Balai perupa honors three art forms<\/p>\n
By Pavan Kapoor<\/p>\n
JAKARTA (JP): The tree is perhaps the most versatile object in
\nnature providing shade, shelter, and protection while
\nreplenishing essential food for the universe. Balai Perupa, a
\nmini art gallery situated within the Taman Kafe Semanggi complex,
\nsymbolizes the teeming city of Jakarta as a tree as it launches
\nan art program on the occasion of the Anniversary of Jakarta. The
\nunique aspect of Pohon Jakarta (The Tree of Jakarta) is presented
\nin three art forms: installation, painting and performance arts.<\/p>\n
The exhibition was opened on June 9 by Mohamad Sobary
\n(Director of Antara news agency) and supported by chief patron of
\narts Grace Siregar. Surrounded by the delicious mouth-watering
\nsmells emanating from the neighboring cafes, Balai Perupa hosted
\nthe performance art on the opening night under the stars in the
\nopen area in front.<\/p>\n
Performed by K. Cung, who painted himself in red and white as
\na representation of Indonesia, the performance was enacted within
\na tripod of triangular bamboo sticks. From the apex hung a pot
\nwhich eventually was grasped by the artist as the free fall,
\nsplintering upon contact with the bricked ground below. On one of
\nthe arms was a ladder that K. Cung attempted to climb again and
\nagain. Each effort to rise and climb to the top symbolized
\nIndonesia's perseverance to climb out of the economic crisis.<\/p>\n
On a par with demonstrations and rallies, these performance
\narts are also a means of articulating the mind and feelings of
\nthe public. Performance art such as this has gained tremendous
\nmomentum in recent years and works toward showing the common
\nfrustration with the deteriorating economic condition of the
\ncountry.<\/p>\n
The second art form that was unique to Pohon Jakarta was the
\ninstallation art, primarily displayed by artist Rowan Winfred
\nDavey. Rowan was born in London and is qualified in art, theater
\nand sociology and has exhibited his art in England several times.<\/p>\n
Although Rowan had some of his paintings also on display, his
\ninstallation works such as Pohon Jakarta, which stands in the
\ncentral arena of the Taman Kafe complex, is more eye-catching. It
\nconsists of a central trunk with long narrow plastic bags
\nbillowing out and waving in the breeze.<\/p>\n
Some of Rowan's other installation works on display are
\nSparkling Celebration and Gloomy Days. Sparkling celebration is
\nan intriguing collection of shining and sparkling knick-knacks,
\nsuch as beaded necklaces and gold wire, hanging from a plate of
\ncoat hanger hooks. As the hanging apparatus swings, the objects
\nglisten and attract the viewer's attention.<\/p>\n
Gloomy Days is at the opposite end of the spectrum of emotion
\nfor Rowan. The objects that hang from this installation seem to
\nbe assorted everyday objects, and although an ordinary onlooker
\nmight not receive the same gloomy message while witnessing the
\ninstallation, it might have special memories and emotional
\nassociations for the artist himself.<\/p>\n
The paintings on display are mainly by Grace Siregar and can
\nbe categorized as casual abstracts. Using a lot of deep reds and
\nblack, Grace seems to have the color of blood on almost every
\npainting. Born in Indonesia, Grace started exhibiting her
\npaintings in 1997. Since then she has exhibited in Amsterdam, and
\nJakarta several times.<\/p>\n
In Dilarang Masuk (No Entry) Grace shows a no-entry sign, a
\ncircle with a red dash inside. In Shadows of my childhood, Grace
\ndepicts a complication of paint slashes in gray and the
\npredominant crimson. All along the outer panels are eyes that
\ntell of the depth of memory and detail that Grace seems to
\npossess of early childhood.<\/p>\n
On the upper level of the cafe-cum-gallery is the painting
\nentitled Celebration in grief. Through the lines of a gigantic
\npeace sign, one can see figures -- figures lying prostrate on the
\nground and some as if stretching upward to escape the human mass
\nat the bottom.<\/p>\n
Taman Kafe Semanggi seems to be a place where the action is
\nduring the month of June, when art festivals are almost
\nassaulting ones senses and forcing people to take off and enjoy
\nthe summer months. Present in such an atmosphere, Pohon Jakarta
\nis a brave attempt by Bali Perupa at encouraging the three forms
\nof artistic media.<\/p>",
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