JP\/18\/LANSC<\/p>\n
Sakato artists seek their place on the map<\/p>\n
Carla Bianpoen
\nContributor\/Jakarta<\/p>\n
Amidst the vibrancy of art today, with installations -- video,
\nphotography and comics -- drawing increasing attention,
\nlandscapes as a subject matter have gradually taken a second row.<\/p>\n
At least that is the general impression of most exhibitions of
\ncontemporary art.<\/p>\n
However, young artists, between 30 and 36 years of age,
\nhailing from Padang in West Sumatra and grouped in what is called
\nSanggar Sakato, have their own way of portraying it, as evident
\nfrom their exhibition at Nadi Gallery here.<\/p>\n
Although they studied at the Indonesian Arts Institute and
\nlive and work in Yogyakarta, they appear fairly unfazed by
\ndominating trends.<\/p>\n
Instead, they are returning to landscape painting, although
\nthe term must be perceived differently from its original meaning
\nof naturalistic scenery seen through the physical eye, known as
\nlandschap -- a style used by 16th-century Dutch painters to mark
\nthe return of scenery to the visual arts.<\/p>\n
As most of the paintings in this exhibition reveal, while
\n\"landscape\" for Sakato artists may be merely an artistic medium
\nto unfold their visions on the world in which we live, they
\ncontain an inherent quality of enjoyable finesse and imagery,
\neven if they also include social and political critique or
\ncommentary.<\/p>\n
There is a notion of reverie, perhaps a longing for peace and
\npeacefulness, which for many is a fresh deviation from the
\nhitherto artistic commentary that either deters or leaves the
\nviewer perturbed.<\/p>\n
This particularly felt in Terbang Tinggi #1 and #2, each 140
\ncm by 160 cm, featuring white clouds against a blue sky, by M.
\nIrfan, or in Handiwirman Saputra's superb paintings, 150 cm by
\n150 cm, likening earthen sculptures of a face on which a whiff of
\ncotton and plastic mark what is ultimately playful and lyrical.<\/p>\n
It is also evident in Ardison's paintings Titik Api (Fire
\nSpot, 150 cm by 150 cm) depicting nature \"cooked\" in a wok that
\nis set amidst a forest on a hilltop.<\/p>\n
Bukan Musim Gugur (Not the Killing Season, 195 cm by 140 cm,
\nfeatures a white sculpture of what could be body limbs or logs
\nwith white clouds gliding over the green mountains as a backdrop,
\nall seen through an open window -- although here the issues of
\nforest fires, environmental degradation or depletion and mass
\nkillings have been carefully incorporated.<\/p>\n
Similar is Saftari's 140 cm by 160 canvas of blue-green with
\nsmall trees on it suggesting the fertile soil, and his 120 cm by
\n150 cm canvas of gray, barren land that has bare trees standing
\nlike poles dividing the arid land from the barren mountains.<\/p>\n
While Zulfa Hendra's imagination on housing in Imaginasi
\nTentang Rumah I, 150 cm by 150 cm), and II (40 cm by 150 cm) may
\nrefer to fascinating surrealist imagery, it may also include the
\nissue of refugees who are fated to an itinerant existence.<\/p>\n
Similar is Denny `Snod' Susanto's Big Tree' (150 cm by 130
\ncm). Featuring a strong tree with roots and all, floating in the
\nair as if moving toward the blue sky, with its branches topped
\nwith white blossoms, it may simply be the product of capricious
\nfantasy; it may, however, also suggest modern man pulled from the
\nground to which he was firmly anchored.<\/p>\n
Meanwhile, Rudi Mantofani's finely painted maps titled
\nIndonesia and Nusantara Warna, each measuring 150 cm by 200 cm,
\nsuggest a reaction to political issues sweeping the country
\nrecently.<\/p>\n
In Indonesia, a gold-green surface with light terracotta
\ncolored islands of the archipelago and a black-and-white band
\nbordering the top of the canvas, suggests Mantovani's belief in
\nthe basic strength of the nation, while Nusantara Warna featuring
\ngreen islands on a blue surface with a multicolored band
\nbordering the top of the canvas expresses the artist's belief in
\nthe good of plurality and a uniting energy holding the nation
\ntogether.<\/p>\n
Distinctly different from the above are Erizal As, Feri Eka
\nCandra, Gusmen Heriadi, Ibrahim, Yunizar and Zulkarnaini, who
\ntend to explore other styles, including the abstract.<\/p>\n
Jumaldi Alfi, however, displays a surprising bluntness in his
\ntwo works, Pleasure?, 120 cm by 140cm and Pleasure! 140 cm by 120
\ncm, which feature a woman's buttocks.<\/p>\n
in box:
\nRe-reading `landschap'
\nExhibition of Sanggar Sakato
\nthrough Sept. 26
\nNadi Gallery,
\nJl. Kembang Indah III,
\nBlok G3 no. 4-5 Puri Indah,
\nJakarta 11610.
\ntel. 5818129, fax 5805677
\ne-mail: info@nadigallery.com<\/p>",
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