Sculptors unite in show to regain lost pride

Sculptors unite in show to regain lost pride

Yusuf Susilo Hartono, Contributor, Jakarta

In the glitz and glamor of contemporary fine arts, sculpture
is always overshadowed by painting. Such a predicament has
encouraged sculptors in Yogyakarta, Bandung, Jakarta, Padang,
Surakarta and Bali to make a greater effort at improving the
image of their artform by grouping themselves within the
Indonesian Sculptors Association (API).

Entrusting its chairmanship to senior sculptor G. Sidharta
Soegiyo for the 2000-2003 term, API is headquartered on Jl.
Letjen S. Parman 55, Yogyakarta, instead of in Jakarta. Its 90
members from various cities in and outside Java are mostly
graduates of art schools, including the Yogyakarta-based
Indonesian Arts Institute (ISI) and the Bandung Institute of
Technology (ITB).

The association, officially established last year, was
proposed during a discussion as part of the Sculpture of Freedom
exhibition at Galeri Dirix in Yogyakarta. Painter Heri Kris, the
gallery's curator, made the suggestion, which was warmly welcomed
by participants including Sidharta Soegiyo, Anusapati, Kasman KA
and Suwardi. On July 7, 2000, 32 sculptors met in Yogyakarta to
announce the formation of API.

However, not all sculptors are willing to join the
association. Noted sculptors Nyoman Nuarta of Bandung and
Dolorosa Sinaga of Jakarta, for instance, have yet to register.

"We respect their right (to join). From the beginning we never
had any intention of making API the only forum for Indonesian
sculptors," said Sidharta. More importantly, API represents no
particular ideology of artistic creation.

Some of the big names in API, in addition to Sidharta, are
Amrus Natalsya, Bagong Kussudihardjo, Arsono, Rita Widagdo, Edhi
Sunarso, Iriantine Karnaya and Sunaryo. Junior members now rising
to fame are Anusapati, Hanung Mahadi, Altje Ully, Innes
Indreswari, Rikrik Kusmara, Pamungkas Garjito and Herry Haryanto.

To announce its existence, API is presenting 117 sculptures
selected from its 77 artists in the association's first grand
exhibition at the Galeri Nasional in Jakarta, from Nov. 20 to
Dec. 4, 2001.

Galeri Nasional head Wati Murany applauded the initiative and
hopes that the association promotes the creativity of emerging
artists and exhibitions, while encouraging senior members to
exhibit their newest works.

As Sidharta pointed out, 80 percent of Indonesian sculptors
remained silent and dormant before API's presence. Consequently,
Indonesian people are not familiar with the nation's latest
sculptures. Joint displays of paintings and sculptures have only
included a small number of the latter, resulting in scarce
articles and criticism relating to this field of the fine arts.

API's challenge is to keep the previously dormant sculptors
awake. Their active expression means the creation of images as an
artistic process and cultural activity, instead of merely
fulfilling orders. It holds the long-term mission of developing
the art of sculpture as a cultural undertaking rather than merely
an economic enterprise or other venture.

In Indonesia, the development of sculpture dates back to the
prehistoric times, when statues became part of rituals and
integrated with ancient architecture. Traces of the past icons
can still be found among various tribes in the country, such as
those of the Asmat, Nias and Dayak ethnic groups.

Modern images, including monuments, were also built to
decorate public spaces during the eras of presidents Sukarno and
Soeharto. Some of them include the Selamat Datang (Welcome)
statue at the Hotel Indonesia roundabout, Monumen Proklamasi,
National Monument (Monas), Tugu Pahlawan (Heroes' Monument) in
Surabaya and Tugu Yogyakarta.

Sidharta said many orders received by sculptors would destroy
their creativity. They no longer create sculptures based on their
personal expression. He praised those who did not only produce
works based on orders but also created individual works and
exposed them to the public.

The API exhibition is expected to make the public aware of the
existence of sculptures as revealed by artist Anusapati. Other
positive things can also be exposed through the exhibition.
Artist Asikin Hassan described the event as a medium to evaluate
the latest sculpture developments. The discontinuation of
triennials by the Jakarta Arts Council has caused the loss of
assessment standards.

On the other hand, fine art critic and curator Jim Supangkat
saw this exhibition as questioning the position of sculpture in
contemporary fine art. Contemporary developments have shown that
conventional expression is being abandoned, with the emergence of
"new" forms like installation art, mixed media, video art,
digital art and performance art works.

API has, nevertheless, stepped forward. Only time will tell
whether the sculptors' association really has the ability to
improve the standing of this artform or whether it is merely
overwhelmed by fleeting enthusiasm, only to remain inert
thereafter.