Questioning objectiveness of art criticism in Indonesia

Questioning objectiveness of art criticism in Indonesia

By Putu Wirata

DENPASAR, Bali (JP): The objectiveness of art criticism in
Indonesia is being questioned. The development of contemporary
fine arts in Indonesia seems to be controlled by the taste of
only a few people, who have a number of "collectors as followers"
and act as speculators of sorts.

This has become an increasing trend since the collapse of many
non-art businesses in Indonesia. As the painting business is new
turf which is yet to be seriously explored, this small group of
people have made their entry and come to dominate the taste in
fine art appreciation. Jakarta-based arts observer Eddy
Soetriyono, was strident in his criticism at a discussion held at
the Darga Gallery here on Nov. 12, 2000, the topic of which was
The Essence of Price and the Essence of Value in Fine Art Works.

To Eddy, the components which should actually determine the
course taken by the development of contemporary arts in Indonesia
have not been in harmony. They have gone their own way and often
collide with each other. These components are, among other
things, the artists, art collectors, art dealers, art critics,
art journalists and art galleries.

"Our art critics have often mapped out the history of fine
art from a political viewpoint. Otherwise, their description
makes use of a political analysis. Djoko Pekik, whose paintings
used the small people as subjects, is linked with Lekra (the
cultural wing of the Communist Party during the Sukarno era).
Even if Lekra had never existed, Djoko Pekik would still have
opted to paint the same subjects. This is a matter of what
inspires the artist, not a matter of his political affiliation,"
said Eddy.

He also deplored the fact that the Philip Morris Indonesian
Art Award had indirectly tended to create uniformity in artistic
expression as many artists thought the works which would be
highly appreciated would be those exploring social and political
themes. Hence the uniform expression: social and political
matters. On the part of collectors, their taste is still poor.

"One collector will say that the works of one painter are
good and his followers will just listen to what he says and buy
up the works of this particular painter. Reportedly, even empty
canvases have been ordered. What does this phenomenon portend?"

It is true that criticism often hurts. However, he said that
it is not the job of a critic to heap praises on a painter or
please a collector. A critic must show what is good and what is
not. What is happening now is the reverse.

"A Kolekdol, a person who collects a painting and sell it if
the price is high, not a collector, says that the paintings of a
particular painter are good and then the critic will give his
stamp of legitimacy. This is a symptom of an unhealthy
condition," Eddy said.

Pluralism

An exhibition is currently underway through Dec. 2 at the
Darga Gallery, displaying 50 works of 25 Bali-based contemporary
young artists. The techniques used and the themes explored vary.
However, Wayan Karja, one of the three curators of this
Reflection II exhibition, said he has seen a thematic shift in
the works of young Balinese painters over the past few years.
Today, their works deal with social and political themes, or
daily lives with a pretense of humor or profound philosophical
contemplation.

Previously, for almost 25 years, the horizon of fine arts in
Bali was tinted by expressions with a collective nuance among
Balinese contemporary artists with spirituality and ethnic
identity being given prominence. The style is abstract
expressionist a la action painting practiced by Jackson Pollock
with an ethnic and Balinese Hindu weighting. Today, young
Balinese artists are trying to free themselves from the
domination of this ethnocentric expression, enriching therefore
the variety of contemporary painting in Bali.

"This phenomenon of pluralism only makes fine art more
interesting and gets rid of the boredom they usually gave rise to
before," said Karja.

Indeed, abstract expressionism with a Balinese ethnic tone,
which has been fostered by the artists belonging to Sanggar
Dewata -- an association of migrant artists in Yogyakarta, set up
in 1970s -- seems to have a counterpart now. Just like a more
exciting boxing match, Balinese contemporary artists have begun
to explore social and political matters as the their themes.

Two of the painters in the ongoing exhibition, Made Supena and
Putu Sudiana, are still within the shadow of Balinese abstract
expressionism. Lukman Usdiyanto, with his painting depicting Gus
Dur and Megawati busily moving their brooms as if troubled after
witnessing this country break apart in several places, uses the
visual technique a la Javanese shadow play, which gives the
impression that the "colors" of Heri Dono are present in it.

Yet it is clear that Lukman is striving to find a fresh visual
expression.

Then there is the young painter, Nyoman Sani, an alumnus of
STSI. He explores the theme of a woman's life through the glamor
of fashion, body exposure and sensuality, and also questions this
cultural phenomenon. Wayan Suja attempts to dwell on the human
phenomenon, mostly regarding Balinese women in the context of
tourism, and compares this phenomenon with "a door mat bearing
the inscription 'Welcome'" Obviously, this is his lashing out at
the exploitation of women for the sake of tourism, in which women
act as servants, usherettes, welcoming dancers at airports for
the state's guests and so forth.

Although still shallow and superficial, these questions about
cultural commercialization are the beginning of the emergence of
various kinds of corrections and evaluations about "cultural
tourism" in Bali. There is now, suddenly, a question about
whether or not it is ethical to welcome a rural guest -- who just
happens to be a ruler -- with sacred dances, an issue which has
often sparked long-drawn-out polemics. Then, is it ethical to
welcome guests with young dancers, who may suddenly receive a
kiss or two on their cheeks from the guests -- which is a common
practice in Western culture. In Indonesia, or Bali in particular,
a kiss only come from someone special and, besides, giving or
receiving kisses will entail ethical and religious problems as
well as a host of other complicated issues.

The works exhibited in Arts Reflection II have made art buffs,
particularly painting enthusiasts, realize that there are things
other than traditional collectivism or post-traditional culture,
namely the reality of individuals with problems in their lives,
such as the subject Wayan Setem explores in his painting called
"Baliku Mana (Where is My Bali) (acrylic on canvas, 100 cm x 100
cm, 2000).

There is a poignant inscription on the canvas, "Bali for
Sale", then you can see vodka and offerings as well as a bald-
headed gentleman wearing a headdress. Painted in dark colors,
"Baliku Mana seems to pose a sad rhetorical question. The
technique used, the composition and the visual forms built into
this work may be taken as a stinging criticism of the
commercialization of Bali which is now intensively taking place.

However, the demonstrative shout has made this painting look
like a poster laden with heavy political propaganda. This is,
perhaps, attributable to the fact that the artists are still
young and full of energy and, therefore, have a penchant for a
demonstrative and attractive appearance.

The message takes the main stage and the esthetics come
second. Whatever the problem may be, the expressions of Balinese
artists have shown greater pluralism.