DATA CATALOGUE for GSRBI (Indonesia New Art Movement) Research

DATA CATALOGUE Archives of

GERAKAN SENI RUPA BARU INDONESIA (Indonesian New Art Movement) 1974 – 1987

Collected and compiled by HYPHEN— Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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TABLE of CONTENT How We Build this Archive .................................................................................................. 4 Detailed Interest of Each Writers ........................................................................................ 6 List of GSRBI Shows ........................................................................................................... 8

DIRECTLY RELATED FILES Pameran Besar Seni Lukis Indonesia 1974 – Desember Hitam (List) .......................... 10 Pameran Besar Seni Lukis Indonesia 1974 – Desember Hitam (Summary) ................ 11 GSRBI SHOW 1975 (List) .......................................................................................... … 20 GSRBI SHOW 1975 (Summary) .................................................................................... 21 GSRBI SHOW 1977 (List) .............................................................................................. 28 GSRBI Show 1977 (Summary) ...................................................................................... 29 GSRBI Show 1979 (List) ................................................................................................ 36 GSRBI Show 1979 (Summary) ...................................................................................... 37 GSRBI Show 1987 (List) ................................................................................................ 45 GSRBI Show 1987 (Summary) ...................................................................................... 46 GSRBI Show 1989 (List) ................................................................................................ 54 GSRBI Show 1989 (Summary) ...................................................................................... 55 Essays, articles, or previous research on GSRBI in general (List) ................................ 61 Seminar "Art Movements During the New Order regime" in ITB (List) ........................... 66

INDIRECTLY RELATED FILES A Selection of Several Exhibitions and Activites during 1970 – 1990s Pameran Besar Seni Lukis Indonesia – Taman Ismail Marzuki (Periode 1972 – 1989) (List) ......................................................................................... 69 Pameran Besar Seni Lukis Indonesia – Taman Ismail Marzuki (Periode 1972 – 1989) (Summary) ................................................................................ 72 Pameran Seni KEPRIBADIAN APA (APA) 1977 (List) ............................................... 102 Pameran Seni KEPRIBADIAN APA (APA) 1977 (Summary) ...................................... 103 Pameran Pelukis Muda Indonesia – Taman Ismail Marzuki (Periode 1975 – 1985) (List) ..................................................................................................................................... 106 Pameran Pelukis Muda Indonesia – Taman Ismail Marzuki (Periode 1975 – 1985) (Summary) .................................................................................................................. 107 Figures and Thoughts  

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Sudjoko (List) .............................................................................................................. 116

Sudjoko (Summary) .................................................................................................... 118 Sanento Yuliman (List) ................................................................................................ 134 Sanento Yuliman (Summary) ...................................................................................... 135 Sudarmadji (List) ......................................................................................................... 142 Sudarmadji (Summary) ............................................................................................... 143 Kusnadi (List) .............................................................................................................. 151 Kusnadi (Summary) .................................................................................................... 152 Umar Kayam (List) ...................................................................................................... 157 Agus Dermawan T. (List) ............................................................................................ 159 Various Papers, Essays and Articles (List) ................................................................. 160

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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HOW WE BUILD THIS ARCHIVE What we consider as data includes: • Catalog, leaflet, booklet, artist-publications, book • News, articles, reviews, critic from local, national and international mass media • Papers, discussion pointers (published and unpublished) • Bachelor, master and PhD thesis and masters • Audio recordings of interviews, discussions, debates and seminar • Photographs from various sources (the artist, colleagues and media) • Artwork documentations For this GSRBI research, we started with looking for catalogs, exhibition leaflets, artwork photos, etc that are made for and during the movement’s existing times (1975 – 1989). 1. Directly related files 1. Pameran Besar Seni Lukis Indonesia 1974 – Desember Hitam Grand Indonesian Painting Exhibition 1974 – Black December 2. Pameran Seni Rupa Baru Indonesia 1975 Indonesian New Art Exhibition 1975 3. Pameran Seni Rupa Baru 1977 Indonesian New Art Exhibition 1977 4. Pameran Seni Rupa Baru 1979 Indonesian New Art Exhibition 1979 5. Pameran Seni Rupa Baru 1987; Proyek 1 “Pasaraya Dunia Fantasi” Indonesian New Art Exhibition 1987; Project 1 “Pasaraya Dunia Fantasi” 6. Pameran Seni Rupa Baru 1989; Proyek 2 “The Silent World” Indonesian New Art Exhibition 1989: Project 2 “The Silent World” 7. Essay, articles, or some existing research on GSRBI in general 8. FGD GSRBI, March 2013, at FC UGM, Yogyakarta 9. Seminar “Indonesian Art Movements During the New Order”, February 2013, at Institut Teknologi Bandung 2. Indirectly related files Two activities often related to GSRBI are: Black December 1974 and PIPA (Seni Sono Gallery, Yogyakarta, 1978). The first is due to the fact that all of those who sent the griefing flower arrangement (five artists) later on became the first members of GSRBI. The latter is due to the fact that many of the GSRBI exponents are involved in making PIPA exhibition happened. So, both Black December—therefore Grand Indonesian Painting Exhibition 1974—and PIPA are well documented within this archive. 1. A selection of documents related to art exhibitions during 1970s – 1990s a. Pameran Besar Seni Lukis Indonesia, di TIM, periode 1972 – 1989 Indonesian Grand Painting Exhibition at TIM, 1972 – 1989 b. Pameran Pelukis Muda Se-Indonesia, di TIM Indoensian Young Painters’ Exhibition at TIM c. Pameran Seni Kepribadian Apa (PIPA), di Yogyakarta, 1977 Art Exhibition Kepribadian Apa (What Personality, PIPA) in Yogyakarta, 1977 d. Several other shows that is highly related to GSRBI exponents After compiling the first batch of datas and documents, we started inviting writers to join us on board with this publication. These writers’ perspective (stated in the next chapter) upon GSRBI becomes our starting point to expand our search of facts. We found some key Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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figures within the expansion of our search and then we try to compile as many materials related to them as their toughts and writings are essential within the developing discourse of GSRBI at the time. 2. When some of these figures’ writings are focused on GSRBI, we put them in accordingly in each exhibition’s folder. • Ali Sadikin • Sanento Yuliman • Abas Alibasyah • Sudjoko • Fajar Sidik • Agus Dermawan T • D.A. Peransi • Sudarmadji • Others • Umar Kayam • Kusnadi 3. Writings, essays, articles, notes regarding thoughts, schools, isms and polemic surrounding the birth and development of Taman Ismail Marzuki dan DKJ (1968 – 1980s) How to request archival translation to English Our archive is of course dominated by Indonesian bahasa. By the end of March 2015, anything directly related to the exhibitions of GSRBI are available in English—thanks to Indonesia Visual Art Archives, Asia Art Archives dan The National Gallery of Singapore. For other stuff that has not been translated yes, please send us a list of the file names to be translated. Example: 19720317 Seni Lukis Indonesia Ada dan Tiada.pdf 19750121 Ind dalam seni lukis.pdf 19750909 Seni Rupa Baru Ind 1975 - Keinginan Berkomunikasi.pdf 19761105 BUKU Senilukis Indonesia Baru.pdf 19770314 Menggugat seni rupa baru Indonesia.pdf 19770420 Manifestasi penyakit mental masyarakat- pameran seni rupa baru Ind.pdf 19791022 Eceng Gondok Seni Rupa Baru.pdf 19791215 Intermezo akhir tahun.pdf 19811223 Apresiasi Seni Lukis.pdf 19830126 Catatan atas tullisan G. Sidharta- Soal pembenahan biennale-nya DKJ.pdf 19840000 Sejarah Seni rupa di Jakarta 1945-1983.pdf 19851106 Dr Sudjoko.pdf 19890312 Seni Grafis Tersendat dan Termangu.pdf How to access the archive Click this link: https://www.dropbox.com/sh/0siqad6xnoe1ffc/AABaRsu7dM7QyW3qulxg5Zkxa?n=17336 230 For further information, contact us through [email protected]

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DETAILED INTERESTS OF THE WRITERS Ardi Yunanto ·∙ GSRBI’s need to communicate essentially exists between arts and the society. The public issue that then made artists creates (kind of) new forms in the society. Today, the interaction between artists and the society happens in the sense that they consider themselves as citizen ·∙ The essential existence of GSRBI’s needs to communicate is within arts and the society. Public issues. Artists creating new forms within the society (instead of for the gallery space). Nowadays, artists’ interaction with the people is acted upon in a different way; artist (as an optional profession) of citizens or any certain (urban)scape ·∙ An artwork is an unstable process. It is not about the end product. Including allowing different interpretations and letting go of the chances of it not being categorized as an artwork. Pressure on collaborations; as things are made together and no individual need the claim towards certain ideas ·∙ The relation between TIM and GSRBI during 1970s ·∙ the role of the public, perspective of the public on GSRBI show, response to GSRBI in public mass media; communication with the public; Amanda Katherine Rath ·∙ Revising previous argument that I made, before GSRB form, I'm thinking about the atmosphere in 71-75. I will be looking at the debates and arguments that surrounded some students group. I'm looking at the role of supportive figure of these youngsters, for example DA Peransi. Important to realize what other people debating, it has a impact. It was the student who get attention after December Hitam, but not many things show the role of DA Peransi. I will need anything can be found on Sudjojo, DA Peransi, kliping about Desember Hitam, images from Pameran Besar Seni Lukis (2nd Jakarta Biennale) dan to know exactly artworks from Kelompok 5 Pelukis Muda Bambang Bujono ·∙ How was the link between Persagi and GSRBI? ·∙ It's interesting, for example, to also compare what RURU do and Sanggar Bambu (more or less the same), because Sanggar Bambu wrote that the artwork is for the society ·∙ In Manikebu, art is agent of social changes but the different of Politicians and artist, is the artist don't have any interest in power (Wiratmo Soekito). It is interesting to compare what ruru do and what Sanggar Bambu do, more or less, i think same. Exhibition in house, open to everybody Thomas J. Berghuis ·∙ Prior to GSRB, how was the role of public and the reconsideration & avant-garde critic ·∙ Ethic as morality, the deeper roots, the role of society and “rasa” ·∙ Modernist paradox ·∙ Figuring out the polemical atmosphere between the art critics ·∙ I'm interested in public art and perforamances. It is also important to see the gap between 80s to 90s. Maybe Jennong can do this: Research & track down ARX – Perth ·∙ The issue of aesthetics in GSRBI ·∙ What were the artists trying to do: the political in relation to the public by comparing GSRBI & ruangrupa vs LEKRA & GSRBI ·∙ Reconsiderating of the critique of the avant- garde ·∙ critique of the experimental by Sudjoko Patrick D. Flores Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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·∙ ·∙ ·∙ ·∙ ·∙

Manifesto --> Arts --> Art Criticism to carry forward his interest in manifestos ie “First Person Plural: Manifestos of the 1970s in Southeast Asia”, Global Studies: Mapping Contemporary Art and Culture, editors Hans Belting, Andrea Buddenseig and Peter Wiebel. Hatje Catz, 2011 connecting the manifestos with the actual artwork figure out the polemical atmosphere through art criticism in the press tangentially relate to other manifestos in Southeast Asia

Hendro Wiyanto ·∙ interested in taking further his recent paper and explore Jim Supangkat’s 1979 manifesto/writing about communicating with the public – communicating with whom, how and what? (questioning the existentialist and essentialist issue, post-metaphysical issue, political fundamental issues) ·∙ Lyricism is immanent in art work, artists could see themselves in his/her art. There is one essay from Jim that interests me, about what exactly the debate in GSRB. GSRB is about the will to communicate. There is no mystification in art and GSRB wanted to deconstruct everything, because we can talk about anything now. In 70s in Western Philosophy we witness the death of metaphysics. Essentialism is metaphysic. Artists in GSRB don't believe there is any substance in artwork. GSRB elaborate this in their own way. The aspects of research and collaboration is something new in 70s. In GSRB Manifesto there is a will to deconstruct artist as genius FX Harsono ·∙ Historical (perspective) and timeline also, from GSRBI (1970s), GSRB (1980s), Cemeti Art House (1990s), Jakarta Biennale 1992, etc ·∙ Development of spaces that focus on presenting “contemporary” art expressions Jim Supangkat ·∙ the contradictions between GSRBI and modernism ie seni rupa (as defined by Bandung) & seni rupa (as defined by the ‘modernists’) Bambang Bujono ·∙ a comparative study between Persagi VS GSRBI Paul Khoo ·∙ Sanento Yuliman and seni pembawaan (Seni Rupa Atas – Seni Rupa Bawah). Tie it back with global conceptualism and Latin America. Aminudin TH Siregar ·∙ (first proposal sent via email) ·∙ a 2-pronged approach analysis of the problematics of GSRBI ·∙ first as an art movement that is centered on aesthetics and institutional issues which has propelled art practice towards the avant-garde at an accelerated pace ·∙ second, the notion lf “gerakan” that represents protest/critique on modernisation/development impact that has taken place in the 1970s. The modernist development has created a (social) pathology, surrounding, economic imbalance, international financial aid corruption, nepotism and etc ·∙ ·∙

(second proposal suggested by Thomas Berghuis via telephone conversation) to use the writer’s in-depth knowledge of Sudjojono to argue his differing perspectives of modern art and how that changes with GSRBI (ie. Sudjojono thru the decades and his changing perspective on modernism)

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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LIST OF GSRBI SHOWS Pameran Seni Rupa Baru Indonesia 1975 – 2-7 August, 1975 Ruang Pameran (Exhibition Space) Taman Ismail Marzuki Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) 11 members (source: Asikin Hasan’s thesis) Anyool Subroto, Bachtiar Zainul, Bonyong Munni Ardhi, FX Harsono, Jim Supangkat, KP Hardi Danuwijoyo, Muryoto Hartoyo, Nanik Mirna, Pandu Sudewo, Ris Purwana, Siti Adiyati Subangun Pameran Seni Rupa Baru Indonesia 1977 – 23-28 February 1977 Ruang Pameran (Exhibition Space) Taman Ismail Marzuki Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) 18 members (source: Agus Dermawan T, “Yang sempat saya catat sebelum dan sesudah pagelaran Seni Rupa Baru 1977”, in Jim Supangkat’s GSRBI, 1979) Agus Tjahjono, Anyool Subroto, Bachtiar Zainul, Bonyong Munni Ardhi, Dede Eri Supria, FX Harsono, Jim Supangkat, KP Hardi Danuwijoyo, Muryoto Hartoyo, Nanik Mirna, Nyoman Nuarta, Pandu Sudewo, Ris Purwana, Ronald Manullang, S. Prinka, Satyagraha, Siti Adiyati Subangun, Wagiono S. Pameran Seni Rupa Baru Indonesia 1977 – 12-16 April 1977 Ruang Pamer Perhimpunan Kebudayaan Indonesia-Perancis (?), Bandung Supported by Decenta Group, Perhimpunan Kebudayaan Indonesia-Perancis, and Alliance Francaise Pameran Seni Rupa Baru Indonesia 1979 – 9-20 October, 1979 Ruang Pameran (Exhibition Space) Taman Ismail Marzuki Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) Seni Rupa Baru: Proyek 1 – Pasaraya Dunia Fantasi – 15-30 Juni 1987 Galeri Baru (New Gallery) Taman Ismail Marzuki Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) 18 members (source: Katalog Proyek 1: Pasaraya Dunia Fantasi) Bernice, Dadang Christanto, Dede Eri Supria, Fendi Siregar, FX Harsono, Gendut Riyanto, Jim Supangkat, Oentarto Harris, Priyanto Sunarto, Rudi Indonesia, S. Malela Mahargasarie, Sanento Yuliman, Sari Manumpil, Sides (Kompas), Siti Adiyato Subangun, Taufan S.Ch, Teater Koma, Wiendardi Seni Rupa Baru: Proyek 2 – The Silent World – 13-18 September 1989 Galeri Baru (New Gallery) Taman Ismail Marzuki Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) 4 members (source: Asikin Hasan’s thesis) Gendut Riyanto, Jim Supangkat, Nyoman Nuarta, S. Malela Mahargasarie Seni Rupa Baru: Proyek 2 – The Silent World – 1-14 October 1989 Exhibited in the Australia and Regions Artists Exchange: Metro Mania, Perth Seni Rupa Baru: Proyek 2 – The Silent World – Date: ??? Exhibited in Chameleon Contemporary Art Space, Hobart, Tasmania. (Source: Asikin Hasan’s thesis)

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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DIRECTLY RELATED FILES

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Pameran Besar Seni Lukis Indonesia 1974 – Desember Hitam List of Files No 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33.

File Title 19741218 Katalog Pameran Besar Seni Lukis Indonesia.pdf 19741200 Seni Lukis Indonesia Masa Kini (Fadjar Sidik).pdf 19741213 Senilukis indonesia masa kini (Sudarmadji).pdf 19741226 Penjelasan Surat Keputusan Dewan Juri PBSLI 1974_ID.pdf 19741226 Surat Keputusan Tentang Lukisan Yang Baik PBSLI Tahun 1974.pdf 19741231 Penyataan Desember Hitam_ID.pdf 19750103 Surat Budaya DA PERANSI ID.pdf 19750118 Surat Panggilan Untuk Ris Purwono.pdf 19750211 Surat Permohonan Penjelasan Status Skorsing Mahasiswa.pdf 19750220 Surat Jawaban Tentang Status Skorsing MAhasiswa.pdf 19750306 Surat Permohonan Penjelasan Status Skorsing Mahasiswa.pdf 19750318 Surat Keputusan Skorsing dari Ketua STSI ASRI.pdf 19741211 Pameran Besar Lukisan Ind.pdf 19741213 Senilukis indonesia masa kini.pdf 19741217 Pameran Besar 83 Pelukis Tampilkan 240 Lukisan.pdf 19741220 Pameran 240 Lukisan.pdf 19741220 Pameran Lukisan Besar di TIM.pdf 19741220 Pelukis2 muda Indonesia sedang berontak, benarkah?.pdf 19741221 Pameran Besar Senilukis.pdf 19741227 5 Lukisan Terbaik Terpilih Dari Pameran Besar Seni Lukis Ind '74.pdf 19741231 Pameran Besar Seni Lukis Ind Antara Minus & Plus.pdf 19741231 Seni Lukis Merindukan 'Pengadilan'.pdf 19750111 Gado-gado, ya biar.pdf 19750111 Ketidak-puasan itu.pdf 19750115 Buntut Kericuhan di ASRI Yogya, Apakah Saudara Hendak Merobohkan Kebudayaan Nasional.pdf 19750118 ASRI Yogyakarta Ricuh.pdf 19750119 Abas Alibasyah, Tidak Ada Sangkut Pautnya Dg. Des. Hitam.pdf 19750120 Pimp ASRI Panggil 5 Mahasiswanya yang Dipecat.pdf 19750126 Dibalik Tembok ASRI.pdf 19750126 Malam Perdamaian, Inikah sebuah penyembelihan kreativitas.pdf 19750215 Celana Dalam, Politik, DSB.pdf 19750215 Skors di ASRI.pdf 19750216 Dinamika Kreatif Atau....pdf

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

type Discussion Paper Discussion Paper Letters and Notes Letters and Notes Letters and Notes Letters and Notes Letters and Notes Letters and Notes Letters and Notes Letters and Notes Letters and Notes Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review 10  

34. 35.

19750301 Lima Mahasiswa Asri Masih Diproses.pdf 19750506 Seni Lukis Ind dalam Jaringan Kondisi Serba Mapan.pdf

Media Review Media Review

Pameran Besar Seni Lukis Indonesia 1974 – Desember Hitam Summary No 1.

File Title 19741218 Katalog Pameran Besar Seni Lukis Indonesia.pdf

type Cataogue

Title translation: Catalogue from The 1974 Grand Painting Exhibition of Indonesia Published by Dewan Kesenian Jakarta (Jakarta Arts Council) as the organizer of the exhibition. Contain the winner’s profile, artwork images, and list of participanting artists. 2.

19741200_Seni Lukis Indonesia Masa Kini (Fadjar Sidik).pdf

Discussion paper

Title translation: Recent Indonesian Paintings Presented in the discussion following Pameran Besar Seni Lukis Indonesia 1974 (The 1974 Grand Painting of Indonesia, at Taman Ismail Marzuki. Paper by Fadjar Sidik. Date: December, 1974 Fadjar Sidik shares his ideal painter figure, “Who are the heroes of Indonesian recent paintings? Of course I would have to say those who have strong personalities and clear styles, in which they can urge change, acknowledge their national identity or those who contributes to the world’s painting discourse and also sellable (to collectors, ed)” 3.

19741213 Senilukis indonesia masa kini (Sudarmadji).pdf

Discussion paper

Title translation: Indonesia’s Painting Today (1974) Presented in the discussion following Pameran Besar Seni Lukis Indonesia 1974 (The 1974 Grand Painting of Indonesia, at Taman Ismail Marzuki. Paper by Sudarmadji Date: December, 1974 Review on Indonesia's today paintings (1974, ed). From formalistic point of view, Sudarmaji mentioned 4 group of Indonesian painters. They're the realist group, those who tried to show subjective-consciuosness, the abstract non-figurative group, and the decorative group. Furthermore, he stated that each formalistic group had their own philosophical point of view. He also argued that, in general, painting was developed. Especially because of the increasing of painters and paintings in Indonesia. The quality of Indonesia paintings were also increasing. However, talking about international constellation, the scene should work harder. 2.

19741226 Penjelasan Surat Keputusan Dewan Juri PBSLI 1974_ID.pdf

Letters and Notes

Jury’s Note on The Winners of The 1974 Grand Painting Exhibition of Indonesia

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3.

19741226 Surat Keputusan Tentang Lukisan Yang Baik PBSLI Tahun 1974.pdf

Letters and Notes

Jury’s Decision Letter on Good Paintings of The 1974 Grand Painting Exhibition of Indonesia 4.

19741231 Penyataan Desember Hitam_ID.pdf

Letters and Notes

Black December Official Statement English version is available 5.

19750103 Surat Budaya DA PERANSI ID.pdf

Letters and Notes

DA Peransi’s Letter of Protest English version is available 6.

19750118 Surat Panggilan Untuk Ris Purwono.pdf

Letters and Notes

Warning Letter for Ris Purwono 7.

19750211 Surat Permohonan Penjelasan Status Skorsing Mahasiswa.pdf

Letters and Notes

Position letter for Students’ Suspension Status 8.

19750220 Surat Jawaban Tentang Status Skorsing MAhasiswa.pdf

Letters and Notes

Position letter responding to Students’ Suspension Status 9.

19750306 Surat Permohonan Penjelasan Status Skorsing Mahasiswa.pdf

Letters and Notes

Position letter for Students’ Suspension Status 10.

19750318 Surat Keputusan Skorsing dari Ketua STSI ASRI.pdf

Letters and Notes

Suspension Note from ASRI’s Headmaster 11.

19741213 Senilukis indonesia masa kini.pdf

Paper

Title Translation: Recent Indonesian Paintings Paper by Sudarmaji Presented in Discussion session, part of Pameran Besar Seni Lukis Indonesia 1974. Date: December 13, 1974 Review on Indonesia's today paintings. From formalistic point of view, Sudarmaji mentioned 4 groups of Indonesian painters. They're the realist group, those who tried to show subjective-consciuosness, the abstract non-figurative group, and the decorative group. Furthermore, he stated that each formalistic group had their own philosophical point of view. He also argued that, in general, painting was developed. Especially because of the Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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increasing of painters and paintings in Indonesia. The quality of Indonesia paintings were also increasing. However, talking about international constellation, the scene should work harder. 12.

19741211 Pameran Besar Lukisan Ind.pdf

Media Review

Title Translation: The 1974 Grand Painting Exhibition of Indonesia Media: SINAR HARAPAN Daily Article by H-5 Date: December 11, 1974 In order to celebrate Pesta Seni 1974 (Arts Party 1974), on December 18-31 Pameran Besar Lukisan Indonesia or “Biennale Lukisan” (Paintings Biennale) was held. According to plan, the exhibition would be held once in two years. This exhibition is open for all Indonesian painters by sending three works (there are 300 paintings submitted and exhibited in Stovia Building, Central Museum, and TIM). In the event, three works were selected to win the prizes respectively IDR 250,000; IDR 150,000; and IDR 100,000. Besides exhibition, a discussion was also held with the theme “Nowadays Indonesian Painting”. 13.

19741217 Pameran Besar 83 Pelukis Tampilkan 240 Lukisan.pdf

Media Review

Title Translation: Grand Exhibition joined by 83 Painters is showing 240 paintings Media: ANGKATAN BERSENJATA Daily Article by D-20 Date: December 17, 1974 There were 240 works from 83 Indonesian painters that were displayed in Pameran Besar Lukisan Indonesia/Paintings Biennale. The exhibition wanted to cover Indonesian active painters as many as possible. Although it could not reach Indonesia’s contemporary paintings from all over Indonesia, compared to previous exhibitions, this one seemed more representative. This exhibition was planned to be held once in two years. Three prominent paintings were also awarded with prizes by the board of jury consisting 7 persons, they were: Popo Iskandar, Sujoko, Afandi, Alex Papadimetru, and Umar Kayam. 14.

19741220 Pameran 240 Lukisan.pdf

Media Review

Title Translation: An exhibition of 240 paintings Media: SINAR HARAPAN Daily Article by H-20 Date: December 20, 1974 Indonesia Paintings Biennale was held simultaneously in TIM, Central Museum in West Medan Merdeka, and STOVIA Building. According to Umar Khayam, the exhibition was the first Indonesian Biennale. The first Indonesia Paintings Biennale was limited to the contemporary only. While traditional paintings were tried to be displayed in the future. The exhibition was expected to be able to present the face of Indonesia’s contemporary art. Society was also expected to be able to see the variety of Indonesia’s contemporary painting. The property rights on the exhibited paintings in this exhibition were on the hands of the painters. During the exhibition, all paintings could be bought by the fancier/collector who wanted them. Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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19741220 Pameran Lukisan Besar di TIM.pdf

Media Review

Title Translation: Grand Painting Exhibition at Taman Ismail Marzuki Media: BERITA BUANA Daily Article by P-Hend Date: December 20, 1974 243 paintings of various styles and genres by 85 painters spread in Indonesia were exhibited in Indonesia’s Paintings Biennale. The execution of this exhibition showed that the door of Special Capital Region of Jakarta is always open for the artists settling in its region to present their achievements. This exhibition confirmed that Pusat Kesenian Jakarta (Jakarta Arts Center) TIM was not only owned by Jakarta artists, but also by artists from other regions in Indonesia. Special Capital Region of Jakarta government attempted to manage the increasing art and culture activities through DKJ. 16.

19741220 Pelukis2 muda Indonesia sedang berontak, benarkah?.pdf

Media Review

Title Translation: Are young Indonesian painters showing their rebellion? Media: PELITA Daily Article by M. Joesfik Helmy Date: December 20, 1974 There was a “rebellion” by young painters who wanted to be free from conventional characteristics and at the same time wanted to set themselves free from existing painting dogmata. The portrait of rebellious young painters was represented by B. Munni Ardhi, Nanik Mirna, and Harsono (all of them were the alumni of ASRI Yogyakarta). As the declaration of their standing position, they said that nowadays situation touched human’s intact self so in the creation, paintings could not only talk about the matter of taste, but also ratio. However, “the rebellion” of those young painters was questionable. It is because the rebellion towars conventional values could not only be done by showing unconventional forms. Before performing with their works, young painters had to be able to really observe their social environment well and intensively. 17.

19741221 Pameran Besar Senilukis.pdf

Media Review

Title Translation: Grand Painting Exhibition Media: SINAR HARAPAN Daily Article Date: December 21, 1974 Indonesia’s Paintings Biennale was an event that must be noted in cultural and developmental aspects. From the cultural aspect, the event had to be noted because it was able to collect works of 83 painters spread in four cities of Indonesian culture center (Jakarta, Bandung, Surabaya, and Yogya). It enabled society to look at the face of Indonesia’s contemporary painting. From the developmental aspect, this exhibition revealed the creativity of Indonesian artists. In the Era of Development, human’s creativity is one of required things. Other significant thing of this paintings biennale was the presence of will to demand to the government to provide a representative National Painting Museum. The museum later could accomodate the paintings of Indonesian artists in the past and the future; from the traditional motifs to the contemporary ones. Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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19741227 5 Lukisan Terbaik Terpilih Dari Pameran Besar Seni Lukis Ind '74.pdf

Media Review

Title Translation: 5 Best Paintings were selected from The 1974 Grand Painting Exhibition of Indonesia Media ANGKATAN BERSENJATA Daily Article by D-20 Date: December 27, 1974 Instead of selecting 3 best paintings to get the first, second, and third rank, the board of jury in Indonesia Paintings Biennale selected 5 best paintings by giving prizes of the same amount. The board of jury enacted 5 best paintings by considering the heterogeneity of the works in the exhibition i.e. “Matahari Di Atas Taman” by Irsam, “Keluarga” by Widayat, “Lukisan Wajah” by Abas Alibasjah, “Tulisan Putih” by A.D. Pirous, and “Pohon” by Aming Prayitno. 19.

19741231 Pameran Besar Seni Lukis Ind Antara Minus & Plus.pdf

Media Review

Title Translation: Positive and negative sides of The Grand Painting Exhibition of Indonesia Media: PELITA Daily Article by Hidayat LPD Date: December 31, 1974 There were noted several strengths and weaknesses of Indonesia Paintings Biennale. The presence of painters in the event’s book who were not there previously, especially young painters, was considered as an interesting thing. But on the other hand, displaying immature works of those young painters was considered too hasty. The paintings presented in Indonesia Paintings Biennale were also reckoned not showing any novelty. The scoring (and the determination of the best painting) on those paintings was/were also considered unimportant since the weighting of artworks was considered as something subjective. 20.

19741231 Seni Lukis Merindukan 'Pengadilan'.pdf

Media Review

Title Translation: The yearn for ‘Justice’ among painters Media: KOMPAS Daily Article by Sides Sudyarto DS Date: December 31, 1974 The opinion that questioned the existence of Indonesian painting was still often be proposed by the critics or painting fanciers. In the middle of Indonesian painting development, which was signified by the presence of important works of several painters (Affandi, Rusli, Sulebar, etc.), Indonesian painters had their own anxiety. It was the absence of the court for Indonesian painting. 21.

19750111 Gado-gado, ya biar.pdf

Media Review

Title Translation: Mixed Approach Promoted by Young Artists? So be it Media: TEMPO Magazine Article Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Date: January 11, 1975 Indonesia Paintings Biennale 74 was considered not presenting the works with good installation. Displayed works were various, starting from the ones made by good techniques to the bad ones, from naturalistic to decorative, and so on. It is not a problem if the works shown were various (gado-gado—Indonesian traditional food consisting raw chopped vegetables with peanut sauce) as long as they were presented well. Unfortunately, the way of presenting the works in the exhibition was still far from good. 22.

19750111 Ketidak-puasan itu.pdf

Media Review

Titel Translation: The dissatisfaction Media: TEMPO Magazine Article by Bambang Bujono Date: January 11, 1975 There was no detailed explanation from the board of jury of Indonesia Paintings Biennale 1974 regarding the procedure of deciding the best paintings. Therefore, a lawsuit in the form of “Pernyataan Desember Hitam 1974” (The Statement of Black December 1974) was proposed and condolence flower bouquets were given by society to Jakarta Arts Council for “The Death of Indonesian Painting”. It occurred in the closing evening of Arts Party 1974. Another point critized by the signing of “The Statement of Black December” (consisting of young painters) was the existence of discrimination towards the works which no longer follows the conventional limitation of painting. Furthermore, reading the explanation of the board of jury, deciding the best paintings in Indonesia Paintings Biennale seemed to be based on the view: this is painting, this one is not. Meanwhile, in the invitation sent to the painters to participate in the exhibition, there was no explanation about the criteria of something that was considered as painting. 23.

19750115 Buntut Kericuhan di ASRI Yogya, Apakah Saudara Hendak Merobohkan Kebudayaan Nasional.pdf

Media Review

Title Translation: “Are you trying to dismantle national culture?” – statements following commotion at ASRI Yogya Media: KOMPAS Daily News by jup Date: January 15, 1975 Four students of ASRI Yogya were interrogated by the Head of ASRI (Abas Alibasyah) assisted by all heads of the programme in ASRI regarding their participation in signing the statement letter of “Black December 1974”. The statement sniped Indonesian painting which they considered obsolete. As the result of their action, those four students (Hardi, Harsono, Munni Ardhi, and Ris Purwono) were rejected when they wanted to register themselves to join lecture activities in ASRI completed with the prohibition to participate in the exhibition held in ASRI campus. 24.

19750118 ASRI Yogyakarta Ricuh.pdf

Media Review

Title Translation: Commotion at ASRI Yogyakarta Media: KOMPAS Daily Article by Sides Sudyarto DS Date: January 18, 1975 Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Several ASRI students who also signed the statement of “Black December 1974” as the protest towards the policy of the board of jury in Indonesia Paintings Biennale were reported dropped out (orally) from ASRI. It raised unrest among the students of ASRI Yogyakarta. Students of other institution who also signed the statement did not experience similar thing. The students of Lembaga Pendidikan Kesenian Jakarta (LPKJ—Jakarta Art Institute Association), for example, were not given any sanctions; they were only asked for explanation. While in ITB, the statement was responded with sympathetic treatment that it was displayed on announcement board. 25.

19750119 Abas Alibasyah, Tidak Ada Sangkut Pautnya Dg. Des. Hitam.pdf

Media Review

Title Translation: Abas Alibasyah, “This has nothing to do with Black December” Media: PELOPOR YOGYA Daily Article by PLPY Date: January 19, 1975 The temporary suspension of 5 students of STSR “ASRI” Yogya (Hardi, Harsono, B. Munni Ardhi, Ris Purwana, and Siti Adiyati) was foreshadowed a result of their participation in the signing of “Black December 1974” statement. The statement was their protest towards the decision of the board of jury that won the works of Widayat, Abas Alibasyah, Aming Prayitno (from ASRI) as well as one painter each from Jakarta and Bandung. The decision the board of jury was considered preferring Indonesian paintings’ decorative motifs meanwhile Indonesian paintings had various motifs. However, Abas Alibasyah (head of ASRI Yogya) said that the suspension of five students did not have any relation to Black December. Those five students would be active again in lecture activities if based on the result of investigation they were proved not to disrupt state development stability. Abas also stated that all ASRI students activities had to get permission from him as the head of ASRI. 26.

19750120 Pimp ASRI Panggil 5 Mahasiswanya yang Dipecat.pdf

Media Review

Title Translation: ASRI Leader summons 5 students facing drop-out Media: KEDAULATAN RAKYAT Daily Article by MK Date: January 20, 1975 Tuesday, January 21, 1974, at 10.00 five ASRI students who were dropped out related to the statement of Black December were called by ASRI leader to explain their clarification and to listen to ASRI leader’s explanation. In the meeting of “Insani” family attended by several ASRI lecturers, artists, and students of ITB, LPKJ, and ASRI, the discussion on strife happening in ASRI was also there. Sudarmadji (ASRI lecturer) who attended the meeting stated that there were 4 periods of Indonesian painting: Period of Pre-Persagi (Persatuan Ahli Gambar Indonesia—Indonesia Drawing Experts Association), Persagi, Opposition on Ideology, and the period after G30S (massacre). Emphasizing on the period of the massacre, Muryoto Hartouo, a painter who attended the meeting, said that there was a mechanism of “massacre” in the last Indonesia Paintings Biennale. For example, it only involved 4 cities (Jakarta, Bandung, Yogya, and Surabaya). It was also because painting became exclusive and only gave chance to established group, while experimental art was not considered as art. Furthermore, all winning paintings had decorative motifs. Therefore, according to Bonyong, the statement of Black December and the flower bouquets were

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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more like the form of condolence towards the period of massacre in painting. 27.

19750126 Dibalik Tembok ASRI.pdf

Media Review

Title Translation: Behind the Walls of ASRI Media: PELOPOR YOGYA Daily News by MK Date: January 26, 1975 It questioned whether Hardi, Harsono, Munni Ardhi, and Siti Adiyati received normal response in ASRI after taking participation in the statement of “Black December 74”. It was because basically, their action was initiated by a normal unrest. Therefore, what was needed was to reflect whether there was learning from such case for the artists, for ASRI circumstance, and for Indonesian painting. 28.

19750126 Malam Perdamaian, Inikah sebuah penyembelihan kreativitas.pdf

Media Review

Title Translation: An evening of peace – reflections from discouragement of creativity Media: EKSPONEN Daily News Date: January 26, 1975 The action of suspending five students of ASRI Yogya regarding the event of Black December 74 was considered as an unwise action by most of young artists. At the same time, a question raised whether such action was a form of slaughtering artists’ creativity. 29.

19750215 Celana Dalam, Politik, DSB.pdf

Media Review

Title Translation: Underwears, politics, etc. Media: TEMPO Magazine Article Date: February 15, 1975 Abas Alibasyah expressed his clarification along with the more crowded hilghlights on himself regarding five dropped out students of ASRI Yogya who signed Black December statement. First, according to him, those five students were suspended not only due to the signing of Black December statement, but also due to many inappropriate actions they had done in ASRI circumstance. For example, they had once exhibited underpants that had been worn before in an exhibition. Moreover, by the presence of Black December, Abas had been called by Ali Sadikin and received many insistences from many parties. Second, those five students were not able to explain what was meant by Black December statement. The statement of Black December was oriented to economics, politics, and social that should not stated by visual art students—and therefore it was considered dangerous. Third, those five students should better focus on attempting to graduate rather than doing strange things. 30.

19750215 Skors di ASRI.pdf

Media Review

Title Translation: Students suspension by ASRI Media: TEMPO Magazine Article Date: February 15, 1975 Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Abas said what happened was suspension on five students of ASRI due to the consideration that they were potential to disturb national stability. Even in ASRI, there was a dissent among the lecturers. Some thought that those students deserved to be suspended; some others thought they did not deserve to get such treatment. Four of five students then were called to be investigated in front of 13 ASRI lecturers. They were investigated in pair (Hardi and Harsono, Munni Ardhi and Ris Surwono) with the questions around their family background, Black December, cultural strategy, humanity values, whether they intended to destroy national culture, to whether they were controlled by certain elements. 31.

19750216 Dinamika Kreatif Atau....pdf

Media Review

Title Translation: The dynamics of creativity or.. Media: TRIBUN Weekly News Date: February 16, 1975 It was about the dynamics in STSRI ASRI campus before the event of Black December. Students and lecturers seemed to have high tension in between before the event. It was seen through, for example, the moment the students held an exhibition, they wrote “Our game has just begun. Hello, Mr. Lecturer! Bye Byeee” as well as displayed an underpants that had been worn. It made the director of ASRI gave a command to get the underpants off. 32.

19750301 Lima Mahasiswa Asri Masih Diproses.pdf

Media Review

Title Translation: Formal status of students from ASRI are currently “in process” Media: Kompas daily News Date: March 1, 1975 Abas Alibasyah’s statement that five ASRI students that isinvolved in Black December are still not allowed to follow any academic activities in 1975. Final decision on their status waits for further research. In relation to the case, Education and Cultural Minister Sjarief Thayed specially visited ASRI to warn that though the government gives freedom to artists, there are still some limitations.

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Pameran Seni Rupa Baru Indonesia 1975 List of Files No 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

File Title 19750804 Diskusi GSRBI 1975 (1-3) 19750800 Perspektif Baru 19750000 Pameran Lukisan Yang Brengsek.pdf 19750725 Pameran 11 pelukis muda.pdf 19750725 Pameran seni rupa Indonesia 75 di TIM.pdf 19750725 Pameran senirupa baru Indonesia 1975.pdf 19750802 Perspektip Baru dalam Seni Rupa Indonesia.pdf 19750806 Pameran seni rupa baru Ind 1975.pdf 19750807 Bagaimana Seni Rupa Kita Masa Kini.pdf 19750812 Hiruk-pikuk Pelukis Muda Buronan.pdf 19750823 Pameran Seni Rupa Baru Indonesia 1975.pdf 19750826 Seni Rupa Baru Merupakan Suatu Pertanda ?.pdf 19750827 Seni Rupa Baru 75 di Galeri Soemardja.pdf 19750909 Nashar Tentang Seniman SRBI75.pdf 19750909 Rupa-rupa Seni, Praktek dan Teori.pdf 19750909 Seni Rupa Baru Ind 1975 - Keinginan Berkomunikasi.pdf 19750928 Laporan Pameran SRBI 75.pdf 19750930 Bermacam Cara Memecahkan Komponen Fisik Seni Rupa.pdf 19751001 Suatu Ketika Dalam Perjalanan Seni Rupa Ind.pdf 19751230 Seni Lukis Indonesia 1975 Masih dalam Erosi Spirituil.pdf 19750800 Polemik Kusnadi dan Sudarmadji di KR.pdf 19750000 Folder foto karya pameran Seni Rupa Baru 1975

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

type Audio Essay for Catalogue Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Photo

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Pameran Seni Rupa Baru Indonesia 1975 Summary No 1.

File Title 19750804 Diskusi GSRBI 1975 (1-3)

type Audio

Audio from Gerakan Seni Rupa Baru Indonesia (Indonesian New Art Movement) 1975 discussion. The speakers were Sanento Yuliman, Zaini, Nashar, and Gatot. In general, it talked about Indonesian New Art Movement 1975 exhibition. 2.

19750800 Perspektif Baru

Essay for Catalogue

Title Translation: A New Perspective Sanento Yuliman considered Indonesian New Art Movement exhibition in 1975 as an exhibition that gave a new artistic experience in comparison to the conventional experience. He underlined the tendency of playing with new medium amongst the artists in the exhibition. For example, the artists’ using of everyday objects. Yuliman assumed the tendency as the result of those young artists’ exhaustion on the conventional practice and form of art. Yuliman also tried to link the differences between those young artists and the former generations by describing the context of their area. Another note from Yuliman on the exhibition was the consciousness of the Indonesian New Art Movement artists about their distinction to the former generations. As his final statement, Yuliman concluded that each generation could find and establish teir own principles of art. 3.

19750000 Pameran Lukisan Yang Brengsek.pdf

Media Review

Title translation: Painting exhibition that evokes negative response Media: SKH. Keadaulatan Rakyat Article, written by Sanento Yuliman and Siti Adiyati Date: 1975 The exhibition was done by 11 visual artists (Bonyong Munni, Siti Adiyati, Ris Purwono, Naniek Mirrna, Anyool Broto, Pandu Sudewa, Bachtiar Zainul, Harsono, Hardhi, Moeryoto, Hartoyo, dan Jimmy Supangkat) with the event name Pameran Seni Rupa Baru Indonesia 75 (Indonesia New Visual Art Exhibition 75). The exhibition invited debates in the dimension of art values and values existing in society. 4.

19750725 Pameran 11 pelukis muda.pdf

Media Review

Title translation: The Exhibition of 11 Young Artists Media: SINAR HARAPAN daily News, written by PR/H-7 Date: July, 25, 1975 11 young artists (such as: Siti Adiyati, Nanik Mirna, Hardi, Harsono, Jim Supangkat, and Muryoto Hartoyo) exhibited their sculptures and paintings in Exhibition Room TIM Jakarta on August 2-7, 1975. In the exhibition, they wanted to present some of Indonesian art works that was intended as new greetings and also added new dimension in Indonesia’s visual art. 5.

19750725 Pameran seni rupa Indonesia 75 di TIM.pdf

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

Media Review 21  

Title translation: The 1975 New Art of Indonesia Exhibition at Taman Ismail Marzuki Media: BERITA YUDHA daily News Date: July, 25, 1975 It was about the exhibition of 11 young painters and sculptors from Bandung, Jakarta, and Yogyakarta as well on August 2-7 in Taman Ismail Marzuki, Jakarta. The 11 artists are Siti Adiyati, Nanik Mirna, Boyong Muni Ardi, Hardi, Harsono, Jim A. Supangkat, Broto, Pandu Sudewo, Muryoto Hartoyo, Bachtiar Zainoel, and Ris Purwana. 6.

19750725 Pameran senirupa baru Indonesia 1975.pdf

Media Review

Title translation: The 1975 New Art of Indonesia Exhibition Media: BERITA BUANA Daily News, written by P-Hend Date: July, 25, 1975 Initiated by the view that artists were the children of the era and that art was the sign of the era, 11 artists held a works exhibition that was called: Seni Rupa Baru Indonesia ’75 (Indonesia New Art ‘75). The exhibition was planned as the one that presented some tendencies that had not been commonly visible. In their art working, they did normal experiment that was interpreted as a new possibility in the development of Indonesia’s visual art. 7.

19750802 Perspektip Baru dalam Seni Rupa Indonesia.pdf

Media Review

Title translation: New Perspective for Indonesian Art Media: SINAR HARAPAN daily Essay, written by Sanento Yuliman Date: August 2, 1975. Also published in the catalogue of Pameran Seni Rupa Baru Indonesia 1975. The essay questioned the movemet's claim about new perspective in visual art. At the same time, the essay also listed some points related to the exhibition. First, about the relation between the artwork and the audience. All of the artworks in the exhibition tried to create a concrete experience instead of imaginative ones. Second, the consciousness of the movement about them as a different group of young artists. They saw themselves as a different generation compare to previous oness. By seeing Indonesia New Art Movement, it seemed like every generation in the art scene could find and enforce their own principle. At the same time, they could redefine art according to their perspective. 8.

19750806 Pameran seni rupa baru Ind 1975.pdf

Media Review

Title translation: The 1975 New Art of Indonesia Exhibition Media: KOMPAS daily Article, written by V Date: August 6, 1975 After signing Black December statement in 1974, 11 young artists who signed it held the exhibition of “Indonesia New Art 1975”. The protest they expressed in the statement of Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Black December were presented in other form, which was their works that were not bound to old values. The exhibition which in 3 days had been visited by almost one thousand visitors was considered able to communicate with whoever (children, high school students, and adults with various levels). The thing given by the works of those young artists was experience in daily life (which was not only about nature, beautiful girl, and similar things). Things presented by these young artists were clearly a new thing for the public of visual art although the formulation was not clear yet. 9.

19750807 Bagaimana Seni Rupa Kita Masa Kini.pdf

Media Review

Title translation: How is our recent fine art of Indonesia? Media: KOMPAS daily Essay, written by Siti Adiyati Date: August, 8, 1975 Started from Pameran Besar Seni Lukis Indonesia 1974 (which was followed by Black Desember), there was a discussion on the development of visual art in Indonesia. There were two sides of perspective of visual art at that time. The first one is from the old painters. Meanwhile another one is from the young ones. The old painters considered the young ones as some freaks. They gave some negative comments on the young ones. This situation brought a question: was the negative comments and reaction from the old ones came because of they just simply didn't believe the young ones? In other words, maybe all the argument was just based on the old painters' prejudice that the young ones were not capable enough simply because they're too young. 10.

19750812 Hiruk-pikuk Pelukis Muda Buronan.pdf

Media Review

Title translation: The hustle and bustle surrounding ‘fugitives’ of young painters Media: KOMPAS daily Article, written by Emannuel Subangun Date: August 8, 1975. About the exhibition of young painters from New Art Movement. In the discussion, there was a comment from Tuti Heraty about those young group. According to her, maybe, all the anger from them was a result of their age. As a young people, they might face identity crisis. The crisis tend to result in struggling against the old by making Black December agreement in 1974 then followed by Indonesia New Art agreement in 1975. However, their awareness towards society shouldn't be neglected. So did their wish to leave the past of Indonesia paintings and make something new. 11.

19750823 Pameran Seni Rupa Baru Indonesia 1975.pdf

Media Review

Title translation: The 1975 New Art of Indonesia Exhibition Media: SINAR HARAPAN daily Article, written by Sudarmaji Date: August 23, 1975 Review on the exhibition of 11 artists from New Art Movement. Sudarmaji considered the exhibition as an interesting one. He said that so not because of some events related to the movement (such as Black December). According to him, the exhibition was interesting because of the artworks. Thei artworks in the exhibition brought a new language in visual art world, especially in Indonesia. This might bring advantages for the development of Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Indonesia visual art scene. 12.

19750826 Seni Rupa Baru Merupakan Suatu Pertanda ?.pdf

Media Review

Title translation: Is the New Art suggesting a sign of change? Media: PELITA daily Article by Kusmin Asa Date: August 26, 1975 Kusnin Asa stated that New Art Movement was a sign of the new aesthetic concept in Indonesia visual art scene. His statement was a result of evaluating the artworks in the group's exhibition. Furthermore, he stated that the movement was a new episode of Indonesia visual art scene movement. 13.

19750827 Seni Rupa Baru 75 di Galeri Soemardja.pdf

Media Review

Title translation: The 1975 New Art of Indonesia Exhibition at Soemardja Gallery Media: PELITA daily Article by Yusuf Affendi Date: August 27, 1975 A review on Indonesian New Art Movement 1975 exhibition in Soemardja Gallery, Bandung. Yusuf Affendi stated tendencies of the exhibited artworks. There were some of the artworks that reflected the confusion of the artists. Meanwhile some others, Affendi specifically mentioned artworks from Jim Supangkat, Nanik Mirna, and Harsono, were quite significant in terms of forms and concepts. Beside examining the tendencies of the exhibited artworks, Affendi also questioned the future of the movement. He asked whether the spirit of Indonesian New Art Movement would last or not. 14.

19750909 Nashar Tentang Seniman SRBI75.pdf

Media Review

Title translation: Nashar on Artists of GSRBI ’75 Media: KOMPAS daily Article based on interview with Nashar by V Date: September 9, 1975 Nashar said that young painters who held “Indonesia New Art 75”, in the definition of art value, were not worth-discussing yet. According to Nashar, psychologically those young painters did not have a concept yet although technically they did. Nashar admitted knowing those young painters as the people who signed Black December statement and he rejected that statement which stated that Indonesia’s modern visual art had died. Nashar questioned whether when those young painters said that Indonesia’s modern visual art had died they had been meticulous enough and able to view the works of Indonesian modern painters (for example, Affandi). 15.

19750909 Rupa-rupa Seni, Praktek dan Teori.pdf

Media Review

Title translation: The many aspects of art, in theory and practice Media: KOMPAS daily Essay by T. Herati Noeradi Date: September 9, 1975 Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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In the world, once people discussed about practice and theory, people tend to choose practice over theory. It was because people considered practice would develop their ability, meanwhile theory wouldn't. However, sometimes, people should choose theory in order to become more reflective. Moreover, theory was needed in the situation where polemic happened just like what happened in 1975 when Indonesia new visual art movement held their exhibition. 16.

19750909 Seni Rupa Baru Ind 1975 - Keinginan Berkomunikasi.pdf

Media Review

Title translation: The 1975 New Art of Indonesia – the yearn to communicate Media: KOMPAS daily Essay by Jim Supangkat Date: September 9, 1975 Jim Supangkat's piece on Indonesia New Art 1975 exhibition. He stated that the movement (as well as the exhibition) was initiated with the spirit to communicate with the society. He stated that art was alienated with the society. As the result, society could not understand art without studying about it first. Therefore, art was only consumed by specific public. In this narrow situation, the movement saw the importance of communicating with the society. Having that paradigm, the qualification of Indonesia new visual art 1975 was the urge about using surrounding as its expression. 17.

19750928 Laporan Pameran SRBI 75.pdf

Media Review

Title translation: Report from The 1975 New Art of Indonesia Exhibition Media: TEMPO magazine Article by Bambang Bujono Date: September 28, 1975 It discussed the works presented in the exhibition of Indonesia New Art 75. Those were considered totally impossible to be displayed as room decoration as conventional paintings or sculptures. Nevertheless, it was also emphasised that idea in the works of visual art did not come so suddenly in the journey of Indonesia’s visual art. 4 years before the exhibition of Indonesia New Art, in the exhibition of Group 18 Bandung (Group 18 Bandung), Srihadi and Sidharta had done such thing. 18.

19750930 Bermacam Cara Memecahkan Komponen Fisik Seni Rupa.pdf

Media Review

Title translation: The many ways in resolving the physical component of fine art Media: Kompas Daily Article by Sudarmadji Date: September 30, 1975 Sudarmaji stated that the way of resolving the form of visual artworks in Indonesia adapted the western tradition. As examples, he mentioned some names like Saleh Syarif Bustaman, Abdullah, Pirngadi, and some others who learned about art from the renaissance period. However, Sudarmaji also mentioned about the tendency of nationalism in some artists like Sujoyono, Affandi, and Sudarso. On the other side, he also mentioned the Bandung style as influenced by Ries Mulder. After discussing about tendencies of forms, Sudarmaji Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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mentioned some components of visual artworks, especially paintings and drawings, such as lines, colors, textures, and etc. He also mentioned about three dimension artworks components and the diverse tendencies of the three dimension artworks. In the end of his review, Sudarmaji mentioned the importance of paying attention on the development of Indonesian visual art tendencies. 19.

19751001 Suatu Ketika Dalam Perjalanan Seni Rupa Indonesia.pdf

Media Review

Title translation: Once upon a time in the journey of fine art in Indonesia Media: KOMPAS daily Essay by Yudha Ris Date: October 1, 1975 Yudha Ris' piece about Indonesia new visual art exhibition. He considered the exhibition as an innovation. However, he didn't think that the old values should be buried because of the innovation. In general, he saw the exhibition as, more or less, experimental ways which was not successful enough but still promising at the same time. He was also sceptical about those young artists' involvement with the problems that became the base of their works. 20.

19751230 Seni Lukis Indonesia 1975 Masih dalam Erosi Spirituil.pdf

Media Review

Title translation: The eroded state of 1975 Painting Case in Indonesia Media: KOMPAS daily Essay by Sides Sudyarto DS Date: December 30, 1975 Although there were several exhibitions in 1975, in general the situation of visual art scene in Indonesia was not good enough. Although mentioning about Indonesia new visual art movement as a way of reforming the situation of the scene, it stated that it was not enough. Even until there was the movement which was initiated by several young artists, some pesimistic point of views were still exist in the scene. For example was one from D.A. Peransi who stated that there was a lack of spirituality in Indonesia visual art existed from the past until today. 21.

19750800 Polemik Kusnadi dan Sudarmadji di KR.pdf

Media Review

A compilation of essays on the polemic between Kusnadi and Sudarmadji in Kedaulatan Rakyat daily. (These were initially compiled by Sudarmadji.) -­‐ Seni Rupa Baru Menurut Kusnadi -- Wawancara oleh Supono Pr. (New Art According to Kusnadi – an interview by Supono Pr.) An interview between Kusnadi and Supono Pr. Supono asked Kusnadi’s opinion on Indonesian New Art Movement. In general, Kusnadi was skeptical (even quite cynical) with the artistic practices of Indonesian New Art Movement. -­‐ Visi Masa Lampau Kusnadi – Sudarmadji Kusnadi’s Old School Vision – by Sudarmadji) Sudarmadji stated that Kusnadi’s statement on Indonesian New Art Movement did not fit the young spirit of the movement. Moreover, Sudarmadji stated that Kusnadi’s statement reflected the older generation paradigm which was really opposite with the young spirit. -­‐ Menilai Pembelaan Sudarmadji pada Seni Rupa Baru Indonesia – Kusnadi (Revaluing Sudarmadji’s Arguments for the Indonesian New Art Movement – by Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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-­‐

-­‐

-­‐

-­‐

Kusnadi) Kusnadi’s response on Sudarmadji’s previous writing. Kusnadi stated five arguments on responding Sudarmadji’s writing. First, he did not want to examine the young artists without compare them with the older generation. Second, Kusnadi saw that Sudarmadji also shared the same anxiety related to the Indonesian New Art Movement practices. Third, Kusnadi stated that Sudarmadji made people considered his examination on Indonesian New Art Movement as insignificant. Fourth, according to Kusnadi, Sudarmadji was false in describing his photograph of Ris Purwanto as an artwork that Kusnadi disliked. In fact, according to Kusnadi, Purwanto’s was one of the good artwoks in the exhibition. Fifth, according to Kusnadi, there was a big difference between saying your practices as new ones and examing the history of art seriously then digging out new possibilities in art. Seni Rupa Baru Memancing Perdebatan – Sudarmadji (New Art Movement Triggers Debate – by Sudarmadji) Sudarmadji responded Kusnadi’s critics. There were several points of his arguments. First, he stated that Kusnadi gave a very rude critic to Indonesian New Art Movement. Second, Sudarmadji considered Kusnadi’s critic as a premature one. According to him, it woul be appropriate if Kusnadi waited for the exhibition from the group. Third, by examining Kusnadi’s way of viewing Jim Supangkat’s artworks, Sudarmadji concluded that Kusnadi approached the works by using old definition of visual art which did not suit Jim Supangkat’s artwork. Pengingkaran dan Pengelakan Sudarmadji di Sekitar Nilai, Seni Rupa Baru – Kusnadi (Sudarmadji’s Denial and Defense Surrounding Value, New Art Movement – by Kusnadi) Once again, Kusnadi gave his response to Sudarmadji’s writing. He underlined that, according to him, Sudarmadji understood the lack of Indonesian New Art Movement exhibition. He also stated that there were some people, such as Nashar, Zaini, and Tuti Nurhadi, who shared the same view about the exhibition. According to them, the exhibition was nothing than the experiment of young generation. Moreover, Kusnadi also problematized the ethical sides of the exhibition due to some “naughty” symbols appeared in the artworks. Kusnadi Nan Buruk Sangko – Sudarmadji (The Negative Thinking Kusnadi – by Sudarmadji) Sudarmadji stated that Kusnadi was really judgmental in examining Indonesian New Art Movement exhibition. He stated that it would take time in order to examine Indonesian New Art artistic practices. Moreover, he stated that a good interpretation of artworks did not depend of the same opinions about the artworks On the other hand, it’s related to the analysis on the artworks. Sudarmadji also asked Kusnadi’s position as the Chief of Visual Art Department in Art Council. According to him, Kusnadi should formulate methods to develop Indonesian young artist practices. Terakhir untuk Sudarmadji – Kusnadi (The Last, for Sudarmadji – by Kusnadi) The last piece related to Sudarmadji and Kusnadi polemics. Kusnadi responded Sudarmadji’s question about his position as the Chief of Visual Art Department in Art Councils. According to him, he chose to prevent and develop some other young artists (those studied in art institutions) than those 11 young artists under Indonesian New Art Movement. It was because according to him the movement had lack of ethics and aesthetics.

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Pameran Seni Rupa Baru Indonesia 1977 List of Files No 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

File Title 19770200 GSRBI Leaflet.pdf 19770200 Bambang Bujono Speech on GSRBI 1977(1-3).mp3 19770219 Seni Rupa Baru 77 di TIM.pdf 19770222 Pameran Grup Seni Rupa Baru 77.pdf 19770226 Pameran Seni-Rupa Baru 1977.pdf 19770301 Penghakiman Final Adalah Dalam Komunikasi.pdf 19770303 Pameran Grup Seni Rupa Baru Indonesia 1977 Diperpanjang.pdf 19770306 Omong-Omong Seni Rupa Baru 1977.pdf 19770312 Ada yang suka, ada yang kurang suka.pdf 19770312 Bukan hanya sex atau protes.pdf 19770314 Menggugat seni rupa baru Indonesia.pdf 19770314 Naluri Membanding-bandingkan dan Sikap PokrolBambu.pdf 19770314 Refleksi Subyektif itu.pdf 19770315 Seni Rupa Baru Indonesia.pdf 19770318 Soal "senirupa baru".pdf 19770321 Seni Rupa Baru - Seni Rupa Dalam Kemasan Baru?.pdf 19770402 Beberapa pendirian yang mendasari pameran seni rupa baru Ind.pdf 19770409 Pameran seni rupa baru di Alliance Francaise.pdf 19770413 Monumen Revolusi Karya Murni Ardhi Tampil Dengan Kesan Tersendiri.pdf .pdf 19770414 Pameran Seni-rupa Baru.pdf 19770420 manifestasi penyakit mental masyarakat- pameran seni rupa baru ind 77_1.pdf 19780103 Senirupa dan Senirupawan Indonesia 19741977_Kompas.pdf

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

type Leaflet Audio Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review

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Pameran Seni Rupa Baru Indonesia 1977 Summary No 1.

File Title 19770200 GSRBI Leaflet.pdf

type Leaflet

Leaflet which published to accompany GSRBI show in 1977, Ajip Rosjidi, as the Head of Jakarta Arts Council, and Gunawan Muhammad wrote the introductions. Ajip stated that the council supported Indonesian New Arts Movement to organize exhibition every two years in order to show the development of the artists. Meanwhile, Gunawan tried to examine the term ‘visual art’ in a more critical way. He examined it in relation to the space, public, entertainment, and its position in the society, instead of arguing about the differences between “west and east” tradition. 2.

19770200 Bambang Bujono Speech on GSRBI 1977(13).mp3

Audio

Audio of Bambang Bujono Speech as part of Pameran Pelukis Muda Indonesia (Indonesian Young Painters Exhibition). The speech was about to the development of Indonesian visual art and Indonesian New Art Movement in relation to the visual art education in Indonesia. Bambang Bujono speech was under the title Seni Rupa Baru Indonesia (Indonesian New Art Movement). 3.

19770219 Seni Rupa Baru 77 di TIM.pdf

Media Review

Title translation: Indonesian New Art 1977 Exhibition at Taman Ismail Marzuki Media: SINAR HARAPAN daily Date: February 19, 1977 The third exhibition of Indonesian New Art Movement after their exhibitions in 1975 and 1976. The participated artists in the exhibition were those from Jakarta, Bandung, and Yogya such as Munnie Ardhie, Harsono, Siti Adiyati, S. Prinka, Jimmy Supangkat, and Pandu Sudewa. There was one participated artist from Medan named Ronald Manulang. 4.

19770222 Pameran Grup Seni Rupa Baru 77.pdf

Media Review

Title translation: Indonesian New Art ‘77 – a group show Media: KOMPAS daily Date: February 22, 1977 There were 18 artists participated in Indonesian New Art 1977 exhibition. As the third exhibition of the group, the exhibition was assumed will raise debate and discussion like former exhibitions. 5.

19770226 Pameran Seni-Rupa Baru 1977.pdf

Media Review

Title translation: An Exhibition of Indonesian New Art 1977 Media: KOMPAS daily Date: February 22, 1977 There were 18 artists participated in Indonesian New Art 1977 exhibition. As the third

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exhibition of the group, the exhibition was assumed will raise debate and discussion like former exhibitions. 6.

19770301 Penghakiman Final Adalah Dalam Komunikasi.pdf

Media Review

Title translation: Issue of communication as implied in the final justification Media: KOMPAS daily Date: March 01, 1977 A review of the discussion from Indonesian New Art Group 1977 exhibition. It stated the artworks in the exhibition invited people to discuss in a more casual way. On the discussion, Bagong Kussudiardjo gave a comment about Indonesian New Art 1977 exhibition had a quite similar tendency with the west. However, the group stated that though their artworks were quite similar but in terms of context and concepts there were differences between their works and the western ones. Another comment was from Putu Wijaya who asked about the movement choice to declare themselves as Indonesian New Art Group. Putu asked whether that statement was the result of the stuck of Indonesian visual art. Responding Putu, the grup underlined their paradigm on art. According to them, art should not be considered as a sacred thing just like in the past. This view was also the reason of why they used everyday objects in their artworks. However, there were several people questioned whether their works might be considered as artworks or not. One other important response to the group came from Sitor Situmorang. He stated that the group was hiding behind social theories. 7.

19770303 Pameran Grup Seni Rupa Baru Indonesia 1977 Diperpanjang.pdf

Media Review

Title translation: The Group Show of Indonesian New Art 1977 remains on display Media: ANGKATAN BERSENJATA daily Date: March 3, 1977 The group exhibition of Indonesian New Art 1977 was extended due to the great numbers of visitors. The exhibition should be ended in February 28, 1977. However, it was extended until March 5, 1977. The review also described the artworks in the exhibitions as uncommon since they used everyday life objects. 8.

19770306 Omong-Omong Seni Rupa Baru 1977.pdf

Media Review

Title translation: Voices surrounding The Indonesian New Art Movement Indonesia 1977 Media: Date: March 06, 1977 A review of the discussion from Indonesian New Art Group 1977 exhibition. It stated the artworks in the exhibition invited people to discuss in a more casual way. On the discussion, Bagong Kussudiardjo gave a comment about Indonesian New Art 1977 exhibition had a quite similar tendency with the west. However, the group stated that though their artworks were quite similar but in terms of context and concepts there were differences between their works and the western ones. Another comment was from Putu Wijaya who asked about the movement choice to declare themselves as Indonesian New Art Group. Putu asked whether that statement was the result of the stuck of Indonesian visual art. Responding Putu, the grup underlined their paradigm on art. According to them, art should not be considered as a Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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sacred thing just like in the past. This view was also the reason of why they used everyday objects in their artworks. However, there were several people questioned whether their works might be considered as artworks or not. One other important response to the group came from Sitor Situmorang. He stated that the group was hiding behind social theories. 9.

19770312 Ada yang suka, ada yang kurang suka.pdf

Media Review

Title translation: Some like it and the others don’t Media: Tempo Magazine Article Date: March 12, 1977 Several figures in art gave their comments on the role of Indonesia New Art Movement that everybody was talking about. Danarto (painter, short story writer) gave positive responses on what so called “New Art Group”. To him, they were a generation that opened the gate to new thoughts and traditions and nearly had no connections with the former visual art in Indonesia. They had sharp observation on social politics phenomena and were able to express it successfully. The most important thing in their work was the ability to realize ideas. The presence of New Art Movement was regarded as the same with the presence of chances for other possibilities in the world of Indonesia’s visual art. Bagong Kusudiardjo (painter and dancer) said that New Art Group had done something that had never been done by their seniors. But, he still doubted whether they had what was needed to keep doing it. Personally, he himself feared that what they did was just an experiment with no strong concept. Regarding New Art Group’s act in using other people’s works as part of their works, Bagong personally did not think of it as an issue. It was fine, as long as they were used as materials in the works of the group. Zaini (painter, DKJ’s member of visual art committee) considered what had been exhibited by New Art Movement as nothing new. He said that such works had been exhibited many times in foreign countries. But, although technically what they had done could be regarded as imitation, New Art Movement was able to present local problems (and local materials as well) in its works. Umar Kayam (writer, sociologist) perceived that, compared to their previous exhibition, in terms of technique, New Art Group had made some progress. Their behavior was also more settled. But, for him, if they really wanted to create an alternative, why did they still imitate western painters, especially American? In short, to him, paintings from New Art Movement still had not reflected their surroundings. Muni Ardhi (New Art painter) said that they (New Art Movement) were always being judged by polarizing West and East. Whereas, according to him, those notions about West and East were notions brought to life by the very same seniors that often judged them. 10.

19770312 Bukan hanya sex atau protes.pdf

Media Review

Title translation: There’s more to it than simply about sex or protest Media: TEMPO Magazine Article by Putu Wijaya Date: March 12, 1977 An exhibition by the group of “Indonesia New Art” that was held in March 1977 was flooded by visitors. Even Jakarta Arts Council extended the length of exhibition schedule. Not only getting positive responses from public, it also received good responses from art partisans. For instance, Wahyu Sihombing from Jakarta Arts Council’s Board of Daily Worker regarded the mischiefs done by “Indonesia New Visual Art” group as something that had surpassed even things that had been done by Darmanto and Sutardji in the field of poetry. Putu Wijaya

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(article writer) said that the main strength of “new visual art” was their ability in creating stunning stuffs while at the same time remained being together with public by not being indifferent. Furthermore, Putu discussed, one by one, some works displayed in the exhibition, such as works of Harsono, Jim Supangkat, Muni Ardhi, Satyagraha, and Dede Ery Supria. In Putu Wijaya’s view, that new art exhibition had done a good job in convincing many people, not just drawing public’s attention. For him, they had created fresh ideas out of their skills and perseverance. Quoting Kusnadi (critic) who stated that new visual art exhibition possessed way more variations. Even more so if being compared with their previous exhibition. Many thought that they were too busy exploiting sex in that exhibition. 11.

19770314 Menggugat seni rupa baru Indonesia.pdf

Media Review

Title translation: Issuing disapproval towards The Indonesia New Art Movement Media: BERITA BUANA daily Essay by Jim Supangkat Date: March 4, 1977 In 1976, there was an exhibition entitled “Pameran Se-Abad Seni Rupa Indonesia” (A Century of Indonesia’s Visual Art Exhibition). Inside its catalog, the term “Indonesia’s new visual art” was used as an introduction to the works being exhibited. It was also said that Indonesia’s new visual art was pioneered by Raden Saleh. Jim Supangkat, a member of “Indonesia’s New Visual Art” group, said that the use of that term was not appropriate. Even more so when one remembered that many had condemned when he and his friends used the term “new visual art”. It was odd to see a once-condemned-term being used in A Century of Indonesia’s Visual Art Exhibition. Jim then put a distinction between New Indonesia’s Visual Art and Indonesia’s New Visual Art. According to him, works such as those created by Trisno Sumardjo belonged to New Indonesia’s Visual Art. Clinged to that term was, tight differentiations in visual art. On the contrary, works of Indonesia’s New Visual Art did not recognize differentiations in art, along with its boundaries. New visual art was an effort of renovation in art; it was a search. 12.

19770314 Naluri Membanding-bandingkan dan Sikap Pokrol-Bambu.pdf

Media Review

Title translation: The urge to weigh up and a certain attitude of “Pokrol-Bambu” Media: BERITA BUANA daily Article by Agus Dermawan T. Date: March 14, 1977 The instinct of comparing existed in Indonesian visual art. People tend to compare the development of Indonesian visual art with the tradition in the west. Indonesian New Art Movement tried to against that tendency. It tried to go beyond the formalistic discussion into problems related to the humanity. GSRBI had a tendency to communicate. It wanted a good conversation between the artists and the audience. The movement thought that art should change people’s way of life. The audience should actively engage in the art. After describing the tendency of GSRBI, the review asked whether people would judge the movement or not. As the closing, it stated that judging the movement can be seen as a lawyer’s attitude. (*Pokrol Bambu = Unlicensed Lawyer.) 13.

19770314 Refleksi Subyektif itu.pdf

Media Review

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Media: BERITA BUANA daily Date: March 14, 1977 A review from the discussion of Indonesian New Art 1977 exhibition. The review gave some notes on the discussion. The general one was about the artists’ talk that, according to the reviewer, reflected the need of explaining the artworks to the public. It was like the artworks themselves were not enough in presenting the artists’ idea. Other specific notes were as below. First, it dealt with the tendency of demanding from the artists. As an example, artists wanted people to perceive the artworks through his/her perspective. Second, it talked about the importance of listening to the critics for the artists. Third, an artwork might be good one or the bad one. However, whether it was good or bad, it might give certain meaning for the art critics. Fourth, the observers’ comments should be counted as subjective reflection. As subjective reflection it might be the excellent one. At the same time, it might be on the other way. 14.

19770315 Seni Rupa Baru Indonesia.pdf

Media Review

Title translation: Indonesian New Art Movement Media: MERDEKA daily Date: March 05, 1977 It reviewed the artworks in Indonesian New Art 1977 exhibition. It described them as artworks using everyday objects in order to communicate with public. Indonesian New Art, although still had tendency of using exclusive and sophisticated effects, tried not to become an ivory tower. However, its prospects and its future were still uncertain. 15.

19770318 Soal "senirupa baru".pdf

Media Review

Title translation: On “Indonesian New Art Movement” Media: MERDEKA daily Date: March 08, 1977 A piece on Indonesian New Art 1977 exhibition. This piece criticized Indonesian New Art Movement by saying them as imitator of Dadaism in the west. Furthermore, it considered the movement as the seed of alienation of Indonesian artists’ creative tradition that run for such a long time. It even stated the exhibition as a “terror” for Indonesian visual art. 16.

19770321 Seni Rupa Baru - Seni Rupa Dalam Kemasan Baru?.pdf

Media Review

Title translation: Indonesian New Art – Does It A Visual Art in New Packages? Media: BERITA BUANA daily Essay by Tarmizi Firdaus Date: March 21, 1977 Tarmizi Firdaus stated that every trial of discovering new sphere, although it triggered dispute, it kept the dynamic of Indonesian visual art in order to be diverse and dynamics. So that the exhibition from Indonesian New Art Movement, specifically in 1977. Although its peculiar artworks, it should be stated that the artworks were really communicative. However, Firdaus also underlined the importance of reflection to the movement. It stated that the movement should really aware about its need and its concepts. It emphasized the importance of being original. Without the consciousness, the movement might only be the Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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same with other groups of visual artists but with new packages. 17.

19770402 Beberapa pendirian yang mendasari pameran seni rupa baru Ind.pdf

Media Review

Title translation: Underlying standpoints prior to the exhibition of Indonesian New Art Media: SINAR HARAPAN daily Essay by Jim Supangkat Date: April 08, 1977 Jim Supangkat’s piece on some principles of Indonesian New Art Exhibition 1977. He talked about the way of the exhibition applying theory. According to him, applying theory in a situation where lack (or even none) of people using theory might trigger some arguments stating that the movement was confused and anxious. Another point that emphasized by Jim was about Indonesian New Art Movement consisted of friends instead of organization. As friends, they had no one single concept and one dominant tendency. They just friends who shared common anxiety. 18.

19770409 Pameran seni rupa baru di Alliance Francaise.pdf

Media Review

Title translation: The New Art Exhibition in Alliance Francaise Media: PIKIRAN RAKYAT daily Article Date: April 9, 1977 A Visual Art Group in Bandung named “Decenta” collaborated with Bandung’s Indonesia – France Cultural Union (Alliance Francaise) held Pameran Seni Rupa Baru Indonesia 1977 (Indonesia’s New Visual Art Exhibition 1977) in Bandung. The exhibition lasted from April 11 – 16 1977. The works displayed in the exhibition used media which were rarely used in Indonesia. The topics they brought, in average, were communicative and originated from daily stuffs. AD Pirous from Decenta Group said that the ‘77 Indonesia’s New Visual Art Exhibition was held based on the consideration that every effort in renewing visual art was worthy of positive responses. According to him, the artists of Indonesia’s new visual art needed help to expand their thoughts about the world of visual art and to engage appreciation from the society if it was seen from the perspective of development. The introduction of new media was also important in the new attitude of Indonesia’s visual art. 19.

19770413 Monumen Revolusi Karya Murni Ardhi Tampil Dengan Kesan Tersendiri.pdf .pdf

Media Review

Title translation: The Monument of Revolution by Munni Ardhi evokes a particular impression Media: PIKIRAN RAKYAT daily Article Date: April 3, 1977 An exhibition entitled “Seni Rupa Baru 77” (New Art ’77) was held in Bandung Alliance Francaise with supports from “Decenta” art group. It was the second exhibition of “Indonesia’s New Visual Art” group after their first one in TIM in 1976. What was noted from the exhibition was the limited availability of space. Due to limited space in Alliance Francaise’s exhibition room, some works that should had been displayed nonData Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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conventionally had to be displayed conventionally. It was unfortunate because nonconventional look was the main characteristic of “Indonesia’s New Visual Art” group. In addition, the audiences were not able to enjoy the works freely due to the same reason. Another note was that there were a number of works which seemed to put some distance between themselves and the public (because they were difficult to understand). But, it was also noted that there were some that were impressive. One of them was “Monumen Revolusi” (Monument of Revolution), a work created by Murni Ardhi. 20.

19770414 Pameran Seni-rupa Baru.pdf

Media Review

Title translation: The Exhibition of Indonesian New Art Media: Kompas daily Date: April 14, 1977 Decenta held Indonesian New Art 1977 exhibition in Indonesia-France Cultural Alliance. The exhibition was held from April 12 until April 16. The same exhibition used to hold in Jakarta. The exhibition was held in Bandung by considering that every single effort of reforming Indonesian visual art world should be supported and disseminated to the wider public. 21.

19770420 manifestasi penyakit mental masyarakatpameran seni rupa baru ind 77.pdf

Media Review

Title translation: Society’s mental illness is manifested in the Exhibition of Indonesian New Art 1977. Media: PIKIRAN RAKYAT daily Essay by Nanang Nukmana Date: April 20, 1977 New Art Exhibition ’77 was regarded as more than just an empty talk about reality, and also a manifestation of society’s mental illness that had forgotten the distance of mind. What was meant by the distance of mind was, for instance, if an artist knew aesthetic elements, society in general, which considered each object as it is (wood as wood, plastic as plastic), was regarded as not having the distance of mind. In its relation with the works of New Art Movement, the distance of mind was used as a basis in expressing taste. 22.

19780103 Senirupa dan Senirupawan Indonesia 19741977_Kompas.pdf

Media Review

Title translation: Art and artists in Indonesia since 1974 to 1977 Media: KOMPAS daily Essay by Agus Dermawan T. Date: January 05, 1977 Agus Dermawan’s piece on the development of Indonesian visual art during 1974 – 1977. Dermawan highlighted that, for some people, the development of Indonesian visual art during 1974-1977 indicated changes not only in term of form but also in term of concept. Indonesian New Art Movement was pointed as the one contributing significant changes during that period.

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Pameran Seni Rupa Baru Indonesia 1979 List of Files No 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

File Title 1979 GSRBI Book edited by Jim Supangkat 19791002 Terbit, buku GSRB.pdf 19791008 Seniman2 Jakarta, Bandung & Yogya pameran di TIM.pdf 19791018 Saya Anjing.pdf 19791019 Realitas sosial menjadi tema favorit.pdf 19791022 Eceng Gondok Seni Rupa Baru.pdf 19791022 Gerakan senirupa baru bubar.pdf 19791023 Gejolak angkatan muda lewat lukisan.pdf 19791023 Yang muda yang lupa arah.pdf 19791104 Sekitar Grup Seni rupa baru - Mereka Tampilkan Karya Seni Konyol dan Gila-gilaan.pdf 19791107 Seni Rupa Baru.pdf 19791214 Seni Rupa Paranoid Apedagogis.pdf 19800107 Tahun 1979 Menghadiahkan Banyak Peristiwa Senirupa Yang Mengesankan_Kompas.pdf

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

type Pdf Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review

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Pameran Seni Rupa Baru Indonesia 1979 Summary No 1.

File Title 1979 GSRBI Book edited by Jim Supangkat

type Pdf

Content: 1. Pengantar – Wiyoso Yososeputra (Introduction by Wiyoso Yososeputra) The introduction summarized that the book explain about Indonesian New Art Movement exhibition and the idea behind it. The book did not describe the history of Indonesian New Art Movement and their achievements. It seemed like the movement itself still in the journey of searching. Yososeputra stated that Indonesian New Art Movement reflected the development of Indonesian visual art. 2. Lima Jurus Gerakan Seni Rupa Baru Indonesia (Five Breakhtrough Maneuvres of Indonesian New Art Movement) On the Indonesian New Art Movement strategies. First, about throwing away the imagination of visual art as limited in form of sculpture, painting, and printing. The movement penetrated some new elements into those forms in oder to construct new forms in Indonesian visual art. Second, about throwing away elitism and avant-garde attitudes. Third, about hoping diversity in terms of Indonesian visual art forms. They wanted to find some new possibilities in Indonesian visual art. Fourth, thinking that Indonesian visual art history had its own history. The historywas different from the history of western visual art. It rejected the perception about Indonesian visual art development as a part of the development of international visual art. Fifth, creating a natural and close-to-the-society visual art. 3. Yang Sempat Saya Catat Sebelum dan Sesudah Pagelaran Seni Rupa Baru 1977 – Agus Dermawan T. (What I had Noted Before and After the New Art Exhibition 1977 by Agus Dermawan T) Agus Dermawan’s piece on the development of Indonesian visual art during 1974— 1977. Derwmawan noted some things before and after Indonesian New Art exhibition in 1977. He stated the movement brought some changes, not only in terms of forms but also in terms of concepts. He mentioned that in 1974 there were some exhibitions, such as the one from Munni Ardhi, Harsono, and Nanik Mirna, that showed experimentation in Indonesian visual art. Then in 1974, as a response to the Pameran Besar Seni Lukis Indonesia (Indonesian Paintings Exhibition), there was a Black December followed by some events such as the detention of some studens in ASRI Yogyakarta. Later, in 1975, Indonesian New Art Movement held their first exhibition. The exhibition was considered as a trial and experiment on some new forms and concepts in Indonesian visual art. As the result, the effect and the spirit of Indonesian New Art Movement disseminated. In 1977 there was the second exhibition of Indonesian New Art Movement. It was followed by Kepribadian Apa (What Personality) exhibition in the same year. Moreover, the Pameran Pelukis Muda Indonesia 1977 (Indonesian Young Painters 1977 Exhibition was dominated by the tendency and the style of Indonesian New Art Movement. Dermawan stated that in the future, there might be some changes in Indonesian visual art because of the spirit of Indonesian New Art Movement. 4. Dua Pola Pikiran Dalam Seni Rupa Baru – FX Harsono (Two Paradigms in the New Art Movement by FX Harsono) Harsono explained two paradigms in Indonesian New Art Movement. First, the paradigm tended to search factors of the decandency of Indonesian visual art development. This tendency considered that Indonesian visual art as dependent, lack of quality, and lack of Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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identity. Second, the one shared the vision of searching new conceptions in art practices. It wanted to create new and up-to-date works. 5. Satu Renungan Sekitar Identitas dan Perkosaan – G. Sidarta (A Reflection Surrounding Identitiy and Rape by G. Sidarta) G. Sidarta’s piece on the discourse about identity. The discussion was triggered by the increasing discussion about identity in the visual art scene. There’s lot of statements that often emerged in the discussion about identity in visual art scene. First, related to the personal style of the artists. Those who have personal style in their works often stated as those having identity. Second, identity as related to the self-reveal process. Third, identity as a form of originality. Because of diverse definition of identity, it was hard to simplify the discussion of identity. Moreover, simplifying the discussion on identity, especially for personal intention, according to Sidarta, was an unfair action. Sidarta also stated that the discussion of identity often touched the discourse about nationality. In Indonesia context then talking about identity meant talking about Indonesian identity as a nation. Indonesia identity might be resources for artistic process. However, according to Sidarta, some people rejected the idea of Indonesia identity and tended to think the identity as an inferior one compared to the universal identity. Sidarta was afraid of the tendency to develop Indonesian visual art based on the universal identity. 6. Catatan-catatan I – Hardi (Notes I by Hardi) Hardi’s piece on the relation between art and social political problems. Hardi questioned the position of Indonesian art in Indonesian social political context. Then Hardi started his elaboration on the relation between art and Indonesian social political context by examining Indonesian visual art history from mooi indie, Persagi, some cultural organizations (such as Lekra, Lesbumi, and LKN), Manikebu, until Indonesian New Art Movement and Kepribadian Apa (What Personality) group. 7. A compilation of essays on the polemic between Kusnadi and Sudarmadji in Kedaulatan Rakyat daily. (These were initially compiled by Sudarmadji.) -­‐ Seni Rupa Baru Menurut Kusnadi -- Wawancara oleh Supono Pr. (New Art According to Kusnadi – an interview by Supono Pr.) An interview between Kusnadi and Supono Pr. Supono asked Kusnadi’s opinion on Indonesian New Art Movement. In general, Kusnadi was skeptical (even quite cynical) with the artistic practices of Indonesian New Art Movement. -­‐ Visi Masa Lampau Kusnadi – Sudarmadji Kusnadi’s Old School Vision – by Sudarmadji) Sudarmadji stated that Kusnadi’s statement on Indonesian New Art Movement did not fit the young spirit of the movement. Moreover, Sudarmadji stated that Kusnadi’s statement reflected the older generation paradigm which was really opposite with the young spirit. -­‐ Menilai Pembelaan Sudarmadji pada Seni Rupa Baru Indonesia – Kusnadi (Revaluing Sudarmadji’s Arguments for the Indonesian New Art Movement – by Kusnadi) Kusnadi’s response on Sudarmadji’s previous writing. Kusnadi stated five arguments on responding Sudarmadji’s writing. First, he did not want to examine the young artists without compare them with the older generation. Second, Kusnadi saw that Sudarmadji also shared the same anxiety related to the Indonesian New Art Movement practices. Third, Kusnadi stated that Sudarmadji made people considered his examination on Indonesian New Art Movement as insignificant. Fourth, according to Kusnadi, Sudarmadji was false in describing his photograph of Ris Purwanto as an artwork that Kusnadi disliked. In fact, according to Kusnadi, Purwanto’s was one of the good artwoks in the exhibition. Fifth, according to Kusnadi, there was a big difference between saying your practices as new ones and examing the history of art

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seriously then digging out new possibilities in art. -­‐ Seni Rupa Baru Memancing Perdebatan – Sudarmadji (New Art Movement Triggers Debate – by Sudarmadji) Sudarmadji responded Kusnadi’s critics. There were several points of his arguments. First, he stated that Kusnadi gave a very rude critic to Indonesian New Art Movement. Second, Sudarmadji considered Kusnadi’s critic as a premature one. According to him, it woul be appropriate if Kusnadi waited for the exhibition from the group. Third, by examining Kusnadi’s way of viewing Jim Supangkat’s artworks, Sudarmadji concluded that Kusnadi approached the works by using old definition of visual art which did not suit Jim Supangkat’s artwork. -­‐ Pengingkaran dan Pengelakan Sudarmadji di Sekitar Nilai, Seni Rupa Baru – Kusnadi (Sudarmadji’s Denial and Defense Surrounding Value, New Art Movement – by Kusnadi) Once again, Kusnadi gave his response to Sudarmadji’s writing. He underlined that, according to him, Sudarmadji understood the lack of Indonesian New Art Movement exhibition. He also stated that there were some people, such as Nashar, Zaini, and Tuti Nurhadi, who shared the same view about the exhibition. According to them, the exhibition was nothing than the experiment of young generation. Moreover, Kusnadi also problematized the ethical sides of the exhibition due to some “naughty” symbols appeared in the artworks. -­‐ Kusnadi Nan Buruk Sangko – Sudarmadji (The Negative Thinking Kusnadi – by Sudarmadji) Sudarmadji stated that Kusnadi was really judgmental in examining Indonesian New Art Movement exhibition. He stated that it would take time in order to examine Indonesian New Art artistic practices. Moreover, he stated that a good interpretation of artworks did not depend of the same opinions about the artworks On the other hand, it’s related to the analysis on the artworks. Sudarmadji also asked Kusnadi’s position as the Chief of Visual Art Department in Art Council. According to him, Kusnadi should formulate methods to develop Indonesian young artist practices. -­‐ Terakhir untuk Sudarmadji – Kusnadi (The Last, for Sudarmadji – by Kusnadi) The last piece related to Sudarmadji and Kusnadi polemics. Kusnadi responded Sudarmadji’s question about his position as the Chief of Visual Art Department in Art Councils. According to him, he chose to prevent and develop some other young artists (those studied in art institutions) than those 11 young artists under Indonesian New Art Movement. It was because according to him the movement had lack of ethics and aesthetics. 8. Strategi Berkarya – Nyoman Nuarta (Artmaking Strategies – by Nyoman Nuarta) Nyoman Nuarta’s piece on the decandency of Indonesian artists. He stated that the situation might be the result of their settlement. Therefore, Nuarta stated that settlement might be dangerous for the development of one’s practices. In order to keep the development of their practices, according to Nuarta, an artist should have strategy in working. The first strategy related to the consciousness of the artis as human. The second one related to the awareness of an artist with the environment. An artist with strategy tried to live according to the development of the environment. 9. Pameran Konsep Seni Rupa Baru Indonesia – Siti Adiyati Subangun (Indonesian New Art Movement’s Concept Exhibition -- by Siti Adiyato Subangun) Adiyati’s piece on Indonesian New Art Movement 1976 exhibition. Adiyati stated the exhibition as a conceptual exhibition. The exhibition tried to work on two things. First, it wanted to “shake” the general rules/imaginations of Indonesian visual art. Second, it

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wanted to look at Indonesian visual art history. 10. Ade, Mahasiswa dan Seniman – Jim Supangkat (Younger Sibling, Students and Artists – by Jim Supangkat) Jim’s piece on the problem of Indonesian visual art. According to Jim, the problem dealing with the identity of Indonesian visual art. People often stated Indonesian visual art had no identity. Then people would state Indonesian visual art copied western tradition. Indonesian visual artists were considered as having lack of confidence in their practices. They did not brave enough in constructing their own concepts. This lack of confidences triggered them to copy foreign artists’ works. 11. Kelompok Menjadi Momok – Putu Wijaya (Group/Collectives as Examples by Putu Wijaya) Putu Wijaya’s piece related to the history of visual art groups/collectives. On of the significant group in Indonesian visual art tradition was Indonesian New Art Movement. Putu then desctribed Indonesian New Art Movement. He stated the group was quite different with former Indonesian artist groups/collectives. He stated that in the development of Indonesian NewArt Movement, there were some styles of the movement. The movement was no longer can be classified as one single entity due to the situation. 12. Melihat Diri, – Bernard T.H. Napitupulu (Looking at Self by Bernard T.H. Napitupulu) Bernard Napitupulu noted the development of art institutions in Indonesia and its influences to the development of Indonesian visual arts. According to him the art institutions might bring some bad paradigms to the young generation of Indonesian artists due to its curriculum and methods of teaching. Related to the situation, Bernard mentioned the importance of self-reflection of Indonesian young artists. 13. Wawancara Saya dengan Saya – Jim Supangkat (Interview Me with Me by Jim Supangkat) Jim Supangkat made an interview with himself on Indonesian visual art, especially related to Indonesian New Art Movement. 14. Puisi Kongkret = Seni Rupa = Seni Bunyi – Priyanto Sunarto (Concrete Poetry = Visual Art = Sound Art by Priyanto Sunarto) Priyanto’s piece on poetry, visual art, and music. He stated there were some similarities between them. 15. Mengingat Pada Seni Rupa 1975 – Dodo Karundeng (Remembering 1975’s Art by Dodo Karundeng) Dodo Karundeng shared his vision on Indonesian New Art Movement. According to him, the movement emerged as the result of the decandency of Indonesian visual art. The movement stated that art should be responsible in to the life. Indonesian New Art Movement was a form of cultural strategy. 16. Realisme, Gaya Seni Lukis Yang Nyaris Bangkrut – Dede Eri Supria (Realise, Avidly Dying Painting Style by Dede Eri Supria) Dede Supriya’s piece on realism in paintings. According to him, people started to see realism as an out-of-date style in paintings. In Indonesian visual art history itself, realism did not last in a quite long period of time. Since 1966, visual artist started to pay no attention to the nature. They started to consider those producing paintings about nature as copycats. Starting from that, Indonesian paintings started to be in form of abstract cubism, abstract geometrics, and etc. 17. Perspektif Baru – Sanento Yuliman (New Perspectives by Sanento Yuliman) Sanento Yuliman considered Indonesian New Art Movement exhibition in 1975 as an exhibition that gave a new artistic experience in comparison to the conventional experience. He underlined the tendency of playing with new medium amongst the artists in the exhibition. For example, the artists’ using of everyday objects. Yuliman assumed

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the tendency as the result of those young artists’ exhaustion on the conventional practice and form of art. Yuliman also tried to link the differences between those young artists and the former generations by describing the context of their area. Another note from Yuliman on the exhibition was the consciousness of the Indonesian New Art Movement artists about their distinction to the former generations. As his final statement, Yuliman concluded that each generation could find and establish teir own principles of art. 18. Seni Rupa Baru Indonesia – Jim Supangkat (Indonesian New Art by Jim Supangkat) Jim Supangkat’s piece on Indoneisan New Art Movement 1975 exhibition. He stated that the movement understood people’s responses toward their exhibition, especially those saying the exhibition as had lack of aesthetic. However, Jim stated that their starting point was their question on art should be beautiful. Jim also gave his argument on people’s complaint about the term ‘new’ in the movement’s name. According to him, ‘new’ reflected the aim of the movement. It also meant that the movement was still on the process in achiving the aim. 19. Rupa-rupa Seni, Praktek dan Teori – Tuti Herati Noerhadi (Various Art, Practice and Theory by Tuti Herati Noerhadi) In the world, once people discussed about practice and theory, people tend to choose practice over theory. It was because people considered practice would develop their ability, meanwhile theory wouldn't. However, sometimes, people should choose theory in order to become more reflective. Moreover, theory was needed in the situation where polemic happened just like what happened in 1975 when Indonesia new visual art movement held their exhibition. 20. Tentang Tiga Tulisan – Agus Tjahjono (About the Three Texts by Agus Tjahjono) Agus Tjahjono’s piece as a response on three different writings from Sanento Yuliman, Jim Supangkat, and Tuti Herati Noerhadi. Tjahjono stated that Yuliman noted the changes in Indonesian young artist practices. Meanwhile, Jim Supangkat underlined Indonesian New Art Movement wish to communicate with broader public. According to him, in order to reach the aims, there’s nothing to do besides expressing art in a new forms and media (the unconventional ones). On the other hand, Tuti Herati Noerhadi stated that the movement needed a clear and otentic subjects in order to express their artistic statement. 21. …… Short Story – Danarto A short story written by Danarto. 22. WABON SERABU (Wayang Boneka Seni Rupa Baru) – Jim Supangkat (Acronym à Traditional Shadow Puppet Doll of the New Arts by Jim Supangkat) Jim Supangkat shared his idea about new media in visual art. According to him, it would be interesting to construct new media in visual art. In his imagination, the new media would be in a form of puppetery named Indonesian New Art Movement puppetery. The puppet might be as big as humans. It might be in exhibited in a form of putter theatre. 23. Catatan - Catatan II – Hardi (Notes II by Hardi) Hardi’s note on artists’ tendency on talking about social political problems. He questioned whether it was true of not to talk about social political problems through artworks. He also questioned whether the choice of talking about social political problems was taken because of the trend or because of the artist realized the position as part of society. 2.

19791002 Terbit, buku GSRB.pdf

Media Review

Title translation: Recently published: A book on The Indonesian New Art Movement

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Media: BERITA BUANA daily News Date: October 2, 1979 A book entitled “Gerakan Seni Rupa Baru” (New Art Movement), which was edited by Jim Supangkat, was published. Some of the writers were Sudarmaji and Koesnadi (who used to confront the movement), Putu Wijaya, Sanento Yuliman, Hardi, Jim Supangkat, and Agus T. Darmawan. There was also a short story written by Danarto. 3.

19791008 Seniman2 Jakarta, Bandung & Yogya pameran di TIM.pdf

Media Review

Title translation: Artists from Jakarta, Bandung and Yogya are showing their works in Taman Ismail Marzuki Media: BUANA KARYA daily News Date: October 08, 1979 Indonesian New Art group held their third exhibition in Taman Ismail Marzuki (TIM). There were 28 participated artists exhibited about 2 – 5 artworks. The artworks were, such as, contemporary artworks, paintings, sculpture, photography, and sound installation. 4.

19791018 Saya Anjing.pdf

Media Review

Title translation: I’m A Dog Media: KOMPAS daily Comment by Abdul Rachman BA Date: October 18, 1979 A comment from newspaper reader about a work entitled ‘Saya Anjing’ (I’m A Dog) which was considered as a pornographic artwork. 5.

19791019 Realitas sosial menjadi tema favorit.pdf

Media Review

Title translation: Social Reality Emerged as Favorite Theme Media: SUARA KARYA daily Article by Susiana Darmawi Date: October 19, 1979 A review on Indonesian New Art 1979 exhibition. The exhibited artworks were in form of painting, sculpture, relief, photograph, and others. There were about 75 artworks in the exhibition. Generally, the artworks were experimental ones. They emerged from social experience and 6.

19791022 Eceng Gondok Seni Rupa Baru.pdf

Media Review

Title translation: The complexities of water hyacinth in The New Art Movement in Indonesia Media: Kompas daily Essay by Agus Dermawan T Date: October 22, 1979

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Agus Dermawan reviewed Indonesian New Art 1979 exhibition. He described and examined some exhibited artworks, such as the artworks from Munni Ardhi, Dede Supria, Jim Supangkat, Harsono, Agus Cahyono, Ronald Manurung, Hardi, and Siti Adiyati. Derwaman also mentioned about the audience’s various comments on the exhibition. 7.

19791022 Gerakan senirupa baru bubar.pdf

Media Review

Title translation: Dispanding Indonesian New Art Movement Media: Kompas daily News Date: October 10, 1979 After their exhibition in 1979, Indonesian New Art Movement chose to disband. Jim Supangkat, the spokesman, considered the choice as a common choice. He stated if they chose to continue the movement then it would turn the other way around with the movement spirit. 8.

19791023 Gejolak angkatan muda lewat lukisan.pdf

Media Review

Title translation: Youth angst expressed through paintings Media: MERDEKA daily Date: October 23, 1979 Another review on Indonesian New Art Movement 1979 exhibition. It stated, just like the previous exhibitions from the group, the spirit of young artists can be seen in their paintings. However, it underlined the lack of the exhibition, especially in terms of the artworks quality. According to the review, comparing to the previous exhibition, the group 1979 exhibition decreased in term of quality. The review also informed about the issues about the exhibition as the last exhibition from the group. 9.

19791023 Yang muda yang lupa arah.pdf

Media Review

Title translation: The youth who are losing direction Media: SUARA KARYA daily Essay by Yusuf Affendi Date: October 23, 1979 The review stated that Indonesian New Art 1979 exhibition had no longer spirit of experimenting. The concept and the oriention of the exhibition were not clear. It stated that exhibition was result-orientation instead of focusing on experiment. The exhibited artworks were in form of sculpture and paintings. 10.

19791104 Sekitar Grup Seni rupa baru - Mereka Tampilkan Karya Seni Konyol dan Gila-gilaan.pdf

Media Review

Title translation: New Art Group – They show ridiculously silly works Media: MERDEKA daily Article by Andriza Hamzah Date: November 04, 1979 From 9 to 20 October 197, an exhibition of Indonesian New Art Movement was held in TIM. 27 painters from Yogyakarta, Bandung, and Jakarta participated in the exhibition. The critics Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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considered the exhibited artworks as funny and “crazy”. The movement themselves stated that their works aimed to break the old conceptions down. The movement wanted to break any boundaries in Indonesian visual art. They stated that artworks might be in any kinds of forms. 11.

19791107 Seni Rupa Baru.pdf

Media Review

Title translation: Indonesian New Art Movement Media: KOMPAS daily Comment by Agus Dermawan T. Date: November 07, 1979 Agus Dermawan’s comment on Indonesian New Art exhibition. He underlined some lacks in the exhibition. For example, Harsono’s work was no longer in the gallery due to some troubles caused by children (the visitors). Another missing thing was the inappropriate captions of the artworks. 12.

19791214 Seni Rupa Paranoid Apedagogis.pdf

Media Review

Title translation: The paranoid and non pedagogic art Media: SUARA KARYA daily Date: December 14, 1979 The writer stated Indonesian New Art exhibition, which was initiated by Jim Supangkat, as a paranoid exhibition. The reason for stating the exhibition as a paranoid one was because of the tendency of hallucination in their artworks. It also stated that there was no further interaction between the audience and the exhibition. Moreover, it also underlined that some critics stating the exhibition as a good one was lack of analysis. 13.

19800107 Tahun 1979 Menghadiahkan Banyak Peristiwa Senirupa Yang Mengesankan_Kompas.pdf

Media Review

Title translation: The year 1979 in Indonesian art scene was gifted with many impressive events Essay by Agus Dermawan T Date: January 07, 1980 Agus Dermawan considered 1979 as the year of some insignificant visual art event. It was not only because of its various events but also because of some significant exhibitions in the year. He stated that most of the significant events were held in Jakarta. Some of the significant events were Pameran Pelukis Wanita Se Indonesia (Indonesian Woman Painters Exhibition), Pameran Keramik Kreatif (Creative Ceramics Exhibition), Hendra Gunawan’s solo exhibition in TIM, Jim Supangkat’s exhibition in the Paramount Bandung theatre, Pameran Seniman Muda se Indoensia (Indonesian Young Artists Exhibition), and so on.

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Seni Rupa Baru: Proyek 1 – Pasaraya Dunia Fantasi List of Files No 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

File Title 19870627_Diskusi Seni Rupa Baru 'Proyek Satu' oleh Arief Budiman, Hardi, Jim Supangkat_1.mp3 19870600 Katalog GSRBI 'Proyek 1' Pasaraya Dunia Fantasi_lo ID.pdf 19870207 Si resah di samping jalan.pdf 19870607 Ke Mana Semangat Muda.pdf 19870607 Kreativitas Simbol Urban.pdf 19870607 Membasmi kejahatan seni.pdf 19870615 Demokratisasi Seni Sebuah Perasaan Bersalah.pdf 19870615 Gerakan Pembebasan Seni Rupa.pdf 19870615 Ingin Kreatif Bersemadilah.pdf 19870615 Tanda Demokratisasi dan Pluralisasi Budaya.pdf 19870616 Pameran Pasaraya Dunia Fantasi- Sebuah tawaran, sebuah proses.pdf 19870617 Pasar Seni di Mata Seniman Menjadi Dunia Fantasi.pdf 19870618 Bersiasat Sambil Menjajakan Sesuatu.pdf 19870618 Sebuah Ekspresi Cetusan Kehidupan.pdf 19870620 Seni Rupa Baru Cermin Narrative Kebudayaan Kota.pdf 19870621 Ikhtiar Mengubah Definisi Seni Rupa Masa Kini.pdf 19870624 Lebih Cocok Jadi Pelawak.pdf 19870624 Seni Rupa Baru dan Pokrol Bambu.pdf 19870627 Dari pluralisme estetik.pdf 19870627 Kontradiksi seni rupa baru.pdf 19870627 Parodi Pasaraya_scanned.pdf 19870627 Winds of Contention blow Through Jakarta Art World.pdf 19870705 Pameran Seni Rupa-Rupa.pdf 19870719 Potret mini seni rupa Ind masa kini.pdf 19870909 Orang-orang Versus Seni lawan “Seni”.pdf 19870919 Potret mini seni rupa baru Indonesia.pdf

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

type Audio Catalogue Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review Media Review

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Seni Rupa Baru: Proyek 1 – Pasaraya Dunia Fantasi Summary No 1.

File Title 19870627_Diskusi Seni Rupa Baru 'Proyek Satu' oleh Arief Budiman, Hardi, Jim Supangkat_1.mp3

type Audio & Transcript

The audio from the discussion of Pasar Raya Dunia Fantasi, an Indonesian New Art Movement exhibiton. The speakers of the discussion were Arief Budiman, Hardi, and Jim Supangkat. 2.

19870600 Katalog GSRBI 'Proyek 1' Pasaraya Dunia Fantasi_lo ID.pdf

Catalogue

The catalogue of Pasar Raya Dunia Fantasi exhibition; Indonesian New Art Movement exhibition in 1987. The catalogue consisted of the Manifesto Seni Rupa Baru 1987 (Indonesian New Art 1987 Manifesto). It also explained the concepts of the exhibition in detail. There were some essays in the catalogue. The first one was from Jim Supangkat and Sanento Yuliman was entitled ‘Senirupa Sehari-hari Menentang Elite’ (Visual Art Based on Daily Life as An Opposition to the Elitism). The second one came from Arief Budiman. He talked about making the sacred values of aesthetic became near to common people. The third essay came from Emmanuel Subangun. Subangun wrote a piece on urban culture which had diverse attractions for the people. The fourth one came from Soetjipto Wirosardjono. Wirosardjono talked about the culture of art and visual art. Moreover, the catalogue also presented a diagram on the development of Indonesian modern art and culture. In general, the diagram talked about the history of Indonesian modern art and culture (including some significant events and organizations in the history of Indonesian modern art and culture) 3.

19870207 Si Resah di Simpang Jalan.pdf

Media Review

Title translation: The restless in a crossroad Media: TEMPO Article by Sanento Yuliman Date: February 07, 1987 There was anxiety amongst young artists in Jakarta, Bandung and Yogyakarta. The anxiety, as always, related to their spirit of struggle towards (what-they-called-as) establish system. This anxiety grew 10 years after the emergence of New Visual Art Movement. Related to those young artists' anxiety, there were some significant events noted in the essay. Those were the establishment of "Proses 86" (86 Process) and "Seniman Muda Yogyakarta" (Yogyakarta Young Artists) groups. It also noted the significance of Yani's exhibition in the Indonesia-France Cultural Centre Bandung during 23-27 January 1987. 4.

19870607 Ke Mana Semangat Muda.pdf

Media Review

Title translation: Art in transition – where are the youth spirit? Media: KOMPAS daily Essay by Sanento Yuliman Date: June 07, 1987

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Sanento Yuliman recalled his experience of writing for the catalogue of Indonesian New Art Movement first exhibition. He stated that the movement reflected young spirit in Indonesian visual arts. For the young artists, artworks should not be labeled as paintings, sculptures, printings, and etc. Artworks might be in the form of everyday life objects. Artworks might not belong to one artist but belong to some people as they’re the result of collaboration. Related to the young spirit, emerged questions whether the art institution would support the young spirit or not. Moreover, Yuliman also stated about galleries and markets’ lack of supports to the young artists practices. 5.

19870607 Kreativitas Simbol Urban.pdf

Media Review

Title translation: A creativity of urban symbols Media: Kompas daily Article by St Sularto Date: 1987 St Sularto wrote a piece related to Pasar Raya Dunia Fantasi, a group exhibition from Indonesian New Art Movement in 1987. According to him, the exhibition was a situational exhibition where in two weeks people there would be paintings, t-shirt, photographs, dolls, and etc exhibited. All those things would be exhibited in a visual art exhibition. According to the movement, those things (that will be created into artworks) were the symbol of urban creativity. 6.

19870607 Membasmi kejahatan seni.pdf

Media Review

Title translation: Eradicating Art Crimes Media: KOMPAS daily Article by Agus Dermawan T. Date: June 7, 1987 An article on New Visual Art. On June 15th, 1987, New Visual Art had their exhibition (after years of vacuum). They developed new possibility in creation. This group left the classical ways of thinking in art, such as romanticism and indivualism. New Visual Art also brought certain consciusness to the society about artworks and its relation to the society. 7.

19870615 Demokratisasi Seni Sebuah Perasaan Bersalah.pdf

Media Review

Title translation: Guilt that evokes democracy in art Article by Agus Dermawan T. Date: June 15, 1987 A discussion on the democratization of art. It mentioned that Indonesian New Art Movement practices as the example of trial of the democratization of art. Related to the democratization of art, Dermawan stated that about two types of it. The first one was democratization of art as a form of guilty feeling. It was a critical note on the development of Indonesian visual arts and Indonesian culture in general. The second one was the democratization of art as the way to form new aesthetic frameworks. 8.

19870615 Gerakan Pembebasan Seni Rupa.pdf

Media Review

Title translation: A movement to promote freedom in art Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Media: Kompas Daily Article by: Date: June 15, 1987 10 years before Pasar Raya Dunia Fantasi, Indonesian New Art Movement came out in 1979 by declaring their manifesto. Indonesian New Art Movement tried to go beyond the boundaries of Indonesian visual arts, especially in terms of forms. People commonly perceived visual arts in forms of printings, paintings, and sculptures. However, the movement stated that visual arts might be in any kind of forms. 10 years later, Pasar Raya Dunia fantasy could be seen as the realization of their movement. The exhibition was their freedom movement of Indonesian visual arts. There were three sides that the exhibition wanted to show. The first one was the mass culture. The second one was the design. Meanwhile the third one was the situational works. 9.

19870615 Ingin Kreatif Bersemadilah.pdf

Media Review

Title translation: So you want to be creative? Ever tried meditating? Media: KOMPAS daily Article by. Date: June 15, 1987 Summarized the discussion about becoming creative. According to the artists and some artworkers in the discussion, to be a creative person, one might need to meditate. By meditating, s/he might get the inspiration for his/her works. In creating works, artists might analyze some problems (might related to any kind of problem in daily life). Then the artists need to meditate the problem by him/herself in order to transform the analysis into artworks. 10.

19870615 Tanda Demokratisasi dan Pluralisasi Budaya.pdf

Media Review

Title translation: Signs of cultural democracy and pluralism Media: KOMPAS daily Article by Date: June 15, 1987 An article on Indonesian New Art. It was a summary on a cultural panel discussion related to Indonesian New Art Movement 1987 exhibition. The discussion discussed about Indonesian New Art Movement and its relation to Indonesian Modern Civilization. The discussion argued that tof Indonesian New Art Movement walkthrough as the democratization of art and plurality of culture with middle classes living in cities as the patron. Those two things (democratization and plurality of art) as a significant thing in life. 11.

19870616 Pameran Pasaraya Dunia Fantasi- Sebuah tawaran, sebuah proses.pdf

Media Review

Title translation: The Pasaraya Dunia Fantasi art show – an offer, a process Media: KOMPAS daily Article by Date: 1987 On art as a dynamic thing, always on process, always developed. It stated that every generation has their own definition of art. Therefore, every single expression of art should be appreciated. Related to that discourse, the article stated that Pasar Raya Dunia Fantasi Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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exhibition, which was initiated by Indonesian New Art Movement, showed a daily atmosphere. By doing so, it stated that the exhibition gave some suggestions, some process to the development of Indonesian visual arts scene. 12.

19870617 Pasar Seni di Mata Seniman Menjadi Dunia Fantasi.pdf

Media Review

Title translation: Art market in the eyes of artists are transformed as fantasy world Artists.pdf Media: Suara Pembaruan Article by Date: June 17, 1987 A review on Pasar Raya Dunia Fantasi exhibition. The exhibition was stated to be a replica of Pasar Raya (Shopping Market). The exhibition which was initiated by artist collective exhibited tings such as advertisings, magazine covers, calenders, stickers, and etc. Indonesian New Art Movement stated that the exhibition was initiated with the same idea under the manifesto. However, there’s development in their practices. The movement stated their practices as part of mass culture. Moreover, they stated their practices as daily practices and far from individualism. 13.

19870618 Bersiasat Sambil Menjajakan Sesuatu.pdf

Media Review

Title translation: Pursuing strategy while making an offer Media: Suara Pembaruan Article by Sri Warso Wahono Date: June 18, 1987 Wahono’s review on Pasar Raya Dunia Fantasi exhibition. According to him, compared to Indonesian New Art Movement previous exhibitions, some things were lost in the exhibition. The first one, the exhibition lost the society. The exhibition only focused on certain closed elite group. The second one, there’s no effect of exhibiting some industrial products in the exhibition. Third, as an independent creator (although they’re one group), they did not create a conceptual artworks. They just repeated some commercials. Fourth, their using of mass products did not make the products as common people’s products. Fifth, the movement stated they did not want to change the substances or the symbols of mass culture. However, the exhibition worked the other way around. 14.

19870618 Sebuah Ekspresi Cetusan Kehidupan.pdf

Media Review

Title translation: Expressing a story of living Media: Merdeka Article by Date: June 18, 1987 Some notes on Pasar Raya Dunia Fantasi exhibition. It stated that going to the exhibition had no differences with going to the mall. The audiences united the concepts of the exhibition. Because the exhibition was under the title Pasar Raya Dunia Fantasi, the audience might be perceived as the shoppers. However, it considered the idea of the exhibition as an old idea. Therefore, it disagree with the way of the movement stated they tried to gave some new concepts and aesthetic practices to Indonesian visual arts by organizing the exhibition. Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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15.

19870620 Seni Rupa Baru Cermin Narrative Kebudayaan Kota.pdf

Media Review

Title translation: Indonesian New Art as the narrative reflection of urban culture Media: A.B. Article by Date: June 20, 1987 Pasar Raya Dunia Fantasi was considered as the narration of city culture. It was because of its presentation which was alike with mart. The exhibition that stated as the realization of New Art manifesto. As noted, Indonesian New Art Movement (that initiated the exhibition) perceived artworks as things which did not only consumed by some people engaged in art but also for the public. Moreover, the exhibition was also perceived as symbol of Indonesian urban life. 16.

19870621 Ikhtiar Mengubah Definisi Seni Rupa Masa Kini.pdf

Media Review

Title translation: An attempt to redefine recent fine art Media: Prioritas Article by Date: June 21, 1987 Pasar Raya Dunia Fantasi was considered as a brave trial from Indonesian New Art group. It also mentioned about the group manifesto as part of the exhibition. The manifesto was named Manifesto Seni Rupa Baru 1987 (Indonesian New Art Movement 1987 Manifesto). Their manifesto entitled Seni Rupa Pembebasan (Freedom Visual Arts). They stated Seni Rupa Pembebasan was based on the idea that there should be some freedom in Indonesian visual arts. Indonesian visual arts needed some experimental and new ways. The freedom of Indonesian visual arts also meant that there should be some changes of Indonesian visual arts definition. It should not only in forms of paintings, sculptures, and printings. 17.

19870624 Lebih Cocok Jadi Pelawak.pdf

Media Review

Title translation: They are more of a comedian than artists Media:Pelita Article by Sutardji Calzoum Bachri Date: June 24, 1987 An article summarized some comments on Pasar Raya Dunia Fantasi exhibition. There were some comments from Sri Warso Wahono, Leon Agusta, Suka Hardjana, and Nashar on the exhibitions. Overall, they criticized the exhibitions. 18.

19870624 Seni Rupa Baru dan Pokrol Bambu.pdf

Media Review

Title translation: New Art Movement and Pokrol Bambu (unlicensed lawyer) Article by Sutardji Calzoum Bachri Date: June 24, 1987 Sutardji’s notes on Pasar Raya Dunia Fantasi exhibition. He stated that the exhibition was Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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less spectacular than the manifesto. He stated that differed from their manifesto, there’s nothing special from the exhibition. Supposed to be a Pasar Raya (supermarket), he valued the exhibition was less special in comparison to some supermarkets and malls such as Ratu Plaza, Glodok Plaza, Sarinah Jaya, or even Pasar Senen. Therefore, in the end of his piece, Sutardji suggested the movement to be more focus on developing their artworks than working on manifesto and some bombastic statements. 19.

19870627 Dari pluralisme estetik.pdf

Media Review

Title translation: Note on aesthetic pluralism Media: TEMPO magazine Essay by Sanento Yuliman Date: June 27, 1987 A review from the discussion following "Pasar Raya Dunia Fantasi" exhibition. The discussion's topic was "Seni Rupa Baru dan Kebudayaan Indonesia Modern" (New Visual Art and Indonesian Modern Culture). It discussed about aesthetic of using daily-life things in making artworks. The discussion is moderated by Umar Kayam. 20.

19870627 Kontradiksi seni rupa baru.pdf

Media Review

Title translation: The contradiction of new art movement Media: PRIORITAS daily Essay by Hardi Date: June 27, 1987 Hardi's piece on New Art exhibition in 1987. According to him, the exhibition was very different from the movement back then in 1975. It was considered as different from its way and its aim. Hardi stated that New Visual Art Movement itself declared themselves stopping their activity in 1979. Jim Supangkat himself, as the spokeman of the movement, stated that the choice was chosen by hoping that the younger generation could continue their spirit. However, later in 1987, Jim himself initiated an exhibition by claiming the name of new visual art. 21.

19870627 Parodi Pasaraya.pdf

Media Review

Title translation: A parody of supermarket Media: TEMPO magazine Essay by Sanento Yuliman Date: June 27, 1987 A review on "Pasaraya Dunia Fantasi", an exhibition by New Art Group at Taman Ismail Marzuki in 1987 (years after their exhibitions in 1975, 1977, and the latest one in 1979). The participants of the exhibition were graphic designers (Priyanto, Taufan, Oentarto, and Rudi Indonesia), painters (Harsono, Gendut Riyanto, Harris Purnama, Siti Adiyati, and Dadang Christanto), sculptor (Jim Supangkat), photographers (Fendi Siregar and Wienardi), filmmaker (Bernice), and interior designer (S. Malela). The group claimed the artworks as "situational artworks". All the exhibited artworks were those using daily-life things such as manekin, collages (from magazines, newpapers, and etc), stickers, and so on. 22.

19870627 Winds of Contention blow Through Jakarta Art World.pdf

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Media: The Jakarta Post Article by Margaret Agusto Date: June 27, 1987 Pasar Raya Dunia Fantasi was stated as the exhibition that invited the storm of appreciable dimension the Indonesian New Art Movement after their first manifesto in 1970’s. It also informed some points of critic on the exhibitions, although some people stated that the movement was getting better in terms of concepts. Despite the movement’s view on art should be near to everyday life, the article stated that there’s something lack in the exhibition especially in terms of aesthetic. It stated that the movement should work more on developing the way they presenting their artworks since somehow it’s hard to stated their artworks as ‘art’ because had nothing differences with everyday objects. 23.

19870705 Pameran Seni Rupa-Rupa.pdf

Media Review

Title translation: Various Visual Art Exhibition Media:Suara Pembaruan daily Article by Arwah Setiawan Date: July 5, 1987 Arwah Setiawan’s notes after seeing Indonesian New Art exhibition entitled Pasar Raya Dunia Fantasi. Arwah stated that in some years later there might be Gerakan Seni Rupa yang Disempurnakan (Indonesian Perfect Art Movement). The movement might be better (even perfect) compared to Indonesian New Art Movement. 24.

19870719 Potret mini seni rupa Ind masa kini.pdf

Media Review

Title translation: Mini portrait of contemporary Indonesian art Media: MERDEKA daily Essay by Deddy Daryan DB Date: July 19, 1987 An essay on the aesthetic of visual art. It questioned the possibility of discussing visual art without any knowledge about aesthetic. There were two point of view in seeing the aesthetic discourse in visual art. The first one was the invention of new medium of art. (for example by using daily-life things). Another one was the presentation in form of idiomatic and symbolic medium. In fact, idioms and symbols were tools for expressing and communicating. Art itself, precisely, wanted to communicate with its audience through those idioms and symbols. The problem was whether the communication could go smoothly or not. Related to the communication with the public, it mentioned the spirit of New Visual Art Movement back then twelve years ago: keep one's distance from subjectivism and individualism. 25.

19870909 Orang-orang Versus Seni lawan “Seni”.pdf

Media Review

Title translation: People Vs Art as Counter of Art Media: Kompas daily Article by Agus Dermawan T. Date: 1987 Dermawan stated Indonesian New Art exhibition as a significant exhibition. The exhibition was stated to be controversial, artificial, and primordial at the same time. For common Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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people, the exhibition might be perceived as representations of sex, politics, economics, war, and etc. They might reflect something by seeing the exhibition. However, for the specific public, especially those with cognition of art, the exhibition might be insignificant. However, Dermawan stated that it might be better if the specific public tried to put themselves in the position of common people in order to enjoy the New Art group exhibition. 26.

19870919 Potret mini seni rupa baru Indonesia.pdf

Media Review

Title translation: Mini portrait of contemporary Indonesian art Media: A.B.daily Essay by Deddy Daryan DB An essay on the aesthetic of visual art. It questioned the possibility of discussing visual art without any knowledge about aesthetic. There were two point of view in seeing the aesthetic discourse in visual art. The first one was the invention of new medium of art. (for example by using daily-life things). Another one was the presentation in form of idiomatic and symbolic medium. In fact, idioms and symbols were tools for expressing and communicating. Art itself, precisely, wanted to communicate with its audience through those idioms and symbols. The problem was whether the communication could go smoothly or not. Related to the communication with the public, it mentioned the spirit of New Visual Art Movement back then twelve years ago: keep one's distance from subjectivism and individualism.

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Seni Rupa Baru: Proyek 2 – The Silent World List of Files No 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.

File Title 19890900 Poster Pameran “Silent World” GSRBI 1989 19890909 Karya Seni Indonesia Tampil di Australia.pdf 19890912 AIDS di Mata 4 Seniman.pdf 19890912 Empat seniman Indonesia ikuti Festival ARX 89.pdf 19890913 Dunia Sunyi Penderita AIDS di TIM.pdf 19890913 Empat Seniman Wakili Indonesia ke Festival ARX di Australia.pdf 19890913 Seniman Indonesia Akan Tampil di Perth.pdf 19890913 The Silent World, Menantang Dunia.pdf 19890914 Kita Bukan Bangsa Yang Tertutup.pdf 19890914 Penjelasan Seni Rupa Baru.pdf 19890915 Seniman Indonesia Tampilkan AIDS dalam ARX 89.pdf 19890916 Silent World dan Senirupa Baru.pdf 19890916 Suatu Pameran Eksperimental Yang Pucat.pdf 19890917 Ketika AIDS Menjadi Seni.pdf 19890918 Empat Seniman Berpameran Bersama.pdf 19890923 Berkarya, Berwiraswasta dan Idealisme.pdf 19890923 Dari dunia senyap.pdf 19890924 Jim Supangkat geram karena kontemporer, tapi cuma menendang kardus.pdf 19891001 Kelompok Seni Rupa Baru Tampil di Australia.pdf 19891002 Apa Benar di Indonesia Banyak Korban AIDS?.pdf 19891008 Si ganas AIDS pun menteror Australia.pdf

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Seni Rupa Baru: Proyek 2 – The Silent World Summary No 1.

File Title 19890900 Poster Pameran “Silent World” GSRBI 1989

type

(The Poster of Indonesian New Art Movement 1989 Exhibition Entitled “Silent World”) 2.

19890909 Karya Seni Indonesia Tampil di Australia.pdf

Media Review

Title translation: Artworks from Indonesia exhibited in Australia Media: Media Indonesia daily News Date: September 9, 1989 Jim Supangkat, Nyoman Nuarta, Gendut Riyanto, and S. Malela would exhibit their artwork, entitled ‘The Silent World’, in Australia. 35 artists from around the world would participate in the exhibition. The exhibition would be twice. The first one in ARX 89 in Perth. The second one was an exhibition in Chameleon Contemporary Space 89 in Hobart. Jim, Nuarta, Gendut, and Malela were known as members of Indonesian New Art Movement. The movement was confronted by the older generation when it first emerged. Jim stated that the older generation’s view was based on tradition. Meanwhile the younger generation seek the experimentation. 3.

19890912 AIDS di Mata 4 Seniman.pdf

Media Review

Title translation: AIDS as seen in the eyes of 4 artists Media: Bisnis daily News Date: September 12, 1989 Jim Supangkat, Nyoman Nuarta, Gendut Riyanto, and S. Malela would exhibit their works in International ARX (Australia Regions Artists Exchange) in Part during October 1-14, 1989. Their artwork based on the health and social problems related to AIDS. Jim stated tha the theme might invite artists and public to perceive the artworks. Moreover, AIDS itself became a big problem in terms of health and social. 4.

19890912 Empat seniman Indonesia ikuti Festival ARX 89.pdf

Media Review

Title translation: Four artists from Indonesia joins ’89 ARX Festival Media: Pelita daily Article by Date: September 12, 1989 4 artists from Indonesian New Art Movement would participate in ARX (Australia and Regions Artists Exchange) 1989. They were selected after following the selection process. Those four artists were Jim Supangkat, Nyoman Nuarta, Gendut Ryanto, and Sri Malela. 5.

19890913 Dunia Sunyi Penderita AIDS di TIM.pdf

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Title translation: The silent world of people with AIDS in Taman Ismail Marzuki Media: TEMPO Magazine Essay by Sanento Yuliman Date: September 23, 1989 Nyoman Nuarta, Jim Supangka, Gendut Riyanto, and S. Malela presented an exhibition entitled "The Silent World" in Taman Ismail Marzuki (TIM) during 13-18 September 1989. This exhibition was the second project of New Art Group. Their first project was Pameran Pasaraya Dunia Fantasi back then in 1987. Moreover, this exhibition was intended to be the pre-exhibition before it would be exhibited in Australia and Regions Artists (ARX) 1989 in Perth. ARX itself aimed to be a gathering forum for Australia and Southeast Asia artists while they're showing their artworks in the exhibition. The theme for 1989 ARX was related to the city. The exhibition of New Visual Art Group itself promoted the issues of HIV AIDS as its theme. "The Silent World" was considered as a breakthrough of Indonesia visual art scene to the international stage. It was not only because it will be exhibited in Australia, but also because of the artworks: installation. Installation was considered as the most sophisticated medium of visual art. 6.

19890913 Empat Seniman Wakili Indonesia ke Festival ARX di Australia.pdf

Media Review

Title translation: Indonesia is represented by 4 artists for ARX in Australia Media: BERITA BUANA daily News Date: September 13, 1989 Four Indonesian artists (who belong to Indonesian New Art Movement) would be participated in ARX 89. They were Jim Supangkat, Nyoman Nuarta, Gendut Ryanto, and Sri Malela. They were selected by the comitee of the ARX festival. ARX itself was a festival as the continuation of Australia and New Zealand Biennale. ARX 89 itself was declared as an event for elaborating some new possibilities in visual arts. 7.

19890913 Seniman Indonesia Akan Tampil di Perth.pdf

Media Review

Title translation: Artists from Indonesia are exhibiting in Perth Media: News Date: September 13, 1989 Artworks from four Indonesian collective artists would be exhibited in ARX Festival 1989. The festival itself was an experimental art festival. Their works would talk about AIDS. They wanted to examine the silent world of people with AIDS. Jim Supangkat, as the spokesman of the group, stated that the artworks belong to the artists as one collective. They worked together in any kinds of visual art forms such sculpture, printings, interior design, and etc. 8.

19890913 The Silent World, Menantang Dunia.pdf

Media Review

Title translation: The Silent World, posing a challenge to the world Media: PELITA daily Article by Slamet Riyadhi Date: September 13, 1989

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This piece was started by mention Indonesian New Art Movement development. It stated that as a movement claimed themselves as a new one, Indonesian New Art Movement got some pro and contra. In the development, the movement itself got some changes, especially related to its members. However, in 1989, four members of Indonesian New Art Movement would participate in ARX 1989 Festival. They made one collective artwork with AIDS (related to its health and social issues as its theme. Ryadhi saluted those four artists because they were chosen as the representative of Indonesian artists. 9.

19890914 Kita Bukan Bangsa Yang Tertutup.pdf

Media Review

Title translation: We are not a closed nation Media: PELITA daily News Date: September 14, 1989 It summarized Rudini (Indonesian minister) speech in the opening night of The Silent World exhibition in Taman Ismail Marzuki. Since The Silent World would be exhibited in ARX 1989 Festival, Rudini suggested the artists to present the high values of Indonesian ancestors. Rudini also hoped that the exhibition would decrease people’s perspective about Indonesia as a backward country. Rudini also hoped that visual art might be a good way of communicating in order to say that Indonesia was not an exclusive nation. 10.

19890914 Penjelasan Seni Rupa Baru.pdf

Media Review

Title translation: An Explanation on Indonesian New Art Movement Media:KOMPAS Daily Essay by Harsono Date: September 14, 1989 Harsono’s responses on Indonesian New Art Project 2 in 1989. As one of Indonesian New Art Movement pioneer and Indonesian New Art project exhibition in 1987, Harsono wanted to share some points on Indonesian New Art Movement. He hoped that his explanation might bring some clear points related to the movement for the public and specific public of the art world. Harsono stated, after disbanding Indonesian New Art Movement; no one should declare himself as the spokesman of the movement. Moreover, every art event that organized by former members of Indonesian New Art should be under each individual responsibility. He also stated that using ‘Indonesian New Art’ in any kinds of activities done by the former members of the movement only related to the tendency of working. It did not identify the collective activities of the former members of the movement. In order to prevent confusion to the movement, Harsono suggested each former member of Indonesian New Art to declare and describe their activities after the disbanding of the movement. Harsono also mentioned that Indonesian New Art project 2 (The Silent World) had no relation with Indonesian New Art project 1 (Pasar Raya Dunia Fantasi). 11.

19890915 Seniman Indonesia Tampilkan AIDS dalam ARX 89.pdf

Media Review

Title translation: Artists from Indonesia brought up issues of AIDS for ARX 89 Media: BISNIS daily News Date: September 15, 1989

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Since AIDS became a widespread disease, Indonesian artists were interested to present the problem in form of artworks. 4 artists, who declared Indonesian New Art Movement, exhibited 22 fiberglass artworks talking about a person with AIDS’s activities. The artworks would be exhibited at Taman Ismail Marzuki. Next, the artworks would fly to Australia participating in ARX 1989 festival. 12.

19890916 Silent World dan Senirupa Baru.pdf

Media Review

Title translation: Silent World and New Art Media: PELITA daily Article by Panji Hartono HR. Date: September 16, 1989 ‘The Silent World’ was examined through by some other pioneers of Indonesian New Art Movement, especially because the exhibition used the name of the movement, and some other art-workers. Hardi, one of the pioneers of Indonesian New Art Movement, stated that the exhibition was far from the idea of the movement. He stated the exhibition had lack (or even had none) of experimental spirit. He even stated that the exhibition was just a replica of George Siegal, a pop art artist from America, practices. He also disagreed with the way of the exhibition using the name of Indonesian New Art Movement. Another opinion came from Dede Supria. He saluted the exhibition though according to him the execution was not total. Meanwhile, Sutardji Ch. Bachri, a poet, stated that the works under the theme of AIDS did not emerge awareness from the public about the silent world of people with AIDS. He stated the exhibition should to be that way. 13.

19890916 Suatu Pameran Eksperimental Yang Pucat.pdf

Media Review

Title translation: A Pale Experimental Exhibition Media: MERDEKA daily News Date: September 16, 1989 ‘The Silent World’ was stated as an incomplete exhibition. The exhibition considered as a subtle exhibition. If the exhibition was a person body, then it should be a mutilated body that had no head, fingers, and etc. The exhibition was considered as having no identity. 14.

19890917 Ketika AIDS Menjadi Seni.pdf

Media Review

Title translation: When AIDS becomes art Media: KOMPAS daily Article by Sri Warso Wahono Date: September 17, 1989 Wahono stated that four artists who exhibited their works in ‘The Silent World’ did not familiar enough with the issue. They were lack of phsycological reflection about the issue. As the result, the exhibition was lack of reflections. It just a bombastic artworks without causalistic references, especially in terms of artistic. Wahono also noted some others minus points of the exhibition. However, he stated that as a pre-exhibition before the artworks would be presented in ARX 1989 Festival, the exhibition was quite enough. He suggested the artists to improve some aspects of the exhibition before presenting it in ARX 1989 Festival.

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15.

19890918 Empat Seniman Berpameran Bersama.pdf

Media Review

Title translation: Four artists exhibit together Media: S.uara Pembaruan daily News Date: September 18, 1989 A review on ‘The Silent World’. It informed about the exhibition as the exhibition from four artists under the name of Indonesian New Art Movement. The artworks talked about AIDS. Since the exhibited artworks would be presented in ARX 1989 Festival, Nyoman stated, though did not talk about Indonesian tradition, they tried to use symbols of Indonesian tradition. As an example, he stated about using panji masks as one part of the artworks. By doing so, they hoped to be the ambassador of Indonesia in the international stage. 16.

19890923 Berkarya, Berwiraswasta dan Idealisme.pdf

Media Review

Title translation: Working, entrepreneurship and idealism Media: PELITA daily Article by Pandji Hartono Date: September 23, 1989 An article focused on Nyoman Nuarta’s process as one of four artists exhibited ‘The Silent World’. In short, Nuarta stated that he considered his process in preparing ‘The Silent World’ as a process of working, vacancing, and realizing his idealism. 17.

19890923 Dari dunia senyap.pdf

Media Review

Title translation: From The Silent World Media:TEMPO Essay by Sanento Yuliman Date: September 23, 1989 Yuliman examined ‘The Silent World’. According to him, the artistic process of the exhibition was a complex and detail one. He stated the exhibition as a breakthrough of Indonesian visual art to the international stage. It was not only because they exhibited the works abroad but also because they played with a current language of visual art named installation. 18.

19890924 Jim Supangkat geram karena kontemporer, tapi cuma menendang kardus.pdf

Media Review

Title translation: Jim Supangkat condemns contemporary art but he can only kick some cardboards Media: PELITA daily News Date: September 24, 1989 Informing about Jim Supangkat’s wish to bring Indonesian contemporary art to the international stage. According to him, international world was open to Indonesian traditional works. However, they had lack of awareness to Indonesian comtemporary artworks. Therefore, he wanted to bring the works in international stage in order to prove that the development of Indonesian visual art was able to compete with other regions around the world. ‘The Silent World’ then could be considered as Jim’s breakthrough (together with his Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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3 other friends under the name of Indonesian New Art Movement) in the international stage. 19.

19891001 Kelompok Seni Rupa Baru Tampil di Australia.pdf

Media Review

Title translation: The New Art Movement group exhibits in Australia Media: MEDIA INDONESIA daily Article by Yan T Date: October 1, 1989 A review on four artists under the name of Indonesian New Art exhibition in ARX 1989 Festival. The artwork was stated to be artworks wanted to talk about AIDS and wanted to change people’s perspective about the virus. However, the effectiveness of the artworks in changing people’s perspective about AIDS was debatable. 20.

19891002 Apa Benar di Indonesia Banyak Korban AIDS?.pdf

Media Review

Title translation: Are there truly that many victims of AIDS in Indonesia? Media: SUARA PEMBARUAN daily Article by Ray Rizal Date: October 2, 1989 A review on The Silent World, an exhibition from Indonesian New Art Group in ARX 1989 Festival. Jim stated that the artworks using the theme AIDS because according to them AIDS was a significant disease related to its social and political issues. However, some people criticized the theme because according to them AIDS was not familiar in Indonesia. It seemed like there were lack (or even none) of people becoming victims of AIDS in Indonesia. Therefore, it seemed like irrelevant to talk about AIDS because it might considered as the representation of Indonesia current situation. However, people appreciated the ability of the group to bring their artworks in international festival. 21.

19891008 Si ganas AIDS pun menteror Australia.pdf

Media Review

Title translation: The gruesome of AIDS shown in art in Australia Media: KOMPAS daily Article by MI-14 Date: October 8, 1989 There were several cases of AIDS in Australia creative scene. Some of its creative people were suffered from AIDS (and even some of them died). There were John Barningham (film director), Terry Divola (the pioneer of puppet theatre), and Dave Sargent (children book writer), to mention some names, who died because of AIDS. Australia people, especially those working in the art scene and creative industry, considered the phenomena as something scary. In relation to the increasing number of AIDS cases in Australia, New Art Group, an Indonesia artist collective, exhibited their artworks under the them of AIDS in The Australian and Regions Exchange '89 exhibition in Perth, Australia. Jim Supangkat, as the delegation of the group, stated that the theme was chosen by examining related social problems in Indonesia and Australia.

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Essays, articles, or previous research on GSRBI in general List of Files No 1. 2. 3. 4. 5. 6.

7. 8. 9. 10.

File Title 19830000 Sekitar Bangkit dan Runtuhnya Gerakan Seni Rupa Baru Indonesia.pdf 19841231 Mengharu seni rupa baru.pdf 19860000 GSRBI dalam Tinjauan Kritik Sosial.pdf 19920000 Gerakan Seni Rupa Baru_Asikin Hasan's Thesis.pdf 19940000 Setelah "Pemberontakan" Seni Rupa.pdf 20100000 Contextualizing Contemporary Art- Propositions of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia (Cornell, K. McGowan).pdf 20100000 Taring Padi- Seni Melawan Tirani, p59-76.pdf 20101220 Seni Rupa Kontemporer Indonesia dirintis GSRB? Hmmmm.pdf 20110000 The Trials of Indonesian Conceptualism.pdf 20120400 The Problematic Rupture of GSRB.pdf

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Media Review Paper Paper – Thesis Essay on Journal Paper – Thesis

Essay on bookunpublished Media Review Paper – Thesis Paper – Dissertation

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Essays, articles, or previous research on GSRBI in general Summary No 1.

File Title 19830000 Sekitar Bangkit dan Runtuhnya Gerakan Seni Rupa Baru Indonesia.pdf

type

Title Translation: Around the Rise and Fall of the Indonesian New Art Movement Essay by Jim Supangkat Seni Dalam Masyarakat Indonesia Bunga Rampai, Edi Sedyawati & Sapardi Djoko Damono (ed.), Jakarta, Gramedia, 1983 There was no shock or even disappointment when Gerakan Seni Rupa Baru (GSRB—New Art Movement) was disbanded in 1979. It showed that GSRB was a movement. The movement itself was something interesting. It almost always appeared in the middle of turbidity (stuck of creativity, unstable social condition, and dissatisfaction to everything). The main idea, it had a wider sociometric scale than other art problems which generally were specific and only prevailed among particular artists in a particular way. The main form of GSRB was a youth movement—which at that time, involved young visual artists from Bandung and Yogyakarta—. In its development, GSRB found some new problems. The breakthrough of the limit of painting, sculpture, graphic, inevitably, led the movement to more fundamental problem of visual art: questioning the limit of visual art and basic knowledge of Indonesia’s visual art. Fundamental problems appeared such as: whether Indonesian painting existed or not, thought of the position of marginal visual art, its unstable development, artists and critics did not put the basic knowledge and walked without any purpose, and also about actual social problems and cultural problems. As the movement went by, there was new members addition. There was also specialicism in work. Both of them encouraged the falling of GSRB. There were two sides that collided each other. The first one, the stance that viewed GSRB as renewal which continually gave birth to newness without thinking of the existence of Indonesia’s visual art, without any need to examine the basic knowledge for its development. The second one, the stance of finding the newness— which was considered as the breakthrough of the stuck of creativity—it also craved the study of any visual art problems, questioned its position and its sensitivity among society. In working conception, both stances collided each other. The first one tended to go back to painting reference, while the second one wanted to hold on “visual art” reference without any limitation. This debate, then made the people involved in GSRB decided to dissolve that movement. 2.

19841231 Mengharu seni rupa baru1.pdf

Media Review

Title translation: Romanticizing the New Art Movement Media: KOMPAS Daily Interview with Sudarmadji, Kusnadi, Agus Dermawan T, Hardi, ell Date: December 31, 1984 In the first Indonesia Painting Biennale, there was an occurrence known as Black December. It was a form of protest against the juries’ attitude that many thought to have the tendency of being conservative, leaving no space for experimental paintings. It occurred on December 31, 1974. It was then resulted in the birth of New Art Movement, a movement powered by the students of ASRI and ITB. For a few years this movement had created festivity in Indonesia’s visual art. It was their choice to use daily objects which was then crowned as astonishing works of art. But the movement did not last long enough. Some that Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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were joined and became its supporters disappeared from Indonesia’s visual art. 10 years after the birth of New Art Movement, Kompas interviewed some painters and critics to remind about that movement. The conducted interview was not only a tribute but also tried to portray the general problem of Indonesia’s visual art. 3.

19860000 GSRBI dalam Tinjauan Kritik Sosial.pdf

Paper

Title Translation: The New Art Movement in Social Critic’s Perspective Paper - Unpublished, by Enin Supriyanto Date: 1986 A study on New Art Movement as examined from socio-critical study. The background of the study was the lack of theoretical and scientific study on visual art. Moreover, New Art Movement itself was considered as a significance movement in the history of Indonesia visual art. It was considered significant because of its critical, contextual, and participatory approaches. Doing a study on New Art Movement, then, was considered as something important for understanding modern Indonesia visual art. 4.

19920000 Gerakan Seni Rupa Baru_Asikin Hasan's Thesis.pdf

Paper – Thesis

Title translation: Indonesian New Art Movement Paper - Thesis by Asikin Hasan Date: 1992 Asikin Hasan's thesis on Indonesian New Art Movement. The thesis examined New Art Movement in 1975, 1977, 1979, 1987, and 1989. The discussion was about the tendency of the artworks, themes, and ideas from the New Art Movement. 5.

19940000 Setelah "Pemberontakan" Seni Rupa.pdf

Essay on Journal

Title translation: After the “Rebellion” of Indonesian Visual Art Media: KALAM journal Article by Yustiono Date: 1994 Yustiono’s piece on the IX Jakarta Biennale. Yustiono tried to re-examine the idea behind the biennale. In general, Yustiono stated that the biennale indicated new phenomena in Indonesian visual art. Moreover, he mentioned that the development of Indonesian visual art seemed to be random in comparison to western visual art tradition. For example, the breakthrough of Indonesian New Art Movement in 1970s was considered as similar to the Pop Art in America around 1950s. Yustiono then described and examined the current wave and development of Indonesian visual art by positioning IX Jakarta Biennale as the example. 6.

20100000 Contextualizing Contemporary Art- Propositions of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia (Cornell, K. McGowan).pdf

Paper – Thesis

Title: Contextualizing Contemporary Art- Propositions of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia Paper - Dissertation by Amanda K. Rath Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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Date: 2010 An excerpt from Amanda Katherine Rath's doctorate thesis entitled Contextualizing 'contemporary art': Proposition of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia. The excerpt was taken from the chapter four of the thesis. Rath examined the art of rebellion in the 1970s. According to her, rebellion was a crucial mechanism in the development of contemporary art in Indonesia. Artists engaging in the rebellion, and calling for reforms within art education were participants in the debate over national cultural identity and art's role in its construction. In her elaboration on the topic, Rath divided the chapter into 4 sub-chapters. Those were about Desember Hitam (Black December) and the discourse of the Pesta Seni 74, about the new tradition of Dissent in ASRI, about Gerakan Seni Rupa Baru Indonesia (The Indonesia New Art Movement), and about the use of traditional or regional culture. 7.

20100000 Taring Padi- Seni Melawan Tirani, p59-76.pdf

Essay on bookunpublished

Title translation: Taring Padi – Art Against the Tyranny Taring Padi's unpublished monograph Paper - Unpublished by Ronny Agustinus Date: 2010 A paper on Taring Padi as an artist collective in 1990s. The paper started with mentioning about Peristiwa Desember Hitam (1974), pameran Kepribadian Apa (1975, 1979), and Gerakan Seni Rupa Baru (1975-1979) as some actions of disappointment on Indonesia visual art scene in 1970s. All them could also be considered as trials of restoring socialpolitical theme to visual artworks. At the same time, it tried to extend some possibilities in visual art to cut some borders in the scene. They also a trial of contesting aesthetic definition and categorisations in visual art. Therefore, before examining Taring Padi, the paper started with its valuation on the critical visual art from 1970s until 1990s. 8.

20101220 Seni Rupa Kontemporer Indonesia dirintis GSRB? Hmmmm.pdf

Media Review

Title translation: New Art Movement Initiated Indonesian Contemporary Art? Hm… Media: VISUAL ARTS Magazine Essay by Aminuddin TH Siregar Edition December 2010, p. 31-33 An essay questioning the New Art Movement (GSRB) as the pioneer of contemporary art in Indoensia. The essay also criticized the "heroic" tendency in narrating the history of the movement. GSRB was known for its five principals which always considered as new principals in Indonesia visual art scene. The essay tried to examine each claim. First, related to the movement's desire to liberate itself from the border of fine art. The essay questioned the target of the movement related to their desire: whether the education institution or art institution established by the government. Second, its rejection toward whatit-called as ivory tower. GSRB thought that art should burst into social and actual problem in the society. The essay stated that as a old concept. That kind of tendecy had been existed for two decades. Third, about the movement's desire for trying new possibilities in working. The movement then claimed that they started "pluralism" in art. The essay stated that the concept had been argued by Trisno Sumardjo in 1954. Sumardjo called it as "keragaman gerak hidup" (the variety of life movements). Fourth, about GSRB's rejection on the idea of

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universalism and the history of art from the west. However, their medium of working, such as installation performance art, happening art, found objects, and etc came from the west. Fifth, GSRB outlook on art as something that could be useful and accepted by the society. The essay stated about that kind of outlook also came from Persagi and Lekra long time ago. 9.

20110000 The Trials of Indonesian Conceptualism.pdf

Paper

Title: The Trials of Indonesian Conceptualism Paper - Thesis by Paul Khoo Date: 2011 A thesis on the evolution of Indonesian conceptualism, conceived by the intellectuals and artists behind the New Art Movement of 1975, over the last thirty years. 10.

20120400 The Problematic Rupture of GSRB.pdf

Paper

Title: The Problematic Rupture of GSRB Paper - Thesis by Sophia Susanto Date: April, 2012 A dissertation on the Indonesian New Art Movement (GSRB). It tried to evaluate the aesthetic and practices of GSRB to discover if the movement did caused a rupture. The analysis of the dissertation led to a conclusion that despite flaws in their manifesto, the introduction of some good practices in the country allows GSRB to deserve proper tribute in the timeline of Indonesian art history.

Data Catalogue for GSRBI Archives Collected and compiled by HYPHEN—

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