Economy, The Dominant Paradigm in Indonesian Art of Painting
By Agus Dermawan T.
In closer look, actually the paradigm of Indonesian art since Raden Saleh began his career in the middle of the 19th century until nowadays, has been indeed economical. So it is not the humanism or moralist movement or the so call "defender of the poor" as greatly expected by many experts and critics lately.
It is a fact that a paradigm is not always determined by the reality on the surface. Money-oriented paradigm in Indonesian art has been growing quietly underground for one and a half century.
Raden Saleh's decision to become an artist beside the great talents he possessed, is greatly influenced by the will to join the community of the wealthy European borzois. That was why he diligently took every orders of painting self-portrait for the nobles in Netherlands, Germany, and Indonesia. An understandable obsession lived in many young Indonesian youths that day. Many, later called the Mooi Indies, followed his path in the beginning of the 20th century and gave birth to a new art movement with economic ideal as the main engine for creation and imagination, eventually became a turistic idealism. This includes Abdullah Suriosubroto, Mas Pringadi, Sukardi, Sukardji, etc. The reality created an unrest amongst the revolutionary artists. They collaborated under one roof, Persagi (Painting Artists Movement).
In 1938, Persagi Sudjojono declared an accentuation that stimulated patriotism, moralist, and humanism aspects. Together with People Artist Union in Yogyakarta, Persagi was involved in a wide open 'non-economic art' movement. Many paintings with different styles such as, socialistic, humanistic, and simple 'klagenan' esthetic, was created. But, beneath that, the blood flow of economic obsession still numerous. Different ways to reach a healthy economic life was done, one such as the art elite community of Bataviasche Kunstkring break-through by Agus Djaya and companions in colonial era. Other examples include using forums involving economic, social, and politic participants with the potential for opening more financial accesses to socializing the paintings. Events attended by crowds was also believed to be able to risen the artist's popularity thus, was increasing the economic value of the artist's works.
It is hard to blame if Sudjojono must become a tough bargainer in negotiating the price for making a large picture of battle between Sultan Agung versus Jan Pieterzon Coen for the Jakarta Capital District Government. Affandi until his last breath has a high commitment with a collector. Middle age artist, Asri Nugroho lost his temper when he found out that his paintings was insurance very low. Some of Indonesian great artists have a close relationship with galleries. Amang Rahman is pleased enough if his paintings could support his son-in-law financial need. Even the generous Hendra Gunawan will not stop negotiating when talking about the price for his paintings. "I do the painting for such theme with such price, it is who I am", once said Hendra Gunawan. Actually Hendra is known as a person who does not care much about much. But there is a time, a long time, that forces him and others to become a money-wise person.
This kind of though continue to lived from time to time until the painting-boom period and the post booming period, 1987-1999. Next come to existence an art movement with social and political idealism inside known as, "the alternative gallery". The movement motivated by knowledge about economical matters, was established as a rebellion against "the commercial art" or "the commercial gallery". Economy is a major power in many aspects of life including the way of art and this is becoming more solid when the non-commercial artists also put a big smile on their faces when their works being consumed by the public. Even the Phillip Morris Indonesia Exhibition directly put a price label beneath each paintings exhibited. Another indicator, now Djoko Pekik is known as the "one billion rupiahs" artist because his painting was bought with that price. Djoko Pekik is an artist that put images about the misery of the poor in many of his paintings and even he cannot resist the temptation to become a borzois. Obviously, economical reasons has become a myth.
Economy as a paradigm, is it right ? Very right, very legitimate, and far from wrong. This sort of paradigm mainly emerge in countries like Indonesia. A country once occupied by colonial government, rich in natural resources, which her people are poor in majority, and her artists have an unknown financial future, because lack of intentions and political will from the government since 1965 in art development.
It is important to notice that the life of the artists has improved considerably in the booming period in 1987 up to now. By the time, the demand for painting was high and the income obtained was satisfying enough. Collectors born everywhere and appreciation towards art improved greatly because there was many news in Indonesia about art exhibitions and auctions overseas. At that time, the Japanese government announced Yendaka, a monetary decision that increase yen value. This cause the Japanese to rush toward the world of art, often gave irrational high price for paintings in auction houses all around the world.
Economical domination in Indonesia does not create the taste of the art to be blunt. Although, some still in commercial category, they are still classy enough to be mentioned. Because, many know that uncountable art pieces from Europe was born because the similar reason, subsidization from the Maecenas and art patrons including the church and the royal courts.
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