Superficial values muddly local art market<\/p>\n
By Chandra Johan<\/p>\n
JAKARTA (JP): Tentacles of the global art market began to
\nreach into Asia and the Asia-Pacific region several years ago.
\nIndonesia has been part of this trend, with some classifying the
\ndevelopment as a second art boom.<\/p>\n
Art dealers, galleries and hotels here have displayed works of
\ninternationally recognized painters. In September, the Darga
\nGallery in Ubud exhibited paintings by Picasso, Renoir, Matisse
\nand other greats. At auctions held by Sotheby's and Christie's in
\nSingapore last October, paintings by such famed Indonesian
\npainters as Raden Saleh, Sudjojono and Sudjana Kerton sold for
\nprices equivalent to billions of rupiah.<\/p>\n
The rapid development of the art business in Indonesia has not
\nbeen accompanied by a similar enhancement in the role of art
\ncriticism.<\/p>\n
This is despite the importance of art critics in establishing
\nconsensus on the merits of a work, a crucial determinant of its
\nmaterial value.<\/p>\n
The Jakarta Post interviewed Jim Supangkat, an independent
\ncurator and critic, on directions in the local art market.<\/p>\n
Question: Aside from buying mass-market art, the elite here is
\nnow brave enough to buy works of the masters.<\/p>\n
Answer: Yes. This is an adaptation of world trends. The
\ninternational markets, represented by auction houses, have
\nshifted their attentions to Asia and the Asia-Pacific. This means
\nthat with Europeans and Americans still recovering from a long
\nrecession, auction houses are tempting the rich in Asia and the
\nAsia Pacific, currently considered more affluent. At first, the
\nauction houses sold Asian works, but now they have shifted to
\nitems from Europe.<\/p>\n
Q: But trends eventually pass. Isn't that something undesirable?<\/p>\n
A: I don't want it to be judged as a bad or good indicator. What
\nis clear is that the trend has managed to do what it was meant to
\ndo, thanks to art dealers. One can see that this trend is no
\ndifferent from fashion. For instance, in the summer we may have
\nto wear yellow clothing. There is no specific reason, just as
\nlong as it is yellow. That is the trend, no explanation
\nnecessary.<\/p>\n
Q: But the rich are becoming more extravagant, sometimes paying
\nfortunes for pieces even when the worth is unclear. Do they
\nreally understand the function of the works?<\/p>\n
A: Now, there lies the problem. I consider it perfectly
\nacceptable, in fact it makes a lot of sense, if paintings are
\nhung as showpieces. It is obvious the works are appreciated. I
\nknow of a collector who gets inspiration to work from a
\nparticular painting.<\/p>\n
But how could these paintings be so expensive that they cost
\nmore than furniture? That does not make sense. I could understand
\nif the paintings were milestones or considered artifacts. Like
\nthe paintings of van Gogh and Picasso, for example. They are
\nuniversally recognized works. That recognition is from the
\nEuropeans and Americans.<\/p>\n
Q: Why do you use the term milestones?<\/p>\n
A: It's like this. In Europe and America, a painting becomes
\nquite expensive when it proves particularly significant to many
\npeople. Take Van Gogh's paintings. Removed from questions of
\nwhether it is justified or not, thousands of books agree that his
\nwork have indicators pointing toward modern thinking. His body of
\nwork became a milestone because it gave people a specific
\ndirection. His works are unique. They may be expensive, but who
\nwouldn't want to own one? Everybody agrees on their value.<\/p>\n
Q: Hasn't that happened here?<\/p>\n
A: No. People replace the value with a substitute that is in line
\nwith mysticism. It is like a jimat (something charmed). A charm
\nrequires no explanation; the point is it charmed. Europeans and
\nAmericans do not automatically accept that something is
\ncommendable, but they base their perceptions on debate,
\ndiscussions, research, books and other factor. They do not
\nbelieve the work is defined by absolute truths. Only after
\nreaching agreement can we ascertain a work's value.<\/p>\n
Q: This requires agreement, talks and discussions. Is that custom
\nmissing from Indonesian painting exhibitions?<\/p>\n
A: No such tradition exists. There is the exhibition and then the
\nsale. If it is not discussed, then how is one to find its real
\nvalue? Where is it to be hung? In hotels, banks, buildings? It
\ndoes not make sense.<\/p>\n
I suspect that there is a dukun (soothsayer) system going on
\nto decide which is the charmed piece. Believe it or not; if the
\n\"soothsayer\" says the work costs Rp 100 million, people will buy
\nit. This runs contrary to the tradition of modern art and modern
\ntradition. In modern tradition, no \"soothsayer\" puts an absolute
\nvalue on a painting. That is garbage. How can you determine the
\nvalue of something without involving different people?<\/p>\n
Q: But we have qualified people for that, like art critics...<\/p>\n
A: Art critics alone are not enough. That would be putting one
\ngroup -- the critics -- in the role of soothsayers. We need an
\nagreement involving the curator, art historians, the artist
\nhimself or other artists, art lovers and collectors. Only when
\nthe opinions of these people are organized and researched can a
\nsuitable value be agreed upon.<\/p>\n
Q: Who do you think should initiate this sort of system in
\nIndonesia?<\/p>\n
A: Anybody could. Ordinarily it starts with art dealers or
\npromoters. Promoters have a personal relationship with their
\nartists, and therefore have confidence in the value of the
\nartist's work. Once he exhibits the works, art critics will crop
\nup. Discussions will begin, and debate will start on the value of
\nthe work.<\/p>\n
Other critics will become involved. There will be differences
\nin opinion. There might be an interested curator who will try to
\nbring in other artists to join the debate. An art historian might
\ntake part. That is basically how the process should be.<\/p>\n
We start the struggle at a small gallery, then move on to a
\nbigger venue, like a museum perhaps. Once it reaches the museum,
\npeople will start talking about it and reach agreement.<\/p>\n
That is how real value is determined. It is not based on
\ngossip about eccentric artists with weird lifestyles, death
\nwishes or many wives. That has nothing to do with art.<\/p>",
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