Hanura respond to present conditions in his works<\/p>\n
By Aendra H. Medita<\/p>\n
BANDUNG (JP): Princess Diana and Che Guevara, two public
\nfigures whose great influence in the world have made them persist
\nin our memory. And then there is Hanura Hosea, an artist from
\nYogyakarta. Put them together in one frame: I Want to be Adored.<\/p>\n
These two forceful figures have become dreams adored by their
\nrespective admirers. On the one hand, you have Princess Diana,
\nadored by people from the lowest rung of the social ladder to the
\nhighest. On the other hand is a figure uniquely adored by the
\nworld's young people, Che Guevara, a doctor turned politician and
\na friend and foe of Fidel Castro.<\/p>\n
Hanura has offered an artistic vision when he gives a large
\nframe to these two icons in the context of his narrative dream.<\/p>\n
We can see this in his exhibition, Kamar dan Jalan (Bedroom
\nand Street), at Galeri Padi, Jl. Ir. Djuanda (Dago), Bandung,
\nfrom April 4 through May 3.<\/p>\n
The 32-year-old Hanura is a self-made artist and a geography
\ngraduate from Gadjah Mada University, who earned the 1997 Philip
\nMorris Award.<\/p>\n
Hanura is offering us a space of possibility different from
\nthose offered by other Indonesian artists.<\/p>\n
He features an unusual tendency in the visual aspect of
\nanatomy, shapes of a countenance which are never clear, as they
\nonly give a vision of bitterness, gripping horror and an anxious
\nfeeling for something. One may say he also gives expression to a
\ncase of terrifying oppression.<\/p>\n
The exhibition is a display of contemporary fine arts; a
\nresponse to the present conditions. According to noted Indonesian
\nfine arts observer Jim Supangkat, the power of Hanura's work is
\nthe power of the present context. "He has presented his
\nintellectuality in good proportion in his work," said Jim at the
\nopening of the exhibition.<\/p>\n
It is always likely that Hanura's pieces are the manifestation
\nof responses to our present information industries or
\ncommunications patterns. One example is his Kencing Laki-Laki
\n(Male Urine). There is a feeling of acute irony in this work
\nbecause here, he presents a woman lifting her gown high and
\nrelieving herself in a toilet intended for men.<\/p>\n
The freedom of style that he wishes to present is not merely
\nthis because he also shows that this work, which comprises three
\npictures, implies the acuteness of a dynamic formula to enable
\none to get a grasp of a new discourse in a cosmopolitan life now
\nbeing idolized.<\/p>\n
"I create my work in line with the way the present
\ncircumstances are evolving," said Hanura. "Changes are taking
\nplace speedily. They are full of power, which I must respond to
\nin my work." Power is not just information but also a way of
\nlooking at things.<\/p>\n
Hanura powerfully builds shapes and gives his focus on each
\nobject to make it the most important part. A torso, or another
\nanatomical element, is presented almost totally in a pattern
\nwhich he has acquired from experiences he has collected as a
\ncontemporary artist. When creating, he clings steadfastly to
\nresponses to the present conditions.<\/p>\n
Materially or technically, Hanura is no longer an ordinary
\nartist because he has tried to tap the other power that fine arts
\ncan offer, particularly painting. In this exhibition, he displays
\nseven pieces, all frameless.<\/p>\n
One is intentionally left standing against the wall. Another
\npower in his work lies in the lusterless monochrome appearance to
\nfeature the gloomy tendency of the present conditions. To Hanura,
\nwhat he presents is the manifestation of the foundation of his
\nworks. It is a process that continues to be in contact with the
\nfast-changing circumstances. It may be right.<\/p>",
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