RI-Dutch painters show works of different directions

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.