Art enjoyable as ever amid underlying tension<\/p>\n
Carla Bianpoen
\nContributor
\nJakarta<\/p>\n
For the ignorant art lover, the year 2002 was as enjoyable as
\never, with many exhibitions, both local and international. But
\nunderneath all this lay the tension that the issue of goreng
\nmenggoreng had evoked. The term, which literally means frying,
\nrefers to the practice of collectors cum art traders raising
\nmarket prices by buying large numbers of paintings by certain
\nyoung up-and-coming artists. A loaded issue last year, goreng
\nmenggoreng came to a head then only to virtually disappear this
\nyear.<\/p>\n
As noted art critic Jim Supangkat, gallery owner Biantoro and
\nart lover Dr. Melani Setiawan all noted, forces have lately
\nemerged countering the usefulness of such practices. Collectors
\ncum art traders have cooled down, now doubting the significance
\nof many young artists' works that had fetched exorbitantly
\ndisproportionate market prices in previous years. And as those
\nprices soared to match the prices paid for masters, collectors
\nnow seem to prefer buying old masters.<\/p>\n
While the goreng practice has received a lot of negative
\nresponses lately, it must be admitted that there were positive
\naspects as well, as Biantoro recently highlighted. Besides
\nenlivening the art market, it also brought in new collectors, who
\nmight have started as art traders attracted by the lucrative art
\nbusiness but then became art lovers with a genuine interest in
\nthe development and authenticity of art.<\/p>\n
The establishment of the U.S.-based Indonesian CP Foundation
\n(CP) in April brought new expectations for quality artists to
\nfind an adequate place on the international stage. The CP
\nFoundation proclaimed its aims as being to retain high ethical
\nintegrity and promote only artists who live up to high standards
\nof artistic value.<\/p>\n
The exhibition of Chusin Setiadikara in Jakarta and Washington
\nDC, which CP sponsored in cooperation with Swiss financial
\ninstitution UBS, was among the highlights, enjoying widespread
\npublicity in Indonesia and appreciation in Washington DC. Another
\nartist that CP brought to the international stage was
\nphotographer Oscar Matulloh, whose photos are not only of high
\ntechnical quality, but are also based on enthralling imagery and
\ndeep and far-reaching philosophical thought. Whether CP will make
\na significant impact on the local as well as the international
\nscene will depend on how the Foundation succeeds in maintaining
\nits idealism in the future.<\/p>\n
The emergence of an Indonesian initiative in Indonesia --
\nemulating the American based Philip Morris Awards initiative over
\nthe past eight years -- is a welcome phenomenon, stimulating a
\nplurality of art appreciation. The Indofood Art Awards, held for
\nthe first time this year, have evoked further expectations, but
\nalso need to prove their standards in the years to come.<\/p>\n
The Philip Morris Awards, the first art awards ever in
\nIndonesia, were initiated by the Philip Morris company and are
\nrun by the Yayasan Senirupa Indonesia (YSRI). While these awards
\nmay have spotlighted some important talents, they now seem to
\nhave fallen into oblivion. A particular disappointment with both
\nartists and art lovers was the lack of prior information on the
\nASEAN-wide Philip Morris awards event, which was held this year
\nin Bali. Even those residing on Bali had little notion of the
\nevent being held on the island.<\/p>\n
JakArt this year started a new tradition that it is hoped will
\nattract young artists. Named Struggle and Creation, an annual
\nevent giving space to young artists of up to 35, it is a
\ndeparture intended to endorse creativity. JakArt's coordinator
\nfor this sector, Dolorosa Sinaga explains that to be selected, an
\nartist must have an aesthetic concept, as well as social and
\nenvironmental concern. An artist is allowed to participate no
\nmore than twice.<\/p>\n
Two international exhibitions of Chinese art held at the
\nNational Gallery were the first ever to be held in Indonesia
\nsignaling a new dynamic shifting in the usual art focus from the
\nWest to the East. Less covered in the media, but significant in
\nthis respect, is the exhibition of the highly imaginative Djoko
\nKS's work, whose quasi Chinese calligraphic paintings reveal the
\nhand of a master.<\/p>\n
This year has also seen many women artists participating in
\nart exhibitions, with some organizers making it a special point
\nto have them included. Whether this is due to progress in the
\nreduction of gender bias, or to the lucre factor, is not yet
\nclear. Whatever the reason, women do have a point now.<\/p>\n
One example is sculptor Yani Mariani Sastranegara, who for
\nyears has worked on issues that she only now dares to display.
\nUnlike her previously displayed works of monolith sculptures, her
\nwork in the Bandung (Nuart Gallery) and Jakarta (TUK) exhibitions
\nwere eye-openers, causing quite a stir. Using polyresin, clay and
\nbroken pieces of clay, her installations evoke the magic of a
\nworld that lies between fantasy and the surreal, a stirring
\nsublimation of the process of life and decay.<\/p>\n
Probably the last important event of the year is a
\ncomprehensive exhibition of the works of Hilda Soemantri to honor
\nIndonesia's foremost female sculptor and scholar, and pioneer of
\nfine art ceramics. It is the first of its kind since she started
\nthe "revolution" of clay some three decades ago (see The Jakarta
\nPost dated Dec. 17).<\/p>\n
What next year will bring remains to be seen though strong
\nrumors have it that the first of a prestigious international
\nBiennale is in the offing. If this is true, then it might be a
\nmajor boost to artistic endeavors in the country.<\/p>",
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