Hanafi's latest works explore contextualism<\/p>\n
By Amir Sidharta<\/p>\n
JAKARTA (JP): The most recent paintings of the artist Hanafi,
\na series entitled Ventilasi Ruang (Ventilation of Spaces), are
\nspecifically meant to interact with architect Yori Antar's Puzzle
\nGallery in Puri Cinere, South Jakarta.<\/p>\n
The artist and the architect started the project with an
\nexploration of contextualism in painting, whereby the painting
\nwould take inspiration from the environment in which it is set,
\nand would therefore become an integral part of the architecture.
\nInitially, the artists were interested in exploring the notion
\nthat "every painting has its own home."<\/p>\n
It seems that now the notion is no longer of particular
\ninterest, as it is obviously very subjective in nature. While one
\nperson can consider that one painting's home is in one particular
\nspace, another can disagree completely.<\/p>\n
The notion is by no means an objective one; it is not
\ndetermined by the painting or the architecture itself. The
\nbeholder plays a significant role in its consideration.<\/p>\n
Nonetheless, the exploration of contextualism in the project
\nis still an interesting one, as a certain kind of dialog does
\nseem to emerge between Hanafi's painting and Yori's space. First
\nof all, the architect's Puzzle House is perhaps one of his more
\nsubdued and quiet, or if you will, mature projects.<\/p>\n
Like his other houses, it remains extremely complex, and even
\nborders on the arcane. Yet the architect seems to have
\nintentionally refrained from making the Puzzle House a sculptural
\nwork of art, as some of his other projects seem to have become.<\/p>\n
Here, the house provides a kind of stage set in which human
\ninteraction can take place. While the architectural stage set
\nretreats into the background, light enters, and the space
\nemerges.<\/p>\n
Not unlike Yori's architecture, Hanafi's Ventilation of Spaces
\nare abstract works that clearly are not representational (in the
\nsense of physical representation). Instead they seem to be
\nrepresentative of the artists inner feelings and emotions as
\nresponses or reactions toward the environment or situation in
\nwhich they are set.<\/p>\n
Seldom is there even an associative element from which we
\nwould be able to ascertain what it is that Hanafi is trying to
\nexpress or convey through his paintings. His "non-figurative"
\npaintings offer much room for multiple interpretation. Rather,
\nthrough the elements he presents in his work, the artist intends
\nto stimulate interaction with the viewers' feelings, resulting in
\na variety of interpretation, depending on the beholder.<\/p>\n
The series Ventilation of Space certainly suggests a mere
\nphase in Hanafi's artistic development. The term "ventilation"
\nthat the artist uses can perhaps be more appropriately
\nsubstituted with the term "fenestration".<\/p>\n
Whereas ventilation more appropriately pertains to the flow or
\nventing of air, the term fenestration refers to a broader meaning
\nof openings. While a window becomes a means of atmospheric
\nventilation, it is also provides a visual interrelationship
\nbetween spaces. In essence we understand that Hanafi's intention
\nin his use of the term is to suggest this spatial
\ninterrelationship.<\/p>\n
Placed in an architectural space, his Ventilation of Space
\ntherefore becomes a ventilation, fenestration, or window, into
\nanother space or even another dimension.<\/p>\n
It is precisely the window into the artist's psyche, and at
\nthe same time a vehicle into the viewer's own feelings and
\nemotions. This open window allows the multiple interpretation
\nmentioned above.<\/p>\n
The artist himself writes:<\/p>\n
"I realize that my painting is a mere fragment of a 'large
\npicture'. The large picture is our collaborative work. It is like
\na jigsaw puzzle, where each piece is joined with another. Each
\npiece has its distinct form and value: my piece and the other
\nexisting ones, and the ones to come.<\/p>\n
"We rearrange it in this jigsaw puzzle. Each piece has to be
\njoined to form integrity, because the image of reality exists in
\ncomprehensiveness."<\/p>\n
In other words, the collaborative exercise between Hanafi,
\nYori and their audience is meant to initiate the churning of a
\nwheel of discourse involving art, architecture and aesthetic
\nappreciation.<\/p>\n
Yori has opened the spaces in his architecture. Hanafi has
\nopened the Ventilation of Spaces in his painting. Now it is time
\nfor us as the audience to open up our senses and our hearts so
\nthat we will be able to appreciate the works.<\/p>\n
If you can only come up with lumayan ("okay", "alright", or
\n"not bad"), then we know that we are facing a rather big problem.<\/p>\n
This means that we need to rethink this effort all over again,
\nand it will take longer for us to compose what Hanafi calls the
\n"larger picture".<\/p>\n
If the paintings are strong enough, they will invite strong
\nreaction from the viewer. You may be able to feel excitement,
\njoy, melancholy, or sorrow. If you like them, good! If you hate
\nthem, fair enough. No problem! For, if so, then the painter's
\nworks have managed to strike your heart in one way or another.<\/p>\n
Whatever your response, please frankly convey it to the
\nartist. He should be able to deal with it. After all, these
\nresponses are what churns the wheel of discourse and forms this
\n"larger picture".<\/p>\n
Far too often, the circle of communication between artists,
\narchitects, and their audience is intercepted by possessive
\nmediators. Hanafi's "Ventilation of Spaces" in Yori's Puzzle
\nHouse attempts to open up this circle once again. The "larger
\npicture" is ours to compose collectively, not individually.<\/p>\n
The writer is the curator at Museum Universitas Pelita Harapan
\nin Karawaci, Tangerang, West Java. The above story is taken from
\nthe exhibition's catalog.<\/p>",
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