Looking inward in 'Not I. Am I?'

By Carla Bianpoen

JAKARTA (JP): Once again, the Nadi Gallery in Jakarta has challenged artists to do some soul-searching. This time, the participating artists had to search for the truth of their very beings. A clearly grueling process at a time when conscience is more often spoken of than acted upon, and identity is mostly covered under various disguises.

Fourteen artists took up the challenge, some successfully, others clearly struggling to grasp the meaning of the theme. The result is the exhibition Not I. Am I?

Obviously, technology's increasing penetration into our lives has brought about changes that only a few among the previous generation could have predicted. What used to be called futuristic is now just plain reality. Arin Dwihartanto (b. 1978), who as a boy often imagined what it would be like to replace the human brain, certainly represents his generation, whose imagery comes from these realms (Neuro Transmitter and Tost-Constructed Self Portrait).

In the urban setting, Firman Ichsan (b. 1953) articulates these changes, describing young people huddling together in cafes and music rooms (Tiga Teman and Masih Berdansa).

Dyanto (b. 1962), however, seems to have been more affected by the violence of the past, (Figale Border, Ini Lalu Ini Lalu, Pausesysiphus and Mikropon Satu), but leaves the viewer uncertain as to how such occurrences affected his personality.

Surely, the individual has for the larger part remained subdued, even at a time when individuality is supposed to have emerged with more emphasis. Entang Wiharso (b. 1967), in his horror images reflecting the corrosion of the human spirit and the impact of collective values on the individual sense of responsibility, expresses this decline of the individual being. In three paintings, Mask, in the Personal Landscape Hermaphrodite and Grass & Heads, the artist shows the mask behind which people hide their selves, to a level where disguise becomes an integrated feature of the human image.

Quite differently, Pande Ketut Taman (b. 1970) reacts by hiding the human face behind book covers featuring cartoon animals (Self-Portrait), while Ugo Untoro (b. 1970) builds his defense by positioning the human figure on the highest alert with dog and tiger heads replacing the human head. Handiwirman Saputra (b. 1975), by contrast, reacts by focussing on tiny dots, which together make up the great picture (Patahan Baru/Handaian and Jari Lemah di Kasaran).

Tradition, it seems, continues to have traumatic impact on some of the artists, though to different effect. For Altje Ully Panjaitan (b. 1958), born into the Batak aristocracy where strict rules used to regulate women's lives, her culture has stamped her conscience. "I often wonder which part of me is really my own," she says referring to her bronze sculpture titled Body Text.

Trauma of the traditional also grips Nindityo Adipurnama (b. 1961), for whom the konde (Javanese chignon) used to symbolize repression and a burden to Javanese women. In this exhibition, however, the konde is a crafted product made by other people to complement three of his paintings, titled The Man with His Passion I, II, III, which are an effort to include cooperative and participatory elements in the new vision of art-making. Art works are not made by the individual artists alone, says Nindityo.

For Mella Jaarsma (b. 1960), who has spent about half her life in Indonesia, traditional views, touching both on race and gender, are suffocating. Her metaphors, the Muslim headdress and the chador, elaborate on her own situation (Saraswati I, Saraswati II and I Am Ethnic).

Astari Rasjid, noted for her subtle yet poignant commentary on gender imbalances in her Javanese tradition, pictures herself with humor as she weaves "herstory" into the map of history. Linking past and present, and twisting gender stereotypes, she provides refreshing insights into the intricate set of facts and influences that make up our selves.

Ever Ready Secretary features a secretary with manly traits, dressed in a sarong and kebaya, and holding a flashlight illuminating her breasts, her face and the word "EVER READY". Eveready is a popular battery brand. Antique typewriters are vaguely visible in the dark blue background, and the woman's sarong is imprinted with typically "macho" scenes.

Formula #1 Perempuan Kuat, a twist of words and meaning, depicts a Javanese man with feminine features, dressed in a traditional Javanese blangkon headdress, sarong and beskap jacket. The dominating tone is fresh pink, the background shows race cars and the tiny motifs on the man's sarong feature the veiled heads of women. "Perempuan Kuat" is inspired by the popular jamu kuat lelaki, a traditional herbal potion for men.

For Laksmi Shitaresmi (b. 1974) the moon's cycle provides inspiration, as shown in her Tiga Kali Sehari. Lucia Hartini (b. 1959) lets a TV set blow up into the swirling, undulating waves of her surrealistic vistas (Prahara Televisi), and she finds herself transcending in peaceful meditation (Cakra from the Soul). Also surreal are the works of Nyoman Nuarta (b. 1951), who is more known for his sculptural expressions (Sentuhan and Manusia Bersayap), but also displays his painting skills (Menjual Borobudur).

The exhibition runs through Sept. 9 at Nadi Gallery at Jl. Kedoya Raya 53 in Jakarta.