Watie: The woman behind Galeri Nasional Indonesia

Watie: The woman behind Galeri Nasional Indonesia

JAKARTA (JP): Operating a national-scale gallery is a mammoth
task for Watie Moerany, a modest mother of two, who is now head
of the newly opened Galeri Nasional Indonesia, the Indonesian
National Gallery.

Although she has spent most of her working years in various
art institutions here and abroad, Watie admitted she was quite
anxious when she was assigned to manage Galeri Nasional.

"It was a very big responsibility to manage the nation's art
collections and to enliven the gallery as a parameter for the
country's fine arts activities," she noted.

Graduated as an interior designer from the Indonesian Arts
Institute (ISI) Yogyakarta in l982, Watie joined the Directorate
General for Culture of the Ministry of Education and Culture.

In l994, Watie received a scholarship from the Queensland
Institute of Technology in Australia to study art management.

She also worked for the Queensland Art Gallery, Fusion
Gallery in Brisbane and many others.

"I gained a lot of valuable experience and expertise by
working in such qualified galleries," she recalled.

Watie remembered that she had to do all kinds of work like
sweeping gallery rooms, cleaning and packaging art pieces to more
delicate jobs such as conserving paintings and managing programs
for the galleries.

"If we want to master all the know-how on managing a gallery,
we have to learn every aspect of the art institution," Watie
said.

In Indonesia, many people run art galleries without having
adequate experience and knowledge on the subject.

"Many people open art galleries because they have a lot of
money and galleries may become a promising gold mine," she added.

There is no denying that the art business is now flourishing
and it may generate multibillion rupiah deals.

In Japan, for instance, most of the owners of the galleries
are art lovers and art experts. "The Japanese highly appreciate
any kind of art work," said Watie who studied painting
conservation in Japan with a sponsorship from the Japan
Foundation.

Watie also worked at Bridgestone Museum in Tokyo, Nara Museum
and Fukuoka Arts Museum. "Theories are not enough. I obtained
many valuable lessons directly from the field, " commented Watie.

In managing the Galeri Nasional, Watie has set up a number of
programs. There will be regular art exhibitions promoting both
senior and new talented artists. Workshops for professionals and
laymen are also on the list.

School students are also the Galeri's main target. "We want
to develop art appreciation among the youth. This is very
important to build a strong artistic community with art lovers in
the future," she explained.

"I want to manage this gallery in a professional way," she
said. At present, government institutions are viewed as rigid,
bureaucratic and inflexible, she maintained.

"Such negative images must be eliminated or at least be
minimized. Galeri Nasional must be operated in different ways
because it is a public service body," she said.

Galeri Nasional is under the auspices of the Directorate
General of Culture at the Ministry of Education and Culture.

The directorate also oversees the National Museum, the Fine
Arts Museum in Jakarta, provincial museums in the country's 27
provinces, and other art and cultural bodies.

The Galeri's management, she said, should consist of people
who possess expertise in the arts as well as in management and
public relations.

"They should also have people who really appreciate art and
love their job otherwise they will find it a dull working
atmosphere here," Watie stated.

Unfortunately, such people haven't been around her yet.

Watie is supported by only 16 personnel including a team of
art experts, administrative and security staff.

She admitted that many of her staff have come from the
Directorate General of Culture office which has a different
working environment.

"I always tell them that we are now dealing with artists and
the public directly. We have to wipe out complicated bureaucratic
procedures," she explained.

In the future, she really wants to collaborate with reliable
art patrons, academic circles and even the private sector to
optimize the function of Galeri Nasional.

"But, it requires a lot of funding. We have to create secure
funding resources," she said. At present, the Galeri Nasional's
operational cost is derived from the state budget.

"In the current economic and political crises, we cannot
expect more. Yet, we are now working hard to make the Galeri a
safe and proper home for these priceless national assets," said
Watie optimistically. (raw)