Book Review: Seni Kontemporer, Ingatan, dan Sejarah
Premise: The collection of art essays was published by Alia Swastika as she expressed the idea of writing this collection of essays based on her experience as a curator of various exhibitions with themes related to Indonesian history.
Key Takeaways
What drives the creation of art is the progression of history at each point in time, as art serves as a medium to express ideas during specific periods.
Alia stresses the enduring presence of stories to disseminate and challenging facts to accept. Despite the darkness of history, these wounds can be reinterpreted through art to preserve memories and showcase our authentic selves.
In Indonesia the original perception was of an art world largely dominated by men. However, since the 1990s, there has been a shift, marked by the emergence of numerous Indonesian female artists in the art scene. Alia observes that these female artists encounter challenges concerning opportunities, access to activities, and overcoming various social obstacles.
Summary/Review:
The subject matter under discussion presents an intriguing perspective. Upon thoroughly examining the book, I encountered various viewpoints and discussion catalysts that I find intriguing.
While I do not entirely align with some of the opinions presented, I am eager to delve deeper into them as they contribute significantly to the book’s allure. Notably, the book adopts a standpoint that emphasizes how history influences the development of art, albeit from a specific angle.
To my understanding, it frequently draws from contrasting socialist/communist ideologies, albeit simplifying its interpretations to evoke sympathy. This could serve as an example illustrating how the socialist/communist movement in Indonesia left a profound impact that stimulated and necessitated artists to express these ideas.
In my assessment, this book has the tendency to sway opinions, especially among audiences less acquainted with Indonesian history, by subtly guiding them to view Indonesian history through a predominantly dark lens. While I acknowledge the author’s prerogative to adopt a particular stance through her understanding of the development of different artwork, there are instances where I believe the narrative oversimplifies complex historical nuances. For instance, while the New Order era did constrain broader artistic exploration, particularly in mediums such as protests or critiques, it also facilitated positive developments in its initial phases, such as advancements in agriculture, infrastructure, and energy. Albeit, not many artists at that time found the necessity to express the development of the New Order era, it is an interesting standpoint to ask the question,
“are there any artists influenced by the positive development provided in the initial phase of the New Order Era?”
It is worth noting that numerous artists emerged during the New Order precisely to seek expressive media for criticism. Looking back, one may question the absence of a comprehensive discussion that balances contrasting perspectives. These reflections are purely personal. I acknowledge that the peak of communism/socialism in Indonesia during the 1960s also sparked unrest that extended into the New Order era, ultimately resulting in an authoritarian regime that oppressed society — a period often regarded as dark in Indonesian history.
Nonetheless, in my personal opinion, art should not exclusively derive from societal suffering but should also encompass the prosperity experienced by a minority during the New Order’s tenure. Exploring this aspect further could shed light on this matter in an engaging manner.
Despite the potential controversy surrounding my viewpoint, I believe the book itself serves as an educational tool, offering insights into the background of fine art that the author stumbled upon. It illuminates how the narratives of each craft intertwine with broader meanings, particularly within the context of Indonesia’s history.
Another point to note when examining the history of contemporary female artists in Indonesia, the author acknowledges the difficulties in tracing their presence. This indicates a significant male dominance within the Indonesian art realm, which is not unique to Indonesia but is a global phenomenon.
This realization emphasizes the initial perception of a predominantly male-dominated art world. However, there has been a change since the 1990s, with the emergence of several Indonesian female artists in the art scene. The author notes that female artists face challenges related to opportunities, access to activities, and overcoming various social obstacles.
Post the 1990s, these female artists increasingly explored themes such as subjectivity, identity, the body, and responses to social and political issues.
In conclusion, the book presents an interesting standpoint on artwork that exposes the height of expression and exploration in artists and artworks due to significant historical timelines, from Indonesia’s pre-colonial era to post-colonial, post-independence, the New Order era, and the 1998 reformation period.
Book Review Rating: 2.5/5.0
