The art paradox<\/p>\n
With an average annual per capita income in Indonesia of less
\nthan US$ 1,000, it is little wonder that many Indonesians are
\nboggled by the Rp 5.5 billion (US$2 million) paid for The Deer
\nHunt, a painting by 19th century Indonesian artist Raden Saleh,
\nat a Christie's auction in Singapore last week. \"With that kind
\nof money, you could buy 170 brand-new taxis and provide jobs for
\n500 drivers,\" a Jakarta taxi driver was overheard remarking.<\/p>\n
Others see it differently. Some people have commented that the
\nrecord price confirms that the Indonesian super rich have reached
\nthe stage where they can afford to do whatever they want with
\ntheir money. Some time ago, for example, a daughter of a well-
\nknown Indonesian tycoon bragged that she is one of a handful of
\npeople worldwide who possess a Chopard watch. One of the diamond
\nencrusted watches puts the buyer back a mere Rp 5 billion. These
\nsupra-elite, some observers have insisted, are proof that
\nnational development is a success. In reality, they illustrate
\nhow wide the gap between the \"haves\" and the \"have nots\" has
\nbecome.<\/p>\n
One critic commented that the high price The Deer Hunt fetched
\nproves that Indonesian painting is experiencing a second boom.
\nThe first boom began in 1991 after Indonesian paintings were
\nreintroduced to the world at an exhibition in America. The boom
\nis supported by the belief that collecting paintings is a sound
\ninvestment.<\/p>\n
Some people argue that the purchase of The Deer Hunt for well
\nabove its estimated value of US$ 600,000 to $900,000 by an
\nanonymous Indonesian collector is a nationalistic notion by a
\nperson wanting to repatriate the nation's heritage.<\/p>\n
Whatever the case, the astonishing price paid for Raden
\nSaleh's painting indicates how deeply Indonesians have been
\nduped, and perhaps lulled, by this so-called Indonesian painting
\nboom. In recent years the price of paintings here have soared to
\nunprecedented levels, bolstered by the lack of clear-cut price
\nstandards on the market. Painting exhibitions seem to open,
\nparticularly in Jakarta, almost every day. Many are officially
\nopened by cabinet ministers. New art galleries are springing up
\nin many Indonesian cities.<\/p>\n
Meanwhile, other fine art forms are languishing or are being
\nmarginalized. There is only one photography gallery in Indonesia.
\nSculpture, tapestry and drawing exhibitions are very rare. Last
\nyear, the first Indonesian drawing exhibition in 16 years was
\norganized in Jakarta.<\/p>\n
Traditional art must brave an even graver future. Only
\nBalinese art and the Asmat sculptures of Irian, due to their
\ninternational reputations, continue to thrive. In the many other
\nIndonesian subcultures, however, local arts are dying or are
\nbeing trivialized by mass tourism.<\/p>\n
Thus, a paradox prevails. Indonesians tend to overvalue and be
\noverattentive to painting, while ignoring and remaining ignorant
\nof the other fine arts. Being a nation that proudly points to its
\nartistic people, this paradox is even more ironic.<\/p>\n
Unless Indonesians reorientate their outlook, and then act
\naccordingly, Indonesian art will deteriorate. Should the other
\narts really fade into oblivion?<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/the-art-paradox-1447899208",
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"sponsor": "Okusi Associates",
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