GROUP SEMBILAN IS COMING OF AGE

GROUP SEMBILAN IS COMING OF AGE

By Carla Bianpoen [10pt ML]

JAKARTA (JP): The 20th anniversary of Group Sembilan (the
Group of Nine) is a milestone in the history of international
women artists' associations.

Commenced as an act of friendship between women of different
nationalities who needed to support each other with
encouragement, the group can look back upon two decades of
continuous activity.

A great deal of this continuation is due to Ratmini
Soedjatmoko and Wiranti Tedjasukmana, two of the founding
members, who have been unrelenting in maintaining the objectives
of the group throughout these 20 years. The bonds of friendship
forged in the course of time last up to this very moment.

In an era in which the pace of change is more rapid than ever,
and the lapse in human relations takes its toll, the significance
of an organization like Group Sembilan becomes all the more
tangible. Indeed, the group has been a stronghold for its members
in addressing their need for self-actualization.

This has been facilitated in the continuing exchange with the
foreign members of the group, who are ever changing because of
their temporary stays in this country.

This multi-cultural aspect is a distinctive feature of Group
Sembilan. Exchanges of ideas with fellow artists from other
countries, many of them nationals of the developed West, has had
a significant impact on the group's dynamics.

"Communicating with fellow artists of such diverse backgrounds
and levels of skill widen's one's scope tremendously," Timur
Bjerknes, who in spite of living in Norway, still communicates
regularly with the group's members, said.

Unique

Dolorosa Sinaga, a noted professional sculptor with
international experience, is of the same opinion. "This group is
unique in Indonesia. It provides for global interaction, inciting
professional ambition," she says.

Misook Hong Cho from Korea, who has participated in the
group's exhibitions 10 times, gets excited every time the group
prepares for a show. She finds the anticipation, the frenzy and
the usual lack of time to get everything done inspiring.

The absence of pronounced competition among the participants
is something one would rarely encounter in the West, Kirsten
Nieser-Schlaudraff, said of the group.

For the founders of the group, what counts most is the realm
of friendship among persons who share the same love for the arts
and who may feel somewhat constrained in addressing their
artistic urges.

This is exactly what made Ratmini decide on the establishment
of Group Sembilan. The opportunity presented itself when she met
Carmen Lord again in Jakarta in the early 1970s. They knew each
other from the days when they studied together at Washington's
Corcoran School of Art.

Carmen came to Indonesia with her husband, Melvin Lord, who
had been assigned to the World Bank's resident staff in
Indonesia.

In those memorable hours of reminiscing old times, of jokes
and gossip, they also came to speak of their need for artistic
expression. Their busy social and family life, in addition to a
teaching job for Ratmini, hardly left any time to concentrate on
painting. "Yet I felt an increasing urge to do something I really
wanted to do, and Carmen felt the same," Ratmini said.

Mutual encouragement was all they needed to take up the brush.
Wiranti Tedjasukmana, who, after her husband had passed away,
needed a little push to start painting again, was gently brought
in by Ratmini. Timur Nitiadiningrat Bjerknes then followed. And
Carmen Lloyd introduced other expatriate artists who had come to
Jakarta to accompany their spouses. The first exhibition in 1974
included nine members, so the group was named Group Sembilan.

Turning point

Today the group boasts a growing sense of professionalism. At
this point in time, the position of women is at a turning point
and constraints in choosing painting or sculpture as a profession
have somewhat diminished.

This is particularly evident in the works of the Indonesian
artists in this exhibition. Dolorosa Sinaga, a long-time member
of the group, is of the opinion that women artists today must
seize this momentum, and prove their professionalism as an
artist. Society will then gradually accept that values and
standards are not carved in stone, and conventional perceptions
about the place of women in society need adjustment.

Her sculptures at this exhibition are testimony to her views
in this respect. A dancer in bronze, elucidating an advanced
level of professional skill and artistic maturity, is
exceptionally beautiful. Traditional and yet contemporary,
elegant and yet strong, this dancer in bronze is a statement that
contemporary values do not necessarily contradict basic standards
in traditional culture.

In this relation it is worth noting that Sinaga's Dancer was
used as a model for a trophy presented in a modified version to
the First Lady by the Minister of Women's Roles on the recent
Kartini Day.

Like Sinaga, Iriantine Karnaya's sculptures are in bronze.
"Both Dolo (Sinaga) and I have been affected by the impact of
chemical substances in the material we work with, but that is the
risk we have to take," says Iriantine, whose strength seems to
lay in simple but expressive lines.

Tine, as she is affectionately called, said this is her first
time with Group Sembilan. "I have taken a break from my
preparations for a solo exhibition, as I was invited to join in
this exhibit."

New direction

Different from her previous works, Astari Rasjid's current
paintings appear to be hinting at the new direction her life as
an artist has taken. In fact they seem to be a statement of what
is essential to her. Her four works entitled Nexus, Ambiguous
Borders, Intoxicated Red, and Unexpected Reposition, seem all to
speak of a profound self-recognition, of liberation and of an
intense need for communication.

At times with surrealistic tones, Astari's works show that she
is intent on proceeding with an abstract style. Features of her
recent works are a recurrent figure with pulsating symbols,
separate panels to form one entity, bold strokes and outspoken
colors. They mark a turning point of significance in the artist's
professional life.

An advanced phase in artistic imagery is also noted in Farida
Srihadi's works. Although her canvases are still divided into
large colored surfaces, these now are more expressive, revealing
a stronger confidence.

Wayang dan Bayang, Morning Glory, Four Seasons, and Sea
Festival have some bold, swinging movements contrasting with
somber colors combined with subdued gold prada. Standing before
her paintings one is taken into the realm of meditation.

Timur Bjerknes' landscapes in watercolor are the best among
her works displayed. Sensitive to the environment in which she
now lives in Oslo, these works represent winter through the eye
of the artist. The snow landscapes are like fairy tales, which
one would like to be told again and again.

Wiranti Tedjasukmana's fanciful and beautiful depictions of
traditional scenes are well known. And any change in style or
treatment from her past high quality works is tangible only in
additional patterns, somewhat brighter colors and an enhanced
attention to finishing.

Ratmini Soedjatmoko's works tell of her interest in the
diversity of textiles in Indonesia. Having exercised Japanese
brush painting for a long time, she now finds herself in a
totally different style. "In fact I wanted to paint abstract
forms, but my brush has led me otherwise," she reveals. Friends
in the group are encouraging her to work for a solo exhibition.

Diversity

It is interesting to note the diversity in styles and media
through which the artists reveal their visions and their
interests. Some of the foreign artists in this group find their
main inspiration in Indonesian culture and nature.

Mubeccel Siber, a native of Turkey and a long-time member of
the group, who used to be fascinated by the mysteries of the
Borobudur Temple, has now shifted to the movements in Indonesian
dance. Capturing specific positions with a keen eye, Siber has
grasped the essential meaning of traditional dance. Subtle lines
and gentle colors are her media for relaying this.

Kirsten Nieser-Schlaudraff, who is leaving Indonesia to return
to Germany, has been inspired by the diversity of palms in
Indonesia. One of her best paintings is the Pinang Raja, in which
juxtapositions of little details inserted into the overall
depiction of palms gives the work an added dimension.

Jill Roland-Gosselin from the United Kingdom is obsessed with
the vibrations of color. Capturing impressions of the moment, she
likes to work with water color. Her painting entitled Topi-Topi
is particularly engaging.

Eliza Chau, who became a member of the group in 1986, but has
lived and traveled abroad periodically since that time, also
works primarily in water color. Eliza, who hails from Hong Kong
and has studied art in Canada, enlarges the objects she paints in
order to enhance subtleties of form and color.

Every time Misook Hong Cho exhibits with the group, there is
another dimension to her works. Steadily advancing, the artist's
imagery is led by the texture of the material she selects for her
collages. Her colors are strong, the lines simple and clear, her
finishing refined.

With their coming of age, Group Sembilan has grown into one of
the most prestigious artist groups in Indonesia. As access is by
invitation, the number of participants may surpass the original
nine. However, it is policy to keep the group small enough to
maintain the value-added dimension of personal interaction.