Jakarta Biennale awards face competition

Jakarta Biennale awards face competition

JAKARTA (JP): Vietnamese art is certainly becoming very
popular these days. It has become the prima donna of the auctions
of Southeast Asian art held by Christie's and Sotheby's nowadays.

In Hanoi, the Hoan Kiem district of the capital of Vietnam is
dotted with many elegant art galleries that foreign collectors
flock to every day.

Tran Van Hao, a young painter who was among the winners of
last year's Philip Morris Asean Art Awards, now has only a few
paintings left in his studio.

In the last year, collectors from all over the world have been
buying his works. The artist has enjoyed considerable commercial
success as well as some international recognition thanks to the
exposure that the art event and award provided.

These are some of the benefits of the Philip Morris Art
Awards. In addition to stimulating enthusiasm among artists in
Asean countries, the awards also manage to put the winners on an
international level.

Unfortunately, certain so-called art "academics" in Indonesia
perceive the event negatively. Recently, during a seminar in
conjunction with the 11th Jakarta Biennale held at the Taman
Ismail Marzuki arts center, painter Rudi Isbandi warned the art
community that the Indonesian Art Awards could cause young
artists to be more concerned about the outward physical
appearance (rather than the inner content) of their works. Other
art practitioners have also expressed skepticism toward the
validity of the Indonesian Art Awards vis-a-vis Indonesian art
development.

It seems that there are some who find the art awards a threat:
they fear that one day, the art awards could replace events such
as the Jakarta Biennale.

In fact, if no changes are made in the way the Jakarta
Biennale is being organized, then the Indonesian Art Awards could
well pose a dangerous threat.

So far the Indonesian Art Awards that have been organized by
the Indonesian Fine Art Foundation with the support of the Philip
Morris Group of companies has functioned primarily as an
additional stimulant for young artists, particularly those living
outside Jakarta, to create art works.

In addition to the attraction of a cash prize, the event
provides them with an opportunity to be able to appear in wider
and more prominent art circles.

The Indonesian Art Awards have succeeded in attracting the
participation of artists from various regions of the country, and
also provide documentation of their achievements, much more so
than any other event held in Indonesia.

Rather than pointing fingers at the Philip Morris/Indonesian
Fine Arts Foundation's Art Awards, the organizers of the Jakarta
Biennale should take immediate steps toward reform. The Jakarta
Biennale should redefine its purpose and its position vis-a-vis
the development of art in Indonesia.

The institution has to be able to distinguish itself among
other art institutions in the country and regain respect.
Otherwise, it will certainly face the threat of the Philip Morris
Art Awards.

-- Amir Sidharta