National gallery draws mixed reactions

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.