2003, a dynamic year for visual arts<\/p>\n
Carla Bianpoen, Contributor, Jakarta<\/p>\n
The year 2003 may well enter history as one of the most dynamic
\nin terms of visual arts. At the same time, it also deserves to be
\ncalled the year of the private sector in the arts.<\/p>\n
Marked by at least four events that sought to bring a new wind
\ninto the world of art, it saw private individuals and collectors
\ninvest large amounts of their own money into the development of
\nthe visual arts.<\/p>\n
If collectors had their own private agenda in the past, this
\nyear they saw the light and, breaking out of the limited desires
\nof personal preferences, followed a greater vision for
\nart.<\/p>\n
Arguably, the CP Open Biennale, announced in January and held
\nin September 2003, set the tone. The first of its kind
\nin Indonesia -- pluralistic, national plus and arranged through
\nprivate finance and organization, it aimed to place Indonesia on
\nthe international map of fine arts, with curator Jim Supangkat
\nlaunching a new concept -- "Art with an Accent" -- and collector-
\ncum-entrepreneur Djie Tjianan sponsoring the event out of his own
\npocket.<\/p>\n
Whether it can be considered a success remains to be seen, but
\nwhile there was severe criticisms in regards the quality of the
\nexhibited pieces, the public raved over the event as a whole for
\nsetting the scene for unusual dynamics and expectations.<\/p>\n
In the wake of this event came the Yogyakarta Biennale, not
\ncomparable on an equal scale because of its being restricted to
\nthe Yogya sphere, but noteworthy in itself and evoking heated
\ndiscussions on its curator's vision and selection process. The
\nvirtually installations-only event was made possible by the
\nprivate purse and lots of goodwill.<\/p>\n
The Philip Morris Awards returned as the Indonesian Asian Art
\nAwards (IAAA) and now a biannual event, to select the five best
\nworks for the regional art competition in 2004.<\/p>\n
Increasingly prominent, the Indofood Awards this year stood
\nout by making selections based on the actual work, and not on the
\nbasis of portfolio pictures only.<\/p>\n
Interestingly, apart from the Yogya Biennale's orientation
\ntoward installation art, the CP Open Biennale, the IAAA and the
\nIndofood Awards shared the same vision of aesthetic pluralism and
\nincluded photography, hanging installations and what would
\nusually be categorized as crafts in their exhibit line-up.<\/p>\n
An artist of note in the last genre is I Made Sujana (Suklu),
\nwho evolved from basketry in the CP Open Biennale to mixed media
\n-- looking like craft transposed on canvas -- for both the IAAA
\nand Indofood Awards.<\/p>\n
Likewise, Yusra Martunus, who created hanging installations of
\naluminum forms arranged in seemingly monotonous, repetitive rows
\nalong an entire canvas, made an impression at both the CP-OB and
\nIAAA.<\/p>\n
Gender-wise, works by women artists tended to be very strong,
\nwith outstanding pieces by Yani Mariani Sastranegara, whose
\nstirring stone installation left an enduring impression on
\nwhoever gazed upon it; Astari Rasjid, whose heavy iron sculpture
\nof an incised bag reflected the current human condition;
\nArahmaiani, who made a simple but telling video about
\ndisappearing love; and Mella Jaarsma's down-to-earth installation
\ncapturing the most pertinent issues facing mankind across the
\nworld at the CP-OB.<\/p>\n
Among the best five at the IAAA was Ayu Arista Murti, with her
\nconspicuous digital photographic work, while the Yogya Biennale
\nshowed Mella Jaarsma's stirring pieces, Sekar Jatiningrum's
\nbeautiful drawings and Bunga Jeruk's clever way of creating mood
\nand atmosphere in her installations.<\/p>\n
Meanwhile, although the Women Art exhibition organized by
\nInstitut Ungu may not have been significant in terms of quality,
\nit revealed a growing dynamic among women artists and sculptors,
\nspreading to cities outside Jakarta.<\/p>\n
Likewise, the first-ever Indonesian women photographers'
\nexhibition was a clear sign of the changing times and trends.<\/p>\n
An increasing openness and acceptance in public opinion marked
\nthe first exhibition of gay photographers here.<\/p>\n
While the market-oriented trend of previous years seems to
\nhave subsided, this does not mean such orientation was overtaken
\nby pure idealistic visions -- as was evident from Agus Suwage's
\ncontroversial solo exhibition, in which the work to be displayed
\nsold out before the exhibition opened. This was also evident in
\nthe fervor of the association of Indonesian sculptors (API), who
\ndesire a slice of the art scene mostly consumed by painters, and
\nof other non-painter artists, as revealed in the catalogs of
\nauction houses like Larasati.<\/p>\n
But commercialism need not exclude benevolent, idealistic
\nactions in the name of art development. Local collector and
\nentrepreneur Tjahyadi Kumala, for instance, had a desire to share
\nthe wealth of his personal collection -- and thus established the
\nArt Retreat in Singapore this year, the first private museum
\nfeaturing a collection of 1,500 pieces, including those by
\nIndonesian masters.<\/p>\n
The only notable Indonesian auction house, Larasati, which is
\nfast becoming Sotheby's match in Singapore, works along a vision
\nfor establishing Indonesian art within the Asian and Asia-Pacific
\nrealms.<\/p>\n
Meanwhile, a group of Indonesian collectors saw the need to
\nimprove their knowledge of genuine art, and founded the Indonesia
\nArt Lovers' Association (ASPI), which offers workshops and
\nlectures with prominent speakers on art and art development. It
\nis also in the process of publishing an art magazine.<\/p>\n
A very encouraging sign also came from the malls, with Plaza
\nSenayan and Plaza Indonesia giving due attention to familiarizing
\nthe public with works of Indonesia's foremost contemporary visual
\nartists.<\/p>\n
The ripples of these great dynamics spread beyond the national
\nborders, as Indonesians were also active abroad. After a long
\nabsence, the Indonesian pavilion appeared again at the Venice
\nBiennale, while Heri Dono's conspicuous painting The Trojan Cow
\nappeared among the works of international artists at the
\nArsenale.<\/p>\n
Individually or in a group, our artists went international,
\nwith the last group of the year exhibiting at the 18th
\nInternational Art Exhibition in Hong Kong.<\/p>\n
While Indonesian artists made a name abroad, foreign artists
\nwere no less active in Indonesia. For instance, the Russian
\nContemporary Artists exhibition introduced the Indonesian public
\nto the splendors of Russian Realism bordering on
\nSurrealism.<\/p>\n
Chinese artists also continued to mesmerize the public, as in
\n "From China with Art", an exhibition presenting the works of 16
\ncontemporary Chinese artists and a stunning depth of meaning and
\nphilosophy. Likewise -- but of yet another genre -- were the
\nworks of Shi Hu, whose traditional roots were tangible in pieces
\nmarked by a touch of the poetic and the grotesque, the absurd and
\nthe ambience of mystical fairy tales.<\/p>\n
Last, but not least, four Chinese avant-garde artists gave the
\nCP-OB a necessary boost, exposing a unique way of translating
\ntraditional knowledge and critique into the world of art.<\/p>\n
As the year closes, many may ponder the extraordinary
\nartistic, aesthetic and genre-related dynamics of the year. Will
\nthis newfound joie de art continue into the next year?<\/p>\n
Let's just wait and see.<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/2003-a-dynamic-year-for-visual-arts-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }