Description
Book SynopsisGets to the heart of what is unique about Indonesian art. Exploring the work of established and emerging artists in Indonesia’s vibrant art world, this book examines why so many artists in the world’s largest archipelagic nation choose to work directly with people in their art practices. While the social dimension of Indonesian art makes it distinctive in the globalized world of contemporary art, Elly Kent is the first to explore this engagement in Indonesian terms. What are the historical, political, and social conditions that lie beneath these polyvalent practices? How do formal and informal institutions, communities, and artist-run initiatives contribute to the practices and discourses behind socially engaged art in Indonesia? Drawing on interviews with artists, translations of archival material, visual analyses, and participation in artists’ projects, this book presents a unique, interdisciplinary examination of ideologies of art in Indonesia.
Table of Contents
- Author's Introduction: Entanglement in the world
- Part 1: History, identity and culture: the matrix for the artist's soul
- Si Kabayan Nyintreuk: eccentricity and activism
- Local knowledge: Jiwa ketok
- The unified eye: Where do the Quiet Ones Go?
- Etching performance: reflections from praxis
- Personal/social/interactive: a formula for the engaged artist
- Drawing on the personal-social-interactive
- Part 2: Turba, down to 'the people'
- People's culture inside and outside institutions
- Participation, pedagogy and politics: Made Bayak's Plasticology
- Adiboga Wonoasri – cosmopolitanism out of starvation
- Jakarta Biennale and Trotoart: social tactics in the city
- IBU at Cigondewah: turba as antagonism
- Part 3: Kerakyatan: conscientisation for the people
- The New Order and New Indonesian Art: Opportunity and Oppression
- Conscientisation and the rakyat – global/local entanglement
- Rayuan Pulau Kelapa – turba, conscientisation and negotiation
- KuehSenyum: actions in social exchange
- Tepuk Tangan Nuhun: interventions in gratitude
- Back to the Bay: Tita Salina and conceptual conscientisation
- Performing opposition: the burial of Made Bayak
- Part 4: Ethics and Aesthetics
- Local knowledge: gotong royong and rasa
- Pirates and maids: gotong royong as horizontal knowledge-building
- An ecosystem of production: institutional practices and contemporary art practice in Indonesia
- Mamahkuaing: maternal feelings
- Rasa: Feeling, Flavour, Taste and Touch
- A conversation: true fiction, fictional truth
- Impermanent conclusions
- An artistic ideology
- Originary discourses
- Coda
