Social critique steals the show at exhibition

Social critique steals the show at exhibition

M. Taufiqurrahman, The Jakarta Post, Jakarta

For their Mosaic annual contemporary fine art festival the
Vanessa Gallery in South Jakarta has put on display a wide array
of work, dominated by socially conscious hyper-realist painting
and sculpture from scores of homegrown artists.

Most of the work delves into the social and political problems
encountered by the country's poor and is created with popular
images and ideas.

From the exhibition it is obvious that the massive social and
political upheavals that followed the downfall of autocrat
Soeharto are still important issues being mined by the country's
artists.

A fine example of social critique on canvas is the work of
Yogyakarta-based painter and 2002 Indonesian Indofood Art Award
winner Sapto Sugiyo Utomo -- Rumah Tradisional (Traditional
House). Contrary to its title, the painting depicts a square room
made of heaped cardboard under which a man sleeps under rows of
T-shirt bearing the logos of big political parties. The man is
barely visible as he sleeps behind a used banner bearing a slogan
of a political party pledging to strive for the people's welfare.

You do not have to be a political scientist to get the message
here -- political parties offer little for the long-term
improvement of poor people's lives apart from cynical gifts like
cheap, low-quality clothing at election time.

In Kamarku (My Rooom), Sapto, paints a picture of two small
street children who lie blissfully asleep on top of more
cardboard. Only children hardened by life at intersections and
under bridges could sleep so comfortably.

And after seeing all of Sapto's work, it becomes clear that he
uses cardboard as a central symbol to represent the poverty and
the plight of the poor.

Another Yogyakarta-based painter Budi Ubrux's work carries a
similar style and message but goes further into detailing the
everyday lives of his subjects.

In Live Must Goes On (sic), Budi paints a dark-skinned
scavenger leaning back beside a garbage can. Seen from his prone
position, the man, who has taken a break from his routine,
displays a stark tenacity despite the obvious hardship he must
endure.

If the work of the Indonesian painters was a serious journey
to the nation's underbelly, that of the foreign artists --
Singaporean Steve Chua and Chinese Cao Jingping -- was a
refreshing thematic and stylistic respite.

One of Chao's works, The Lovers depicts two yellow-winged
butterflies together sucking out nectar from a flower -- an image
that quickly brings to mind the famous Chinese romantic tragedy
Sampek-Engtay.

Content-wise, Chua's work, The Two portrays a representation
of a naked female; an impression of loneliness and restlessness;
about finding one's place in the world.

The Mosaic exhibition runs until May 15 at Vanessa Gallery, Ruko
Permata Senayan Blok A 31, Jl. Tentara Pelajar, South Jakarta.
Ph.: 021-57941208, 021-57941209