'Kompas' collection provides hints of art history<\/p>\n
By Amir Sidharta<\/p>\n
JAKARTA (JP): In conjunction with the 35 anniversary of
\nKompas daily, an exhibition of the newspaper's art collection is
\nbeing held at the Bentara Budaya Jakarta (BBJ), opposite the
\npaper's offices on Jl. Palmerah Selatan, Central Jakarta.<\/p>\n
Ipong Purnamasidhi, the curator, said it is the first
\ntime, the collections are being shown comprehensively.<\/p>\n
There are ceramics, sculptures, and paintings on display the
\nshow; it is the latter, however, that are of special interest. It
\nis a comprehensive selection, including the works of modern
\nIndonesian art masters, such as Affandi, Sudjojono, Trubus,
\nHendra Gunawan; those of important although less famous artists
\nsuch as Dullah, Sudarso, Popo, Sadali, Gusti Sholichin, Nashar,
\nGambir Anom, and Basoeki Resobowo; and those belonging to younger
\nartists like Lucia Hartini, Koeboe Sarawan, Nasirun, Faizal,
\nMelodia, Entang Wiharso, Yuswantoro Adi, Made Sukadana, Putu
\nSutawijaya and many more.<\/p>\n
During a visit to the New York Times, the late PK Ojong (1920-
\n1980), founder of Kompas, saw that the works of world famous
\nmodern and contemporary artists decorated the paper's offices.
\nThis inspired him to start a collection of Indonesian art.<\/p>\n
This was the beginning of the Kompas collection. The
\nexhibition includes paintings collected in Pak Ojong's days as
\nwell as those after he passed away in 1980. It shows the
\nrelationship between artists and the media. Pak Ojong once said
\nthat the very least support the media could provide for artists
\nwas through disseminating news and criticism about their works
\nand exhibitions.<\/p>\n
However, in addition to that, he said collecting
\ntheir works would provide them with more concrete support. Not
\nonly would they be able to obtain the financial means to further
\nfoster their creativity, but they would also obtain great moral
\nsupport and appreciation, which would strengthen their spirit.<\/p>\n
A later Kompas editor once jokingly remarked that Pak Ojong
\nonly bought paintings when he considered the price cheap. If that
\nwas the case, then he must have had a kind of Midas touch,
\nbecause many of the paintings in the Kompas collection are
\nsignificant pieces in the history of Indonesian art, and they
\nwould now definitely fetch a considerable price.<\/p>\n
Unfortunately, not all the works come with their acquisition
\ndates. Hence it is unclear which works were collected by Pak
\nOjong, and which by his successors.<\/p>\n
One work that most likely to have been collected by Pak Ojong
\nis a humorous piece by Otto Djaya, showing a reception at the
\nMerdeka Palace, dating from 1961.<\/p>\n
Figures appear in profile talking to each other. There is
\nfigure reminiscent of Sukarno, dressed in his signature white and
\nwearing a kopiah cap, taking to a very tall westerner with a
\nlarge nose.<\/p>\n
In the middle of the canvas, there is an Indonesian woman in a
\nbright red kebaya. This is perhaps Fatmawati, Sukarno's wife at
\nthe time. Almost every male westerner is facing a female
\nIndonesian, and every female westerner is talking to a male
\nIndonesian.<\/p>\n
But there is a female figure in a blue kebaya standing between
\nthe woman in the red kebaya and Soekarno, not really talking to
\nanyone. Otto Djaya seems to be doing some naughty gossiping
\nthrough his paintings.<\/p>\n
Among the most interesting paintings in the collection is S.
\nSudjojono's Bukit Gersang (1982), showing the artist and his wife
\nin the midst of arid boulders. Between two boulders, there is a
\nmetal structure that seems to be a kind of bridge. The artist
\nsquats in front of this bridge, while his wife stands behind him.
\nTo their side is a white ceramic vase, in which a flower
\nblossoms.<\/p>\n
In a distance, to the left of the canvas, there is a rather
\nsquat young kapok tree.<\/p>\n
Most kapok trees reach towering heights. It is in fact the
\ngrandeur of the tree that inspires Sudjojono to include it in
\nmany of his paintings.<\/p>\n
The tree, which usually grows alone in rather arid areas,
\nseems to be symbolic of individualism and perseverance despite
\ndifficult conditions. The image of the young kapok tree, as well
\nas the flower blossoming in the white vase, suggests a strong
\nwill to live and grow. It is the artist's personal expression.<\/p>\n
Despite difficult economic conditions, the artist perseveres
\nand his wife stands right behind him.<\/p>\n
Gerilya'Guerilla is one of his paintings that depict a
\nscene from memories of the war of independence using characters
\nfrom the present. The main character, the leader of a guerrilla
\ncompany is seated on a chair, smiling at a toddler in front of
\nhim.<\/p>\n
Behind him is his wife and an older girl. Two younger men
\naround them look indifferent. Even in times of war, there are
\nbrief moments when families can enjoy some peace and harmony.<\/p>\n
The main character is perhaps a self-portrait of the artist.
\nThe model for the toddler is certainly the artist's daughter,
\nMaya.<\/p>\n
The model for the woman behind the main figure is Rose
\nPandanwangi, the artist's wife, and the girl is most likely
\nmodeled on Pandanwangi, his daughter. Although we can
\nrecognize the figures, their treatment is not in Sudjojono's
\ntypical refined style that he uses for most of his paintings of
\nthis series.<\/p>\n
Here we can see some rather disturbing deformations,
\nespecially in the main character's face and that of his wife's.<\/p>\n
For some reason their portrayal is much different from the
\ndepiction of the two young girls.<\/p>\n
The rest of the painting is superb. There is strong yet
\ndelicate contrast between the shaded area in which the family
\nconvenes, and the surrounding hills bathed in full sunlight. The
\nuse of lighting even suggests that there is a moment of peace in
\nthe midst of the looming threat of war.<\/p>\n
Unfortunately the painting is not in a good condition; it has
\nbeen over-varnished and the signature and monogram have been
\nreworked. It would be better if the painting was properly
\nconserved and returned to its original condition.<\/p>\n
Trubus's Nocturne, (1965), is a haunting painting. A woman,
\ndepicted in sharp realism, plays the piano with intense
\ndetermination. Next to her is a girl looking at the musical
\nscore, depicted with impressionistic brushstrokes. Other figures
\ntowards the bottom of the canvas are shown in silhouette in the
\nmidst of darkness.<\/p>\n
One of them seems to suggest a figure holding the bow of a
\nviolin. However, the face is eyeless, and appears like
\nthe face of death. The music that the woman plays is certainly
\nfull of disharmony. Is this a work that he painted just before
\nhis disappearance following the aborted coup of 1965? Knowing the
\nprovenance of the painting would provide us with more clues.<\/p>\n
The collection as a whole stimulates us to want to know more.
\nUnfortunately, there is lack of attendant information provided in
\nthe exhibition. The labels offer some technical information, but
\nnot much more. There is no collection catalog.<\/p>\n
The time is clearly ripe for a comprehensive publication of
\nthe paintings and the history of their collection. In the
\nmeantime, the brief exhibition, which ends 25 June 2000, is a
\nstep toward that direction.<\/p>",
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