Hanafi's latest works explore contextualism

Hanafi's latest works explore contextualism

By Amir Sidharta

JAKARTA (JP): The most recent paintings of the artist Hanafi,
a series entitled Ventilasi Ruang (Ventilation of Spaces), are
specifically meant to interact with architect Yori Antar's Puzzle
Gallery in Puri Cinere, South Jakarta.

The artist and the architect started the project with an
exploration of contextualism in painting, whereby the painting
would take inspiration from the environment in which it is set,
and would therefore become an integral part of the architecture.
Initially, the artists were interested in exploring the notion
that "every painting has its own home."

It seems that now the notion is no longer of particular
interest, as it is obviously very subjective in nature. While one
person can consider that one painting's home is in one particular
space, another can disagree completely.

The notion is by no means an objective one; it is not
determined by the painting or the architecture itself. The
beholder plays a significant role in its consideration.

Nonetheless, the exploration of contextualism in the project
is still an interesting one, as a certain kind of dialog does
seem to emerge between Hanafi's painting and Yori's space. First
of all, the architect's Puzzle House is perhaps one of his more
subdued and quiet, or if you will, mature projects.

Like his other houses, it remains extremely complex, and even
borders on the arcane. Yet the architect seems to have
intentionally refrained from making the Puzzle House a sculptural
work of art, as some of his other projects seem to have become.

Here, the house provides a kind of stage set in which human
interaction can take place. While the architectural stage set
retreats into the background, light enters, and the space
emerges.

Not unlike Yori's architecture, Hanafi's Ventilation of Spaces
are abstract works that clearly are not representational (in the
sense of physical representation). Instead they seem to be
representative of the artists inner feelings and emotions as
responses or reactions toward the environment or situation in
which they are set.

Seldom is there even an associative element from which we
would be able to ascertain what it is that Hanafi is trying to
express or convey through his paintings. His "non-figurative"
paintings offer much room for multiple interpretation. Rather,
through the elements he presents in his work, the artist intends
to stimulate interaction with the viewers' feelings, resulting in
a variety of interpretation, depending on the beholder.

The series Ventilation of Space certainly suggests a mere
phase in Hanafi's artistic development. The term "ventilation"
that the artist uses can perhaps be more appropriately
substituted with the term "fenestration".

Whereas ventilation more appropriately pertains to the flow or
venting of air, the term fenestration refers to a broader meaning
of openings. While a window becomes a means of atmospheric
ventilation, it is also provides a visual interrelationship
between spaces. In essence we understand that Hanafi's intention
in his use of the term is to suggest this spatial
interrelationship.

Placed in an architectural space, his Ventilation of Space
therefore becomes a ventilation, fenestration, or window, into
another space or even another dimension.

It is precisely the window into the artist's psyche, and at
the same time a vehicle into the viewer's own feelings and
emotions. This open window allows the multiple interpretation
mentioned above.

The artist himself writes:

"I realize that my painting is a mere fragment of a 'large
picture'. The large picture is our collaborative work. It is like
a jigsaw puzzle, where each piece is joined with another. Each
piece has its distinct form and value: my piece and the other
existing ones, and the ones to come.

"We rearrange it in this jigsaw puzzle. Each piece has to be
joined to form integrity, because the image of reality exists in
comprehensiveness."

In other words, the collaborative exercise between Hanafi,
Yori and their audience is meant to initiate the churning of a
wheel of discourse involving art, architecture and aesthetic
appreciation.

Yori has opened the spaces in his architecture. Hanafi has
opened the Ventilation of Spaces in his painting. Now it is time
for us as the audience to open up our senses and our hearts so
that we will be able to appreciate the works.

If you can only come up with lumayan ("okay", "alright", or
"not bad"), then we know that we are facing a rather big problem.

This means that we need to rethink this effort all over again,
and it will take longer for us to compose what Hanafi calls the
"larger picture".

If the paintings are strong enough, they will invite strong
reaction from the viewer. You may be able to feel excitement,
joy, melancholy, or sorrow. If you like them, good! If you hate
them, fair enough. No problem! For, if so, then the painter's
works have managed to strike your heart in one way or another.

Whatever your response, please frankly convey it to the
artist. He should be able to deal with it. After all, these
responses are what churns the wheel of discourse and forms this
"larger picture".

Far too often, the circle of communication between artists,
architects, and their audience is intercepted by possessive
mediators. Hanafi's "Ventilation of Spaces" in Yori's Puzzle
House attempts to open up this circle once again. The "larger
picture" is ours to compose collectively, not individually.

The writer is the curator at Museum Universitas Pelita Harapan
in Karawaci, Tangerang, West Java. The above story is taken from
the exhibition's catalog.