Harsono opens `Republik Indochaos' show
Yusuf Susilo Hartono, Contributor, Jakarta
FX Harsono, a former exponent of the New Fine Art Movement, is holding a solo exhibition at the National Gallery, Jakarta, after it has been delayed twice.
Themed "displaced", the event had been put off due to the artist's reluctance, stemming from his pessimism over the prospect of reformasi in Indonesia.
Under this theme, the exhibition, with Hendro Wiyanto as its curator, aims to describe at least two things. First, he aims to show that Harsono is "misplaced" in the current sociocultural setting so that he feels alienated and deprived of his cultural roots. Second, he intends to portray commonplace errors in many respects: ideology, politics, social affairs, economy, security and culture -- which have been taken for granted by their communities.
The two points are intriguingly concluded in his works, Cogito, Ergo Sum (2003), 60 centimeter (cm) by 73 cm digital prints on six panels. While French philosopher Rene Descartes initiated "Cogito, Ergo Sum" to declare the existence of a person after deep thought, the reverse applies to Harsono. "The deeper I think, the more I cease to exist," he said, laughingly.
His thought is symbolized as a book in the palm and he is represented by his monochrome passport photo. The photo increasingly fades away and at the same time the book, originally a small element, grows into a sheet and a volume.
In his initial exploration of this theme, Harsono starts from the social events that have disturbed his conscience since president Soeharto stepped down in 1998 amid waves of reform.
The "stamp monument", Republik Indochaos (1999), a 57 cm by 53 cm photo-etching on paper in five panels, contains Soeharto being crossed out with the words "stepping down", security men beating up demonstrators with the comment "Violence is no solution", and flames consuming buildings.
Api 1 & 2 (Fire, 2000), a 62 cm by 56 cm photo-etching on paper, presents the tragedy of masked power, and his Super Woman (2001), 62 cm by 57 cm, makes the virtual and real worlds clash, through the animation of film figure Lara Croft and a woman worker. This latter etching seems to ask: Who is the heroine between the two worlds, the woman of image or reality?
Harsono, who is also a graphic designer, has been active since the 1980s and has participated in exhibitions both at home and abroad. By applying fine art, graphic and also installation art media, he continues to be engaged in the creative process.
Having studied at Yogyakarta's Indonesian Arts Institute and Jakarta Arts Institute, he has delved into digital technology and its virtual world since 1990, making him live in the two spheres, which generate happiness as well as tension.
The tension in him arose strongly when he had to formulate his concepts of art in line with his psychological shock, amid Indonesia's cultural disruption as a result of the multidimensional crisis and reforms. Violence and indifference toward ordinary people on the one hand, and glorification of personal interests on the other, made him sick and leave social themes.
He claimed he had lost his orientation of morality, ethics and nationalism, and later became alienated in his own community. "I asked myself, 'who am I?'," he said. "The answer: I have been displaced."
The shift from social themes to his personal self can be examined in his works: Open Your Mouth (2001), once displayed in Japan, I am Here (2002), My Body is Land (2002), My Body is not Mine (2002), Self-Esteem (2002), Identity (2003) and Displaced 1,2,3 (2003). The lattest work is represented by his seated body with the head covered, along with Chinese characters containing stigmas, and a wedding couple's celebration and maltreatment -- a paradox of something displaced. He may be talking about the ethnic Chinese in the country.
Especially with regard to Blank Spot on My TV (2003), 30 cm by 40 cm digital prints in 20 panels, it is an expression of Harsono, whom philosopher F. Budi Hardiman described as a "scenario painter", about the empty words of morality and nationalism in the mass media.
The exhibition features Harsono's photo-etching, silkscreens, xerography, photography, paintings, digital prints, text quotations and their combinations -- constituting a demonstration of an Indonesian citizen who feels alienated in his own country -- which is understandable, as the Republic of Indonesia has become, in his version, Republik Indochaos.
The exhibition will last until June 13, at the National Gallery, Jl. Merdeka Timur 14, Gambir, Central Jakarta, tel. 34833954.