Expression of Indonesian modern art from post-independence to 1998 reformation - Part 2
Written by Haiza Putti | Read in Indonesian
Before entering the next chapter in the development of modern art after Indonesia's independence in 1945, let's take a look back at some names and groups that developed outside the realm of educational institutions.
Art outside academies
Jim Supangkat stated that several painters from various places in Indonesia had developed self-taught artistic practices without the influence of the formal art education system that had developed at that time in Bandung and Yogyakarta. These painters made a real impact and gained public recognition.
Trisno Sumardjo (Jakarta) focused on realism, although some of his works are referred to as surreal. Trisno is also a poet and writer. He has translated several literary works, including Shakespeare, into Indonesian.
Oesman Effendi (Jakarta) not only paints, he also creates illustrations for several books, writes art criticism and teaches at the Jakarta Cultural Center. His paintings simplify shapes into abstract strokes, non-figurative shapes.
Zaini (Yogyakarta) is a painter known for smooth brush strokes, full of mystical secrets. Zaini published several magazines, such as Indonesia, Kisah and Prosa dan Seni.
Trubus (Yogyakarta) honed his painting skills while working at the home of the painter Sudarso. After that, he studied under Sudjojono and Affandi, and his latest works capture landscapes and portraits of women. His paintings are part of Soekarno's collection.
Nashar (Jakarta) is known for his unpredictable character. His painting style is figurative, pure abstract, then returns to the figurative, unexpected style.
Other names were also included in Jim Supangkat's paper, such as Zaini, Suparto, Baharuddin M.S, Amang Rahman, Mustika, O.H Supono, Nuzurulis Koto, Redha Sorana and Putu Pageh.
Groups that developed outside the formal education system also influenced Indonesian modern art. Pita Maha, an art group based in Bali founded by Cokorda Gede Agung Sukowati, Rudolf Bonnet and Walter Spies, for example, contributed in developing modern art in Bali.
Social realism and universal humanism (1950-1965)
The two styles that were upheld by two different groups in this era showed the conflicting concepts and political views of the two groups, namely artists with left-wing ideology and artists with liberal ideology. Arief Budiman in his writing in the catalog AWAS! (1999) mentioned that the liberal artists' camp states that art must be separated from politics, as an individual expression that contains deep human thoughts.
Works with a political theme are still allowed, but only if it is the personal desire of the painter. This thought gave birth to the Cultural Manifesto (Manikebu) in 1963 which contained liberal ideas and carried the ideology of universal-humanism.
The People's Cultural Institute (LEKRA), which agreed with the leftists, insisted that art should be a political instrument that reflects the class struggle. LEKRA's stance is referred to as social realism. LEKRA is affiliated with the Indonesian Communist Party (PKI). LEKRA views Manikebu as an elitist group of thought that is separate from the suffering of the lower class.
In 1965, the eradication of the PKI by the Indonesian Military resulted in many LEKRA members being arrested, even killed. However, the political struggle for art continued. In the 1970s, several Manikebu artists expressed their dissatisfaction through their works. Not only in fine arts, this spirit was also upheld by other arts, such as literature, performing arts and music.
Western style and Indonesian style
Art academies, which continued to develop after their establishment in the 1940s-1950s, produced three Indonesian modern art centres. This opposition actually gave birth to various styles, starting from the establishment of the institutions until several decades later.
Still in the same article, Arief Budiman said that Yogyakarta developed and was known as a centre of art that developed a combination of Western art with traditional Javanese art to produce an Indonesian style, as was the goal of the establishment of the Indonesian Academy of Fine Arts (ASRI). Various styles of works were born, such as Yogya's decorativism and surrealism.
Image: “Meraba Diri” in 1988 by Ivan Sagita
On the other hand, Bandung artists were hit by criticism for the lack of Indonesian style; so much that they were called "West Laboratory" by Trisno Soemardjo. Yogyakarta artists criticised their Bandung counterparts, saying that they were immersed so deep into abstract theory until they were no longer grounded. We can see the strong character of the styles that were born later, namely meditative abstract and Islamic spirituality.
Jakarta artists have diverse painting styles; not a single collective character can be seen. Arief Budiman cited a Jakarta artist, "Yogyakarta looks inward, Bandung looks out, Jakarta looks everywhere".
Image: “Gunung Emas” in 1980 by Achmad Sadali
Indonesian new art movement (1970s-1980s)
At that time, Indonesian modern art was growing. Several art events were held, including the Great Exhibition of Indonesian Painting I (1974), which became the forerunner of the Jakarta Biennale. The Indonesian Visual Art Archive (IVAA) stated that the exhibition aimed to give awards to the best paintings from Indonesia at that time. The winners include AD. Pirous, Aming Prayitno, Widayat, Irsam and Abas Alibasyah.
The event was met with critical views from young artists from Yogyakarta and Bandung. Axel Ridzky wrote that the movement was initiated by the resistance of a group of young Yogyakarta painters through what was called the Black December.
They expressed concern about the perspective and direction of art due to the proliferation of abstract and decorative art styles that seem to detach from everyday life. Arief Budiman said that the premise of this movement was to believe that art should contain all aspects of everyday life, not as a monopoly of the artist.
This spirit gave birth to the New Art Movement (GSRB). The New Art Exhibition 1975 saw the participation of 11 artists, including Anyool Subroto, Bachtiar Zainoel, Siti Adiyati, Bonyong Munni Ardhi, Jim Supangkat and FX Harsono. GSRB created a new style in Indonesian modern art at that time, with many works created using found objects and in the form of installation.
Image: “Ken Dedes” in 1975 by Jim Supangkat
Cross-border arts (1990s)
“Curation of Power” by Agung Hujatnikajennong discussed the internationalisation of Indonesian art in the 1990s. This era showed the dominance of the role of the state, especially Japan and Australia, through large-scale exhibitions which were held with the support of government funds and infrastructure.
Agung said that in Indonesia, the wave of post-modernism in the 1990s influenced the popularity of "contemporary art" as a term that identifies a new style and practice. On the other hand, the post-Cold War international political atmosphere contributed to the formation of new networks among artists in Asia and the Pacific.
Asia-Pacific Triennial (1993-1999)
The Asia-Pacific Triennial (APT) (1993-1999) was one of the regional exhibition events (Asia-Pacific) that clearly reflected these phenomena. The first APT took place at the Queensland Art Gallery, Brisbane, Australia. The APT was an effort to campaign for a new image of Australia, which, from the 19th century to the end of World War II, was seen as a representation of the Anglo-Saxon world because of its history as a British colony.
Regional exhibitions in the 1990s brought popularity to several artists, such as Heri Dono, Dadang Christanto, FX Harsono, Arahmaiani and Tisna Sanjaya.
Image: Heri Dono performance on 1st Asia-Pacific Triennial 1993
Exhibition AWAS! Recent Art from Indonesia (1999)
The exhibition AWAS! Recent Art from Indonesia (1999) was also one of the important points for Indonesian art. After the international gate was opened for several Indonesian artists in the 1993 Asia-Pacific Triennial, High O'Neill in his catalogue stated that the exhibition AWAS! opened opportunities for international audiences to experience and understand fresh and provocative ideas from young Indonesian artists.
Works by fourteen artists displayed in the AWAS! exhibition represented a response to the changing political conditions in Indonesia. After the end of the New Order regime in 1998, marked by the fall of Suharto after 32 years in office, Indonesia entered an era of reform. AWAS! took place in Australia, and the works were displayed using a variety of medium, from video to installation.
Image: “Beauty Myth” in 1999 by Bunga Jeruk
In the same catalogue, Astri Wright said that the 1990s was filled with politically charged works, including art activism. The freedom of the people from the restraints of the previous regime did not necessarily make the practice of art activism fade. The political polarisation that emerged within one year after the reform increased the number of artists who voiced anxiety about political issues and social and art conditions.
Image: “Don’t Prevent The Fertility of Mind” in 1997 by Arahmaiani
Agung Hujatnikajennong said that the 1990s must be marked as a very important era, especially if we remember how the wave of change at that time was reflected in the increasing cross-border activities involving Indonesia and other countries in Asia and the Pacific.
Discussions of Indonesian "social political art" in the international arena in the 1990s would be difficult if Indonesian government institutions were involved. The involvement of Indonesian curators, independent of the state government, played a major role in shaping the image of Indonesia's representation in the international art scene.
Agung called the next decade after the 1990s as a period in which Indonesian contemporary art was more prominent in non-government activities, especially through trade in commercial galleries, auction halls and cross-border art fairs.
