The Compromise of Self and Identity within Indonesian Contemporary Art - Essay Example

? Spellbound: The Compromise of Self and Identity within Indonesian Contemporary Art Since centuries, art has been playing an imperative role in the creation of social and cultural pillars of the human societies. One can observe the same in the postcolonial Indonesia that is undergoing a new structure and transitioning into a newly developing country. Indeed, as contemporary art now stands, the constant state of flux and animated visceral response conveyed by the artists are at the center of it all. However, Indonesian contemporary art is far from disarray; rather, it is currently at the start of its reign. Yet, despite the stereotypical point of view and exoticized Western expectations, the status of “Indonesianness” within the contemporary artwork lies in its challenging and provocative representation, traditional and innovative medium or techniques, as well as the authentic and mysterious quality. The aptitude for dialogue and ability to represent energetic reality is allowing the Indonesian contemporary artists to epitomize the most fundamental language. In addition, it has been an observation that any conceptual or artistic expression is always attenuated by a powerful, socio-political-cultural testimony. Perhaps nowhere is this disparity more strikingly seen than the swirling ideas in the exploration of self and identity, which undoubtedly fomented and regenerated repeatedly. Even so, the range of artworks conceived have become the “in-between” platform and terrain of difference that form their identity. In recent years, the social, political, and cultural reference within the formation of collective idealism has been called into question. The complexity of identity formation has reached a point in which so many versions of the self seem plausible. However, many artists offer a conception of both actual and conceptual self in which they coexist within cultural hybridization occurring in Indonesia. In this conception, the defining features of each self are retained and understandable to exist only in relationship to one another, like figure and ground, front stage and back stage as a single undifferentiated system of self and identity. In this regard, Indonesian artists today are capable of holding off every explicit local or ethnic exercise while constructing new artistic or cultural traditions within their art. In specific, it is that duality of the idea of expression and ability to associate that gives way to opportunities of significant dialogue and powerful presentation of self. Unfortunately, it is observation that Indonesian contemporary art confronts misinterpretation as outsiders do not know the current situation in Indonesia, or that their knowledge on Indonesia is not up-to-date, hence, failing to understand the symbolism, perspective, and scope that the artwork entails. In short, taking consideration of not being present, the artwork becomes insignificant and loses integrity of its history. What one comprehends as the real identity of Indonesian art is in fact comes with various confrontations and misapplications, which eventually become difficult to be handled constructively. Various statements and answers on what message is actually conveyed in the artwork ultimately only succeed to reveal the fact that the art is still being questioned. Thus, one can understand why at certain times, the principals of art in this country are determined to find the ‘true identity’, while threatening all the potential establishment of ‘false identities’. The term ‘contemporary Indonesian art’—or its fractions, ‘art’ or ‘contemporary’, has never been under instant declaration. Therefore, that term alongside with the awareness in understanding it develops gradually, and has its own contexts within the discourse. Although curator Jim Supangkat was not the pioneer of ‘contemporary art’ during the significant shift in Indonesian art; however, during that time, through his views and in supporting other artists, he was one of the aggressors of the term ‘contemporaneity’ in Indonesia. It is unfortunate if then, within the context in Indonesia, the usage of the word ‘contemporary’ and ‘new’ are only a matter of translation, not the understanding of the content, nuance, or spectrum of the issues it contains. The new art that grows in Indonesia, regardless, is ‘Indonesian Art’ formed by the forces of Indonesian history. It is not under well establishment as in countries such as India or China, but the pillars that support it are growing stronger. The following artists discussed throughout stand out because of their ability to be sovereign; and in a sense of nationhood, they are present as a member of Indonesia as a nation, bringing forth the personality of Indonesia through visual experience. In a more hopeful way, their art questions the identity in both extensive and limited sense, through metaphors that not only use the presence of the artists, but also explore the signs from the surrounding environment. Thus, some of the artworks cannot detach itself from the aspects of history and the modernization of Indonesia into a contemporary culture. Indonesian contemporary art is blossoming and everyone is all of a sudden confronting different artwork that embodies and often cannot come into separation from its context. It currently is taking everyone on a journey of exploration and enriching comprehension of both visual and conceptual relationships that surpasses boundaries. Established artist such as Agus Suwage, Heri Dono, FX Harsono, Entang Wiharso, and Astari Rasjid are taking on explorations linked to the conceptions of the philosophical self and societal pressure based on traditionalism versus modernity or in one way or the other; contemporaneity. It is evident that each artist considers the pressure between his very own individual preference, national preoccupations, and historical circumstances. Meanwhile, inscribed within their work, J. Ariadhitya Pramuhendra, Arahmaiani, and Titarubi have explored ideas such as the human body and sexuality, gender roles and expectations, as well as the monumental appeal of religion. One can also find other names such as Budi Kustarto and Yani M. Sastranegara often times stating the disquieting views about the identity, which reflects on their artworks and ideas. In this regard, Indonesian art is going through a passage of frequent alterations that are subsequently affecting the status and role of self and identity in the Indonesian culture and society. On the other hand, the birth of contemporary art in Indonesia was not solely due to the desire to do self-determination against the neighboring countries or to an extent, the West. Many variables support its existence, such as economic growth, lack of knowledge, historical suffering, and moral decadence that struck postcolonial Indonesia. From the analysis of these variables, one can formulate the social background of new Indonesian art’s growth and development, thus, making sense of the artistic activity in current time of appearance even if it is not necessarily understandable by the society. Therefore, society’s inability to recognize the importance of new art and the lack of proper art infrastructure in turn led to restlessness among artists; however, such situation pushed them to realize the ultimate role and purpose of art, that is, to seek its own destiny. In order to support the above discussed objective and role of the art, Agus Suwage has always been a clever observer and has been articulating his ideas successfully within his works. As an Indonesian artist, he asserts himself as a strong player in the international art world. Using his own image (i.e. his face and body) in an effective visual composition, he expresses something rather personal in his message. However, in Luxury Crime (2007-2009), the message is nothing less than a reflection back of societal demands, in which words take over and his self-portrait thus strives to avoid any references towards himself in concrete terms. Instead of allowing it to be an expressive symbolism of his identity, the piece takes on a social message instead. On one hand, Agus Suwage using his respected introspective and self-referential methodology reveals an uncanny prescient memento mori or shocking visual reminder of his own mortality. In addition, one can observe sadness and happiness, aloneness and joyfulness, honesty and deceit, even foolishness and ambiguity that appear within Luxury Crime that appear in harmony or at times contradictory to one another. On the other hand, the image of self in this case is translated into a critical commentary about Indonesian politics. A gold-plated brass skeletal figure comfortably sits in an enormous stainless steel bucket filled with rice, helpless and immobile, while he becomes an entertainment for the passerby or the audience who passively observes him from a distance. In context of recent social condition in Indonesia, this piece is a reminder of irony behind Indonesian people’s sufferings or poverty, when in fact people are living in a rich country or nation. Ideologically, the country is diving into the richness of Suwage’s perspective on many kinds of problems such as political, cultural, gender, and self-identity matters. Not to mention, the way in which the artist approached and viewed these existing problems is what makes his work unique, even to the point where it makes people question its validity against the national values, as the idea of social reality is under presentation in figurative symbols with his body, as described earlier in Luxury Crime. In addition, he utilized his body as a central yet multifaceted platform for art expression; this includes the political body, the social body, the cultural body, and the art body. When gazing on the identity or the idea of introspection, Heri Dono’s installation entitled Fermentation of Mind (1993-1994) signifies the growing attitude and response towards government politics and propaganda. It is a reminder to the audience that instead of scrutinizing each individual in its own entity, one needs to understand the problem in its whole in a better way, which in this case exists as a unified mass. These expressionless and marginalized dummies presented by Dono are nonetheless puppets controlled by the authority to adrift from their actual self and compromise to represent “Indonesianness”. It is imperative to note that his work reminds of the paradoxical realities within Indonesian culture and thus, the bowing mechanical heads situated on top of desks resemble the imagery of students assembled in the classroom nodding to command and learning to accept command or instruction. This also extends to the common discussion on the educational system within the Southeast Asian region, in which students confront expectation from others to sit back and listen to directions or lectures they face without questioning. The installation further demonstrates the attention to comment on the varying degrees on the tendency of Indonesian authority to use propaganda and censorship to implement national policies and to control the minds of the masses. Undoubtedly, the frontal act of government propaganda pushes the idea of dehumanization as a centerpiece within Indonesian contemporary art. Most creative individuals in Indonesia unconsciously are choosing to demonstrate the paradigm of oppression that structures all forms of expression, both symbolically and literally. Fighting their way into to the frontal force of the contemporary art movement are established artists who have successfully been able to capture the culture of fear and repression that exists within Indonesia, where the unified, voiceless masses are obliged to contribute to the push for nationalism. In such period of struggle, Heri Dono and FX Harsono are playing an imperative role in creating a critical dialogue by underlying the instability of the Indonesian national identity into the various scenes described in their description of contemporaneity. In Indonesia, traditional cultural values and nationalistic forms of representation often are translated into a seemingly natural aesthetic standard. Often times, the idea of nationalism becomes the sole determination of a creation of a work of art, determining how it can serve a nation or better interpret its current sociopolitical situation. In the similar way, FX Harsono’s Voice without a Voice/Sign (1993-1994) illustrates the topic of censorship in Indonesia. Due to strict regulations on censorship and the mitigation on political expression, the use of criticism, parody, and direct speech are under heavy control of the government; leaving the Indonesian citizens to empower language through symbolic speech. Each of the nine large prints represents a hand forming a letter in sign language. Together, the letters spell out “D-E-M-O-K-R-A-S-I.” However, in a detailed manner, the clenched fist of several of the letters and the binding of the final hand with rope suggest the constraints on communication caused by the repressive Indonesian government. In this regard, this important piece stands for democracy and openness, in which the people look forward to the opportunities, ability, and freedom to express their thinking and opinions without limitations, but in fact, confront quite the contrary. It is quite ironic that freedom of expression is excluded for the sake of national security and social order; meanwhile, the citizens are bound to the appeal of silence, thus, leaving the nation to understand that in Indonesia, democracy is merely just a symbol, not a point of action. On the other hand, the world of Entang Wiharso goes beyond critique of the present politics that exist within Indonesia and further compares such issues to the Javanese mythology and folk tales that he grew up with all his life. In specific, Wiharso is a senior local artist coming from the Yogyakarta art scene whose works often refer to the present human condition falling into the abyss. In the sculptural series Black Goat VS Aesthetic Crime and Identity Crime (2009), he denotes the explosive humanistic quality in battling the habitual nature of the unconscious crimes, the first being aesthetic and the second being identity. These reliefs made of cast aluminum are under assembly as wall installations featuring bestial figures that remind the viewer of the fineness and appearance of mythological characters that were often under discussion in ancient Javanese folklore. In addition, His depiction of traditional beliefs and mystical life draws a complex blend between traditional and modern influences, ranging from the representation of evil to popular culture such as comic influences adopted from the West. Undoubtedly, his enormous work becomes a door that opens and invites the viewers into the eerie corridors of his mind. This piece is a reflection on the madness he witnesses and experiences in the current behavior of society, taking form in characteristics such as violence, killings or murder, human greed, material gain, and struggle for power. To an extent, he questions the way of how this madness has impact him spiritually as an individual and where he falls amidst the tremors of modernity; shaping his identity as both an artist and member of Indonesia’s conforming society. Nevertheless, Entang Wiharso has builds up a complex layer of reliefs that reveal forms hovering between his imagination and the sheer reality. In Temple of Hope (2008), the artist extends the discussion of the symbolism of his discernment: an enchanting tale engraved within his mind and memory. The installation becomes a very private part of Wiharso’s reality. In a way, the piece resembles the idea of a heart functioning as a core of human existence, though illustrated with visualization and protected by a shell in the shape of an aluminum hut rather than flesh and bones. Moreover, engraved in the walls are every possible humanistic values and actions. Furthermore, the heart radiates, and its light penetrates the very perforations of the engraved images enhancing its overall appearance. Like a relief of Hindu-Buddhist temples in the island of Java, Wiharso’s temple is an invitation to identify with the artists’ spiritual journey in a further way through symbolism, mysticism, and folkloric references. In this regard, the piece consists of both visual and text of recorded Javanese sayings, conversations, and dialogues, advice from friends, colleagues, mentors, and family that shape the very consciousness of Entang Wiharso. “My identity is my last defense in the art world” is a quote that the viewer can find on one side of this illuminating temple of light. It signifies the very protective layer of personal and public identity for Entang Wiharso. Additionally, against the dark background of this contemporary civilization of success and well-being, even the arts tends to mingle and lose their identity and Temple of Hope acts as an extensive visualization to what separates the artist from the rest of the world. Moreover, these representations remind the audience that Indonesian contemporary art reconsiders modernism within the cultural and social relationships that at best nourish and support, at worst crush and destroy the individual identity. It is not uncommon that artists extensively discuss the oxymoron effects or qualities that modernity has brought upon the country. In specific, modernity corrupts the soul and mind; however, at the same time, it advances the slant, line of thinking, as well as the way of living. In a way, adapting into the proposed ideas of modern life extends to the responsibilities in understanding global culture. To what extent do we allow ourselves to confirm to the attitude of people around us? At what point do we draw ourselves apart from that very notion of community and the public sphere? An important piece that discusses the societal response towards modernity and its discourse is of artist Astari Rasjid. Her sculpture, Politics of Seduction III (2003) is a reaction towards the growth of contemporary global economy and free market policy, which has created greater problems within the Indonesian society. Specifically, the monumental sculpture comes in the shape of a red Hermes Birkin bag, which at present represents the upper stratum of the Indonesian wealthy community. Adorned with an extensive set of carefully chosen words such as ‘shame’, ‘insecurity’, ‘denial,’ ‘fear’ and ‘win or lose’, the handbag she presents betrays some cynical and ironical nuances. The innovative capitalism has created the existence of bodies that depends on decorative objects; objects that are fleetingly expressive. It has also blinded the soul and heart of every human being, leading the nation towards destruction. Through the portrayal of national body within a luxury object, Rasjid comments on how the nation faces their identity and social problems in an escapist way. Too Young to Die, Too Old to Rock N’Roll #1/#2/#3 (2009) is another installation piece by Agus Suwage that provides chilling reminders of the fragility of life and influences of materialism and contemporary culture on Indonesia. At first glance, one may only interpret it nothing more as a criticism of self and the amount of consumption of cigarettes. However, after a detailed analysis, it extends beyond himself to a larger, identifiable community: the contemporary Indonesian society, a mixture of tradition and contemporaneity constantly adjusting itself to western influence. Quite absurd and banal in its approach, the installation is somewhat cynical of the rate of adoption; people have on modernity and the effects its manipulation has on the Indonesian society. What one witnesses from this work is more or less a disorder within the Indonesian contemporary society and that without looking at death and mortality from a humorous and rather pessimistic view, one will never give way to the new order. In this regard, the explorations of installation art one encounters give a new understanding of aesthetical experience; the strong spiritual dimension of the body and self related to the identification of matters in everyday life. In addition to exploring the cultural aesthetics, Arahmaiani’s video installation piece entitled Human Love (2003) dives into the topic of cultural expression. Her art practices often inclines on performance and working with her body to create meaningful and personable work. In this particular piece, she provides a sharp insight into her understanding of the discourses of relationships and human emotions in the developing world. She encounters such discourses and relates them to her personal experience that enables her to create a rich context and significant dialogue with the viewer. Studying carefully how taboos exist within the Indonesian society, she takes a critical standpoint and questions regarding how these existing taboos have become a source of her artistic inspiration. In other words, one can converse that the winding course of history of the establishment of Indonesia, its experience of being colonized, its complicated linguistic environment, its melting pot of imported religions and local popular beliefs have all served to create a rich contextual foundation for Indonesian contemporary art and have nurtured Indonesia’s unique environment of ritualized culture. In specific, Arahmaiani was raised with a strong Islamic background; and like any other Muslim-born individuals who inherit the religion from their parents, she often reflects how the religion constructs or has once constructed her episteme. In specific, Human Love enables her to clash religious facts with the social facts and norms that exist around her. Moreover, her explorations and activities opened a more objective examination of culture that enabled her to view Indonesian’s social system as a patriarchal culture, in which women are confined or even limited to certain forms of expression and indulgence. Thus, she relies on herself as an individual to fight these restraints and breakaway from the overbearing discourses imposed by society. Meanwhile, being raised in a devout Catholic family in a predominantly Muslim Indonesia, J. Ariadhitya Pramuhendra reminds the reader the way in which religion operates in a multicultural society. Employing charcoal as his weapon of choice, the artist seeks to address issues of self and identity. He uses charcoal to imitate its representational form in photography and to blur the thin line between imagination and reality. In his piece, The Chairmen’s Dialogue (2008) and Holy Mass (2008), the artist portrays himself as several different characters seated according to Da Vinci’s The Last Supper. Emerging from various explorations linked to conceptions of the philosophical self; he expresses his most religious interest. He identifies himself to his beliefs and his leanings about religion by constantly emphasizing on re-assessing the self in relation to this understanding of what constitutes the religious identity within contemporary Indonesia. Through the lens of these portraitures, Pramuhendra forges a composition that is suggestively photographic, especially in its black and white form. The self simultaneously becomes a subject and object of observation within these two pieces. The placement of character is under development through investigations of philosophical search of self and placed into artifactual context from past learning. Like a self-portrait, Pramuhendra’s art talks about his life and his identity. The understanding of religion appears to be a moment of revolution for him and that through the depiction; he tries to make a connection with the past. Even if fictive, his figments of imagination portray an enigmatic though fictional autobiography on the formation of the artist’s sense of identity as he attempts to negotiate his place and position, measuring distance and a sense of belonging within an increasingly commercialized Indonesian culture. However, different from traditional works that tend to celebrate communal values, many artists like Pramuhendra are subversive in the sense that they show a critical perception toward communal values. One of such examples is of Bayang-bayang Maha Kecil (2003) by Javanese-born female artist Rubiani Puspitasani (Titarubi) that encounters an atypical approach to reassessing humanistic values and identity within the Indonesian culture. In contrast to Arahmaiani and J. Ariadhitya Pramuhendra’s appeal in their current identity, Titarubi reflects back and rekindles the earliest point of identity formation: childhood. Growing up as a Muslim, she was taught to learn all the important prayers in Islam, as well as study the Arabic alphabet. What is attractive about her installation piece is the neglect of closure or critical foundation of comprehension. In such scenario, children confront expectations of others to recite and learn without really understanding what these beautiful prayers mean and how they apply to him or her and those around them. In specific, one can observe the ornate stoneware figures of nine children silently sitting on wooden stands, each of which comes with Arabic inscription with holes of light above the heads parodying saintliness in the piece. The two small hands of each of these nine figures are poised in mid air as if they are ready to bless viewers in the manner of a priest blessing his followers. Like Heri Dono’s Fermentation of Mind (1993-1994), this installation is a sharp commentary on how children are forced to learn material or information by heart without understanding what the primary functions of such rituals are. In fact, one can converse that it has the deceptive air of a sacred ritual. The installation serves as a reminder for the postmodern age: the transience of life issues and social norms that take place in identity formation unique to contemporary art practices in Asia stands. In addition, Indonesia’s indigenous folk cultures and complex religious history have probably shaped its art more profoundly than has its politics. Looking at it from a native perspective and local historical processes, Indonesian contemporary art differs greatly from other mainstream Asian contemporary art coming from India and China. If one looks at Indonesia within the global context of the present, one will find a distinct contrast between the culture of the country and the rest of Southeast Asia. In fact, the diverse traditional culture and the way of life of the people of Indonesia gives way for a revolutionary “avant-garde” movement encompassing a new society breaking away from its fictional history and struggles of the past order. Thus, contemporary art in Indonesia has become a cultural phenomenon overlooking past practices to create the present commonalities. Through their paintings, sculptures and installations, Indonesian contemporary artists have provided a narrative of the diverse contemporary conditions and aesthetic values of Indonesia. One such example is Budi Kustarto’s sculpture; On the Move (2010) that exemplifies the fight for culture and Indonesia’s struggle to develop an identity of its own separate from the preconceive notions of its elder generation. Taking advantage of realistic forms, Budi Kustarto conveys problems that settle in his mind that often creates conflicts and psychological strains. These thoughts accumulate in his awareness and critiques humans’ limited capabilities of being independent. The sculpture, ‘On the Move’ analyzes the personal and identity problems our body represents. Delving into awareness about his body, therefore, is identical with opening up a general comprehension about the body’s linkage with complex socio-cultural dimensions. Within the prison cell, the audience can see multiple bodies being held hostage. Each body ironically stands on top of the head, symbolically, illustrating on the disjunction that occurs beyond our control. The body is a representation of reality. Kustarto positions the heads under the feet as a symbolical reflection of the problematic reality. Using his own body, he intentionally strives to understand the imprisonment of the body behind reality behind bars. He criticizes the current society as headless bodies imprisoned in the social norms and expectations of the past. In addition, Budi Kustarto wonders why our generation does not try to live a meaningful life and would rather live by order and chaos that no longer apply to us. In addition, his powerful piece undoubtedly describes his belief that decay in the sociopolitical life resembles a struggle that prevents the mind and the body from connecting with each other and the outside environment. His human figures appear empty and troubled, similar to his views on the empty capitalistic minded individuals who are imprisoned by the conformity to our modern lifestyles and past expectations. Nevertheless, as the characters are strengthened with the dark green color, he creates an impression of greed and helplessness, as well as fragility. In this regard, one can ask how we can move on if we constantly limit ourselves to the fictional barriers that are built by members of our society. By looking at different disciplines that exist around him, Kustarto offers the audience a way to see tolerance in struggle (to fight for identity and freedom). Meanwhile, another work that draws attention comes from Yani M. Sastranegara, best known for her sculptures based on nature. Again, this magnificent installation moves away from the stereotypical socio-political Indonesian identity; rather, the artist evokes how disorder is simply something that comes from within, and from nature itself. Using hundreds of gray fiber stones hung individually from the ceiling by narrow thread, Nature IV hovers over the water in ways that gives us a sense of ambiguity and chaos. Similar to the other artists discussed previously, Sastranegara’s poetic and experimental approach embraces turmoil within our contemporary society as a forgiving and natural way to pave new order. Such that, without experiencing such phenomenon, we would never truly appreciate the natural beauty behind order and chaos. Identity and the representation of self in contemporary art are always perceived in the anthropological or ethnological and not the art context. In searching for an extended understanding of contemporaneity, Indonesian contemporary art demonstrate how problematic a common assumption of contemporaneity is. There is no dialectical development of the thinking of the definition of art in Indonesia; however, one is now closer to a possibly new understanding of contemporaneity that could help identify art in Indonesia. By studying thematic representations such as the evolution of identity and the emancipation of self, one can see the critical perception towards personal and communal values. In the works discussed, it is quite clear the artists tend to find a direct mystical and spiritual relationship with himself or herself outside the canon of national identity or the stereotyping of ‘Indonesianness’. In addition, many Indonesian artists practicing today present the same attitude and their artworks show a similar declaration. The views expressed by Indonesian artists utilize social issues and due to the dominance of anthropological and ethnological thinking, it opens up the possibility of their work to be read as a social commentary rather than a representation of self and identity. Consequently, the paper has highlighted the representative aspects of Indonesian culture to present unique aesthetic experience of Indonesia. Each artist discussed examines the artistic styles of antiquity and modernity, of native origin, thereby exploring the deep echoes of Indonesian cultural history and the new voices of international contemporary art. It is incredible how the artists today place fine details when devising the narrative content of their works. These works also show the artists’ impressive ability to exploit expressive theatrical tension. Combining traditional culture and recent adopted techniques, the context has under transformation into symbols, uniting narrative texts and universal imagery easily understood and translated into a greater audience. The impact of such factures on Indonesian identity and the individual self has far surpassed recent political, cultural, and religious changes. Conclusively, looking at Indonesian contemporary art solely with an eye toward politics inevitably gives short shrift into Indonesia’s innate cultural diversity, something that political power can never shake. Works Cited Your references here Read More