In a similar fashion as when photography was acknowledged for the first time as a medium worthy of an art-status exhibition in Museum of Modern Art (MoMA), New York, in 1967 featuring the work of Lee Friedlander, Diane Arbus, and Garry Winogrand, graffiti in Indonesia jubilantly marked its own recognition with a joint exhibition Off the Wall by a dozen graffiti artists in Museum Nasional, November 2016.
Komunitas Salihara’s traditional bienalle festival, held consecutively ever since its opening in 2008, then called Festival Salihara, begins in October with a more significant merit to be an internationally recognized art stage showcasing its well curated exhibitions so far under the new name SIPFest 2016, said the Program Director Nirwan Dewanto.
Just as the recent criticism on Indonesia’s fine art by some high profiles inside the art council itself underscores the lack of relevant social criticism, the more localised contemporary art bienalle in Bandung this year presents a more savvy view which involves a socio-cultural approach, a tendency to revisit interweaving human history with its conspicious butterfly effect we have seen today.
Liem Keng Sien (1954 – 2014) called his home cum studio the university of rest and relax, a creative place…
The forty grand dollars worth of restoration made way to Raden Saleh’s three paintings. The 1857 realistic painting Penangkapan Diponegoro implies pejorative meaning towards the Dutch colonials.
There has not been any feverish polemic on art in Indonesia like what happened in the past. The memory of the 1974 Desember Hitam (Black December) manifesto following the disillusioned young artists in the defeat and humiliation in the art competition of that year held by Jakarta Art Council reemerges at the same place 40 years later, in Taman Ismail Marzuki.
Some prominent illustrators whose caricatures are frequently seen in Kompas newspapers exhibited their latest artworks in Bentara Budaya Jakarta ahead of the Indonesian presidential election.
The late Ahmad Sadali (1924-1987) was touted as the father of Indonesia’s abstract art. But the artist himself made a unique statement when he shunned people’s reference to him as an abstractionist, although he confided to his son that culturally there is no other way to describe his works besides an abstract.
77 paintings of Huang Fong, a 77 year old proclaimed Indonesian master painter (pictured above) from Genteng, Banyuwangi, is on exhibition in National Gallery, Jakarta, this month.