National gallery draws mixed reactions

By Rita A. Widiadana

JAKARTA (JP): It was a disenchanting visit to a national gallery, commented an art lover when he toured Galeri Nasional Indonesia on Jl. Merdeka Timur, Central Jakarta, which opened three weeks ago.

"I thought I would visit a new and elegant Galeri Nasional, instead I only saw the old Wisma Seni Nasional with a fresh coat of paint," he said cynically. The gallery is located in the former Wisma Seni Nasional building.

He said he was impressed with the ongoing painting exhibition titled Indonesian Modernity in the Representation of Fine Arts, which features the progress of local fine arts in the gallery's temporary exhibition hall.

"Yet I and a few other visitors, including foreign tourists from Japan and Europe, were disappointed to see that permanent exhibition halls are closed on holidays," he said.

It is strange for a state gallery to stop operating on holidays when most people have the time to visit such places.

"This is typical of art institutions run by the Indonesian government. They don't know how to make attractive programs. They are very slow in attracting visitors," he added, comparing it with the grandeur and fascination of state galleries abroad.

Some people like this art lover, who refused to be named, might be dissatisfied with the physical and working appearance of Galeri Nasional, but many others are enthusiastic about its opening, especially because Indonesia has previously had a very poor infrastructure to support the development of fine arts.

The establishment of the gallery is vital to preserving the state's comprehensive art collections ranging from the period of Raden Saleh Sjarief Bastaman (l807-l880) to the l990s, according to Suwarno Wisetrotomo, a lecturer at the Indonesian Fine Arts Institute (ISI), Yogyakarta.

"This is very important if we want to trace the history of Indonesian modern and contemporary arts," he said.

"Up to the present, we haven't arranged efficacious documentation or methodical history of Indonesian fine art works because we don't have sufficient information, he added.

The collections at the gallery may help disclose the development, changing trends and movements occurring in Indonesian modern fine arts. It collects paintings by founders of Indonesian modern fine arts such as Raden Saleh, Basuki Abdullah, S. Soedjojono, Affandi, Dullah, Agus Djaja, to the more contemporary artists.

Jim Supangkat, one member of the Galeri's curatorial team, however, said the collections may not thoroughly visualize the journey of Indonesian modern fine arts.

"Many important and outstanding paintings by Indonesian masters, collected by former president Sukarno, are displayed at Merdeka Palace and Bogor Palace," said Jim.

There will be no business transactions at Galeri Nasional, he added.

Edi Sedyawati, director general of culture, said the establishment of Galeri Nasional Indonesia is intended to also balance the multifarious fine art activities by private galleries and commercial art centers.

Private galleries and art organizers frequently hold various art exhibitions. Lobbies of local hotels have become favorite venues for these art events.

"This phenomenon has proven that Indonesian fine arts is experiencing formidable progress and the art business is prospering," Edi commented.

Nevertheless, many artists believe the booming of the art business has also had a negative impact on the development of fine arts in the country.

"We see a lot of unhealthy business practices going on in local art world, including unlawful business transactions, forgery, uncontrolled art appraisals and art theft," she complained.

Rector of the Jakarta Arts Institute (IKJ), Adhi Moersid, hopes the gallery can develop a tight relationship with all art institutes of higher learning and art circles in Indonesia and around the world.

"The gallery must function as a real learning and documentation center for art students and a living museum for fine arts," Adhi said.

It should also accommodate new talents from art institutes as well as fresh and new ideas from the art communities, he noted.

"There is still a wide gap between the academic circle and the real art world. Galeri Nasional must function as a facilitator to bridge the gap," Adhi expected.

Watie Moerany, head of Galeri Nasional, asserted that the Galeri would closely link its activities with art institutes and other related parties.

"We have planned annual programs such as workshops, seminars, training, all of which will certainly involve artists, lecturers and art students," she said.

Artists, students and the public will also be able to use all facilities including the art laboratory, the library, the information center.

Galeri Nasional has also set up cooperation with foreign institutions including Australia's Network for Cultural Heritage Services (AusHeritage).

Guy Petherbridge, regional coordinator for ASEAN and Central Asia, explained that under a joint cooperation between AusHeritage and the Directorate General of Culture, AusHeritage will provide technical assistance to local art institutions, including Galeri Nasional.

Indonesia, he said, has a very rich cultural heritage including fine arts works. But only a few people master the knowledge to preserve and conserve them.

It is lucky that Indonesia has Galeri Nasional, although the facilities must be improved.

"It always takes years to build a perfect and well-equipped national-scale gallery. Even in developed countries like Australia," he said.

But it is never too late for any country to build a national gallery.

"What's more important is that when it is already in existence, it should function properly for the good of the country's art development," he said.