Indonesian art shows paintstaking realism<\/p>\n
By Amir Sidharta<\/p>\n
TOKYO (JP): Some of the biggest names in Indonesian
\ncontemporary art are on show at The Mutation: Painstaking Realism
\nin Indonesian Contemporary Painting at the Japan Foundation
\nForum, Akasaka Twin Towers, Tokyo, which ends today.<\/p>\n
The show, curated by Jim Supangkat, features the works of Dede
\nEri Supria, Rahmat S. Irfani, Melodia, Chusin Setyadikara, Probo,
\nSudarisman, Agus Kamal, Lucia Hartini, Ivan Sagito, Sucipto Adi,
\nand Asri Nugroho. The nine painters are known for using a
\nmeticulous technique in their handling of realism.<\/p>\n
Many of the works are formidably large pieces, although some
\nlike those of Melodia and Rahmat S. Irfani are medium sized. The
\nsmaller paintings are arranged in an attractive composition in a
\ncorridor leading to the main hall.<\/p>\n
Large sizes and the striking imagery offer a different vision
\nfrom the stereotypical images of Indonesia found in tourist
\nbrochures and guide books. The impressive exhibition has managed
\nto attract, surprise and intrigue viewers in Japan.<\/p>\n
The curatorial interpretation of the exhibition still seems to
\nbe very much an unproven hypothesis. Masahiro Ushiroshoji,
\ncurator of the Fukuoka Art Museum, writes in the exhibition
\ncatalog that Supangkat admits that Painstaking realism "does not
\nhave a clear concept and is far from being a movement".<\/p>\n
It is likely the show will draw mixed criticism from the art
\nworld. Hopefully, this will inspire the artists to provide a
\nclearer vision of their thoughts and ideas so their work can form
\na substantive and significant discourse in the development of
\nIndonesian art.<\/p>\n
For Supangkat, Melodia's paintings, most of which depict
\nvehicles, reflect the artist's drive towards mobility in the
\nmodernizing Yogyakarta. There is no doubt that the artist has
\ntremendous technical skill. However, if the paintings are meant
\nto express mobility, they are ironically static depictions of the
\nvehicles without any trace of human figures.<\/p>\n
"I never depict human figures in my paintings. However,
\nthrough their vehicles, and other signs and symbols in the
\npainting, I also portray the user or the owner of the vehicles,"
\nhe claims.<\/p>\n
Rahmat S. Irfani's paintings also show the artist's
\nunderstanding of technique. He even offers some clich trompe
\nl'oeil, painting wooden frames into the picture plane. Yet, the
\nsubject matter of his paintings seems too simple, too obvious,
\nand fails to offer any further insight into the issue.<\/p>\n
A large composition by Sutjipto Adi, Welcome to My World II;
\nDream of Love, greets the visitors as they enter the main hall.
\nTwo panels hand on the wall facing the corridor, a collage of
\nsilkscreened images, pencil drawings, and painted images,
\narranged in a faceted composition on canvas.<\/p>\n
The images, which include Mother Theresa, an Australian
\naborigine, a young toddler who appears to be the artist's son, an
\neagle, lotuses, and a fragment of a crucified figure viewed from
\nthe back, convey messages of the artist's social concerns. "My
\nrecent works have gone beyond the confines of my personal life,"
\nsays the artist, as they address world issues.<\/p>\n
The repetitive drummers in Dede's 3 x 11-meter-large Dancing
\nand Fatally Buried under Canvases and Palettes draw visitors to
\nenter the hall towards the left. Directly opposite the painting,
\nis an almost equally large painting. Between Two Gates III,
\nmeasuring 3 x 10.5 meters.<\/p>\n
Two large garbage disposal truck appears on both ends of the
\ncomposition discharging images of corporate signs, packaging,
\nadvertisements and other objects bearing various brand names
\ntoward the center of the painting.<\/p>\n
"Perhaps it has to do with globalization, the influences of
\nculture from outside Indonesia, the influences of globalization,
\nand even further the influences of the free world market of the
\nyear 2000-something," Dede explained.<\/p>\n
The two earlier paintings in the Between Two Gates series,
\neach measuring 2 x 4 meters, are also presented.<\/p>\n
Dede's gigantic works were undoubtedly the main attraction of
\nthe show.<\/p>\n
Some of the artists have been working in a much larger format
\nthan they are usually accustomed to especially for this show.<\/p>\n
Chusin Setyadikara who normally works an canvases measuring
\nabout 50 x 150 cm or less, has created a painting which measures
\napproximately 250 x 400 cm divided into two panels. The painting,
\nKintamani Market I, shows fruit vendors selling Balinese
\ngrapefruit and passion fruit, taken from a high vantage point.<\/p>\n
The faces of figures in the painting seem to be purposely
\nturned away from the viewers. Some even look towards the upper
\npart of the canvas, which is treated differently from the rest of
\nthe canvas using blocks of color in three separate segments. The
\nimage of the Starship Enterprise appears in one of the segments.
\nThe artist uses this imagery to as a symbol of foreign influences
\nthat directly or indirectly and consciously or unconsciously
\naffect life in Bali.<\/p>\n
Kintamani Market I seems untouched by any pretentious social
\ncommentary, but perhaps it is Chusin's work which has the
\ngreatest potential in conveying a compelling message.<\/p>\n
Through this painting, he talks about the activities of the
\nmarket beyond that which he explicitly renders. At the same time
\nhe also hints at society's indifference toward the problems of
\nwaste and the environment.<\/p>\n
Opposite Chusin's painting are two large paintings by Asri
\nNugroho, all in sizes larger than his regular canvases.
\nUnfortunately, his paintings seem less developed compared to his
\nprevious works, in which transitions between scenes or objects
\nare subtly handled as to make the paintings subject matter less
\nobvious.<\/p>\n
Ivan Sagito's interpretation of eternal life in his Immortal
\nEternity series uses ironical images which suggest aging and
\ndecay. The figures are transformed from the brick columns of
\nwells, which signify source of life, and banana leafs. Ivan's
\npaintings seems to be loaded with symbolism which are not easy to
\ncomprehend, but their intensity and significance are reflected
\nthrough the quality of his works.<\/p>\n
Archaeology has been S. Probo's favorite subject matter.
\nThrough an archaeological landscape in The Limit, the artist
\nexplores the notion that everything, even the great traditions,
\ndecay. In The Multidimensional Beauty, the artist attempts to
\nincorporate images of the modern world, combining it with the
\narchaeological elements which have become his trademark. As a
\nresult, the painting seems too manufactured.<\/p>\n
Agus Kamal focuses on morbid images, such as shrouded corpses
\nlaid on rows of deathbeds. One rendition is more gruesome. The
\nfetuses of twins are depicted neglected on the dirt floor below
\nthe feet of a figure who seems to have committed suicide by
\nhanging. Chickens feeding on the dirt floor inch nearer to the
\ndead.<\/p>\n
Sudarisman's works sometimes incorporate realistic renditions
\nof human faces, or other realistic elements, but the rest of the
\ncomposition departs from the techniques of realism.<\/p>\n
Lucia Hartini, the only woman in the show, features three
\nworks which depict scenes that are clearly beyond any reality.
\nThe surreal images seem to depict the artist's personal journey
\nin settings taken from her inner consciousness. The more surreal
\nthey appear, the more successful the images become.<\/p>\n
In Umbrella Two Thousand, the figure uses an umbrella which
\ntransforms into the sky and the constellations. It intrigues as
\nit depicts something so distant from our consciousness. By
\ncontrast, The Silent Prayer, shows a woman dressed in white
\nmeditating on a bed of white lotuses. It is an image with which
\nviewers are familiar, although it also does not stem from
\nreality, and therefore becomes less interesting.<\/p>",
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