

The three traditional music CMOs consist of LMK Langgam Kreasi Budaya, LMK Citra Nusa Swara, and LMK Pro Karindo Utama, each of them caters to different kind of creators and copyright owners. Langgam Kreasi Budaya serves mainly songwriters and lyrics authors, while Citra Nusa Swara and Pro Karindo Utama represent performers and music producers, respectively.

The existence and roles of CMO in Indonesia were officially recognized and regulated under Law no. 28 of 2014 concerning Copyrights (“Law 28/2014”), which designates the term “LMK” and defines the same as non-profit legal entities that are authorized by authors, copyright holders and/or related rights owners to manage their economic rights in the form collecting and distributing royalties. Article 87 of the Law 28/2014 provides that authors, copyright holders and related rights owners shall become member to an LMK to enable them collecting royalties from users of their respective works.

Archeologist Edi Sedyawati in her book, Traditional Music Skill, defined “music traditional” as music that is used as expression of cultural values according to the respective tradition. Music tradition is also understood as cultural heritage with high artistic values that rise from the cultures of each region in Indonesia. There are now more than a thousand recognized ethnic groups in Indonesia, each with its own cultural traits and values shaped by long interaction with one another as well as with religious and foreign influences for generations, taking music as one of its form of expression.

Formation of the three CMOs indeed will provide traditional musicians all over Indonesia with a better option where they could produce and commercialize their musical works with more convenience and foreseeable return, and the nation with a more optimistic way to preserve and enhance its culture and tradition.

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Such honor for Noviadi began when in 2023 he was invited for a collaboration with Lemaire, a French fashion brand founded in 1991 by Christopher Lemaire. The invitation was readily accepted by Noviadi, who greatly appreciates how the French brand valued and held his works in high regard.  The collaboration soon took off as Lemaire acquired rights to incorporate Noviadi’s drawings in the brand’s fashion designs. Rights to ten drawings were purchased accordingly, including one that eventually found its way to Triet’s blouse as part of Lemaire FW23 Menswear collection.

Later Noviadi also sent fifteen original drawings to be displayed in an exhibition at the brand’s new store in Rue Elzevír, Paris. The exhibition was held from May 7 to July 6, 2023, and was solely dedicated to Noviadi under an Indonesian language title “JUJUR-SABAR” (translates to English as “HONEST PATIENCE“).

Noviadi admitted that in working with Lemaire, he had limited role when it came to designing the fashion end-products as he merely created the drawings. He proudly stated that his drawings already served as self-statement to his presence at the center of world’s fashion and arts, citing originality, freshness as well as distinctiveness as the key of his works’ strength. Also, Kurniadi respected Lemaire’s vision in emphasizing on simple and minimalistic design, which is in line with the character of his own works, which enabled the so-called marriage between the world of drawing arts and that of fashion. He also praised how smooth the collaboration went without even needed to conduct face-to-face discussion.

Lemaire got in touch with Noviadi through the representation of Cavin Moris Gallery in New York, where he also regularly held exhibitions every year since 2015. Since 2014 Noviadi had also held a number of exhibitions in various galleries all over the world, including Callan Park Gallery, Sydney College of the Arts; Galerie Jean Greset, Besancon, France; The Center for Intuitive and Outsider Art, Chicago, Illinois; and Cvijeta Zuzoric Art Pavilion, Belgrade.

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