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