RI-Dutch painters show works of different directions

By Carla Bianpoen

JAKARTA (JP): Amidst Indonesia's golden jubilee celebrations, a group of Indonesian and Dutch artists are presenting their visions of today's realities and needs. Back to basics is the message that comes through to the attentive watcher of the exhibition, which was organized by the Yogya-based Cemeti Contemporary Art Gallery and the Gate Foundation in Amsterdam.

Contrary to their senior colleagues, these artists were born and educated in post-colonial times. They were therefore relatively free from colonial bias and were able to develop themselves without any strings or burdens. As is evident in their works, their concerns have gone in different directions, with the Indonesians on their way forward and the Dutch on their way back, in search of childhood nostalgia. It is true that they share the same idea to basics, the Indonesian artists more as a comment or critique to socio-political situations, while the Dutch seem to have had enough of the abundance and sophistication of a welfare state. In reaction, they seem to prefer a return to the earlier stages of art expression (such as working with pencil) and, ultimately to childlike spontaneity.

In the spirit of goodwill that marks the Independence celebrations in Indonesia, the organizers have made great strides to keep an adequate equilibrium in everything related to this exhibit, such as a balance in the number of participants from both sides, in the speakers, and in the placing of the national colors. Unfortunately, the balance slipped heavily to one side in the team of curators, with only one Indonesian curator among the total of six.

The Indonesian artists comprised Anusapati, known for his sculptures of wooden objects, Andar Manik, a ceramist and sculptor, Heri Dono, a painter whose critiques are often smoothened with a touch of humor, Nindityo Adipurnomo, a painter/dancer obsessed with his Javanese roots, and Judhi Soerjoatmodjo, a photographer and ex-journalist who has embarked on creating 'art' with his photographs.

Exploitation

Anusapati's installation entitled Presence versus Exploit is a warning about forest exploitation. 'Boxes' of bare wood filled with rare fruits are put on stands. Carved leaves on the open lids of the boxes underline the work's environmental concern. Over each box is a bulb as a warning signal.

Andar Manik's installations relate to his views on communications, the transfer of historical facts, the risks of false transmissions, but also the importance of truth, honesty and the genuine communication between the people of the world. Clay, earth, wood, and an old fridge, as well as a map of the world, are his attributes to bring out his view on how things are and how they should be.

Heri Dono's installations in one way or the other contain a critique of what he finds wrong in the world around him. One of his installations consists of fifteen fiber glass dolls each in a krupuk barrel, a way to comment on cut freedom.

Ninditiyo Adipurnomo is more absorbed by culture, Javanese culture that is. In some way, he says, Javanese culture is intriguing because of its introvert nature, its esoteric mystique. The concept of harmony and the denial of any open confrontation can at times be burdensome. Symbolic of all this is the Javanese Conde, a hairpiece which 'makes' the Javanese attire. The conde, says Ninditiyo, is like Javanese culture. Its round or oval form always looks regular, it has an air of aristocracy, denoting class and social standing. It fascinates and triggers one's curiosity of what would be inside the hairpiece, the way Javanese intrigues. But it can also be burdensome, particularly when changing lifestyles require a woman to be mobile.

Nindityo's installation Siapa Takut pada Orang Jawa (Who is afraid of Javanese people) connects theconde with the bonang, the principal instrument in a gamelan set.

Yudhi Soerjoatmodjo's photographs deal with the last moments in his grandmother's life. Earlier shown in other exhibitions, where his personal relationship with his granny stood out, the pictures are now used as a medium of artistic display.

Dutch artists

The Dutch participants in the display are Gijs Frieling, a painter whose art reflects reality with an imaginary touch, Paul Klemann whose medium is drawing, Cock Sjardijn, a painter whose works reflect themes reminiscent of images in the world of children, Mark Manders, a sculptor whose artistic notions at times take a sinister turn, and Erszebet Baerveldt, whose expressions in mixed media are among the most interesting of the Dutch artists.

Apart from the excellent skill in pencil drawings, the Dutch participants seem to be in a stage of searching for new ways of art expression and, in experimenting, have found their way back to childlike expressions.

Quite different are the works of Erszebet Baerveldt, who has a high level of ability to combine various media and whose artistic activities may stem from an immense urge to recreate the past. Such is tangible in all of her art, be it in pencil, paint, sculpture or video.

Her video in this exhibit is considered a masterpiece. Featuring herself while trying to put life into a sculpture, she almost succeeds, but in the end she can't help the sculpture from falling apart. It is an ode to the past, a grief for the irrevocability of life and death.

Her passion for the past is also evident in her works of women whose personal histories have somehow remained in the dark. Take the Mona Lisa of her photo-sculpture, she made a head sculpture which she put over her head, then set at the window and made the 'self-portrait'.

Even more intense are her efforts to transform herself into Erszebet Bathory from 16th century Hungary. Bathory was at that time accused of vampirism, bathing in the blood of young girls to maintain her youthful beauty. Reading every single publication about her muse, the artist seems to have an intense desire to understand the person behind the name, and eventually become Bathory herself. She does everything to that end. She takes the same name, sews herself dresses like Bathory's, she even changes her hair line. In the end, one can't help getting this eerie feeling that she might be affected by a form of hallucination, or maybe she is Bathory incarnate who wants to address the accusation made in the 16th century ?

Whatever it is, there is no doubt that the past is a source of forceful inspiration for this young artist who, at 26, is already an artist of renown. At least in the Netherlands. "She is known to practically all the galleries", conveys Mrs. Reuten of the Reuten Galerie in Amsterdam, who represents the artist in this event.

The exhibit titled Orientation will remain at the Gedung Pameran Seni Rupa in Central Jakarta through Aug. 30.