Plates mirror special realities in exhibit

Kuss Indarto, Contributor, Yogyakarta

The two metal plates are no longer perfect in shape. Having seemingly been thrown to the ground numerous times, the edges of the plates are no longer circular, but almost irregularly torn. It is in such a condition that the plates find their "esthetic moment".

Painted with oils, they become two images of deformed faces looking at each other diametrically, and stuck under a transparent piece of mica. This work, called Ini Piring Siapa? (Whose Plate is This?) by IKG Teja Mulya, seems to be exploiting a plate as an esthetic subject.

It is only one of hundreds of works on display at a fine art exhibition in Yogyakarta titled Sepiring Indonesia (On the same plate of Indonesia).

The title of the exhibition indicates that the artists participating in it use plates as a medium to express their interpretation of the present social realities of Indonesia. About 135 artists are taking part in the exhibition.

Rain Rosidi, the curator of the Gelaran Gallery, where the exhibition is being held, said the exhibition showed how the participating artists had creatively translated into their works the restrictions of the medium imposed on them by the curator.

"Artists are allowed freedom to treat plates in accordance with their own concepts and creativity. They treat plates as they treat their canvases and drawing paper," said Rain.

He added that the present exhibition was non-discriminatory, except that the artists had to be born after the inception of the New Order and be domiciled in Yogyakarta or its surroundings, and they had to use plates as their basic medium.

As for the theme Sepiring Indonesia, Rain said that it came up during technical discussions.

"At first this restriction was only technical in nature, but finally it found its own concept."

The result of this restriction is that there are artworks in the exhibition that are creatively interesting and unique.

Quite of few of the works are full of surprises because they go beyond the general conventions in treating plates.

For the artists participating in this exhibition, plates are no longer seen in terms of their function, but rather as fully autonomous works of art. This means that the social function of a plate has been reduced completely to become an art subject.

Take, for example, a locally made ceramic plate from Kasongan on which there is an oil painting. This plate is later returned to the original function of a plate: a flat dish on which food is served or eaten. However, like the work by Tejo Mulya referred to earlier, there are many works of art that are rich in opinion and perception, with the plates serving as their means of saying things.

Sri Wahyuni gives another example: a plate has some red liquid spilled on it. This red liquid may be associated with blood. On this spilled blood there is a 2-cm piece of finger, plus the nail. Our assumption is that the artist is talking about a power he is now enjoying through various ways and violence -- leading to bloodshed.

Then there are the works by Didi Kasi, who has quite extremely treated a plate as a body. One plate becomes the head in the upper part of a human being, while two others are turned into a highly deformed shape of a man's lower part.

Then Dodi uses some wood to create the image of human limbs. His work, called Mainan Indonesia (Indonesian Toy), actually does not give much connotative meaning. However, it is uniquely attractive because of its fairly esthetic visualization.

When the artists flexibly exploit plates fully, in terms of format and substance, there are quite a lot of works presented with a relatively good painting or drawing techniques. Take, for example, Yang Hampir Punah (Those Threatened with Extinction) by Ambrosius, a work giving a touristic impression; and Santapan Terakhir (Last Supper) by Ardison, a work laden with details of feces and urine.

The exhibition also features, among others, the impressive Ranting dan Daun, (Twigs and Leaves) by Saftari, Jogja Loroblonyo, 2002 by Pandu Mahendra, an artist trying to renew ethnic symbolism.

Heri Clepret displays his work, called Atas Nama Konservasi Modernisme (On Behalf of Modernist Conservation), which is still true to the uniquely Yogyakarta pun.

Works of this type are interesting from one viewpoint. However, it may be said as a note of sorts that some of the artists have failed to use the plates to their advantage. Unfortunately, only a handful of the participants are aware of this specific characteristics of a plate, as otherwise they would have been able to produce more unique and more exploratory drawings.

Their works may be one cross-section of a social reality that cannot be simply set aside. It is no exaggeration, therefore, that even the organizer did not prepare documentation, a book, for example, to preserver these works. History does not belong to political rulers. Artists can also make history.

Sepiring Indonesia (On the Same Plate of Indonesia) at Gelaran Gallery, Jl. Enukan #273, Karangkajen Yogyakarta, from June 6 to July 6.