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Political
Practices, Leaps & the Credo of the Mask
Agus "Koechink"
"The changes in the theoretical framework of philosophy, the sciences
and aesthetics in the last 30 years of the 20th century have changes the
practices in world art." --cp open bienniale
Quoting the "testimony" above is important when we consider
the art scene in Indonesia. So many various developments have occurred.
Even so, the artworld of the past decade has experienced a crippling of
discourse in embracing the creative process. This does not seem to match
the testimony above.
This is a gripping issue to artists, the restless creators who seek inspiration
in the tense environments of Yogya, Bandung, Jakarta, Bali and Surabaya.
Their biases toward their own subjects becomes important when we find
only the discourse of the market in those cities. This is a discourse
deliberately developed by the players in the art market themselves.
The discourse on art is not nearly as lively as it used to be; the historic
steps taken by PERSAGI, then LEKRA, then the discourse of MANIKEBU. This
is true, even though works heavy with the Mooi Indie (beautiful Indonesia)
style continue to be seen in the market up to now, mixed in with art with
styles originating in the Gerakan Seni-Rupa Baru (GSRB: New Art Movement
Indonesia) that rebelled against the existing values within its own environment.
After the New Art Movement announced its disbanding, no other discourse
has been broached. There is no longer any sign of any art practice being
dissected with the sharp knife. In the face of the hegemony of the West,
art practices have experienced disintegration in relation to both aesthetics
and ideologies. The contemporary art discourse developing up to now is
only empty packaging without any sharp direction in thinking capable of
delivering the beauty promised on the outside.
Certainly, this crippling of discourse is not always immediately felt.
Interesting phenomena exist, among them being the CEMETI GALLERY (Yogyakarta)
which provides alternative space within the development of contemporary
art. There are also the RUANG-RUPA (Jakarta) which advocates New Media
Art, and TARING-PADI (Yogyakarta) that emphasizes awareness and other
art that is based in that environment. Then, there is also the Yayasan
Seni-Rupa Komunitas, Tulungagung (YSRK Tulungagung " Tulungagung
Art Community Foundation), which is more focused on what is called the
political practices (ideopraxis) within art that is geared toward instilling
awareness of the lower classes.
Also of interest was when INDOFOOD"s Painting Contest (2002 and
2003) broke some enthusiasm the art environment. Of course, the PHILIP
MORRIS art awards had another meaning, because the works presented tended
(to the artists) to become a barometer of what is become a trend. The
difference is in the cp open biennale that has accommodated almost every
expression in Indoneseian art.
In this situation of crippled discourse, with no new discourse emerging
in the wake of GSRB"s disbanding, it is relevant to revisit the issue
of political practices in art. So, we now return to the first paragraph
of this paper, with the continued testimony saying: "Those changes
are certain to have an impact on Indonesian art and to give rise to problems."
Then, this statement goes on to ask: "Just how aware of the problems
are we, and how well do we understand them?
Perhaps this answer is a clich": the artists of the Third World
are caught up in the channels of capitalism. This has turned artists into
objects that spend their lives without any rebellion or questioning of
themselves or their environment. This is because their environment has
become dominated; thus there is the hegemony of capitalism in relation
to local cultures that are clinging strongly to their roots.
It is, therefore, not surprising that the cultural event now taking place
(cp open biennale) seems intent on making its presence felt, or on embarking
on a mission. That mission being: "Theoretically, to motivate the
creation of International Art Forums which have the desire to continue
in a more appropriate and fair manner." 1)
Neo-liberalism & the Process of Globalization
Purportedly, our "enemy" is now no longer the leaders of the
Third World. But, yes, that neo-liberalism! Even though this is actually
just an assumption, because of the political practices of our art, we
continue to face this crippling of discourse.
The post World War II economic boom came to a grinding halt in the middle
of the 1970s. And, just around that time, the business class, along with
the intellectuals, left behind the old doctrines and embraced a new theory,
which was initially called Monetarism, and which later took on the names
Thatcherism and/or Reaganomics, but is now labeled Neo-liberalism. 2)
This change is also the impact we have felt in all sectors in the Third
World. It is among the elements of the Capitalist hegemony toward local
cultures that has affected the creative process. Art is no longer the
acting subject but has instead become an object that can be manipulated.
This is the creative process of today. This is the creative process that
is faced when things, Capitalist products, surround us, when the consumer
public and the dynamics of the market become a part of our daily lives.
Because of that, the present has brought us into the process of the globalization
of culture. This can be seen in five dimensions: Ethnoscpae, Technoscape,
Finanscape, Mediascape, and Ideoscape. The consequential meaning of all
this is that the intensity of the ideological movements, especially those
inspired by Western enlightenment thinking, such democracy, human rights,
openness, and social welfare, has had an impact. 3)
Speaking of ideology, as we know, the understanding of Capitalism, Communism,
and even "Liberal Islam" (including the Jewish element), as
well as the sub-local Javanese Kejawen mystical faith, or, for that matter,
any other ism, exists between the two dialectic poles of Freedom and Justice.
Even though people may know only of the freedom aspect, efforts toward
justice can still proceed. 4)
Here, within the capacity of the creator, I can feel that ideological
conflict shadowing the international forums powered by the cp open biennale,
whose mission is to establish and implement the previously mentioned "desire
to continue in a more appropriate and fair manner".
As attractive as that idea may be, there is the possibility that what
is meant is a cultural approach. Although there is one thing, among us
there continues to exist perceptual confusion. This confusion is rooted
in the hegemony of western perceptions, which is paradoxical in relation
to the consideration of art in the Third World. 5). To the point that
the West when viewing the visual art of this country (for example: in
my mask (ganongan) piece: Face of Indonesian) identifies it with traditional
art. But is that so?
Certainly, this artwork depicts the face of our fate. There are many
masks. At the same time, this antagonistic image/visage (colliding with
the values of Luhur-Asor, or the Noble and Lowly) in the literary sense
of art bears the point that "Blood Still Flows" -- blood is
still flowing, alias the mother of terrorism. 6)
Therefore, in my opinion, the tendency to come in international forums
will be a new world discourse that will end up with the hegemony of the
perceptions of the West being identified with globalization!
The YSRK Tulungagung discourse, is an example of the view that the West
has forced them to set up a blockade. Thus, the creator must first master
the area he is working (among the people, in a number of villages or cities),
as well as having a strategy within society, in order to protect the source
of the artist"s creativity. 7)
Or, as in my ganongan mask work mentioned earlier, however the stance
of a given persona is or has been expressed. It has come down to: Who
cares about the confusion in the local discourse (visual art being identified
as traditional art), or even about the doubts that the West has in its
view of the Third World.
More than just being free and just, it is a fact that our artists have
been agape with surprise at the momentum of the idea of Local-Global.
We are becoming increasingly anxious. Perhaps this is simply because discourse
has been crippled. Without a "leap" the creator will end up
buried in all of this. This is the threat, without an alternative.
We do understand that Post Modernism has provided an opportunity to all
those (local cultures, ethnic cultures, Eastern cultures, Third World
cultures) that have not been taken into consideration for a long time.
Now, the creators are capable of actualizing themselves within the play
of the global culture, to the point that a post-modern cultural collage
is formed, which is full of the color of aesthetics. 8)
Therefore, it is interesting to note what is being done through the WORLD
WIDE DESIGNER 2007 that is powered by a French web designer. This involves
the creators/artists of 50 countries, including Indonesia. The artists
who are expressing themselves through the Internet have the target of
taking off like Gatutkaca (online) and then landing on earth (offline)
for a show together along with a book on a mutual, forward-looking view
of the visual arts. 9)
The Ideology of Aesthetics & a Leap Forward
The West has been an ideological phenomenon that has dominated the local
discourse. This chapter has been a long complex one (within the creative
process) and has given rise to the "who cares" attitude mentioned
previously. The issue now is whether or not we desire the presence of
conventional or psychologically aesthetic works of art. 10) The consequence
would be that the creator be required to possess an Ideology of Aesthetic
that is at once clear and challenging. This will create the impetus required
for the great leap forward.
To take the example of the earlier mentioned ganongan (mask) piece. If
the work were deconstructed we would eventually get to the spirit of the
local culture. In my opinion, the wayang (puppet) no longer carries a
purely ethnic Javanese identity. In other words, Bujang Ganong (a figure
in the form of a mask, which is rooted in the butho, dhemit character,
could also be defined as the epitome of the knight or military figure)
no longer carries the same meaning as in the Roeg Ponogoro. Wayang also
is not Chinese though it is shadowed by the figure of Dewi Kwam Im, and
it is neither eastern or western or any ism for that matter, nor is it
Petruk Becomes Queen (Military Republic); it is a local-global phenomenon
whose point is that the "Blood Still Flows". 11) To the creator,
personally, this work gives rise to what is known as an Aesthetic Ideology.
The meaning in terms of local-global momentum is that the creator/artists
must have the ability to create a belief in what is going on in the creative
process. The point is reaching the conclusion that wayang is Humankind
with a capital "H". And it is na"ve to refer to this "H"
as Indonesian art. Not as something within the chapter of universalism.
Because "H" is in the central position within globalization
itself.
How and what is needed for such a leap, is that the creators or artists
seize the opportunity after having placed themselves as a subject in the
global position. Along with their ideologies and concepts of aesthetics,
of course. The discourse then becomes simply a local object. What is difficult
is only the dynamics, which is the spring of all aesthetics.
The tendencies that are being voiced, such as is the case with YSRK,
indicate the taking of a stance in a local position as a form of resistance:
Developing an institution to bring forth a political strategy for art
at the village (grassroots), village-city, and national levels that can
be given the stamp "Indonesia". 12)
To me, there is just the choice of moving into a global position through
the use of local material (objects), a jumping off place in order to gain
the right to lend one"s voice to world institutions and international
forums. That is all. Without local genius, only brokers for certain groups
will exist.
Therefore, the process of building confidence, to me, is like sprouting.
So this choice of attitude or stance and belief could be called a kind
of Artist"s Credo. 13) This is a belief that requires no group. There
is also no need (in terms of artworks) for the legitimacy of a group.
Yes, just look at the artist"s work. And let the market speak. (Especially
since in 2004 we will be entering the free market.)
Thus, I am of the opinion that as a catalyst (to artists) my credo could
be called the Mask (Ganongan) Credo. Or the credo of the wayang, or whatever
else. Respectfully.
BIBLIOGRAPHY AND REFERENCES
1. Program Guide to cp open biennale: Indonesian National Gallery, Jakarta,
September 4 " October 3, 2003
2. Ant-Capitalism, Chris Harman, Teplokpress, Jakarta, 2003
3. Global-Lokal, Journal for Performance Art in Indonesia, th.X 2000.
4. A brief discussion with Saif Bakham, an NGO activist from the NGO-Bawean,
concerning Bawean Island & Ideological Protection with a Cultural
Approach, August, 2003
5. Dua Senirupa, Sanento Yuliman, Kalam Foundation, Jakarta, 2001
6. Comment on ideologi of aesthetics, source (idem) from point 4 above,
referring to the author"s writings.
7. A brief discussion with Moelyono, an artist with YSRK Tulungagung
concerning Neocolonialism & Protection of Areas Exploration/Work,
September 2003
8. Global-Lokal, idem
9. Click: www.worldwidedesigners2007.fr.st (The writer represents Indonesian
in the "Visual Art Program" on the Internet, July 2003)
10. Brief discussion with FX Harsono, a GRSB artist, concerning The Psychology
of aesthetics & the ideology of aesthetics.
11. Ganongan (Face of Indonesian) " Dewa Kwam IN " the Miltary
Republic, in particular, the work titled "Blood Still Flows"
(Surabaya Gallery, 2000) which was purchased by a Singapore collector
Click: Agus Koecink, Galeri Online 2001, www.sam-design.com/agus
12. Taking a Stance & Tendencies: Source (idem) same as point 7 above
13. Visual Art Credo for artists: criticizing the Pop Art Credo which
is a result of the consumer credo of the industrial culture (see the work
of Andy Warhol "Marilyn Dyptich" " 1962) that influenced
the writing of Tulus Warsito & Budi Sulistyo in the exhibition titled
the Essentialism of Pop Art, 1976
Agus "Koechink" is an artist and NGO activist, based in Surabaya.
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