Ancient and modern art sits side by side<\/p>\n
Christina Schott, Contributor, Jakarta<\/p>\n
Two longboats with two families aboard floating on the water.
\nThey are probably in search of a better life.<\/p>\n
One of these families is from Flores, East Nusa Tenggara,
\nimmortalized in terracotta by an unknown sculptor, who probably
\nlived more than 200 years ago. The other family is Javanese made
\nof fiberglass and copper plating made just some days ago, created
\nby Taufan AP, a 27-year-old artist from Yogyakarta.<\/p>\n
Even if different in age, origin, material and style, both
\nsculptures are amazingly close in their archetypical idea. Taufan
\ndid not know about the Flores boat when he got the inspiration
\nfor his piece. "I was inspired by the story of Adam and Eve", he
\nsays, "It represents simply the way everybody had to go -
\nstarting with the first family and their children."<\/p>\n
Both works are part of the exhibition 1,000 years of
\nIndonesian Sculpture, which opened at Club Bimasena in
\nDharmawangsa Hotel on Tuesday night. Although the collection
\nshows works from different ages from all over the archipelago -
\nincluding pieces from the Dongson Culture on Java from the Bronze
\nAge 3,000 years ago - this is not an antique show. This is a
\ncourageous attempt to show the tremendous variety of Indonesian
\nart, both ancient and modern - by stressing the contemporary
\nimpact of historical artifacts.<\/p>\n
Consequently, none of the objects were chosen because of their
\ncultural, ethnic or historical importance, but because of their
\nesthetic expression.<\/p>\n
"We really wanted to show pure sculpture", says Irwan Holmes,
\nconsultant of Dharma Mulia Galleries and curator of the
\nexhibition. "For the first time in this country we have set up a
\ndirect comparison between ancient and contemporary art. A lot of
\npeople think this would be a completely crazy idea - but I
\nbelieve this will be the most exciting exhibition Jakarta has
\nseen for some time."<\/p>\n
The 21st century will be represented with sculpture by young
\nartists Renjani and Taufan AP, as well as by Awan P. Simatupang
\nand Hariadi Soeroso - highlighted by the latest works of Dolorosa
\nSinaga, one of the best-known sculptors in Indonesia today.<\/p>\n
"We included contemporary art because we wanted to show the
\nongoing process of Indonesian sculpture, and to show the process
\nof development through the work of living artists from different
\ngenerations," says Sinaga, who conceived the exhibition together
\nwith Irwan Holmes.<\/p>\n
Looking at Sinaga's deeply moving woman figures - like for
\nexample the three bronze dancers titled Jaipongan, who express
\ntheir desire to be free with energetic steps and arm movements,
\nthey appear to be in contrast to the mostly static ancient
\nfigures. But, in fact, a many of the sculptures are united in
\ntheir archaic expression of mental power and in their struggle
\nfor freedom. Take for example the early 20th century wooden
\nstatue of a man from Sumba, East Nusa Tenggara: His strained face
\nand raised hands express that he is freeing himself.<\/p>\n
"The big difference is that the ancient sculptures have mainly
\nbeen created for reasons of worship, animist ceremonies or other
\nrituals. Today, we only do art for art's sake", Sinaga says. "But
\nwhat all these sculptures have in common is their expression for
\ncertain life conditions. You will always find this continuing
\ntheme."<\/p>\n
There is no doubt that some basic aspects of life never
\nchange: birth and death, belief and fear of God or Nature, male
\nand female, oppression and the desire for freedom. These motifs
\ngo all through the exhibition. There is even a wooden
\nhermaphrodite from Kalimantan (Dayak, around 1900).<\/p>\n
This figure seems to unify all of Nature's forces so as to
\nremain in contact with a supernatural power. The modern version
\nof a hermaphrodite with a Superman-like body, but female breasts
\nwas created by 25-year-old Renjani. Her bronze sculpture titled
\nDirect call to God also tries to contact some higher power, but
\nin this case with modern telecommunications: A telephone receiver
\nseems to be fixed to the figure's head, while another receiver is
\nperched in an outstretched hand.<\/p>\n
"Ancient artists didn't create their sculptures for the
\npresent, many of them were made for the afterlife. Therefore,
\nthere is almost no connection between their art and their social
\nor private lives, which is our main source of inspiration today",
\nRenjani says. "But still you will always find parallels, which
\nmakes this direct comparison of antique and contemporary art so
\ninteresting."<\/p>\n
The most amazing effect of this exhibition is how modern the
\nold works look beside the new ones. One realizes how strongly
\nancient ethnic art has influenced a lot of contemporary artists
\nall over the world.<\/p>\n
The 19th century squared animist deity with four faces and two
\nbreasts from Timor looks like it could have been the inspiration
\nto some of Picasso's works: a very simple, abstract corpus - but
\na highly sophisticated concept of expression.<\/p>\n
The exhibition takes place at the Lobby Lounge on the ground
\nfloor of Club Bimasena, Dharmawangsa Hotel, Jl. Dharmawangsa Raya
\n39, Jakarta. It will be on until June 30, and is open from 10
\na.m. until 8 p.m. Free admission.<\/p>",
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"sponsor": "Okusi Associates",
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