Half a century of Indonesian printmaking

By Aendra H. Medita

JAKARTA (JP): A large exhibition at Bentara Budaya Jakarta is attempting to trace the development of Indonesian printmaking over the last 50 years.

The development of graphic arts differs greatly from other fine arts. The art of painting was developed earlier with the birth of the Indonesian Painters Association and the establishment of Young Indonesian Artists.

But the exhibition does not seek to compare printmaking and painting. Rather it traces the development of Indonesian graphic arts, and explores the many influences it has had during its long journey.

Indonesian graphic arts is colored by intricate forms and styles developed in the era of colonialism: suppression, struggle and propaganda. The journey of this art form tends to be affected greatly by social and political influences.

It is a delight that Bentara Budaya Jakarta takes a thorough look at the art of printmaking through the displayed works. At least the attempt should be hailed, though they might possibly have overlooked some current artists.

In addition to the exhibition, titled Setengah Abad Seni Grafis Indonesia, Bentara Budaya, in cooperation with Kepustakaan Populer Gramedia, has jointly published a 188-page bilingual book titled Setengah Abad Seni Grafis Indonesia (Half a Century of Indonesian Printmaking).

At the exhibition, which will run through Nov. 4, 80 graphic artists present their works. With this many artists it is no surprise to find a wide range of themes, some artists being influenced by social and political events, others drawing inspiration from nature.

The works are presented in two rooms of Bentara Budaya. The participants range from older artists such as Affandi, Popo Iskandar, Zaini, Widayat, AD Pirous, Kabul Suadi, Sudjana Kerton and T. A. Sutanto, to younger artists like Tisna Sanjaya, Priyanto Sunarto, FX Harsono, Harry Dim, Agung Kurniawan, Harry Wahyu and Maridan Nasution.

Their works are remarkably varied. The aesthetical power of the works emanate from the sharp shapes and lines, as well as from a steadfast touch. Each artist has their own style, with the character and spirit of the work expressed in varying moods.

Another topic of interest is the spiritual strength of Indonesian printmaking. This is clearly represented in the exhibition, because most of the displayed works are able to reveal their substance.

In tracing the development of graphic arts over a half century, it is impossible for us to unfold the history and then close it. For example, a group of artists from Lembaga Kebudayaan Rakyat (Lekra), or the Institute of People's Culture, an organization under the umbrella of the now defunct Indonesian Communist Party (PKI), produced a lot of graphic works.

Kaboel Suadi, a graphic artist who is now preparing a book on graphic arts produced by Lekra artists, said a number of Lekra artists were involved in printmaking, but none of their works were included in this exhibition.

"I have seen many of their works," said Kaboel, who is also a senior lecturer at the Bandung Institute of Technology (ITB)'s School of Fine Arts and Design.

Kaboel said his book would look at the works of Lekra artists from various cities in West Java and Central Java.

Most of the displayed works are very interesting. FX Harsono's works are filled with satirical jokes commenting on the current situation in the country. Harsono presents a series of stamps of former president Sukarno, along with the name Republik Indonesia (the Republic of Indonesia), which is jokingly changed into Republik Indochaos. Or there are Priyanto's romantic works depicting sand being transported from Cisangkuy River to his house.

Suromo's works beautifully portray the common people, and Sudjana Kerton's Kekasih (Lovers) shows two people expressing their love for one another. Kerton's work is heavily influenced by cubism, something which may have resulted from trips to the Netherlands and France in the early l950s.

The most important note on this exhibition is that it has to be admitted that the strength of the works varies. There are those that are surprising in the essence they convey. There are also those that borrow from other works' esthetic metaphors, with the filter-print collages produced by the late artist Andy Warhol.

Indeed, this exhibition presents a half century of graphic arts, and a half century of Indonesia's graphic history. But what is essential is that the maturity of this half century is not a forced effort to make it appear important, rather it is the real history of graphic arts in Indonesia.