'Fake Kerton' adds color to charity auction for children

'Fake Kerton' adds color to charity auction for children

Mehru Jaffer, Contributor, Jakarta

News that Sudjana Kerton's Tukang Balon (Balloon seller) was a
fake only added to the excitement already generated by the
auctioneer's hammer at an art auction held here last weekend. And
when the 54x78 centimeter water color, with a starting price of
Rp 30 million (US$2,830), was finally displayed none bid for the
rust-colored painting.

"Just as well," says Tjandra Kerton, the painter's eldest
child, who insists that Tukang Balon is not an original. Tjandra
is head of the Sanggar Luhur Museum, which her father began as a
studio gallery in 1976 in Bandung. Speaking on the telephone from
Bandung, Tjandra said her late father did touch upon a similar
theme of a balloon seller during his prolific, four-decade career
as an artist and that the painting was with a collector in
Singapore.

Tjandra did not attend the Jakarta auction but saw a
reproduction of Tukang Balon in the catalog and immediately faxed
her doubts to the White Gallery in the hope that the organizers
would withdraw Tukang Balon from the auction. She did not receive
a reply to her message and later the painting was put up for
bidding although it was not sold.

Budi Santosa, founder of the White Gallery, said the painting
belonged to a friend of his and that a trusted curator had
declared it an original. However, the 34-year-old Santosa refused
to reveal to The Jakarta Post the name of either the present
owner of Tukang Balon or the curator he had consulted.

Santosa is not aware of the background of Tukang Balon either,
such as in what year and where it was painted by Kerton, who left
Indonesia in the 1950s to live in different parts of Europe and
in the U.S.

"It is very difficult to determine whether a painting is
really a forgery or not," respected art critic and curator Jim
Supangkat said. The problem is that the country is full of art
organizers who may have an intuitive eye for art with a great
deal of art experience and a good head for commerce, but who are
not professional historians of art.

According to Supangkat, who was not aware about the recent
auction, there are probably less than 10 people in the country
who are knowledgeable about art but even they are not
professionals.

In the last two decades there has been a boom in both artists
and in the art market here, a phenomenon that is looked upon with
amazement as well as with alarm.

In an article written in 1997 -- soon after the dramatic theft
of paintings from Jakarta's National Museum and later the
disappearance of 19 of Kerton's paintings from his Bandung home
and gallery -- Dr. Astri Wright, an expert in contemporary
Indonesian art, said in regard to etiquette in the market place,
Indonesian art professionals and public had yet to develop clear
contractual habits.

The lack of clear rules for curators and gallery managers
contributes to the general confusion which allows criminals to
plan and execute their designs. It is strongly felt that in-depth
knowledge about art and general rules governing the art world
remains an uncommon phenomenon.

The problem here results from the fact that it is the art
market, including galleries and auctions that dominate the world
of art instead of the institution of art history and art
criticism.

In the end it is historical analysis that should determine the
monetary value placed on art. This is the only way that art can
become an area for investment along with guarantees and security.

Dr. Wright regrets that there is no solid tradition of
knowledge and practice in art history and art criticism here,
while the art market remains the sole super power in their
absence. The valuing of art works is done by people who are
primarily businessmen, having little insight or authority on art-
related subjects but who are masters in the art of speculation.

As more and more painters emerge and the fine arts market
booms it also becomes important to increase the number of trained
experts who are driven by disinterested motives rather the desire
to sell to the highest bidder.

Art lovers are cautioned against buying a Raden Saleh or a
Kerton that appear in the market unless advised by nonprofit-
oriented, internationally trained experts. However, experts say
that a work of art is bought not only as an investment or for its
historical value but often simply for the buyer's sheer pleasure.

Santosa, who started the gallery a few years ago, staged the
auction after being concerned by the increasing number of
children on the streets of Jakarta. He wondered at the fate of a
country where so many of its future citizens had little to look
forward to in life except ignorance and poverty.

Along with other artists, the Love HeArt Charity for Children
was launched with the intention of selling art as well as
supporting children to go to school.

Last weekend the first auction and exhibition of nearly 200
pieces of art was held by Santosa, earning Rp 500 million -- 35
percent of which was donated for underprivileged children.

The auction included the works of Popo Iskandar, Rukmini Yusuf
Affandi, Nyoman Gunarsa and Basuki Abdullah, among others, and
nine pieces from the personal collection of Adam Malik.

Only seven paintings were bought at the auction and another
five were directly sold at the exhibition. While Rukmini and
Gunarsa did not attract buyers, Ayam Jago (Rooster) by Popo
Iskandar went for Rp 3 million.

It is hoped that it was an original.