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Red Decorative Festoon Lantern Indonesian Art New York City

The Indonesian New Art Movement, also known as Gerakan Seni Rupa Baru (GSRB) was an fine art movement of young artists from Bandung and Yogyakarta against the institutional concept of Indonesian fine art (Indonesian: Seni Rupa) being express to paintings and sculptures. The movement emerged in 1974, offset organised in a protestation confronting the judging of the Second Jakarta Painting Biennale which awarded prizes to decorative style of paintings and sculptures.[1] The protesters published the Black December Statement (Desember Hitam) criticising the lack of social and political consciousness in Indonesian decorative fine art practices.

The "new art" championed installations, prepare-mades, photographs, found-objects and photograph-realist paintings,[1] which translate to the experimentation of different mediums and mixed media in Indonesian gimmicky art. In 1987, a manifesto was written by primal figures of the New Art Movement titled "Fine Art of Emancipation, Emancipation of Fine Art."

The New Art Movement concluded in 1989 and is considered the beginning of Indonesian gimmicky fine art.

History [edit]

In 1974, a group of young artists emerged calling themselves the New Art Motion. The movement was beginning and foremost an bookish rebellion towards fine arts universities in Bandung and Yogyakarta,[2] rejecting the institution's definition of fine art that was limited to decorative art, paintings and sculptures.

The New Art Movement arose spontaneously in both Yogyakarta and Bandung, the ii groups having little contact with each other. It was the art critic Sanento Yuliman, a instructor at Bandung Institute of Technology (Indonesian: Institut Teknologi Bandung or ITB), who noticed the anti-modernist trend common between the two. He so joined them together under the proper name New Art Movement.[1]

The movement commencement began in a protest confronting the judging of the Second Jakarta Painting Biennale of 1974, which awarded prizes to decorative styles of paintings. Protesters consisting of young artists from Bandung and Yogyakarta published the Black December Argument criticising the lack of social and political consciousness in decorative fine art, and declaring that it was indicative of the lack of creativity in Indonesian art.[ane]

Artists of the New Fine art Movement perceived decorative art equally elitist and centralised on Western-derive aesthetics, which they claim were irrelevant to both Indonesia's traditional arts and to the issues of contemporary gild. They wanted a more democratic and accessible art, in medium and in way.[3]

By 1977, after the start Exhibition of the New Art Movement in Taman Ismail Marzuki, it was clear that the movement was against any narrow definition of art. They claimed that the existing rigid definition of fine fine art hindered the development of contemporary art and creativity in Indonesia. The move emphasised the importance of redefining art and its purpose, supporting the basis for its proper noun: "new art"[4]

The movement'due south exhibitions in 1975-1980 and in 1987-1989 introduced artworks other than paintings and sculptures, championing installations, ready-mades, photographs, found-objects and photo-realist paintings.[four]

On 2 May 1987, a manifesto was published past central figures of the New Fine art Motility titled "Fine Fine art of Emancipation, Emancipation of Fine art."

The New Art Motion ended in 1989 and is considered the offset of Indonesian gimmicky art. Notable figures of the move include Jim Supangkat, the fine art historian Sanento Yuliman, Dede Eri Supria, Dadang Christanto and FX Harsono.

Black Dec Statement [edit]

On 31 December 1974, Muryotohartoyo, Juzwar, Harsono, B. Munni Ardhi, M. Sulebar, Ris Purwana, Daryono, Adiyati, D.A. Peransi, Baharuddin Marasutan, Ikranegara, Adri Darmadji, Hardi and Abdul Hadi WM, presented the Blackness December Argument.

The argument critiques Indonesia's lack of clear cultural strategy in art making, and that the producers of arts and culture are non in the smallest sense aware of the soapbox regarding the most basic human problems in Indonesian culture.[5]

The Black December statements are as follow:

ane. That the diversity of Indonesian painting is a reality that may non be denied, nonetheless this diverseness does not in itself show healthy development.

two. That in order to guarantee a sustainable cultural development painters are beckoned to provide spiritual directions that are based on the values of humanity, and are oriented to the realities of social life and political-economic culture.

3. That creativity is the destiny of painters that go through whatsoever means possible in order to get in at new perspectives for Indonesian painting.

four. That therefore the identity of Indonesian painting has an immediate and clear existence.

5. That what creates expressionless-end for the evolution of Indonesian painting to this day is old and over-used concepts, that are still held on to by the establishment, arts and cultural producers and established artists.

Note: The Black December Statement is translated from Bahasa Indonesia to English in 2015 after the collaborative efforts of the Indonesian Visual Art Archive (IVAA) and Asia Art Archive. [5]

Manifesto [edit]

Thirteen years after the Blackness December Statement was presented, the New Art Movement published a manifesto titled "Fine Fine art of Emancipation, Emancipation of Fine Art." The manifesto was presented in Jakarta on two May 1987.

The manifesto states three central proclamations:[half-dozen]

1. Fine art needs emancipation. Expression of visual art should prioritise the deconstruction of misunderstood traditions of fine art. Rational visual art expression should prioritise statements based on the aesthetics of emancipation.

2. A redefinition of fine art is required, to free it from the definition rooted in artes-liberals – seek a new definition which can accommodate every expression of visual fine art.

3. Emancipation of encultured thought is required to counter isolated points of view that only admit one notion of art, and only one global society inside a unified harmonious culture.

The movement also made an explicit statement in relation to the 3rd proclamation:

"In addition to a new definition, development of Indonesian contemporary fine art also needed basic artful thinking and a report of fine art history to replace the cultural identity contend and Eastward-West confrontation" [4]

The manifesto was deemed successful in the way installation and conceptual art becomes immersive in mod Indonesian art compared to the few previous attempts which had no manifesto to back them upwards.[three]

Mode and Development [edit]

The "new art" primarily consists of installations, ready-mades, photographs, found-objects and photo-realist paintings.

Development [edit]

The New Art Movement was anti-modernist. Information technology rejected modern art's purity of expression, the individualism of the creative person, and the trend toward the decorative equally the highest class of art.[7] As the movement developed, the works of New Art artists began to take on the character of installations and collaborative practices.

In an arguably post-modern approach, the movement also aims to tear down the barrier between high fine art and depression art. The interest of the New Art artists in low art was closely linked to the problems of poverty in the city and maintenance of traditional civilisation in rural regions.[1]

Style and Concept [edit]

The style and concept of New Art artists are characteristically different to contemporary Indonesian art in the present day, which consists of mail service-reformasi artists known most commonly as Generation 2000. Although the installation and mixed-media format of this newer generation of artists is heavily influenced by the New Art Movement, their concerns are significantly unlike.

New Art artists experience politics in a more than strident environment before the end of the Suharto regime, which strongly inform their art practice. In such ways, artists like FX Harsono and Dadang Christanto comment on specific tragedies in Indonesian history about notably the Indonesian mass killings of 1965–1966. Many of the New Art artists emphasised social criticism in their works.

Contemporary readings and studies of the New Art Movement suggest that memories are central to the works of these artists. Their works become a site of remembrance, recollections of the by, and reconciliation[8] that reference the power struggle of the 'common people', the marginalised, and the severe consequences of socio-political tensions that occurred in that fourth dimension.

Issues and Debates [edit]

The New Art Movement was ofttimes criticised past the conservative art establishment as a derivative to Pop Fine art, although leading New Art creative person FX Harsono claims that the artists were more than interested in Neo-Dada than Pop Art.[ane]

This chat with the West, presented in a rather revolutionary manner by New Art artists, returns to the modernist argue nigh East-W confrontation in fine art of developing countries.[4]

In the interest of 'national identity', the New Fine art Movement was criticised to accept championed avant-garde mediums and concepts of Western fine art history instead of embracing the nation'southward traditional values that makes it characteristically "Indonesian." The move tackled this issue past emphasising the importance of basic aesthetic thinking and a study of art history to replace the cultural identity debate.[4]

Also critical to the progression of the New Art Movement is clarifying the positions of contemporary art and traditional art. Artists and critics responds to this struggle past challenge that "traditional art is not something of the by, but is still live and evolves like contemporary art."[4] In other words, New Art artists sought to merge the ii art forms in their contemporary art do.

In the latter part of the 1980s, the New Art Motion concluded that "art is a plural concept,"[half-dozen] embracing installations every bit its chief/hybrid format in ending the East-West confrontation debates and claiming the inter-relationship of gimmicky and traditional art.

The issues and methods involved in the New Art movement play an important part in the great interest on cultural identity that emerged in Indonesia in the 1980s, and continue to inform the practice of contemporary art in the nowadays day.[1]

Artists [edit]

Below is a listing of artists belonging to the Indonesian New Fine art movement.[9]

  • Agus Tjahjono
  • Anyool Soebroto
  • B. Munni Ardhi
  • Bachtiar Zainoel
  • Dadang Christanto
  • Dede Eri Supria
  • Freddy Sofian
  • FX Harsono
  • Hardi
  • Jim Supangkat
  • Nanik Mirna
  • Nyoman Nuarta
  • Pandu Sudewo
  • Ris Purwana
  • S. Prinka
  • Sanento Yuliman
  • Satyagraha
  • Siti Adiyati Subangun
  • Wagiono S.

List of GSRB Exhibitions [edit]

  • Exhibition of the Indonesian New Art Motion 1975 (Pameran Seni Rupa Baru Indonesia 1975) - 2–seven August 1975, Ruang Pameran Taman Ismail Marzuki.[x]
  • Exhibition of the Indonesian New Art Motility 1977 (Pameran Seni Rupa Baru Republic of indonesia 1977) - 23–28 February 1977, Ruang Pameran Taman Ismail Marzuki.[10]
  • Exhibition of the Indonesian New Fine art Movement 1977 (Pameran Seni Rupa Baru Indonesia 1977) - 12–xvi April 1977, Ruang Pamer Perhimpunan Kebudayaan Indonesia-Perancis.[10]
  • Exhibition of the Indonesian New Fine art Movement 1979 ( Pameran Seni Rupa Baru Indonesia 1979) - 9–20 October 1979, Ruang Pameran Taman Ismail Marzuki.[10]
  • New Art: Project i - Pasaraya Dunia Fantasi (Seni Rupa Baru: Proyek 1) 15–30 June 1987, Galeri Baru Taman Ismail Marzuki.[10]
  • New Fine art: Project ii - The Silent World (Seni Rupa Baru: Proyek 2) 13–18 September 1989, Galeri Baru Taman Ismail Marzuki.[10]
  • New Art: Project 2 - The Silent World (Seni Rupa Baru: Proyek 2) 1–14 October 1989. Exhibited in the Commonwealth of australia and Regions Artists Exchange: Metro Mania, Perth.[ten]
  • New Art: Project ii - The Silent Earth (Seni Rupa Baru: Proyek 2) Exhibited in Chameleon Gimmicky Art Infinite, Hobart, Tasmania.[x]

References [edit]

  1. ^ a b c d due east f g Tatehata, Akira (1995). Asian Modernism: Diverse Development in Indonesia, the Philippines, and Thailand. Tokyo: The Nippon Foundation Asia Eye. pp. 201–202.
  2. ^ "Art & Curation with Jim Supangkat | Whiteboardjournal". www.whiteboardjournal.com . Retrieved 2017-04-22 .
  3. ^ a b Wright, Astri (1993). 'Artist Roles and Meaning in Modernistic Indonesian Painting' in Modernity in Asian Art. Sydney: Wild Peony. p. 195.
  4. ^ a b c d e f Supangkat, Jim (1990). 'The Two Forms of Indonesian Art' in Mod Indonesian Fine art: Three Generations of Tradition and Modify 1945-1990. New York: Festival of Indonesia. pp. 161–162.
  5. ^ a b "Black December 1974 Statement". Indonesian Visual Art Archive (IVAA). Archived from the original (PDF) on 2015. Retrieved 28 April 2017.
  6. ^ a b "Manifesto Gerakan Seni Rupa Baru 1987: Fine art of Emancipation, Emancipation of Fine Art". Asia Art Archive. Archived from the original on 2015. Retrieved 2 July 2020.
  7. ^ Supangkat, Jim. "Indonesian Contemporary Art: a Continuation". Potential of Asian Idea: 62–64.
  8. ^ Wiyanto, Hendro (2002). Kengerian tak terucapkan/The Unspeakable Horror. Jakarta: Bentara Budaya Jakarta. pp. 24–25.
  9. ^ "1979 GSRB Excerpt" (PDF). Archived (PDF) from the original on 9 May 2017. Retrieved 9 May 2017.
  10. ^ a b c d e f thou h Mufida, Ratna; Samboh, Grace; Hyphenation, Hyphen. "DATA CATALOGUE for GSRBI (Indonesia New Art Motion) Research".

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Source: https://en.wikipedia.org/wiki/Indonesian_New_Art_Movement