GROUP SEMBILAN IS COMING OF AGE<\/p>\n
By Carla Bianpoen [10pt ML]<\/p>\n
JAKARTA (JP): The 20th anniversary of Group Sembilan (the
\nGroup of Nine) is a milestone in the history of international
\nwomen artists' associations.<\/p>\n
Commenced as an act of friendship between women of different
\nnationalities who needed to support each other with
\nencouragement, the group can look back upon two decades of
\ncontinuous activity.<\/p>\n
A great deal of this continuation is due to Ratmini
\nSoedjatmoko and Wiranti Tedjasukmana, two of the founding
\nmembers, who have been unrelenting in maintaining the objectives
\nof the group throughout these 20 years. The bonds of friendship
\nforged in the course of time last up to this very moment.<\/p>\n
In an era in which the pace of change is more rapid than ever,
\nand the lapse in human relations takes its toll, the significance
\nof an organization like Group Sembilan becomes all the more
\ntangible. Indeed, the group has been a stronghold for its members
\nin addressing their need for self-actualization.<\/p>\n
This has been facilitated in the continuing exchange with the
\nforeign members of the group, who are ever changing because of
\ntheir temporary stays in this country.<\/p>\n
This multi-cultural aspect is a distinctive feature of Group
\nSembilan. Exchanges of ideas with fellow artists from other
\ncountries, many of them nationals of the developed West, has had
\na significant impact on the group's dynamics.<\/p>\n
\"Communicating with fellow artists of such diverse backgrounds
\nand levels of skill widen's one's scope tremendously,\" Timur
\nBjerknes, who in spite of living in Norway, still communicates
\nregularly with the group's members, said.<\/p>\n
Unique<\/p>\n
Dolorosa Sinaga, a noted professional sculptor with
\ninternational experience, is of the same opinion. \"This group is
\nunique in Indonesia. It provides for global interaction, inciting
\nprofessional ambition,\" she says.<\/p>\n
Misook Hong Cho from Korea, who has participated in the
\ngroup's exhibitions 10 times, gets excited every time the group
\nprepares for a show. She finds the anticipation, the frenzy and
\nthe usual lack of time to get everything done inspiring.<\/p>\n
The absence of pronounced competition among the participants
\nis something one would rarely encounter in the West, Kirsten
\nNieser-Schlaudraff, said of the group.<\/p>\n
For the founders of the group, what counts most is the realm
\nof friendship among persons who share the same love for the arts
\nand who may feel somewhat constrained in addressing their
\nartistic urges.<\/p>\n
This is exactly what made Ratmini decide on the establishment
\nof Group Sembilan. The opportunity presented itself when she met
\nCarmen Lord again in Jakarta in the early 1970s. They knew each
\nother from the days when they studied together at Washington's
\nCorcoran School of Art.<\/p>\n
Carmen came to Indonesia with her husband, Melvin Lord, who
\nhad been assigned to the World Bank's resident staff in
\nIndonesia.<\/p>\n
In those memorable hours of reminiscing old times, of jokes
\nand gossip, they also came to speak of their need for artistic
\nexpression. Their busy social and family life, in addition to a
\nteaching job for Ratmini, hardly left any time to concentrate on
\npainting. \"Yet I felt an increasing urge to do something I really
\nwanted to do, and Carmen felt the same,\" Ratmini said.<\/p>\n
Mutual encouragement was all they needed to take up the brush.
\nWiranti Tedjasukmana, who, after her husband had passed away,
\nneeded a little push to start painting again, was gently brought
\nin by Ratmini. Timur Nitiadiningrat Bjerknes then followed. And
\nCarmen Lloyd introduced other expatriate artists who had come to
\nJakarta to accompany their spouses. The first exhibition in 1974
\nincluded nine members, so the group was named Group Sembilan.<\/p>\n
Turning point<\/p>\n
Today the group boasts a growing sense of professionalism. At
\nthis point in time, the position of women is at a turning point
\nand constraints in choosing painting or sculpture as a profession
\nhave somewhat diminished.<\/p>\n
This is particularly evident in the works of the Indonesian
\nartists in this exhibition. Dolorosa Sinaga, a long-time member
\nof the group, is of the opinion that women artists today must
\nseize this momentum, and prove their professionalism as an
\nartist. Society will then gradually accept that values and
\nstandards are not carved in stone, and conventional perceptions
\nabout the place of women in society need adjustment.<\/p>\n
Her sculptures at this exhibition are testimony to her views
\nin this respect. A dancer in bronze, elucidating an advanced
\nlevel of professional skill and artistic maturity, is
\nexceptionally beautiful. Traditional and yet contemporary,
\nelegant and yet strong, this dancer in bronze is a statement that
\ncontemporary values do not necessarily contradict basic standards
\nin traditional culture.<\/p>\n
In this relation it is worth noting that Sinaga's Dancer was
\nused as a model for a trophy presented in a modified version to
\nthe First Lady by the Minister of Women's Roles on the recent
\nKartini Day.<\/p>\n
Like Sinaga, Iriantine Karnaya's sculptures are in bronze.
\n\"Both Dolo (Sinaga) and I have been affected by the impact of
\nchemical substances in the material we work with, but that is the
\nrisk we have to take,\" says Iriantine, whose strength seems to
\nlay in simple but expressive lines.<\/p>\n
Tine, as she is affectionately called, said this is her first
\ntime with Group Sembilan. \"I have taken a break from my
\npreparations for a solo exhibition, as I was invited to join in
\nthis exhibit.\"<\/p>\n
New direction<\/p>\n
Different from her previous works, Astari Rasjid's current
\npaintings appear to be hinting at the new direction her life as
\nan artist has taken. In fact they seem to be a statement of what
\nis essential to her. Her four works entitled Nexus, Ambiguous
\nBorders, Intoxicated Red, and Unexpected Reposition, seem all to
\nspeak of a profound self-recognition, of liberation and of an
\nintense need for communication.<\/p>\n
At times with surrealistic tones, Astari's works show that she
\nis intent on proceeding with an abstract style. Features of her
\nrecent works are a recurrent figure with pulsating symbols,
\nseparate panels to form one entity, bold strokes and outspoken
\ncolors. They mark a turning point of significance in the artist's
\nprofessional life.<\/p>\n
An advanced phase in artistic imagery is also noted in Farida
\nSrihadi's works. Although her canvases are still divided into
\nlarge colored surfaces, these now are more expressive, revealing
\na stronger confidence.<\/p>\n
Wayang dan Bayang, Morning Glory, Four Seasons, and Sea
\nFestival have some bold, swinging movements contrasting with
\nsomber colors combined with subdued gold prada. Standing before
\nher paintings one is taken into the realm of meditation.<\/p>\n
Timur Bjerknes' landscapes in watercolor are the best among
\nher works displayed. Sensitive to the environment in which she
\nnow lives in Oslo, these works represent winter through the eye
\nof the artist. The snow landscapes are like fairy tales, which
\none would like to be told again and again.<\/p>\n
Wiranti Tedjasukmana's fanciful and beautiful depictions of
\ntraditional scenes are well known. And any change in style or
\ntreatment from her past high quality works is tangible only in
\nadditional patterns, somewhat brighter colors and an enhanced
\nattention to finishing.<\/p>\n
Ratmini Soedjatmoko's works tell of her interest in the
\ndiversity of textiles in Indonesia. Having exercised Japanese
\nbrush painting for a long time, she now finds herself in a
\ntotally different style. \"In fact I wanted to paint abstract
\nforms, but my brush has led me otherwise,\" she reveals. Friends
\nin the group are encouraging her to work for a solo exhibition.<\/p>\n
Diversity<\/p>\n
It is interesting to note the diversity in styles and media
\nthrough which the artists reveal their visions and their
\ninterests. Some of the foreign artists in this group find their
\nmain inspiration in Indonesian culture and nature.<\/p>\n
Mubeccel Siber, a native of Turkey and a long-time member of
\nthe group, who used to be fascinated by the mysteries of the
\nBorobudur Temple, has now shifted to the movements in Indonesian
\ndance. Capturing specific positions with a keen eye, Siber has
\ngrasped the essential meaning of traditional dance. Subtle lines
\nand gentle colors are her media for relaying this.<\/p>\n
Kirsten Nieser-Schlaudraff, who is leaving Indonesia to return
\nto Germany, has been inspired by the diversity of palms in
\nIndonesia. One of her best paintings is the Pinang Raja, in which
\njuxtapositions of little details inserted into the overall
\ndepiction of palms gives the work an added dimension.<\/p>\n
Jill Roland-Gosselin from the United Kingdom is obsessed with
\nthe vibrations of color. Capturing impressions of the moment, she
\nlikes to work with water color. Her painting entitled Topi-Topi
\nis particularly engaging.<\/p>\n
Eliza Chau, who became a member of the group in 1986, but has
\nlived and traveled abroad periodically since that time, also
\nworks primarily in water color. Eliza, who hails from Hong Kong
\nand has studied art in Canada, enlarges the objects she paints in
\norder to enhance subtleties of form and color.<\/p>\n
Every time Misook Hong Cho exhibits with the group, there is
\nanother dimension to her works. Steadily advancing, the artist's
\nimagery is led by the texture of the material she selects for her
\ncollages. Her colors are strong, the lines simple and clear, her
\nfinishing refined.<\/p>\n
With their coming of age, Group Sembilan has grown into one of
\nthe most prestigious artist groups in Indonesia. As access is by
\ninvitation, the number of participants may surpass the original
\nnine. However, it is policy to keep the group small enough to
\nmaintain the value-added dimension of personal interaction.<\/p>",
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