Looking inward in 'Not I. Am I?'

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.