'Kompas' collection provides hints of art history

'Kompas' collection provides hints of art history

By Amir Sidharta

JAKARTA (JP): In conjunction with the 35 anniversary of
Kompas daily, an exhibition of the newspaper's art collection is
being held at the Bentara Budaya Jakarta (BBJ), opposite the
paper's offices on Jl. Palmerah Selatan, Central Jakarta.

Ipong Purnamasidhi, the curator, said it is the first
time, the collections are being shown comprehensively.

There are ceramics, sculptures, and paintings on display the
show; it is the latter, however, that are of special interest. It
is a comprehensive selection, including the works of modern
Indonesian art masters, such as Affandi, Sudjojono, Trubus,
Hendra Gunawan; those of important although less famous artists
such as Dullah, Sudarso, Popo, Sadali, Gusti Sholichin, Nashar,
Gambir Anom, and Basoeki Resobowo; and those belonging to younger
artists like Lucia Hartini, Koeboe Sarawan, Nasirun, Faizal,
Melodia, Entang Wiharso, Yuswantoro Adi, Made Sukadana, Putu
Sutawijaya and many more.

During a visit to the New York Times, the late PK Ojong (1920-
1980), founder of Kompas, saw that the works of world famous
modern and contemporary artists decorated the paper's offices.
This inspired him to start a collection of Indonesian art.

This was the beginning of the Kompas collection. The
exhibition includes paintings collected in Pak Ojong's days as
well as those after he passed away in 1980. It shows the
relationship between artists and the media. Pak Ojong once said
that the very least support the media could provide for artists
was through disseminating news and criticism about their works
and exhibitions.

However, in addition to that, he said collecting
their works would provide them with more concrete support. Not
only would they be able to obtain the financial means to further
foster their creativity, but they would also obtain great moral
support and appreciation, which would strengthen their spirit.

A later Kompas editor once jokingly remarked that Pak Ojong
only bought paintings when he considered the price cheap. If that
was the case, then he must have had a kind of Midas touch,
because many of the paintings in the Kompas collection are
significant pieces in the history of Indonesian art, and they
would now definitely fetch a considerable price.

Unfortunately, not all the works come with their acquisition
dates. Hence it is unclear which works were collected by Pak
Ojong, and which by his successors.

One work that most likely to have been collected by Pak Ojong
is a humorous piece by Otto Djaya, showing a reception at the
Merdeka Palace, dating from 1961.

Figures appear in profile talking to each other. There is
figure reminiscent of Sukarno, dressed in his signature white and
wearing a kopiah cap, taking to a very tall westerner with a
large nose.

In the middle of the canvas, there is an Indonesian woman in a
bright red kebaya. This is perhaps Fatmawati, Sukarno's wife at
the time. Almost every male westerner is facing a female
Indonesian, and every female westerner is talking to a male
Indonesian.

But there is a female figure in a blue kebaya standing between
the woman in the red kebaya and Soekarno, not really talking to
anyone. Otto Djaya seems to be doing some naughty gossiping
through his paintings.

Among the most interesting paintings in the collection is S.
Sudjojono's Bukit Gersang (1982), showing the artist and his wife
in the midst of arid boulders. Between two boulders, there is a
metal structure that seems to be a kind of bridge. The artist
squats in front of this bridge, while his wife stands behind him.
To their side is a white ceramic vase, in which a flower
blossoms.

In a distance, to the left of the canvas, there is a rather
squat young kapok tree.

Most kapok trees reach towering heights. It is in fact the
grandeur of the tree that inspires Sudjojono to include it in
many of his paintings.

The tree, which usually grows alone in rather arid areas,
seems to be symbolic of individualism and perseverance despite
difficult conditions. The image of the young kapok tree, as well
as the flower blossoming in the white vase, suggests a strong
will to live and grow. It is the artist's personal expression.

Despite difficult economic conditions, the artist perseveres
and his wife stands right behind him.

Gerilya'Guerilla is one of his paintings that depict a
scene from memories of the war of independence using characters
from the present. The main character, the leader of a guerrilla
company is seated on a chair, smiling at a toddler in front of
him.

Behind him is his wife and an older girl. Two younger men
around them look indifferent. Even in times of war, there are
brief moments when families can enjoy some peace and harmony.

The main character is perhaps a self-portrait of the artist.
The model for the toddler is certainly the artist's daughter,
Maya.

The model for the woman behind the main figure is Rose
Pandanwangi, the artist's wife, and the girl is most likely
modeled on Pandanwangi, his daughter. Although we can
recognize the figures, their treatment is not in Sudjojono's
typical refined style that he uses for most of his paintings of
this series.

Here we can see some rather disturbing deformations,
especially in the main character's face and that of his wife's.

For some reason their portrayal is much different from the
depiction of the two young girls.

The rest of the painting is superb. There is strong yet
delicate contrast between the shaded area in which the family
convenes, and the surrounding hills bathed in full sunlight. The
use of lighting even suggests that there is a moment of peace in
the midst of the looming threat of war.

Unfortunately the painting is not in a good condition; it has
been over-varnished and the signature and monogram have been
reworked. It would be better if the painting was properly
conserved and returned to its original condition.

Trubus's Nocturne, (1965), is a haunting painting. A woman,
depicted in sharp realism, plays the piano with intense
determination. Next to her is a girl looking at the musical
score, depicted with impressionistic brushstrokes. Other figures
towards the bottom of the canvas are shown in silhouette in the
midst of darkness.

One of them seems to suggest a figure holding the bow of a
violin. However, the face is eyeless, and appears like
the face of death. The music that the woman plays is certainly
full of disharmony. Is this a work that he painted just before
his disappearance following the aborted coup of 1965? Knowing the
provenance of the painting would provide us with more clues.

The collection as a whole stimulates us to want to know more.
Unfortunately, there is lack of attendant information provided in
the exhibition. The labels offer some technical information, but
not much more. There is no collection catalog.

The time is clearly ripe for a comprehensive publication of
the paintings and the history of their collection. In the
meantime, the brief exhibition, which ends 25 June 2000, is a
step toward that direction.