Social and cultural concerns dominate arts<\/p>\n
JAKARTA (JP): The development of fine arts in a country is
\nalways reflected in its culture, traditions and social and
\npolitical conditions.<\/p>\n
This assertion appears to be borne out if we consider the
\nmajority of art works presented at the Sixth Indonesian Art
\nAwards Competition. The event is held by the Indonesian Fine Arts
\nFoundation (YSRI) in collaboration with the Philip Morris Group
\nof Companies.<\/p>\n
Just over 100 works were selected as finalists in the
\ncompetition, and are on display until Oct. 20 at the National
\nGallery in Central Jakarta.<\/p>\n
Most of the displayed items express social, cultural and
\npolitical concerns of the current situation in Indonesia.<\/p>\n
Chairwoman of YSRI Susrinah Sanyoto said the country's
\nturmoils, which began two years ago, have heavily influenced the
\ncreative process of most local artists.<\/p>\n
\"The themes of this year's competition doesn't shift from the
\nl998 (competition) -- violence, power struggles, commotion, pain
\nand disappointment,\" explained Susrinah.<\/p>\n
The current situation has had consequences for the continuity
\nof various art festivals and activities, including the Indonesian
\nArts Awards Competition, which has been held since l993.<\/p>\n
\"I was rather pessimistic when I realized that the situation
\nin the country was getting worse all the time. I was afraid
\nnobody would enter the competition,\" she acknowledged.<\/p>\n
Despite the ongoing crisis, the committee registered more than
\n900 entries, a slight drop from last year's participants.<\/p>\n
After several months of selection and evaluation processes,
\nthe jury members -- prominent art figures such as Mamannoor,
\nSoedarso Sp, Jean Coetau, Bambang Sugiharto, Soen Roedjito,
\nMerwan Yusuf and Hendro Wiyanto -- decided to select the best
\nfive works to be sent early next month to the ASEAN Arts Awards
\nin Kuala Lumpur, Malaysia.<\/p>\n
The jury's coordinator, Mamannoor, said the best works of the
\ncontest were illustrated in a \"modern\" yet popular way and showed
\nthe strength, both cultural and political, of ordinary people in
\nJava.<\/p>\n
Both the iconography and composition are inspired by the
\nculture of the lower strata of Javanese society and show complex
\nlayering of local and outside influences: traditional Javanese,
\nMoslem, Christian and modern Indonesia.<\/p>\n
The theme of power conflicts is expressed in a dualistic way,
\nwhich is reminiscent of Javanese tradition. The combination of
\npopular inspiration and a modern thematic approach is further
\nenhanced by an original multimedia technique.<\/p>\n
Several works bluntly express the people's anger and
\ndistress, albeit often in a humorous and satirical way. The
\noverall atmosphere is dark and painful to contemplate. Some works
\nare eclectic: the style is local, but the message is conveyed in
\nan alien artistic language.<\/p>\n
The general trend is pessimistic, as artists try to formulate
\na new artistic language that can express the critical state of
\ntheir society and in particular the deterioration of the prestige
\nand authority of the political elite.<\/p>\n
Almost all the works are loaded with pessimism, which is
\nperhaps the reason behind the absence of color variations. A wide
\nrange of styles is covered: naive popular, hyperrealist,
\nconceptual, informal, as well as caricatures.<\/p>\n
The thematic aspect tends to be prominent, while technique and
\nform are given relatively little attention; there are only a few
\nabstract works.<\/p>\n
The above descriptions are clearly reflected in the best five
\nworks. One of these Ristyo Eko Hartanto's Permainan untuk Rakyat
\nIndonesia, (Games for the Indonesian people).<\/p>\n
The painting by a graduate from the School of Fine Arts at the
\nBandung Institute of Technology (ITB) portrays people from
\ndiverse religious, ethnic and professional backgrounds,
\ncharacteristics which shaped the country's political elite.<\/p>\n
Dipo Andy Muttaqien from the Yogyakarta Arts Institute
\npresents an impressive work titled Kaligrafi Kekuasaan, (The
\nCalligraphy of Power).<\/p>\n
He exploits a great variety of popular media and techniques,
\nsuch advertising, poster styles, letters and graffiti.<\/p>\n
The numbers 66 and 98 symbolize the New Order regime's time in
\npower from l966 to l998. The period ended when former president
\nSoeharto, the icon of the regime, was forced to step down.<\/p>\n
Galam Zulkifli's Day After expresses the manipulation of
\npeople's voices for elite political purposes.<\/p>\n
In his work, Galam presents photographs of the elite
\npoliticians with bald heads, such as Abdurrahman Wahid, popularly
\nknown as Gus Dur, Amien Rais, Megawati Soekarnoputri, President
\nB.J. Habibie and former president Sukarno.<\/p>\n
Arin Dwihartanto's Disputing Ego expresses people's anxiety as
\na human being, who in certain circumstances can easily be
\ntransformed from a holy person into a one with monster-like
\nfeatures.<\/p>\n
Hadi Soesanto from the Yogyakarta Arts Institute presents a
\nmixed-media work titled Waiting (forever?) depicting an old
\nJavanese woman with a hollow expression, who appears to wondering
\nwhen the chaotic, violent and uncertain conditions will end.<\/p>\n
In a dark and gloomy atmosphere, the old woman represents the
\ngeneral feeling and minds of the majority of the people.<\/p>\n
Another member of the judging panel, Soedarso Sp, mentioned
\nthat the winners mostly hailed from two of Indonesia's most well
\nknown art centers: Yogyakarta and Bandung, West Java.<\/p>\n
It is hoped that in coming years, talented artists from other
\nprovinces will be able to also achieve the same level of
\nexcellence.<\/p>\n
\"The competition may reflect the current development of arts
\nin Indonesia's regions, which is probably discouraging if the
\nwinners are only those coming from well-known art centers,\"
\nSoedarso Sp said.<\/p>\n
Many observers express cynicism that the awards are only given
\nto art students or artists from certain cities.<\/p>\n
Soedarso said that the competition, regardless of its
\nshortcomings, could certainly enhance the development of the arts
\namong local artists and in particular for the younger generation.
\n(raw)<\/p>",
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