Pameran Lukisan Koleksi PKJ-TIM & DKJ: 40 Tahun Desember Hitam Lukisan yang Baik

Pameran Lukisan Koleksi PKJ-TIM & DKJ: 40 Tahun Desember Hitam “Lukisan yang Baik“ Exhibition of Joint Collection of PKJ-TIM & DKJ: 40 th Aniiversary of Black December “The Good Painting“ Galeri Cipta II, Taman Ismail Marzuki 19 Desember 2014 – 10 Januari 2015 Penanggung Jawab // Producers Pusat Kesenian Jakarta Taman Ismail Marzuki & Dewan Kesenian Jakarta Kurator // Curator Leonhard Bartolomeus & Riksa Afiaty Ko-ordinator Redaksional // Editorial Co-ordinator Aurora Benita Penerjemah // Translator Helly Minarti Penyelaras Bahasa // Proofreader Ana Rosdianahangka Desainer Grafis // Graphic Designer Riosadja Foto // Photos Eva Tobing Andike Widyaningrum Logo ‘Lukisan yang Baik’ // Logotype of ‘Lukisan yang Baik’ Ikesh Olopolo Foto Sampul // Cover Photo Foto Pembukaan Pameran Besar Seni Lukis Indonesia 1974, The Opening of the Indonesia’s Great Painting Exhibition 1974 Courtesy: DKJ Pusat Kesenian Jakarta Taman Ismail Marzuki & Dewan Kesenian Jakarta Taman Ismail Marzuki, Jalan Cikini Raya, No. 73 – Jakarta Pusat 10330 T/F: +6221.31937639 / www.dkj.or.Id

Galeri Cipta II, Taman Ismail Marzuki 19 Desember 2014 – 10 Januari 2015

DAFTAR ISI // CONTENTS Sambutan: Kepala Badan Pengelola Pusat Kesenian Jakarta Taman Ismail Marzuki Preface: Head of Management Jakarta Arts Center – Taman Ismail Marzuki

Sesapuan Kuas oleh Ketua Dewan Kesenian Jakarta A Stroke of Brush by Chairman of Jakarta Arts Council

Muda Membaca yang Muda oleh Ketua Komite Seni Rupa Dewan Kesenian Jakarta The Young Reading The Young by Head of Visual Arts Committee - Jakarta Arts Council

Pengantar Kuratorial: Pameran Lukisan Koleksi Pusat Kesenian Jakarta – Taman Ismail Marzuki & Dewan Kesenian Jakarta: 40 Tahun Desember Hitam “Lukisan yang Baik” Curatorial Introduction: Painting Exhibition Collection of Jakarta Arts Center - Taman Ismail Marzuki & Jakarta Arts Centre: 40 Years of Black December “The Good Painting”

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Penjelasan Surat Keputusan Dewan Juri Pameran Besar Seni Lukis Indonesia 1974 Dewan Kesenian Jakarta oleh Dr. Sudjoko 35 The Explanatory Letter of the Jury Panel on the Big Exhibition of Indonesian Paintings 1974 by Jakarta Arts Council by Dr. Sudjoko 39

Pernyataan Desember Hitam Declaration of Black December

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Surat Budaya 1 oleh D. A. Peransi A Letter on Culture 1 by D. A. Peransi

Lukisan yang Baik - Pameran Besar Seni Lukis Indonesia 1974 The Good Painting - Indonesia’s Great Painting Exhibition 1974

Karya Seni / Artworks

Di Balik Desember Hitam 1974: Seorang “Provokator” dan Seorang Penguasa oleh Bambang Bujono Behind the Black December 1974: A “Provocator” and Someone in the Powerhouse by Bambang Bujono

Biografi / Biography

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TENTANG PKJ-TIM PUSAT Kesenian Jakarta – Taman Ismail Marzuki (seterusnya disingkat PKJ-TIM) berlokasi di Jalan Cikini Raya 73, Jakarta Pusat dan diresmikan oleh Gubernur Pemerintah Daerah Provinsi DKI Jakarta, Jend. Marinir Ali Sadikin, tanggal 10 Nopember 1968. Ismail Marzuki (1914 – 1957), adalah seorang komponis pejuang kelahiran Betawi (Jakarta) yang telah menciptakan lebih dari 200 lagu, di antaranya lagu-lagu perjuangan bangsa yang hingga kini masih sering diperdengarkan, antara lain, lagu Halo-Halo Bandung, Berkibarlah Benderaku, Nyiur Melambai, Sepasang Mata Bola. Atas jasanya itu, komponis Betawi ini diabadikan namanya untuk penamaan Pusat Kesenian Jakarta yang populer disebut Taman Ismail Marzuki (TIM). TIM dibangun di atas areal tanah seluas sembilan hektar persegi. Dahulu tempat ini dikenal sebagai ruang rekreasi umum Taman Raden Saleh (TRS). Selain dapat menikmati kesejukan paru-paru kota dan nonton sejumlah hewan, pengunjung TRS juga bisa nonton balap anjing di trek Balap Anjing. Ada juga lapangan bermain sepatu roda berlantai semen, dua gedung bioskop - Garden Hall dan Podium – yang melengkapi suasana hiburan malam bagi warga yang suka nonton film. Bang Ali – panggilan akrab Ali Sadikin – terkenal akan kejeliannya mengatur tatanan kota Jakarta, mengubahnya menjadi ibukota yang metropolitan. Salah satu prestasinya adalah mendirikan Taman Ismail Marzuki dengan Institut Kesenian Jakarta (IKJ) di belakangnya.

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ABOUT PKJ-TIM THE Jakarta Art Center -Taman Ismail Marzuki is located at Jalan Cikini Raya 73, Central Jakarta. It was officially opened by the Jakarta Governor Ali Sadikin, on November 10, 1968. Ismail Marzuki (1914-1957), was a Batavian (Jakarta) modern composer who had composed more than 200 songs, some of them are heroic songs which are often heard until now, such as Halo-Halo Bandung, Berkibarlah Benderaku, Nyiur Melambai, Sepasang Mata Bola. For his honorable service this Batavian composer’s name is immortalized as the name of Jakarta Art Center, popularly known Taman Ismail Marzuki (TIM). TIM is built on the land of nine hectares. Originally, it was a public park (Taman Raden Saleh). It is where the Batavians could breathe the fresh air and observe various animals including watching the greyhounds at the Dogs Race track. There was also a cemented playground for roller bladers, two cinemas – Garden Hall and Podium – for those movie goers. Bang Ali – as Ali Sadikin was affectionately called – was known for his ingenuity in managing Jakarta landscape, transforming it to become a metropolitan capital. One of his landmarks is to have established the Taman Ismail Marzuki with the Jakarta Arts Institute attached to it.

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TENTANG DKJ DEWAN Kesenian Jakarta (DKJ) adalah salah satu lembaga yang dibentuk oleh masyarakat seniman dan dikukuhkan oleh Gubernur DKI Jakarta, Ali Sadikin, pada tanggal 7 Juni 1968. Tugas dan fungsi DKJ adalah sebagai mitra kerja Gubernur Kepala Daerah Propinsi DKI Jakarta untuk merumuskan kebijakan guna mendukung kegiatan dan pengembangan kehidupan kesenian di wilayah Propinsi DKI Jakarta. Anggota Dewan Kesenian Jakarta diangkat oleh Akademi Jakarta (AJ) dan dikukuhkan oleh Gubernur DKI Jakarta. Pemilihan anggota DKJ dilakukan secara terbuka, melalui tim pemilihan yang terdiri dari beberapa ahli dan pengamat seni yang dibentuk oleh AJ. Nama-nama calon diajukan dari berbagai kalangan masyarakat maupun kelompok seni. Masa kepengurusan DKJ adalah tiga tahun. Kebijakan pengembangan kesenian tercermin dalam bentuk program tahunan yang diajukan dengan menitikberatkan pada skala prioritas masing-masing komite. Anggota DKJ berjumlah 25 orang, terdiri dari para seniman, budayawan dan pemikir seni, yang terbagi dalam 6 komite: Komite Film, Komite Musik, Komite Sastra, Komite Seni Rupa, Komite Tari dan Komite Teater.

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ABOUT DKJ THE The Jakarta Arts Council (Dewan Kesenian Jakarta – DKJ) is one of several organizations founded by Indonesian artists and had been officially stated by The Governor of Jakarta, Ali Sadikin, on June 17, 1969. The responsibility and the function of the The Jakarta Arts Council are to build partnership with the Governor of Jakarta, formulating policies for supporting the activities and development of the arts in the capital region. During the early stages, the members of The Jakarta Arts Council had been appointed by the Academy of Jakarta, consisting of intellectuals and people of the cultural and arts of Indonesia. As time progresses the selection process is conducted transparently through a team of art scholars and experts, both from within and outside the Academy of Jakarta. They receive the candidates from the public and respected arts groups, and their administration term will run for 3 years. The arts development policies will be carried out through annual programs from each committee, all prudently curate it internally. DKJ consists of 25 members and divided into 6 committees: Film, Music, Literature, Fine Arts, Dance and Drama.

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SAMBUTAN KEPALA BADAN PENGELOLA PUSAT KESENIAN JAKARTA TAMAN ISMAIL MARZUKI MEMPERBARUI ingatan kita, pada Desember 2014 ini, Pusat Ke­ senian Jakarta menyelenggarakan Pameran Koleksi, dengan tema khusus yaitu : “40 Tahun Desember Hitam”. Kenapa pula, “Desember Hitam?” Pada 1974, ketika Dewan Kesenian Jakarta menyelenggarakan Biennale Seni Lukis Indonesia, beberapa pelukis terpilih memperoleh hadiah atau penghargaan dari Dewan Kesenian Jakarta karena karya mereka dinilai sebagai karya terbaik. Cara penilaian dan pemilihan beberapa seniman ini sebagai pemenang, di mata para peserta lain, terutama mereka yang muda-muda, dipandang menghina reputasi dan prestasi, profesional sesama seniman peserta Biennale DKJ. Dari sanalah lalu, beberapa seniman atau pelukis muda peserta Biennale 1974 mengirim kado, karangan bunga hitam (bunga kematian) kepada DKJ, yang telah dianggap merendahkan martabat seniman atau pelukis muda Indonesia. Hal ini yang menjadi alasan bagi Badan Pengelola TIM dan DKJ memprakarsai sebuah pameran. Untuk mengulik sejarah perjalanan seni rupa Indonesia yang kini telah melesat maju begitu jauh berikut nilainilai yang amat beragam dan memiliki kesetaraan satu sama lainnya. Semoga pameran ini memberi manfaat yang cukup besar bagi kita semua. Salam!

Bambang Subekti Kepala Badan Pengelola Pusat Kesenian Jakarta Taman Ismail Marzuki

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PREFACE: HEAD OF MANAGEMENT JAKARTA ARTS CENTER TAMAN ISMAIL MARZUKI RENEWING our memory in December 2014, the Jakarta Arts Center (henceforth BP TIM) is organizing the exhibition of its collection, featuring a special theme: “40th Anniversary of Black December”. Why Black December? In 1974, when the The Jakarta Arts Council (DKJ) had organized the Indonesian Painting Biennale, some painters were awarded for their works described among the best. In the eyes of the young artists, the method of jury selection and how those winning works were evaluated were seen as demeaning the reputation and achievement of the other participating painters. Thus, some of these young painters participating in the Indonesian Painting Biennale in 1974 sent a funeral bouquet to DKJ, as way of stating the protest. This was the reason for The TIM Management (BP TIM) and DKJ to initiate a nostalgic exhibition around the same commemorating month. It’s a way to review the journey of Indonesian fine art that by this time has advanced so fast, including the diverse – and yet equally important – values preceded it. I certainly hope that this exhibition could enlighten all of us.

Bambang Subekti Head of Management Jakarta Arts Center Taman Ismail Marzuki

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SESAPUAN KUAS SEJAK awalnya, dunia senirupa modern Indonesia sarat dengan polemik dan kontroversi yang mewarnai wacana artistik dan estetika. Pameran bersama koleksi Pusat Kesenian Jakarta (PKJ) TIM dan Dewan Kesenian Jakarta (DKJ) bertajuk “Lukisan yang Baik” mengungkap salah satu momentum penting polemik tersebut. Pameran ini merujuk pada Pameran Besar Seni Lukis Indonesia yang diadakan pada Desember 1974. Pameran yang menjadi cikal bakal Jakarta Biennale ini, diikuti kurang lebih 80 pelukis. Frasa “Lukisan yang Baik” muncul dalam surat pernyataan juri atas karya-karya yang dianggap unggul, yaitu lukisan-lukisan yang bergaya abstrak-dekoratif. Beberapa seniman yang mengikuti lomba, menggugat keputusan itu dengan secara simbolis mengirimkan karangan bunga duka cita pada acara penutupan tanggal 31 Desember. Mereka juga melahirkan deklarasi “Pernyataan Desember Hitam 1974” yang ditandatangani oleh 13 seniman. Desember Hitam pada saat itu bisa digambarkan sebagai bentuk protes sejumlah perupa muda yang karya eksperimentalnya dinilai main-main dan tidak mencerminkan kepribadian bangsa. Peristiwa ini melahirkan Gerakan Seni Rupa Baru Indonesia. Pameran bertajuk “Lukisan yang Baik” ini adalah hasil kerjasama PKJ-TIM dan DKJ sebagai upaya mengunjungi kembali momentum bersejarah tersebut melalui koleksi-koleksi lukisan kedua organisasi di mana kami bekerja ini. Pameran ini adalah langkah awal kolaborasi PKJ TIM dan DKJ untuk mengembalikan koleksi seni milik publik yang kami simpan kepada publik.

Irawan Karseno Ketua Pengurus Harian DKJ

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A STROKE OF BRUSH SINCE the beginning, the world of fine art in Indonesia has been colored by polemics and controversies that help co-shape its discourse of artistic and aesthetic. This exhibition of joint-collection of the Jakarta Arts Center of Taman Ismail Marzuki ( (PKJ-TIM) and the The Jakarta Arts Council (DKJ) entitled “The Good Painting” unfolds one of those important momentums of such polemics. This exhibition refers to the Indonesia’s Great Painting Exhibitions held at TIM in December 1974 which was preceding the Jakarta Biennale and no less than 80 painters took part. The phrase of “The Good Painting” appears in the jury letter announcing the selected winning paintings, those bearing the abstract-decorative style. Some of the participating artists reacted to the jury’s decision by symbolically sending a funeral bouquet to the closing of the exhibition on 31 December. They also published “Declaration of Black December 1974” which was signed by 13 artists. The Black December could be described as a protest act of these young artists whose experimental works were considered not serious and thus didn’t reflect the nation’s character. This incident gave birth to the Gerakan Seni Rupa Baru Indonesia or the Movement of the new Indonesian Fine Art. This year’s exhibition entitled “The Good Painting” is a collaboration between PKJ-TIM and DKJ as a way of revisiting this historical momentum through a joint-collection of both organizations where we work now. This exhibition also marks the early collaboration between PKJ TIM and DKJ as a way of returning this public-owned collection in our temporary care to its true stakeholders, the public itself.

Irawan Karseno Chairman, The Jakarta Arts Council (DKJ)

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MUDA MEMBACA YANG MUDA SEJAK didirikan, Pusat Kesenian Jakarta Taman Ismail Marzuki (PKJ-TIM) telah diniatkan sebagai ruang eksperimentasi, ruang perdebatan, dan presentasi kegiatan kesenian di Indonesia. Para pendiri pusat kesenian ini—yang dulunya merupakan pusat kesenian terbesar di Asia Tenggara—meletakkan dasar-dasar ruang perdebatan kebudayaan, yang pada akhirnya melahirkan pelbagai peristiwa penting dalam perjalanan sejarah kesenian dan kebudayaan kita. Pada periode awal berdirinya di tahun 1970-an, PKJ-TIM yang dikelola oleh Dewan Kesenian Jakarta (DKJ), telah menjadi denyut utama wajah seni rupa kita. Denyut itu masih dapat kita rasakan hingga saat ini. Bahkan, pameran Gerakan Seni Rupa Baru (GSRB) yang dipelopori seniman muda kala itu, menjadi salah satu ‘benchmark’ aktivisme kesenian yang menjadi acuan para peneliti tentang perkembangan seni rupa modern di Indonesia. Tentu bukan hanya GSRB yang menjadi ‘benchmark’ yang dapat dilihat dalam aktivitas PKJ-TIM dan DKJ. Ada banyak program yang dilahirkan di ruang-ruang pusat kesenian ini, dan peristiwa-peristiwa itu tersimpan cukup rapi dalam berbagai arsip dan koleksi benda seni

16 PKJ-TIM dan DKJ. Koleksi benda-benda seni PKJ-TIM pada periode 1970-an hingga 1980-an sangat erat hubungannya dengan sejarah politik kebudayaan masa awal pemerintahan Orde Baru. Pencarian identitas kebangsaan (nasionalisme) yang selalu menjadi isu utama dalam perkembangan kebudayaan dan kesenian di Indonesia, sangat tergambar jelas dalam peristiwa seni rupa pada periode ini. Salah satunya adalah Peristiwa Desember Hitam 1974, yang dipelopori oleh seniman-seniman muda. Surat pernyataan Desember Hitam adalah sebuah penolakan dari seniman-seniman muda terhadap klaim keindonesian dalam kontek estetika yang dinyatakan para juri Pameran Besar Seni Lukis Indonesia yang diprakasai oleh Dewan Kesenian Jakarta. Pada penghujung 2014 ini, DKJ bekerjasama dengan Badan Pengelola Taman Ismail Marzuki (BP-TIM), menginisiasi pameran koleksi benda seninya, sebagai usaha membuka koleksi yang tersimpan di dua lembaga satu atap ini ke publik. Pameran ini secara khusus diniatkan untuk membaca kembali peristiwa-peristiwa penting dalam kesenian yang terjadi di PKJ-TIM yang berkaitan dengan koleksi dan arsipnya. Untuk itu, DKJ menunjuk dua kurator muda, Leonard Bartolomeus dan Riksa Afiaty, untuk mengelola dan mengemas sebuah pameran arsip dan koleksi benda seni ini. Kuratorial Bertolomeus dan Riksa membingkai Peristiwa Desember Hitam 1974, yang pada 2014 ini tepat 40 tahun sejak peristiwa itu terjadi di Taman Ismail Marzuki. Komite Seni Rupa DKJ berpendapat, bingkaian dua kurator muda ini sangat penting untuk melihat bagaimana sejarah seni rupa Indonesia hadir dalam konteks aktivismenya, pencarian identitas estetika keindonesian serta ‘pilihan ideologi’ kesenian senimanseniman muda. Peristiwa Desember Hitam merupakan sebuah ‘riak besar’ yang menggulirkan peristiwa-peristiwa besar lainnya dalam seni rupa Indonesia selanjutnya pada tahun 1970-an hingga 1980-an. Peristiwa-peristiwa itu dipelopori oleh kalangan muda yang penuh semangat terhadap perubahan. Dua kurator muda ini ditantang untuk

17 membaca kembali peristiwa tersebut dalam konteks kekinian; muda membaca yang muda. Dengan pameran ini, DKJ berharap dapat menjadi salah satu cara membaca sejarah perkembangan seni di Indonesia dengan kemasan kekinian, yang pada akhirnya mempersempit ‘jarak’ waktu antara peristiwa bersejarah tersebut dengan audiens-nya sekarang. Untuk itulah dibutuhkan pembacaan seniman dan kurator seperti Bartolomeus dan Riksa, yang mengerti perkembangan kekinian, mental menonton sekarang, dan bagaimana peristiwa kesenian dikemas dalam kesekarangan. Semoga pameran ini dapat diapresiasi dengan baik oleh masyarakat. Selamat mengapresiasi.

Hafiz Rancajale Ketua Komite Seni Rupa DKJ

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THE YOUNG READING THE YOUNG SINCE its founding, the Jakarta Arts Center of Taman Ismail Marzuki (henceforth PKJ-TIM) was meant to be a space for experimentation, for debates as well as where the arts activities were presented in Indonesia. The founders of this arts center – then the biggest of its kind in Southeast Asia – had laid a foundation for cultural debates to take place, which eventually gave birth to various events of our arts and cultural journey. In the beginning (of the 1970s), PKJTIM was managed by the Jakarta Arts Center (henceforth DKJ), and it became the main heartbeat of Indonesian art. This heartbeat still can be heard until now. Even more, the artistic movement known as Gerakan Seni Rupa Baru (GSRB) – New Art Movement (henceforth GSRB) – pioneered by the young artists, became one of the ‘benchmarks’ of activism in the arts, which later was marked by the arts researchers as one of the momentums of the development of Indonesian fine art. For sure, GSRB was not the only ‘benchmark’ that could be viewed within the activities by PKJ-TIM and DKJ. There are other programs materialized in these art spaces, and these events are more or less neatly stored in the various archives and collections of the artwork of the PKJ-TIM and DKJ. These art collections of PKJ-TIM from

20 the period of the 1970s to the 1980s, are closely intertwined with the history of cultural politics of the early New Order era. Seeking the national identity (nationalism) which has been always a main issue in the arts and cultural development in Indonesia is clearly reflected through the art events taking place during this period. One of these key events is the Black December 1974 incident, pioneered by some young artists. The declaration of Black December is a refusal of these young artists to the claim of Indonesianess within the context of the final decision by the jury of the Indonesia’s Great Painting Exhibitions organized by the The Jakarta Arts Council. Toward the end of the 2014, DKJ collaborates with the PKJ-TIM to initiate a joint exhibition of each art collection as a way to open these collections stored under these two public institutions under the same roof, to the public. This exhibition deliberately aims to re-read the key art events taking place at PKJ-TIM which is related to its collection and archive. For this reason, DKJ has assigned two young curators, Leonard Bartolomeus and Riksa Afiaty, to organise and package an archive- and collection-based exhibition. Bertolomeus and Riksa decided to frame their curatorial around the Black December 1974, which this year hits its 40th anniversary and took place at the Taman Ismail Marzuki, the Jakarta Arts Center. The Committee of Visual Arts, DKJ, is of the opinion that it is important to review this historical event through the lens of these two curators, as a way to view how the history of Indonesian fine art exists through its activism context, the seeking of Indonesian aesthetic identity as well as the ‘chosen ideology’ of the then young artists. The Black December incident was a ‘big ripple’ which in turn help trigger the next big events in Indonesian fine art in the coming period of 1970s to 1980s. And, those events were pioneered by the young artists eager to initiate changes. These two curators are challenged to re-read them within today’s context: how the young read the (once) young. DKJ hopes that this exhibition can be a way of reading the

21 history of Indonesian fine art presented in today’s packaging, which eventually will narrow the ‘distance’ between that historical event with contemporary audiences. It is precisely why we need that such review coming from young artists and curators like Bartolomeus and Riksa, who understand the latest development, relate to today’s audience and how this exhibition should be packaged within contemporary idiom. I hope that this exhibition can be well appreciated by the society.

Hafiz Rancajale Head of Visual Arts Committee, DKJ

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LUKISAN YANG BAIK “LUKISAN yang baik” adalah frasa yang tertulis dalam kepala surat pernyataan penerima hadiah Pameran Besar Seni Lukis Indonesia 1974. Pameran yang diikuti oleh lebih dari 80 pelukis itu merupakan cikal bakal dari apa yang sekarang dikenal sebagai Jakarta Bienalle. Keragaman peserta sayangnya tidak berimbang dengan kecenderungan artistik yang ditampilkan. Dalam keputusan ‘lukisan yang baik’ itu, gaya abstrak dekoratif—yang tengah popular kala itu—menjadi tema yang mengikat lima penerima hadiah: Abas Alibasyah, Aming Prayitno, A.D. Pirous, Irsam, dan Widayat. Persoalan mengenai hal yang ‘baik’ dan ‘kurang baik’ tersebut kemudian dijelaskan secara lebih rinci dalam surat laporan pertanggungjawaban.1 Dalam tulisan tersebut Dr. Sudjoko, mewakili Dewan Juri lain: Affandi, Popo Iskandar, Alex Papadimitriou, Fadjar Sidik, Kusnadi, dan Umar Kayam, memberikan alasan di balik keputusan pemilihan karya-karya yang dinilai baik. Ada beberapa hal 1) Penjelasan Surat Keputusan Dewan Juri Pameran Besar Seni Lukis Indonesia 1974-Dewan Kesenian Jakarta. Diambil dari katalog pameran “Seni Lukis Indonesia Tidak Ada”. 2007.

26 yang disinggung di sana. Pertama adalah masalah manfaat pemberian hadiah, kedua masalah kreatifitas, dan ketiga, isu orisinalitas. Keputusan dan juga surat-surat itu rupanya menimbulkan perasaan kurang baik pada beberapa perupa, terutama yang masih muda. Mereka yang kebanyakan masih berstatus sebagai mahasiswa seni itu merasa ada yang salah dengan perkembangan seni rupa Indonesia, yang tidak menampakkan wawasan terhadap masalahmasalah paling asasi dari kebudayaan Indonesia.2 Kondisi ini kemudian ditanggapi dengan mengirimkan karangan bunga duka cita pada hari penutupan pameran, 31 Desember 1974. Aksi tersebut diikuti dengan mempublikasikan surat sikap yang dikenal sebagai Pernyataan Desember Hitam 1974 dan ditandatangani oleh 13 seniman, diantaranya: FX Harsono, Hardi, Bonyong M. Ardhi, DA Peransi, Muryoto Hartoyo, dan Baharuddin Marasutan. Sebuah balasan yang tegas dan lantang, menolak premis-premis yang muncul dalam tulisan laporan tersebut. Salah satu pasal yang cukup keras adalah pernyataan bahwa seni rupa Indonesia masih menganut konsepkonsep usang, yang dipenuhi oleh pengusaha seni budaya dan seniman mapan. Protes keras itu kemudian berbalas dengan dikeluarkannya mahasiswa yang terlibat dalam penandatangan pernyataan. Satu hal yang kemudian menarik untuk disimak dalam persilangan polemik ini adalah sikap Dewan Kesenian Jakarta (DKJ), yang pada 1975 memberi kesempatan seniman-seniman muda untuk berpameran. Pameran kemudian menandai apa yang disebut Gerakan Seni Rupa Baru Indonesia. Akibatnya, sikap DKJ sebagai patron kebudayaan dipertanyakan, karena seperti tidak memiliki pandangan dalam melihat masalah ini. Keberadaan media massa juga cukup penting untuk mengangkat peristiwa ini menjadi kontekstual di masyarakat. Isu ‘seniman tua’ dan ‘seniman muda’ dihembuskan untuk menciptakan konflik yang sulit diatasi di antara kedua belah pihak. Dalam konteks sejarah seni rupa, kedua peristiwa di atas 2) Surat Pernyataan Desember Hitam 1974, Dokumen Dewan Kesenian Jakarta.

27 merupakan bagian penting dari kepingan perkembangan seni dan budaya Indonesia. Pertama, Pameran Besar Seni Lukis 1974, adalah pameran lukisan pertama yang tampil dalam skala sedemikian masif dan ambisius, saat itu. Hal itu dapat diperhatikan dari kuantitas karya yang tampil, 240 buah lukisan dan diselenggarakan di tiga tempat sekaligus: Museum Pusat di Medan Merdeka Barat, Gedung Stovia, dan Pusat Kesenian Jakarta. Hal kedua, tentu peristiwa Desember Hitam itu sendiri, yang pada masa kini sering dianggap sebagai penanda perubahan arah perkembangan seni rupa Indonesia, bukan hanya persoalan estetika dan konsep penciptaan saja, melainkan juga infrastruktur pendidikan. Penolakan seniman-seniman muda itu terhadap sistem ‘cantrikisme’ menjadi satu hal penting yang perlu dicatat dari peristiwa ini. Di dalam periode sejarah itulah, kerangka gagasan pameran koleksi ini ditempatkan. Puluhan lukisan milik Pusat Kesenian Jakarta-Taman Ismail Marzuki dan Dewan Kesenian Jakarta, akan ditampilkan untuk memberikan gambaran mengenai polemik yang terjadi pada saat itu. Tanpa bermaksud mengurangi komplekstisitas latar belakang peristiwa, fokus akan diarahkan pada upaya pembangunan gagasan akan karya (lukisan) yang dianggap baik. Apakah yang menampilkan warna cemerlang, meniru bentuk-bentuk alam dengan pola-pola dekoratif atau karya yang berusaha menampilkan orisinalitas dengan mengedepankan prinsip eksperimentasi? Tentu gambaran yang akan didapatkan dalam pameran ini tidak akan menyeluruh meningat keterbatasan karya yang dipamerkan serta ragam gaya yang mereka tampilkan. Oleh karena itu untuk melengkapi pemahaman akan peristiwa sejarah tersebut, akan ditampilkan pula arsip-arsip, tulisan, katalog, serta suara. Melalui penggunaan mediummedium tersebut, diharapkan dapat memberikan pengalaman yang cukup untuk dapat memahami duduk perkara Desember Hitam 1974. Sebab, mengutip D.A Peransi, “kita senantiasa harus dapat mengambil

28 jarak dari diri kita sendiri, mempertanyakan karya-karya kita secara kritis.”3 Tentu saja, keputusan mengenai yang mana lukisan yang ‘baik’ dan ‘kurang baik’ akan diserahkan kembali pada para pengunjung.

Leonhard Bartolomeus & Riksa Afiaty Kurator

3) Surat Budaya 1, Jakarta 3 Januari 1975, D.A Peransi, Katalog Pameran Koleksi DKJ-PKJ TIM “Seni Lukis Indonesia Tidak Ada”, 2007.

THE GOOD PAINTING “THE Good Painting” is a phrase written on the letter head addressed to the awardees of the Indonesia’s Great Painting Exhibitions 1974. The exhibition that was participated by no less than 80 painters later preceeded the what is now known as Jakarta Biennale. The diverse of origins of the participants were sadly not on par with the presented artistic tendencies. In the final decision of what constituted “the good painting”, those inclined to the abstract-decorative style - a style that was popular at the time - became the binding theme for the works by the five awardees: Abas Alibasyah, Aming Prayitno, A.D. Pirous, Irsam and Widayat. The discussion about what is ‘good’ and what is ‘less good’ was later explained in more details in the Jury’s explanatory report.1 In this report, Dr. Sudjoko, on behalf of other jury members: Affandi, Popo Iskandar, Alex Papadimitriou, Fadjar Sidik, Kusnadi and 1) Explanatory Letter of the Jury Panel, the Indonesia’s Great Painting Exhibitions 1974-Dewan Kesenian Jakarta. Taken from the exhibition catalog “Seni Lukis Indonesia Tidak Ada” (There is no such Indonesian Painting). 2007.

30 Umar Kayam, laid out the reasons behind the selection of those works deemed to be ‘good’. There are few things in the explanation there. First, the benefit of giving such prize; second, the problems of creativity and third, the issue of originality. This decision and those letters provoked a rather ill-sentiment among some artists, especially those young ones. They - many were still an art student - felt there was something wrong about the development of the Indonesian fine art, which simply didn’t project any vision toward the most basic matters of the Indonesian culture at large.2 This situation was then responded by sending a funeral bouquet on the closing date of the exhibition, 31 December 1974. This action was followed by publishing a declaration known as Declaration of Black December 1974 and was signed by 13 artists, among them FX Harsono, Hardi, Bonyong M. Ardhi, DA Peransi, Muryoto Hartoyo and Baharuddin Marasutan. It was a strong and loud response, refusing the premises stated in the previous report. One of the strong clauses was a statement that Indonesian fine art still embrace an outdated concepts, full of “entrepreneurs” of art and culture as well as established artists. This loud protest was retaliated by the art institutes expelling some of the students who signed the declaration. One interesting thing to observe in this criss-crossing polemic was the stance of the The Jakarta Arts Council (DKJ), which in 1975 gave these young artists a chance to hold an exhibition. This exhibition marked what later would be known as Gerakan Seni Rupa Baru Indonesia (the Movement of Indonesian Fine Art). As a result, the stance taken by DKJ as a cultural patron was questioned, since it suggested as if DKJ didn’t have any particular perspective on the matter. Mass media was also important in reporting this event to be something contextual for general public. The issue of ‘old artist’ vis-avis ‘young artist’ was introduced to create a conflict that was not easy to tackle by both parties. 2) Declaration of Black December 1974, Document of Dewan Kesenian Jakarta.

31 Within the context of the fine art practice, both abovementioned events were an important piece of the development of Indonesian art and culture. Firstly, the Indonesia’s Great Painting Exhibition 1974 was the first painting exhibition to take such big, massive and ambitious scale for the time. It could be observed from the works presented, 240 paintings spread in three sites, e.g. Central Museum at Jalan Medan Merdeka Barat, Gedung Stovia (Stovia Building) and PKJ-TIM (Jakarta Arts Center). Secondly, for sure the Black December incident itself, which at that time was marked as a sign of changes in the development of Indonesian fine art practice, was not only about aesthetic and creation conception, but also touched on the education infrastructure. The refusal of these young artists toward the traditional way of learning (nyantrik) based on guru-ship (cantrikisme), was one thing to be noted from this incident. It is within this historical period that this present exhibition is framed and situated. Tens of paintings under the caretaking of Pusat Kesenian Jakarta-Taman Ismail Marzuki (PKJ-TIM) and DKJ, will be exhibited to illustrate the polemic that took place in 1974. Such complex background nothwithstanding, the focus is now directed to the effort in building the idea of what constitutes a good painting. Is it something to do with bright colors, imitating natural shapes within decorative patterns or a painting that strives to project some originality through experimentation? For sure, the description of the then polemic that will emerge out of this exhibition can not be wholly, considering the limitation of the paintings and certain diversity they project. Therefore, to complete the understanding of that historical incident, other archival materials such as writings, catalog and sound-based will be presented too. It is hope that by having the access to this combined media will create enough experience in order to comprehen the root problem lies on the Black December 1974. Quoting D.A Peransi, “we should always take

32 a distance to ourselves, questioning our works critically.”3 For sure, the final decision about what constitutes ‘good’ and ‘less good’ painting eventually will be left at the hands of the visitors.

Leonhard Bartolomeus & Riksa Afiaty Curator

3) Surat Budaya 1, Jakarta 3 January 1975, D.A Peransi, Katalog Pameran Koleksi DKJ-PKJ TIM “Seni Lukis Indonesia Tidak Ada” (Exhibition Catalog of DKJ-PKJ TIM Collection “There is no such as Indonesian Painting”), 2007.

35

PENJELASAN SURAT KEPUTUSAN DEWAN JURI PAMERAN BESAR SENI LUKIS INDONESIA 1974 DEWAN KESENIAN JAKARTA Laporan pertanggungjawaban juri Pameran Besar Seni Lukis Indonesia 1974 Dr. Sudjoko (Anggota Dewan Juri) I PAMERAN Besar Lukisan Indonesia diikuti oleh lebih dari 80 orang pelukis yang masing-masing diberi kesernpatan memamerkan tiga buah lukisan. Mereka turut atas undangan Dewan Kesenian Jakarta (DKJ), dan diundang untuk mewakili beberapa kota. Yang terpenting ialah bahwa di dalam batas-batas biaya dan fasilitas yang tersedia, DKJ telah berusaha mengundang pelukis sebanyak mungkin. Undangan didasarkan atas pengetahuan dan informasi yang sebaik-baiknya. Tapi tak ada gading yang tak retak, dan secara tulus dan terbuka (di dalam Diskusi Seni Lukis tanggal 21 Desember 1974 di TIM) pihak DKJ telah menyatakan penyesalan sepenuhnya atas setiap kekurangan yang

36 terjadi. Untuk memahami keputusan Dewan Juri mengenai penggunaan uang hadiah, perlu kiranya diperhatikan hal-hal berikut: • Pelukis memilih lukisan-lukisannya sendiri; • DKJ tidak menentukan batas-batas bentuk, isi, corak, ukuran, bahan alat dan tehnik lukisan; • DKJ tidak menentukan batas tanggal dibuatnya lukisan; • DKJ tidak menentukan batas umur peserta. Hasilnya memang suatu pameran yang sangat beraneka-ragam, dengan segala untung- rugi dan masalahnya. II ADA beberapa pedoman umum yang dipakai Dewan Juri: • Dewan Juri hanya menilai lukisan-lukisan yang dipamerkan. • Untuk keperluan penilaian ini, yang dianggap sebagai lukisan ialah segalanya yang dipamerkan. • Lukisan-lukisan buah tangan anggota Dewan Juri tidak dinilai. • Dewan Juri hanya menilai lukisan, dan bukan pelukisnya. Sehubungan dengan pedoman-pedoman ini, maka soal “lukisan atau bukan lukisan” tidak jadi pertimbangan Dewan Juri. Pemenang hadiah ialah lukisan terbaik. Dewan Juri tidak memilih pelukis terbaik. Pelukis hanyalah penerima hadiah, dan bukan penerima gelar. Keterangannya sederhana: mutu pelukis tidak bisa ditetapkan atas dasar tiga lukisannya saja. Meminjam istilah ilmu evaluasi: penilaian atas dasar tiga lukisan tidak mempunyai “validity“. III SOAL perlu-tidaknya pemberian hadiah bergantung kepada apa yang diharapkan, atau hendak dicapai, olehnya. Kalau yang hendak dicapai ialah meluasnya lukisan batik moderen, atau jatuhnya pelukis tua, atau pengakuan umum sebagai “pelukis besar“, maka pemberian hadiah bolehlah sangat diragukan

37 efeknya, alias tidak perlu. Kalau yang diharapkan ialah peningkatan kegiatan melukis dan mutu lukisan, maka pemberian hadiah dapat banyak gunanya, asal diselenggarakan secara periodik, dan asal penyelenggaraannya tambah baik. Aneka ragam gaya, tema, perhatian, penglihatan, sikap dan semangat tampak pada lukisan-lukisan yang dipamerkan, sudahlah wajar bahwa untuk menilai semua ini diperlukan anggota-anggota juri yang sudah terbiasa menghadapi keragaman seperti ini dengan perhatian dan kelapangan hati sepenuhnya. Masyarakat diharapkan supaya menilai anggota-anggota juri atas dasar ini saja. Dengan demikian maka usia anggota juri, asal-usulnya, kota tempat tinggalnya, kawan-kawannya, gaya melukisnya sendiri, dan mampu tldaknya dia melukis, bukanlah merupakan faktor-faktor menentukan. Ini memang terbukti sslama proses penilaian dalam pameran ini. IV DALAM menghadapi setiap lukisan, anggota-anggota juri ingin mendapat keyakinan bahwa segalanya di situ dijalankan pelukis dengan kepercayaan dan penghayatan penuh, dan dengan kemampuan dan keterampilan tinggi. Anggota-anggota juri mengakui bahwa hal pengaruh seni atas seni lain ialah gejala budaya yang wajar di setiap tempat dan zaman. Pengaruh tidak menentukan kadar kreatifitas. Sebaliknya, kadar kreatifitas ditentukan oleh usaha peniruan, lebih-lebih lagi usaha peniruan yang mentah-mentah dan tanpa pengertian. Sehubungan dengan itu maka orijinalitas mutlak tidak dapat dijadikan tuntutan. Namun demikian, pentingnya orijinalitas mesti diakui, sepanjang ini memperdalam atau pun memperkaya makna dan pengalaman. Usaha bermain-main dengan apa-apa yang asal „baru“ dan „aneh” saja, dapatlah dianggap sebagai usaha coba-coba, cari-cari, atau sekedar iseng, atau bukti langkanya ide dan kreatifitas.

38 Sehubungan pula dengan itu harus segera dinyatakan bahwa cara-cara dan kecenderungan- kecenderungan melukis yang sudah lama dikenal tetap dapat menyumbangkan makna dan pengalaman yang berharga. Anggota-anggota juri hanya ingin mendapat keyakinan bahwa cara-cara itu tidak dijalankan untuk meniru dan mengulangulang diri sendiri saja. V MENGHADAPI heterogenitas pameran sebagaimana telah dipaparkan di atas, maka Dewan Juri merasa tidak mungkin menentukan hadiah pertama, hadiah kedua dan hadiah ketiga yang berbeda-beda. Diputuskan bahwa yang paling tepat ialah menentukan lima buah hadiah yang sama nilainya, yaitu masing-masing Rp 100.000,-. Kelima lukisan yang memperoleh hadiah ialah lukisan-lukisan yang mengumpulkan jumlah nilai yang tertinggi. Banyak lukisan lainnya dinilai baik atau sangat baik oleh anggotaanggota juri. Oleh sebab itu istilah-istilah “kalah” dan “menang”, “gagal” dan “berhasil”, tidak tepat dipakai dalam penilaian seperti ini. Lebih baik dikatakan bahwa di antara lukisan-lukisan yang bernilai tinggi, Dewan Juri memilih lima buah yang tertinggi nilainya. Tentu perlu pula dinyatakan bahwa sebagian besar lukisan telah dinilai sebagai kurang memenuhi taraf. Semoga penjelasan ini dapat diterima baik oleh segenap peserta maupun peminat Pameran Besar Lukisan Indonesia 1974.

Sumber: Buku Pesta Seni 1974 Diterbitkan oleh Dewan Kesenian Jakarta, Desember 1975

39

THE EXPLANATORY LETTER OF THE JURY PANEL ON THE INDONESIA’S GREAT PAINTING EXHIBITION 1974 THE JAKARTA ARTS COUNCIL Accountability Report of the Jury Panel on the Indonesia’s Great Painting Exhibition 1974 Dr. Sudjoko (Member of the Jury Panel) I Eighty painters participated at the Indonesia’s Great Painting Exhibition, each was given the opportunity to showcase three paintings. They were invited by the The Jakarta Arts Council (DKJ) to represent several cities. The most important thing is that even within the limited funding and available facility, DKJ has tried to invite as many painters as possible. The invitation was based on the best knowledge and information. For sure, nothing is perfect, for which DKJ has sincerely and open-heartedly apologized for all the imperfections that occurred (as expressed in the Discussion on Painting, 21 December 1974 at TIM).

40 To comprehend the final decision of the Jury Panel regarding the money prize, following notes have to be taken into account: • Painters have selected their own paintings (to be exhibited); • DKJ did not give any restriction in terms of shape, content, style, size, materials and painting technique; • DKJ did not give any limit on the date the painting was completed; • DKJ did not give any age limit for the participating painters. The result is a diverse exhibition, with all the pluses, minuses and problems. II THERE are some general guideline applied by the Jury: • The Jury Panel have only judged the paintings that were showcased. • For this competition, what is considered paintings include all the ones exhibited. • The paintings by the jury members are not judged. • The Jury only judged the paintings, not the painters. In relation to these guidelines, thus the matter concerning “painting or not painting” is not part of Jury’s consideration. The best winner is the best painting. The Jury Panel did not select the best painter. Painter is only the one who receives the prize, not the one receives a title. It should be simple: the quality of a painter cannot be determined just based on the three paintings. Borrowing the science of evaluation: a judgement based on three paintings only does not have “validity”. III REGARDING the prize, it depends on what to expect, or what will be achieved through it. If the thing to achieve (through this competition) is for the modern batik painting to be expanded, or the fall of the old painters, or the public acknowledgement as “the great painter”, thus granting a

41 prize can be doubted, or deemed not necessary. If what is expected is the increasing painting activities and the painting quality, then the prize can have a lot of benefit, as long as the organization (of the competition) is improved. A variety of styles, themes, attention, perspectives, attitude and spirit reflected on the exhibited paintings, it is clear that to view and judge all these works requires a jury panel who are used to such diversity of works, with full attention and big heartedness. The society at large is expected to judge the members of the jury solely on this base. Therefore, the age of the jury, their origins, their residential cities, their circle of friends, their own painting style, whether they are capable or not in painting, are not the determining factors. This has been approved throughout the jury process. IV IN viewing every painting, the jury members wished to get the conviction that everything the painters did, was done in full belief and dedication, and with high capability and skill. The members of the jury admitted that the art influence over another artwork is a common phenomenon in every place and every era. Influences do not determine creativity. On its flip side, the creativity is determined by the effort to imitate, more akin to total forgery and without any understanding. In relation to this, absolute originality cannot be demanded. However, the importance of originality should be acknowledged, as long as it could deepen or enrich the meaning and the experience. A seemingly playful (in careless sense) effort to create something simply for the sake of looking “new” and “weird”, can be considered as banally trying, over-looking or simply treating it as a pastime, which could be a proof of lacking of ideas and thus, of creativity too. In relation to this, there should be stated that ways and tendencies of painting that have been known for long still can give meaningful

42 contribution. The members of the jury only wished to get this conviction that those methods are not misused for wrong reasons such as imitation and self-repetition. V Facing the heterogeneity of this exhibition as already explained above, the Jury Panel is of opinion that it is impossible to decide on the first prize, second and third one. Instead, it was decided that the most right thing to do is to decide on five equal prizes, each will get Rp 100.000,-. The five prized paintings are those who gained the highest score. Many paintings are considered good or very good by the members of the jury. Therefore, the terms of “losing” or “winning”, “failing” or “successful” are not right to be used in such competition. It is better to say that there are paintings with higher value, and the Jury Panel have selected five with the highest. It should be stated that most of the paintings are deemed under the standard. Hopefully, all this explanation can be well-received by the participating painters as well as those who are interested in the Indonesia’s Great Painting Exhibition 1974.

43

PERNYATAAN DESEMBER HITAM 1974 MENGINGAT bahwa sejak beberapa tahun yang lampau, kegiatankegiatan seni budaya dilaksanakan tanpa strategi budaya yang jelas, maka kami menarik kesimpulan bahwa pada pengusaha-pengusaha seni-budaya sedikit pun tidak tampak wawasan terhadap masalahmasalah paling asasi dari kebudayaan kita. Ini pertanda bahwa sejak beberapa waktu suatu erosi spiritual sedang menghancurkan perkembangan seni-budaya. Karena ini maka kami merasa perlu untuk pada bulan Desember 1974 yang hitam ini menyatakan pendirian kami teqtang gejala yang tampak pada wujud seni lukis Indonesia masa kini. 1. Bahwa kepancaragaman seni lukis Indonesia merupakan kenyataan yang tidak dapatdimungkiri, tetapi kepancaragaman ini tidak dengan sendirinya menunjukkan perkembangan yang baik. 2. Bahwa untuk perkembangan yang menjamin kelangsungan kebudayaan kita para pelukis terpanggil untuk memberikan kearahan rohani yang berpangkal pada nilai- nilai kemanusiaan dan berorientasi pada kenyataan kehidupan sosial, budaya, politik, dan ekonomi. 3. Bahwa kreativitas adalah kodrat pelukis, yang menempuh

44 berbagai cara untuk mencapai perspektif-perspektif baru bagi seni lukis Indonesia. 4. Bahwa dengan demikian maka identitas seni lukis Indonesia dengan sendirinya jelas eksistensinya. 5. Bahwa yang menghambat perkembangan seni lukis Indonesia selama ini adalah konsep-konsep usang, yang masih dianut oleh establishment, pengusaha-pengusaha seni budaya dan senimanseniman yang sudah mapan. Demi keselamatan seni lukis kita, maka kini sudah saatnya kita memberi kehormatan pada establishment tersebut, yaitu kehormatan purnawirawan budaya. Indonesia, 31 Desember 1974 Ditandatangani oleh: D.A.Peransi Baharuddin Marasutan Muryoto Hartoyo Hardi Daryono Abdul Hadi WM Ikranegara Adiyati Harsono B. Munni Ardhi

Sumber: Surat Pernyataan Desember Hitam 1974, Dokumen DKJ.

45

BLACK DECEMBER DECLARATION REALISING that since few years ago cultural art activities were carried out without sound cultural strategies, we have come to conclusion that those who deal with the cultural art enterprises do not show their concerns toward basic matters on our culture. This marks the exis- ence of spiritual erosion that impeded the progreess of Indonesian cultural art. We ther fore in this Black December 1974 must declare our stance on the uprising phenomena in the current indonesian cultural art: 1. That the diversity of Indonesian painting art is undeniable, but such a diversity does not automatically reflect any acceptable development; 2. That for the development that promises the sustainability of our culture, all artists are called for contributing spiritual guidance based on human values which are sosially,culturally, politically and economically oriented; 3. That creativy is the destiny of painting artists who have taken various steps to achieve new perpectives in Indonesian art of painting; 4. That with regard to the above statements, it is made clear that the

46 indenity of Indonesian art of painting is obviously existing; 5. That it is the out-of-dated concepts which impede the development of Indonesian art of painting. Such concepts have long been is still being followed by those dealing with cultural art enterprises and by established artist. 6. For the survival of Indonesian art of painting, it is the time for us to give respect to such establishment— that is the respect towards cultural demission (pumawirawan budaya). Indonesia, 31st Desember 1974 Signatories: D.A.Peransi Baharuddin Marasutan Muryoto Hartoyo Hardi Daryono Abdul Hadi WM Ikranegara Adiyati Harsono B. Munni Ardhi

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SURAT BUDAYA 1 D.A. Peransi KAWAN, Pernyataan kita pada 31 Desember 1974 yang lalu merupakan suatu peristiwa budaya, sebagaimana itu tepat sekali dirumuskan oleh Hardi. Mengapa? Sebab kita telah meraih, bahkan meloncat keluar dari suatu anggapan umum bahwa situasi kita memang sudah demikian, sudah baik dan tidak perlu diubah dan di-utik-utik. Dengan lain perkataan, kita telah mendobrak ketertutupan (atau dengan istilah falsafinya: imanensi) dari proses-proses sejarah yang dianggap umum wajar, alamiah dengan suatu penilaian yang adi-faktawi (yang transenden). Ini sekali lagi merupakan suatu tindakan yang kultural. Sebab dalam perkembangan kebudayaan manusia, sejarah yang faktawi dan penilaian (evaluasi) terjalin erat sekali. Kebudayaan mengandaikan kegiatan manusia yang tak henti-hentinya dalam mengatasi apa yang secara alamiah diberikan padanya. Ia senantiasa mempertanyakan kemajuan, perbaikan dan perubahan. Ia, manusia yang berbudaya, tidak saja menanyakan bagaimana duduk soalnya sesuatu, tetapi

48 mempersoalkan bagaimana seharusnya soal tersebut menampakkan eksistensinya. Pengkaidahan dan evaluasi merupakan dimensi yang transenden yang mendobrak imanensi yang alamiah, hal mana dengan sendirinya menuntut tindakan orisinal, kreatif dan berani dari manusia atau kelompok-kelompok manusia. Di sinilah dinamika dari sejarah manusia ditentukan. Dari perumusan di atas sudahlah jelas bahwa manusia selalu menjamah lingkungan alamiah, atau kondisi buatannya sendiri yang telah menjadi “alamiah” untuk diubah, ditempa sesuai dengan harapan-harapan baru yang timbul dalam dirinya. Namun manusia juga cenderung untuk meringkuk dan merasa aman dalam alam dan alam buatannya (tradisi) dan menyerah pada hukum-hukum alamiah. Sikap yang demikian adalah sikap yang vegetatif, tidak berbeda dengan bibit pepaya yang mesti tumbuh menjadi pohon pepaya. Sikap pertama, yaitu menempa alam sekitar sesuai dengan harapan-harapan manusia menunjukkan bahwa manusia berstrategi. la mempunyai strategi budaya. Strategi ini disebut strategi budaya karena ia berorientasi pada masa depan yang lebih baik, yang lebih sesuai dengan kondisi insaniah, yang menjamin humanitasnya. Proses menjamah lingkungan kita menjadi manifestasi dari strategi budaya apabila proses itu merupakan proses humanisasi, suatu proses dari pemanusiaan dirinya sendiri. Kita tahu bahwa manusia dibedakan dari binatang dan tumbuh-tumbuhan karena ia adalah mahluk yang serba berkekurangan. Namun kekurangannya itu justru menjadi kelebihannya. Dan karena itu ia adalah mahluk yang serba berkemungkinan. Beruang telah lahir dengan bulu, tetapi manusia lahir telanjang, itu kekurangannya. Akan tetapi kemudian ia sendiri bisa memilih sendiri penutup tubuhnya: jas dan celana atau sorjan dan sarung. Tidak saja segi-segi lahiriah saja yang ia kembangkan sehingga ia berbeda dengan beruang tetapi juga segi-segi rohaniah. Dengan kemampuannya untuk memilih jas atau sorjan ia menunjukkan bahwa ia adalah mahluk yang rohaniah. Tetapi apabila segi rohaniah ini tidak

49 ia tempa dalam perspektif kemanusiaan, maka proses pembinatangan dapat pula terjadi pada dirinya. la bisa mengadakan intrik, baik yang halus maupun kasar. Lalu ia menjadi serigala bagi sesama manusia. Jadi dapatlah kita simpulkan, bahwa dalam berstrategi manusia tidak luput dari bahaya-bahaya yang terdapat dalam dirinya sendiri. Sikap yang kedua, yaitu sikap berselimut dan merasa aman dengan apa yang sudah ada merupakan ancaman juga bagi kebudayaan. Situasi yang paling primitif dari manusia adalah situasi yang ditandai oleh sikap vegetatif, misalnya saja mencari dan memungut barang-barang, makanan yang tercecer di sekelilingnya untuk bisa mempertahankan hidup. Dalam keadaan seperti ini sudah barang tentu tidak timbul pertanyaanpertanyaan tentang makna dari kejadian- kejadian sekeliling, sebab ia hanya hidup dari memungut-mungut barang yang secondhand. Tujuan hidupnya hanyalah memenuhi kebutuhan-kebutuhan elementer belaka. la menjadi adaptif semata-mata. Kondisi semacam ini berpengaruh juga pada segi yang penting pada dirinya yaitu segi rohaniahnya. Sikap yang adaptif dan vegetatif akan mengembangkan suatu mentalitas, suatu sikap rohaniah yang hanya didasarkan atas mempertahankan kebutuhan-kebutuhan elementer tadi. la bisa menjadi agresif, menjadi kanibal. Sudahlah jelas bahwa kondisi semacam ini tidak saja terdapat pada waktu manusia hidup dalam zaman batu. Dewasa ini kondisi semacam itupun menandai corak kehidupan kita, Istilah/l‘exploitation de l‘homme par adalah pernyataan adanya kanibalisme moderen. Intrik-intrik, mata-mematai manusia sesama adalah bentuk yang lebih “moderen” dari agresifitas primitif. Demikian juga manipulasi terhadap manusia melalui teknik-teknik baru seperti film, film iklan, propaganda, yang satu-dimensional sifatnya, adalah usaha untuk mempertahankan hidup sebagaimana adanya dan menarik keuntungan sebanyak-banyaknya dari manusia-manusia lain. Sebagai akhir dari renungan pendek ini ingin aku tandaskan lagi bahwa pernyataan kita menugaskan kita sendiri untuk memikirkan, mengidentifikasikan, masalah-masalah yang paling asasi dari manusia

50 dan kebudayaannya. Ini perlu untuk memperdalam dan memperluas wawasan kita terhadap apa yang kita kerjakan dan mau kerjakan. Kita senantiasa harus dapat mengambil jarak dari diri kita sendiri, mempertanyakan karya-karya kita secara kritis. Kalau demikian kita telah menjawab panggilan kodrat kita: menjadi mahluk yang kreatif dan bukan yang vegetatif. Diiringi salam hangat, tandatangan D. A. Peransi

Sumber: Surat Budaya 1, Jakarta 3 Januari 1975, Dokumentasi DKJ.

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A LETTER ON CULTURE 1 D.A. Peransi FRIENDS, Our declaration on the 31st December 1974 was a cultural event, as Hardi precisely spot on. Why? Because we have achieved, even jumped, out of a general assumption that our situation was like as it was said it was, that it was all good and needed not to be questioned. In other words, we have broken through a closeness (or in its philosophical term: immanence) of the historical processes assumed to be normal, natural with an evaluation of so-called ‘adi-factawi’ or the prime-factual (something transcendental). Once more, this is a cultural action. Because, in human cultural development, a factual history and evaluation are intertwined. Culture suggests continuing human activities in overcoming something that is given to them naturally. He/she always questions progress, improvement and change. He/she, a cultural human, does not only question how something stands, but problematizes how one should project its existence. Principle and evaluation are transcendental dimension that breakthrough the natural immanence, which in itself demands original, creative and brave action from people (as person) and community. This is where the history of human is determined.

52 From such elaboration above, it is clear that human being has always reached out to the natural environment, or their own creation that has become ‘natural’, so as to be changed, nurtured according to the new hopes emerging from him/herself. Although human also tends to curl up and feel safe inside the nature and the nature of his own making (tradition) and give in to the natural laws. Such attitude is a vegetative attitude, not so different from the papaya seeds that have to grow as a papaya tree. The first attitude to hammer the surrounding nature according to the human’s hopes shows that human does strategize. He/she has a cultural strategy. This strategy can be called as cultural strategy since it orientates toward a better future, a more suitable to human condition, something that guarantee its humanity. The process of reaching out to our environment has become a manifestation of a cultural strategy only if that process is of humanization, a process of humanizing humans. We know that human is differentiated from animal and plant since human being is a creature that lacks of many things. But his/her lacking is actually his/her pluses. Thus, human being is a creature of full possibilities. Bears are born with fur, but humans are born stark-naked, precisely the lacking part. But then he/ she can choose his/her own body cover: jacket and trouser or Javanese jacket (sorjan) and sarong. It‘s not just the physical sides the humans develop as to make it different from the bears, but also the spiritual side. Being able to choose jacket or Javanese jacket shows that humans are spiritual creature. But if this spiritual side is not nurtured within the humanistic perspective, then the process of animalisation can take place. He/she can launch intrigues - both the soft and the harsh one. He/she can be the wolves for their fellow human beings. So, it can be concluded that in strategizing, human being is not free from the dangers inside themselves. The second attitude refers to the act of curling up with a blanket and feeling safe - which can be a threat for culture. The most primitive situation of a human is the one marked by

53 vegetative state, for instance of looking and picking up random stuff and food in his/her environment simply for survival. In this situation, for sure no questions on the meaning of what happens around since he/ she only lives from secondhand stuff. His/her life goal is only to fulfill the elementary needs. Such human beings are simply adaptive. Such situation influences the most important part of human, i.e. the spiritual side. The adaptive and vegetative attitude can only develop a mentaility, i.e. a spiritual attitude that is merely based on keeping tabs on those elementary needs. He/she can be aggresive, canibal. It‘s clear that such situation does not only exist in the stone age civilization. It could also be found nowadays, the terminology /’exploitation de I’homme par t’homme refers to the fact of modern canibalism. Intrigues, spying other human beings, are more “modern“ than primitive aggresivity. So is the case of human manipulation over other human by applying new techniques such as film, advertising, propaganda, which is onedimensional, e.g. a survival attempt as it were, and simply to exploit other human beings at maximum. To close this short musing, I once again state that our statement assigns ourselves to think, identify the most basic human rights of human beings and their culture. This is necessary to deepen and expand our horizon toward what we are doing and will be doing. We should always take distance from ourselves, questioning our works critically. Only by doing so we have answered our true call: to be a creative creature, not the vegetative one. With warm regards, (signature of) D. A. Peransi

Source: Surat Budaya 1, Jakarta 3 January 1975, DKJ Documentation.

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LUKISAN YANG BAIK PAMERAN BESAR SENI LUKIS INDONESIA 1974 DEWAN Juri Pameran Besar Seni Lukis Indonesia tahun 1974 yang terdiri dari: 1. Affandi; 2. Popo iskandar; 3. Dr. Sudjoko; 4. Alex Papadimitrou; 5. Fadjar Sidik; 6. Kusnandi; dan 7. Umar Kayam; setelah mengadakan sidang-sidang penilaian terhadap lukisan yang ikut serta dalam Pameran Besar Seni Lukis Indonesia tahun 1974 yang di­selenggarakan oleh Dewan Kesenian Jakarta, memutuskan sebagai berikut. Lukisan yang baik pada Pameran Besar Seni lukis Indonesia tahun 1974 ialah: 1. Matahari di Atas Taman karya Irsam (Jakarta); 2. Keluarga karya Widayat (Yogyakarta); 3. Lukisan Wajah karya Abas Alibasyah (Jakarta); 4. Pohon karya Aming Prayitno (Yogyakarta); 5. Tulisan Putih karya Abdul Djalil Pirous (Bandung). Sesuai dengan keputusan Dewan Juri tersebut, Dewan Kesenian Jakarta memberikan hadiah Rp 100.000,- kepada masing-masing

56

lukisan yang baik itu. Surat Keputusan itu ditandatangani oleh para anggota Dewan Juri, dan diumumkan pada tanggal 26 Desember 1974 oleh Ketua Dewan Pekerja Harian Dewan Kesenian Jakarta, D. Djajakusuma.

Sumber: Buku Pesta Seni 1974, Diterbitkan oleh Dewan kesenian Jakarta, Desember 1975

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THE GOOD PAINTING INDONESIA’S GREAT PAINTING EXHIBITION 1974 THE Jury Panel of Indonesia’s Great Painting Exhibition 1974 which consist of: 1. Affandi; 2. Popo iskandar; 3. Dr. Sudjoko; 4. Alex Papadimitrou; 5. Fadjar Sidik; 6. Kusnandi; and 7. Umar Kayam; after conducting a hearing assessment toward the painting of the participants of Indonesia’s Great Painting Exhibition 1974 held by The Jakarta Arts Council, have decided as follows: The Good Paintings at Indonesia’s Great Painting Exhibition 1974 are: 1. Matahari di Atas Taman (The Sun Over the Garden) by Irsam (Jakarta); 2. Keluarga (Family) by Widayat (Yogyakarta); 3. Lukisan Wajah (Facial Painting) by Abas Alibasyah (Jakarta); 4. Pohon (Tree) by Aming Prayitno (Yogyakarta); 5. Tulisan Putih (White Writing) by Abdul Djalil Pirous (Bandung). Corresponding with the Jury Panel’s decision, the The Jakarta Arts Council (DKJ) will give the prize worth Rp. 100.000,- to each

58 good painting. This decree was autographed by all Jury members, and will be announced on26 December 1974, by Chairman of Executive Committee, s The Jakarta Arts Council, D. Djajakusuma

Source: Buku Pesta Seni 1974, published by The Jakarta Arts Council, December 1975

KARYA // ARTWORKS

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Abas Alibasjah Pertemuan Encounter 1977 Batik 50 x 54 cm Koleksi Pusat Kesenian Jakarta - Taman Ismail Marzuki Collection of Jakarta Arts Center - Taman Ismail Marzuki

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Abas Alibasjah Topeng Mask 1971 Cat minyak pada kanvas Oil on canvas 100 x 65 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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A.D. Pirous Malam The Night 1975 Cetak saring pada kanvas Silkscreen on canvas 55 x 46 cm Koleksi Pusat Kesenian Jakarta - Taman Ismail Marzuki Collection of Jakarta Arts Center - Taman Ismail Marzuki

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A.D. Pirous Malam Qadar Qadar Night 1975 Cetak saring pada kertas Silkscreen on paper 52 x 63 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Baharudin Mara Sutan Adinda My Dear 1974 Cat minyak pada kanvas Oil on canvas 59 x 79 cm Koleksi Pusat Kesenian Jakarta - Taman Ismail Marzuki Collection of Jakarta Arts Center - Taman Ismail Marzuki

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Baharudin Mara Sutan Wanita di Depan Kaca Woman in Front of a Miror 1972 Cat minyak pada kanvas Oil on canvas 62 x 51 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Bonyong Munni Ardhi Bibir ‘75 Lips’75 1975 Media campuran Mix media 110 x 102 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Dede Eri Supria Potret Chairil Anwar Portrait of Chairil Anwar 1979 Cat minyak pada kanvas Oil on canvas 200 x 145 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Hardi Presiden R.I. Tahun 2001 Suhardi President of Indonesia 2001 Suhardi 1980 Cetak saring pada kertas Silkscreen on paper 57 x 41 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Irsam Bulan di Atas Taman The Moon Over the Park 1972 Cat minyak pada kanvas Oil on canvas 65 x 65 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Irsam Kebun Raya Botanical Garden 1974 Cat minyak pada kanvas Oil on canvas 100 x 100 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Jim Supangkat Pengumuman Announcement 1979 Media campuran Mix media 128 x 90 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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M. Daryono Pelabuhan Minyak Balikpapan Oil Port in Balikpapan 1974 Cat minyak pada kanvas Oil on canvas 100 x 100 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Muryoto Hartoyo Bundaran Hotel Indonesia HUT Jakarta Ke 442 Hotel Indonesia Junction at the Jakarta’s 442th Anniversary 1969 Pena pada kertas Ballpoint on paper 26 x 37 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Soelebar M. Soekarman Lukisan A-2 Painting A-2

1975 Cat minyak pada kanvas Oil on canvas 130 x 90 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Soelebar M. Soekarman Pemandangan Landscape 1972 Cat akrilik pada kanvas Acrylic on canvas 62 x 84 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Widayat Ke Pasar Going to the Market 1970 Cat minyak pada kanvas Oil on canvas 67 x 81 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Widayat Komposisi Composition 1973 100 x 70 cm Cat minyak pada kanvas Oil on canvas Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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Yuswar Madonna 1972 Cat minyak pada kanvas Oil on Canvas 64 x 66 cm Koleksi Dewan Kesenian Jakarta Collection of The Jakarta Arts Council

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DI BALIK DESEMBER HITAM 1974: SEORANG “PROVOKATOR” DAN SEORANG PENGUASA DI balik peristiwa Desember Hitam 1974, adalah dua tokoh bersahabat yang mengobarkan semangat berkreasi dan berinovasi namun yang juga memadamkannya dengan alasan masing-masing. Kebetulan, ketika kuliah di ASRI (Akademi Seni Rupa Indonesia) Yogyakarta, 1967-1968, saya tinggal di rumah yang dikontrak oleh Fadjar Sidik, dosen melukis bebas dan komposisi. Saya sempat menyaksikan Fadjar melukis abstrak dengan bidangbidang lebar, geometris yang lebih terasa sebagai rasa “alami” daripada “modern”, berbeda dengan lukisan Fadjar yang kini dikenal, sekumpulan bentuk-bentuk biomorfis yang senada, tersusun dengan warna-warni. Yang tetap ada dari yang lama, kadang di kanvasnya muncul “simbol”: bulatan yang mungkin bulan, dan bentuk tanduk sapi. Dan di Yogya, di paruh kedua 1960-an itu, lukisan abstrak Fadjar jelas sebuah terobosan, suatu loncatan dari realisme Fadjar sebelumnya. Fadjar adalah dosen yang dekat dengan mahasiswa. Mahasiswa sering berkumpul di rumah itu, mengobrol apa saja, termasuk soal lukisan. Yang masih saya ingat, Fadjar sering membakar semangat

84 mahasiswa. Seniman itu mesti berani ngedan, katanya. Kalau tidak berani, jangan menjadi seniman. Selain mahasiswa, yang juga sering berkunjung adalah Abas Alibasyah. Direktur ASRI ini datang dengan skuternya, dan bila kebetulan berkumpul juga beberapa mahasiswa, spontan Abas akan merogoh saku celananya, mengeluarkan duit dan minta salah seorang mahasiswa membeli tahu-isi dan makanan kecil yang lain dan teh panas manis –di rumah Fadjar tak ada dapur. Mereka, Fadjar dan Abas, tampak bersahabat dekat, dan suka saling memuji. Soal sukses Abas memimpin ASRI, misalnya. Atau, pengakuan Abas bahwa ia sudah kalah kreatif dibandingkan dengan Fadjar. Lalu mengapa tulisan ini dimulai dengan Fadjar dan Abas? Dua seniman dan pengajar inilah menurut saya yang memungkinkan munculnya protes “Desember Hitam” dari sejumlah perupa muda dan protes itu menjadi populer. Itulah protes berkaitan dengan pemberian hadiah dalam Pameran Besar Seni Lukis Indonesia Dewan Kesenian Jakarta 1974. Dari 13 penandatangan protes, lima di antaranya adalah mahasiswa ASRI. Meskipun jumlah mahasiswa itu kurang dari 50%, saya yakin merekalah yang memetik api protes. Mahasiswa ASRI tersebut, yang waktu itu usia mereka masih 20-an tahun, adalah sedikit dari mahasiswa ASRI yang memiliki semangat ngedan dalam berkarya. Semangat ngedan dalam diri mereka hidup karena mendapat “api” dari “pembakaran” Fadjar Sidik. Empat di antara mereka (FX. Harsono, Bonyong Munni Ardhi, Hardi, dan Siti Adiyati) adalah anggota Kelompok Lima Pelukis Muda Yogyakarta (satu lagi tak ikut tanda tangan adalah Nanik Mirna). Kelompok Lima ini bukan hanya dekat dengan Fadjar, melainkan juga mendapat dorongan dan fasilitas untuk berpameran baik di kampus maupun di luar Yogyakarta. Bisa dibayangkan bahwa mereka memiliki kepercayaan diri yang tinggi, dan itulah salah satu sebab yang membuat mereka seperti ditampar, setidaknya kecewa berat bahwa tak satu pun di antara mereka ada dalam daftar pemenang Pameran

85 Besar itu. Padahal, di antara juri adalah Fadjar Sidik, sang pembakar semangat berkreativitas itu (enam yang lain: Affandi, Sudjoko, Umar Kayam, Popo Iskandar, Alex Papadimitriou, Kusnadi). Kebetulan, lukisan lima pemenang (Abas Alibasyah, Aming Paryitno, A.D. Pirous, Irsam, dan Widayat) bisa dibilang bercorak dan berkarakter mirip: dekoratif dengan ornamen yang mengingatkan pada kenusantaraan. Syahdan, inti protes itu adalah, dewan juri cenderung berpihak pada satu corak, padahal 240 lukisan karya 80 pelukis tersebut mewakili berbagai corak: dari yang naturalistis, realistis, abstrak, sampai yang menggunakan segala tempelan benda dari kayu sampai boneka. Teks protes yang disusun oleh D.A. Peransi, seorang sineas yang juga pelukis dan penulis, merupakan buah diskusi di antara mereka yang tidak senang dengan keputusan dewan juri. Peran lima mahasiswa ASRI dalam diskusi itu saya kira besar, karena karya mereka sudah jauh dari bidang dua dimensi yang diisi dengan coretan dan sapuan cat, sehingga kalau kriteria dewan juri masih kriteria untuk lukisan “konvensional” pasti karya mereka tersingkir. Maka mereka pun berang. Sebenarnya dalam pertanggungjawaban dewan juri (menilik gaya bahasanya agaknya ditulis oleh Sudjoko, dosen di Seni Rupa ITB), ihwal keberagaman corak itu disadari sepenuhnya. Ditegaskan juga bahwa dewan juri tak melihat si pelukis (asal-usul, usia dan sebagainya) melainkan semata lukisan. Lalu, ada penjelasan bahwa pemberian hadiah tak dimaksudkan untuk mengembangkan satu jenis corak, maupun untuk menjatuhkan misalnya para perupa tua, atau untuk menahbiskan pemenang sebagai pelukis besar. Pemberian hadiah dalam Pameran Besar ini dimaksudkan agar kegiatan melukis meningkat, dan mutu karya makin bermutu. Lalu bagaimana bisa terjadi pemenang bisa dikatakan senapas, padahal ada Fadjar yang selalu mendorong mahasiswanya untuk ngedan dalam berkarya? Dan ada juga Sudjoko yang di awal 1960-an dalam

86 sebuah seminar seni rupa menggugat para perupa yang melupakan karya kerajinan tangan kita sendiri beserta keragaman medianya bahkan menganggap karya itu lebih rendah daripada fine art? Sudjoko mengimbau agar para pelukis dan pematung menggunakan segala media demi kreativitas. Saya menduga itu terjadi karena hasil akhir penilaian adalah akumulasi nilai dari tiap juri. Se-ngedan-edannya penilaian dari Fadjar, dan seterbuka-bukanya penilaian Sudjoko, akan kalah dibandingkan dengan lima juri yang lain. Sebab, dalam pertanggungjawaban dewan juri disebutkan bahwa “Usaha bermain-main dengan apa-apa yang asal ‘baru’ dan ‘aneh’ saja, dapatlah dianggap sebagai usaha coba-coba, cari-cari, atau sekadar iseng, atau bukti langkanya ide dan kreatifitas.” Tidakkah karya Bonyong misalnya, sebuah papan dengan warna merah-putih dan beberapa boneka ditempelkan di papan itu, segera akan dilihat sebagai coba-coba, iseng asal aneh oleh setidaknya lima juri yang lain? Waktu itu, tahun 1974, pameran dengan karya seperti itu masih jarang meskipun bukannya tak ada. Pameran mahasiswa ITB, di antaranya Jim Supangkat (kini kurator independen dan teoritikus seni rupa Indonesia yang menonjol) dan Priyanto S. (almarhum, pegrafis dan kartunis yang khas) di Balai Budaya, Jakarta, Februari 1974, dan beberapa pameran mahasiswa ASRI di kandang sendiri antara lain menyuguhkan karya di luar yang sudah lazim. Pada pengantar katalog pameran mahasiswa ITB, ditulis oleh dosen mereka, But Muchtar, terbaca bahwa pameran ini terpengaruh Seni Pop, namun terbatas pada pengaruh bentuk tanpa mengunyah isinya. But bersedia menulis pengantgar tentulah karena ia pun melihat potensi mereka dan berharap mereka akan berkembang di kemudian hari. Lalu yang di ASRI, yang memamerkan lukisan sampai dengan celana dalam sebenarnya ditempel di kanvas, mengundang diskusi ramai. Persepsi “melihat potensi” namun masih perlu dikembangkan inilah kritik yang paling moderat terhadap karya-karya yang di luar lazim. Hanya

87 ada beberapa orang yang bisa dan mau menerima karya yang “aneh”. Sudjoko misalnya, malah menempelkan foto kopi protes Desember Hitam di kampus ITB, dan bilang bahwa seharusnya mahasiswa seni rupa ya seperti yang protes itu. Jadi, saya menduga, bila saja tak ada buntut Desember Hitam di kampus ASRI Yogya, peristiwa protes itu akan seperti pameran celana dalam di kampus ASRI: bikin heboh sebentar, dan kemudian terlupakan. Dan buntut itu datang dari nama kedua dalam pembuka artikel ini: Abas Alibasyah. Abas kala itu bukan hanya direktur ASRI, melainkan juga Sekretaris Direktur Jenderal Kebudayaan. Dengan kata lain, ia memang orang pemerintah. Waktu itu pemerintah baru yang menyebut diri sebagai “Orde Baru” baru berusia sekitar tujuh tahun. Disebutkan atau tidak, program kebudayaan “Orde Baru” adalah mengembangkan seni tradisi, apa pun maksud “mengembangkan” itu. Didirikanlah beberapa pusat kesenian di akhir 1960-an, antara lain Pusat Kesenian Jawa Tengah di Solo, yang sebagian besar kegiatannya memang seputar seni tradisi. Kesenian yang “melenceng” dari seni tradisi bisa juga diadakan, tergantung pengelola pusat kesenian itu, namun risiko terbuka. Samgita Pancasona Sardono W. Kusumo, karya tari yang mengolah tradisi menjadi “modern” dipergelarkan oleh Pusat Kesenian Jawa Tengah (yang dipimpin oleh Sedyono Hoemar Dani yang terbuka wawasannya) di gedung RRI Solo, dan mendapat lemparan telur mentah, karena ada yang menganggap karya ini merusak tradisi. Contoh lain karya seni yang dianggap merusak tradisi, masih datang dari Sardono, adalah Cak Tarian Rina, sebuah garapan Sardono yang mengubah tari cak lebih dinamis dan kaya imajinasi. Tari yang sedianya dipentaskan di Taman Ismail Marzuki pada Desember 1973 itu batal karena para penari dari Desa Teges, Bali itu dilarang berangkat ke Jakarta oleh Listibiya, lembaga kebudayaan Bali yang berafiliasi dengan pemerintah.

88 Maka tidak mengherankan bila direktur ASRI menjatuhkan sanksi kepada mahasiswanya yang terlibat Desember Hitam. Salah satu pertanyaan dari pihak ASRI kepada mahasiswa itu: “Apakah Saudara hendak merobohkan kebudayaan nasional?” Perlu juga diingat bahwa waktu itu, di ujung awal 1974 adalah Peristiwa Limabelas Januari (Malari), demonstrasi massa memprotes produk Jepang. Ada tuduhan bahwa agen produk Jepang adalah orang-orang pemerintah. Sikap pemerintah pun terungkap: sejumlah media yang dianggap memberitakan tentang Malari yang merugikan citra pemerintah, diberedel. Sesudah Malari, pemerintah begitu peka terhadap kritik, dan hal-hal yang dianggap membahayakan negara dan bangsa, termasuk di bidang kesenian. Sebagaimana biasanya sikap seperti ini, kriteria yang membahayakan negara dan bangsa itu merupakan penilaian sepihak. Alhasil menurut saya, tindakan Abas dalam hal ini cenderung menunjukkan usaha menjaga diri (baca: posisi dan jabatan). Ia menjelaskan kepada saya ketika itu bahwa Gubernur Ali Sadikin sampai memanggilnya gara-gara Desember Hitam. Secara pribadi, setahu saya, hubungan antara Abas dan mahasiswa-mahasiswa itu di luar urusan kampus tetap baik. Sekadar info: biaya protes itu –misalnya untuk memesan karangan bunga duka cita atas kematian seni lukis kita, tapi itu tak sampai muncul di acara pemberian hadiah karena seorang satpam keburu menyimpannya di sanggar tari—datang dari kantung Abas. Tentu, kala itu Abas belum tahu untuk apa uang yang ia sumbangkan kepada mahasiswanya yang sedang berada di Jakarta tersebut. Dan Fadjar Sidik, berkaitan dengan kebijakan kampus ASRI, tak bisa lain daripada mendukung Abas, baik sebagai dosen ASRI maupun sebagai pribadi. Fadjar tampaknya berdua muka. Ini terbukti ketika sejumlah mahasiswa angkatan di bawah para penandatangan Desember Hitam mengadakan pameran di Gedung Karta Pustaka, Yogya (yang belum lama ini lembaga ini dibubarkan), 24-29 Maret

89 1975. Pameran bertajuk “Nusantara! Nusantara!” itu merupakan parodi terhadap seni lukis dekoratif yang dimenangkan oleh dewan juri Pameran Besar. Agus Dermawan menulis dalam katalog “Nusantara! Nusantara!”, antara lain seperti ini: “Inilah lukisan-lukisan Nusantara kita, dan kamilah pelukispelukis pribumi yang akan dapat bintang ‘Patriot Budaya Tanah Air’, kami penina-bobok tradisi. Namun sekaligus kamilah pengecut yang disetir ketumpulan otak dalam menanggapi arti tradisi yang ditindas slogan-slogan picisan yang menjagal kreativitas sendiri. Kami pembantai seni dan kamilah pengulang masa lalu…Lantas lengkaplah kami untuk Saudara gelari : germo-germo yang melacurkan tradisi…” Tak urung pameran ini mendapat tudingan sebagai infiltrasi kebudayaan asing dan bahaya laten PKI. Pihak ASRI akan tetap menerima kedelapan mahasiswa yang berpameran ini asal mereka minta maaf. Tersebar kabar bahwa masalah “Nusantara! Nusantara!” dan Desember Hitam sudah di tangan penguasa, yakni tentara (Panglima Komando Wilayah Pertahanan Jawa-Madura). Lalu datang kabar dari ASRI, mereka masih bisa diterima sebagai mahasiswa kalau minta maaf kepada pimpinan ASRI. Tujuh mahasiswa minta maaf. Penulis katalog menolak, karena mempertahankan prinsip, dan juga kemudian karena ada angin sejuk dari Fadjar. Agus Dermawan diminta menunggu saja, nanti pasti akan dipanggil pimpinan ASRI dan semuanya beres. Panggilan itu tak pernah datang, dan sekitar setahun kemudian Agus hengkang ke Jakarta. Kata Agus, politik dalam kadar sekecil apa pun, ternyata melumpuhkan pendekar kebebasan kreativitas. Inilah masa ketika kekuasaan mengikuti yang sedang berkuasa, bukan sebuah aturan atau hukum yang diketahui bersama. Pemberangusan, juga pujian, tidak jelas dasarnya, sekadar menuruti kata sendiri atau kelompok. Buktinya, benih yang disebarkan oleh para perupa muda di Pameran Besar 1974, dan kemudian menyatu dengan

90 semangat yang sama dari Bandung, melahirkan Gerakan Seni Rupa Baru, 1975, dan kemudian pameran karya instalasi dalam Jakarta Biennale 1993 –keduanya masih di masa yang disebut masa Orde Baru- dan semua aman-aman saja. Jakarta, 14 Desember 2014

Bambang Bujono Wartawan, penulis kritik seni rupa

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BEHIND THE BLACK DECEMBER 1974: A “PROVOCATOR” AND SOMEONE IN THE POWERHOUSE BEHIND the incident of Black December 1974 were two best friends who flagged up the passion to create and innovate and yet also who put that flame off, for different reasons of their own. By coincidence, when I studied at ASRI (the National Academy of Fine Art) in Yogyakarta, 1967-1968, I stayed in the house rented by Fadjar Sidik, a lecturer of free painting and composition class. I had the opportunity to watch Fadjar painting abstract on vast canvases, geometrical (pattern) exuding more the feeling of “natural” than “modern”, so different from Fadjar’s paintings known nowadays, showing a group of biomorphical shapes in tune, composed as such with colouful nuances. What remains from his old style is that sometimes, on his canvas, emerges a “symbol”: a circle that might be the moon, and something in a shape of cow’s horn. And in Yogya, at the second half of the 1960s, Fadjar’s abstract painting was clear a breakthrough, a leap from his previous realism style. Fadjar was a lecturer who had a close relationship with his students. The students often hung out at his rented house, chatting

92 away, including about paintings. What I still remember, Fadjar often lit their spirits. Artists must be brave to do something crazy (ngedan), he said. If not, don’t be an artist. Apart from students, the one that often visited Fadjar was Abas Alibasyah. This Director of ASRI would come on his scooter, and if so happened that some students were hanging out in the same time, spontaneoulsy, Abas would dive deep into his trouser pocket, retrieving some cash and asking a student to buy some filled tofu and other snacks with sweet tea - since Fadjar didn’t have a kitchen. They - Fadjar dan Abas - seemed like close friends, often praising each other. About how successful Abas in leading ASRI, for instance. Or, Abas’s own confession how he became less creative compared to Fadjar. Then why this article starts with Fadjar and Abas? It was these two artist-academic, in my opinion, who made the “Black December” incident - a protest from some young artists - possible. That was a protest related to the award-giving event named the Indonesia’s Great Painting Exhibition organized by the The Jakarta Arts Council (DKJ) in 1974. From i 13 artists who signed the declaration, five of them were ASRI students. Although the number of the students counted less than half, I am convinced that they were the ones who triggered the protest. Those ASRI students, then in their 20s, were among a very few who had this spirit of abovementioned ngedan in doing their arts. The spirit of ngedan in themselves could remain flicker since they got the “fire” to “burn” it from Fadjar Sidik. Four of them (FX. Harsono, Bonyong Munni Ardhi, Hardi, and Siti Adiyati) were members of Kelompok Lima Pelukis Muda Yogyakarta - or the Group of Five Young Painters from Yogyakarta (one, Nanik Mirna, didn’t sign the declaration). This Kelompok Lima were not only close to Fadjar, they also got endorsement and facility to exhibit in their campus and even outside Yogyakarta. One can imagine that they had high selfesteem, and this was one of the reasons which made them feel as if being slapped in the face, at least greatly disappointed, since none

93 of them was on the list of the Great Exhibition. Even more since among the Jury Panel was Fadjar Sidik, the one who burnt the fire of their creativity (the six others: Affandi, Sudjoko, Umar Kayam, Popo Iskandar, Alex Papadimitriou, Kusnadi). Coincidentally, the paintings by the five winners (Abas Alibasyah, Aming Paryitno, A.D. Pirous, Irsam and Widayat) could be said to bear similar pattern and character: decorative with the ornaments that can remind people of (the idea) of Nusantara-ness. It is said, that at the core of this protest, the Jury Panel tended to take side of one pattern, despite the fact there was 240 paintings by 80 painters that represented a variety of style: naturalism, realism, abstract, up to those who used all kinds of materials glued to it, from wood to dolls. The protest text written by D.A. Peransi, a cinematographer who was also a painter and writer, became the subject of discussion among the displeased with the jury’s final decision. The role of the five ASRI students in this discussion, I think, was significant, since they moved on so much from the (artistry of) twodimensional canvas filled with sketches and strokes of paints, so if the criteria of the jury for painting was still “conventional”, for sure their work was excluded from the chance to win. Thus, they were enraged. In truth, the in the jury’s accountability report (judged from the language it used, it must have been written by Sudjoko, a lecturer at the Fine Art Department, ITB or Bandung Institute of Technology), the fact of these various styles were fully acknowledged. It was stated that the jury did not consider the painter (origin, age, etc) but solely the painting. Then, it was explained that the prize-giving was not meant to develop one particular style, nor that it could be used, for instance, to discredit the old painters, nor to baptize a winner as the great painter. The prize-giving in this Great Exhibition was meant to encourage the act of painting, in the hope the quality of painting would be improved. Then, how could that happen that the winners seemed to be bearing similar style, whilst among the jury there was someone like

94 Fadjar who encouraged his students to experiment (ngedan) in their works? There was also Sudjoko who in the early 1960s, in a seminar on fine art, questioned the artists who forgot our own craft with all variety of media, even more they considered this as of lower quality than fine art? Sudjoko called for painters and sculpturer to use all kinds of media for the sake of creativity. I suspect that such evaluation give such result because of the accummulation of all scores from every jury member. As crazy (ngedanedannya) as it could be of Fadjar in giving score, and as open-minded as Sudjoko could be in doing the same, they were outnumbered by the other jury members. One indication, in their accountability report it was said that “The attempt to play around with anything ‘new’ or ‘weird’ could be said as an attempt of simply trying out, or merely a pastime, or a proof of lacking ideas and creativity.” Wouldn’t the work of Bonyong, for instance, with a piece of wooden board painted red and white with some dolls glued to it, be automatically seen as a work of trying out, for the sake of being weird, by at least the other five jury members? At that time, in 1974, such works were indeed not around much in an exhibition, but it doesn’t mean nobody was doing it. The exhibition by ITB students, one of them was by Jim Supangkat (now an independent curator and prominent critic of Indonesian art) and the late Priyanto S. (graphic artist and cartoonist) at Balai Budaya, Jakarta, February 1974, and some exhibitions of ASRI students at their own campus, were among those which presented artworks deemed not conventional. In the catalog introduction of the ITB student exhibition, written by their own lecturer, But Muchtar, it is written that the exhibition was influenced by the Pop Art, but limited only in the shapes, without really tackling the essential content. For sure, But Muchtar wrote this introduction because he could see the potentials and hoped that the students could improve in the future. Then at ASRI, the one exhibited from painting to undies (underpant) glued on

95 a canvas, provoked a lively discussion. The perception of “seeing the potentials” but needs to improve is the most moderate critic toward those inconventional works. Only few could accept such “weird” works. Sudjoko, for instance, put the photo copy of the Declaration of Black December on ITB campus, pointing that arts students should act like those protesters. So, I again suspect, that the aftermath of the Black December incident in the campus of ASRI Yogya, would have been like the exhibition featuring the undies at ASRI campus: provoking a lively discussion for awhile, but then soon forgotten. But it turned out differently, and the cause of such different aftermath was in the opening of this article: Abas Alibasyah. Abas was then not only the Director of ASRI, but also the Secretary of Directorate of Culture. In other words, he was bureaucrat. By then, the new government called themselves as the “new Order” and was only seven years old. Mentioned or not, the New Order cultural program was to develop the traditional art, regardless the phrase “to develop” means. So, they built several arts centers in the end of the 1960s, among them the one in Solo, whose most activities counted more about traditional arts. The art that “strayed away” from traditional art still could take place, depending on who run the center, but clearly with risk. Samgita Pancasona by Sardono W. Kusumo, a dance that dealt with the tradition to be “modern” was staged at the Arts Center of the Central Java (then led by the open-minded Sedyono Hoemar Dani) at the RRI Building in Solo, and received raw eggs thrown to the stage, since some audiences thought that this piece violated tradition. Another similar example, still of Sardono, a dance titled Cak Tarian Rina, something that transformed the ‘cak dance’ to be more dynamic and full of imagination. The dance was firstly planned to be staged at the Taman Ismail Marzuki in December 1973 but was cancelled since the dancers from Teges village in Bali were forbidden to

96 go to Jakarta by Listibiya, a Balinese cultural institution affiliated with the government. So, it was to nobody’s surprise when the Director of ASRI issued a sanction to the students involved in the Black December. One question from ASRI to the students was “Have you all tore down the national culture?” It should be remembered that then, in the early 1974, there was incident known as the Peristiwa Limabelas Januari (or shortened Malari), a rather large mass demonstration protesting the Japanese products. There was an accusation that the agent of Japanese products were bureaucrats. The government stance was revealed: there were some mass media which reported about Malari deemed violating the image of the government, thus their publishing license was cancelled. After Malari, the government became so sensitive to critics, and those deemed dangerous for the nation, including in the arts. As usual, the criteria that fall onto ‘threaten the nation and state’ was a one-sided opinion. So in my opinion, what Abas did in the light of the Black December tended to show his safe way of guarding his position as bureacrat. He explained to me at that time that the Governor Ali Sadikin even called him because of the incident. Personally, as far as I know, Abas’s relationship with the students outside the campus remained cordial. Just a flash of information: the cost of the protest - for instance to buy the funeral bouquet declaring the death of our painting art, which failed to emerge during the prize ceremony since a safety guard officer quickly hid it in the dance studeio - came from Abas’s pocket. For sure, then Abas didn’t know what the money he donated to the students who were visiting Jakarta was used for. And Fadjar Sidik, in relation to ASRI campus policy, could not take any other side but Abas’s, both as ASRI lecturer or as his friend. Fadjar seemed to be two-faced. It was proved when some younger students than those signed the Black December held an exhibition at

97 the Gedung Karta Pustaka, Yogya (which sadly was disbanded not so long ago), 24-29 March 1975. The exhibition entitled “Nusantara! Nusantara!” was a parody toward the decorative painting style won by the Great Exhibition jury. Agus Dermawan wrote in the catalog of “Nusantara! Nusantara!”: “These are our Nusantara paintings, and we are the indigenous painters who will get the star of ‘National Cultural Patriot’, we sing lullaby to tradition. However, we are also those cowards who were controlled by a not sharp-edged brain in responding to the meaning of tradition, oppressed by the cheap slogans that killed our own creativity. We are the killer of the art and we are repeating the past..... Then we are now complete for you to endown us with title: those pimps who sell the tradition so cheaply …” Then, this exhibition was accused as infiltrated by some kind of foreign culture and by the latent danger of PKI (the banned Indonesian Communist Party). ASRI would accept the eight students who exhibited as long as they apologized. A news was spread that the problems of “Nusantara! Nusantara!” and the Black December were in the hands of those in power, referring to the army commandeer of Java-Madura (Panglima Komando Wilayah Pertahanan Jawa-Madura). Then came the news from ASRI that the students could hold their academic status as long as they apologized to ASRI leadership. The catalog writer refused though, on the basis of principle, and on the basis of Fadjar promised to do something. Agus Dermawan was asked to wait, he was promised that he would be summoned by ASRI leadership and everything would be alright. The audition never happened, and a year after, Agus moved to Jakarta. Agus said, politics - even in its minutiae - could paralyze the fighter of the free creativity. This is an era when power foloows those in the powerhouse, not a shared and known regulation or law. The basis for muzzlement or appraisal, are not clear, simply following what one’s heart says or of a particular group. Another proof, the seeds thrown by the young

98 artists in the Great Exhibition 1974, then united with similar spirit in Bandung, gave birth to the new movement, the Gerakan Seni Rupa Baru, in 1975, and later the exhibition of the installation at the Jakarta Biennale 1993 – both took place during the New Order era but despite this, everything was safe and sound. Jakarta, 14 December 2014

Bambang Bujono Journalist, art critic

BIOGRAFI // BIOGRAPHY

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ABAS ALIBASYAH (L. 1928) PADA 1943, saat pendudukan Jepang, Abas Alibasyah belajar di Sekolah Guru Menengah (Cuuto Sihan Gakko). Di saat bersamaan, ia berlatih melukis di sanggar Pelukis Rakyat saat masih dipimpin Affandi sampai kepemimpinan Hendra Gunawan. Pada1950 melanjutkan pendidikan formal seni lukisnya di Akademi Seni Rupa Indonesia (ASRI). Setelah lulus ia mengajar di almamaternya dan menjadi Ketua Jurusan Seni Rupa, sampai 1962. Bersama temanteman satu angkatan di ASRI, membentuk Akademi Seni Rupa Surakarta 1957—1962. Abas mendapat kesempatan belajar di Belanda dan berpameran di Den Haag pada 1968. Menerima penghargaan Cultural Award Scheme dari Pemerintah Australia pada 1970 dan setahun kemudian diangkat sebagai Sekretaris Direktorat Jenderal Kebudayaan RI. Lukisanya yang berjudul Wajah mendapat predikat lukisan terbaik pada “Pameran Besar Seni Lukis Indonesia 1974.” Hal ini menjadi pemicu ‘Pernyataan Desember Hitam 1974’. Abas menerima penghargaan Lempad Prize pada 1984, setahun kemudian, mendapat Anugerah Seni dari Pemerintah Indonesia. Abas pernah menduduki beberapa jabatan birokratis di antaranya; Ketua Dewan Kesenian Yogyakarta, anggota DKJ, anggota Dewan Film Nasional, anggota Badan Sensor Film. Menjadi juri untuk sejumlah Festival Film Indonesia, juri kegiatan seni UNESCO, juri penerima Anugerah Seni RI, dan sebagainya. UNDER Japan occupation, Abas Alibasyah studied at the middle teacher school, Cuuto Sihan Gakko in 1943, whenceupon he also trained at the Pelukis Rakyat collective (sanggar) led by Affandi and later by Hendra Gunawan. In 1950, he continued his formal painting training at the

102 National Academy of Fine Art (ASRI). After graduation, he taught at his alma mater and became the Head of Fine Art Department until 1962. Several years before, in 1957 to be exact, he and his classmates at ASRI, founded the Academy of Fine Art in Surakarta (Central Java) and was active until 1962. In 1968, he got the opportunity to learn Dutch and exhibit in Den Haag. He was awarded the Cultural Award Scheme from Australian government in 1970 and a year later was promoted to be the Secretary of General Directorat of Culture. In 1974, his painting, Wajah (Face) won as one of the five best paintings at the “Big Exhibition of the Indonesian Paintings 1974” which ended up with the ‘Declaration of Black December 1974’ incident. In 1984, Abas received Lempad Prize, and one year later the National Art Award from Indonesian government (Anugerah Seni dari Pemerintah Indonesia). In his active years, he held numerous bureaucratic posts, among them the Head of Yogyakarta Arts Council, member of DKJ, member of National Film Council, member of Film Censor Board, and member of jury for several edition of Indonesian Film Festival (FFI), jury for art for UNESCO, jury member for the National Art Award, etc.

A.D. PIROUS (L. 1933) PADA awal 1955, Abdul Djalil Pirous bergabung dalam pelatihan di Sanggar Seniman yang dibentuk oleh Kartono Yudhokusumo bersama pelukis Bandung lainnya. Lulus dari ITB tahun 1964, lalu mengajar di almamaternya hingga pensiun. Ia menerima penghargaan kebudayaan dari pemerintah Amerika Serikat pada 1970. Melanjutkan studi desain grafis dan printmaking di The School of Art and Design, Rochester Institute of Technology, Amerika Serikat pada 1969-1971, Menjelang akhir 1971, ia membuat serangkaian lukisan kaligrafi

103 Arab dan dipamerkan di TIM DKJ, setahun kemudian, sebagai bentuk estetik baru dalam khasanah seni lukis modern Indonesia. Bersama beberapa teman, mendirikan galeri khusus grafis, Decenta pada 1973. Karya lukisnya, Tulisan Putih termasuk satu dari lima karya terbaik pemenang “Pameran Besar Seni Lukis Indonesia 1974” yang memicu “Pernyataan Desember Hitam 1974”. Dua tahun kemudian, Pirous memenangi kompetisi yang sama dengan lukisan KaruniaNya yang Maha yang Masih kau Dutakan. Karya grafisnya pernah mendapat penghargaan utama dalam Pameran Seni Rupa di Naples, Amerika Serikat. Ia telah mengikuti tujuh kali Pameran Besar Seni Lukis Indonesia (Biennale) sepanjang 1974—2006. Ia menerima hadiah kebudayaan dari Pemerintah Korea Selatan dan Anugerah Seni dari Pemerintah Republik Indonesia pada 1984. Pirous adalah penggagas pameran karya seni lukis modern bernuansa Islami di Festival Istiqlal sejak 1991. Sebagai Ketua Dewan Kurator, mengorganisasi Pameran Seni Rupa Kontemporer Islami dalam peresmian Bayt Alquran dan Museum Istiqlal di Taman Mini Indonesia Indah, pada 1985. Selain melukis, A. D. Pirous banyak menghasilkan karya grafis berupa cetak-saring dan etsa. Periode karyanya dapat dibagi tiga tahapan, yakni tahap studi realistik, pengembaraan kubistik, dan pencapaian citraan kaligrafi. IN the early 1955, he trained at Sanggar Seniman (an artist collective) founded by Kartono Yudhokusumo and other Bandung-based painters. Graduated from ITB (Bandung Institute of Technology) in 1964, he taught at his alma mater until retirement. In 1970, he received art award from the US government. In 1969-1971, he continued to study graphic design and printmaking at The School of Art and Design, Rochester Institute of Technology (US). Toward the end of 1971, he created a series of Arabic caligraphy-based paintings - the first aesthetic of its kind in the modern Indonesian paintings - which he exhibited at TIM DKJ in 1972. In 1973, he co-founded a graphic-focused gallery, Decenta. In 1974, his painting,

104 Tulisan Putih (White Writing), was included as joint-winners of the “Big Exhibition of Indonesian Painting”Two years later, Pirous again won such award with his painting, KaruniaNya yang Maha yang Masih kau Butakan (Your Grace for Those Who You Made still Blind). His graphic works also got the first award at the exhibition in Naples (US). In the span of 1974-2006, he participated for seven times in the Indonesia’s Great Painting Exhibition (Indonesian Painting Biennale). In 1984, he received award from the South Korea as well as from Indonesia governments. In 1985, Pirous initiated the Islamic-nuanced painting exhibition at the Festival Istiqlal until 1991. That year, Pirous initated and organized - as the Head of Curatorial Board of the Contemporary Islamic Fine Art - the inauguration of the Bayt Alquran and Museum Istiqlal at the Taman Mini Indonesia Indah, Jakarta. Apart from painting, A. D. Pirous also created quite a number of graphic works in forms of screen-printing and etching. His work period can be divided into three stages: realistic study, cubistic adventure and caligraphy imagery.

BAHARUDIN MARASUTAN (1911-1988) PADA 1929—1930, Baharudin membuka usaha di bidang zincografi dan mencoba membuat klise dengan alat-alat yang sederhana. Ia menjabat sebagai Kepala Bagian Zincografi di penerbit Balai Pustaka di Jakarta, 1939—1942 dan menjadi Kepala Percetakan Balai Pustaka sebelum pensiun pada 1967. Sebagai pelukis, ia bergabung dalam banyak pameran bersama baik di dalam maupun di luar negeri: Amsterdam, Padang Panjang, Padang, dan Jakarta. Pertama kali menggelar karya-karya monotipe dan kolase dalam pameran tunggalnya di Museum Nasional pada 1964. Baharudin banyak menulis Seni Rupa di berbagai majalah dan

105 surat kabar yang terbit di Jakarta dalam kurun waktu 1950—1970. Ia menerima “Penghargaan Khusus” dari Gubernur DKI Jakarta tahun 1977. Ia menyusun biografi pelukis Indonesia untuk sebuah ensiklopedia terbitan Leiden, Belanda pada awal 1980-an. Di tahun yang sama, menerima “Penghargaan Pengabdian” sebagai pelukis tertua dalam Pesta Kesenian Jakarta-Taman Ismail Marzuki. BETWEEN 1929-1930, Baharudin opened a business in zincografi, trying to make negative film with simple tools. Between 1939-1942, he became the Head of Zincografi Department at the state-owned publisher Balai Pustaka, and became its Chairman two years before he retired. As a painter, he had participated in many joint exhibitions, both in Indonesia and overseas: Amsterdam, Padang Panjang, Padang and Jakarta. In 1964, he held a solo exhibition of his series of monotipe and collage at the Museum Pusat, Jakarta. Between 1950s dan 1970s, he wrote a lot about fine art in several magazines and newspapers published in Jakarta. In 1977, he got ’’Special Award” from Jakarta Governor. In early 1980, he wrote biography of Indonesian painters for an encyclopaedia published in Leiden, Netherlands. In 1982, he got the ’’Lifetime Award” as the oldest painter at the party of PKJ-TIM.

BONYONG MUNNI ARDHI (L. 1948) MENDAPAT gelar sarjana muda dari Seni Lukis STSRI “ASRI” Yogyakarta (1968—1974) sekaligus menjadi anggota Sanggar Bambu. Ia melanjutkan pendidikan di Fakultas Seni Rupa Universitas Nasional Sebelas-Maret dan jadi anggota pengurus Dewan Kesenian Yogyakarta untuk masa 1977—1982. Ia dan GSRBI memamerkan karya-karya “Seni Rupa Konsep” di Balai Budaya pada 1976. Tahun

106 berikutnya, terlibat lagi dalam “Pameran Seni Rupa Baru Indonesia 1977” GSRBI yang diselenggarakan oleh DKJ-TIM dan turut serta dalam Pameran Pelukis Muda se-lndonesia, di TIM, di tahun yang sama. Pada 1979, menjelang GSRBI menamatkan diri, ia masih berperan dalam pameran terakhir gerakan itu, yaitu Pameran Gerakan Seni Rupa Baru Indonesia 1979, di TIM-DKJ. Pada 1980 ia adalah peserta Pameran Besar IV Seni Lukis Indonesia di TIM. Bonyong bersama Harsono, Gendut Riyanto, Harris Purnama, membuat pameran Proyek Seni Rupa Lingkungan “Proses ’85” di Galeri Pasar Seni Jaya Ancol pada 1985. Ia adalah pendiri kelompok seni rupa PIPA (Kepribadian Apa) 1977. Namun, dua tahun kemudian, kelompok ini mulai meredakan konteks aktualnya karena dianggap terlalu radikal memberikan konteks sosial budaya dan berubah menjadi lebih mementingkan pengolahan “bentuk seni rupa.” Sempat menjadi pengajar di STSI (Sekolah Tinggi Seni Indonesia) Surakarta pada 1983—2002 dan saat ini tinggal di Solo bersama keluarganya. BETWEEN 1968-1974 Bonyong studied painting at the STSRI “ASRI” Yogyakarta until pre-baccaulaurate, whilst training at Sanggar Bambu. He then continued his study at the Faculty of Fine Art, Universitas Nasional Sebelas-Maret in Surakarta, whilst becoming a member of Yogyakarta Arts Council (period 1977-1982). In 1976, he and GSRBI exhibited the works of “Conceptual Fine Art” at Balai Budaya. A year after, he was involved in “Exhibition of New Indonesian Fine Art 1977” (GSRBI), organized by DKJ-TIM, as well as participated at the Exhibition of Indonesian Young Painters, also at TIM. In 1979, toward the end of GSRBI era, Bonyong remained active, participating in that last exhibition, titled, “Exhibition of New Indonesian Fine Art 1979”, at TIM-DKJ. In 1980, he was a participant for the Big Exhibition of Indonesian Painting IV at TIM. In 1985, Bonyong -

107 together with FX Harsono, Gendut Riyanto, Harris Purnama - organized Environtment Art Project “Proses ’85” at the Galeri Pasar Seni Jaya Ancol. In 1977, he founded artist collective PIPA (Kepribadian Apa). Two years later, in September 1979, this collective toned down their socio-cultural radicalism and transformed to become more inclined toward the “shape of a fine art” (piece). Nowadays, Bonyong and his family live in Solo; he lectured at the STSI - the national arts academy now known as ISI - between 19832002.

DEDE ERI SUPRIA (L.1956) DEDE masuk Sekolah Seni Rupa Indonesia (SSRI) pada 1975. Dua tahun kemudian memutuskan berhenti sekolah dan keluar dari SSRI. Di tahun yang sama, Dede mulai bekerja sebagai ilustrator honorer di TEMPO. Intensitas Dede dalam berkarya terus berkembang. Mulai ikut dalam pameran-pameran bersama, salah satu yang paling terkenal adalah pameran ‘Pasaraya Dunia Fantasi,’ yang kemudian oleh banyak pihak dianggap sebagai tonggak perkembangan seni rupa kontemporer di Indonesia. Dede juga terkenal lewat pameran “Seni Kepribadian Apa” pada 1978. Dede Eri Supria menggelar pameran tunggal pertamanya di Taman Ismail Marzuki (TIM) pada 1979, berpameran tunggal kembali pada 1981 dan 1985. Dalam berkarya, Dede jarang sekali melukis obyeknya secara langsung. Ia selalu berhasil menangkap citra dalam foto dan hasilnya amat mendekati kenyataan bahkan kadang melebihi aslinya. BORN in Jakarta, Dede enrolled at the School of Indonesian Fine Art (SSRI) in 1975. In 1977, he decided to drop out from school and started

108 working as a freelance illustrator for TEMPO magazine instead. His intensity at work had further developed and he started participating in group exhibitions, one of the most famous was ‘Pasaraya Dunia Fantasi,’ considered by many as one of the yardstick for the development of Indonesia’s contemporary arts. Dede was also known through the exhibition “Seni Kepribadian Apa” (What Art Personality) in 1978. In 1979, Dede organized his first solo exhibition at Taman Ismail Marzuki (TIM) which he continued to do in 1981 and 1985. When painting, Dede seldom uses a live model. He always captures the imagery in his painting through photographs and painted it to make it look as close as the original photograph.

HARDI (L. 1951) SETAMAT SMA di Surabaya 1970, R. Suhardi minggat dari rumah. Ia melukis di Ubud selama tiga bulan, berkawan dengan Ida Bagus Made dan pelukis-pelukis lain di Bali. Pindah ke Surabaya dan masuk Akademi Seni Rupa (AKSERA) Surabaya, selama enam bulan. Pada 1974 ia mengikuti Pameran Besar Seni Lukis Indonesia (Biennale). Di awal 1975, ia mendapat hukuman akademik dan dikeluarkan dari ASRI, lantaran menandatangani “Pernyataan Desember Hitam 1974” bersama 13 seniman lainnya. Dalam kurun waktu 1975—1977, atas usaha pelukis Bert Hermens, memperoleh beasiswa studi grafis dan fotografi di Jan van Eijck Academie Maastrich, Belanda dan berpameran dengan para seniman Belanda di Hasellt pada tahun yang sama. Sekembalinya ke Indonesia, Hardi berpameran tunggal TIM, disponsori Sides Sudyarto D.S., sahabatnya. Bersama kawan-kawan kelompok ARH (Arief Rahman Hakim), ia membuat presentasi seni di Balai Budaya

109 pada 1978. Hardi berpameran berdua S.Sudjojono di Balai Universitas Indonesia, sambil ikut Pameran Humor di TIM, juga ikut dalam “Pameran Besar Seni Lukis Indonesia” (Biennale) 1978 di TIM-DKJ. Saat “Pameran Pelukis Muda lndonesia” 1979 di TIM-DKJ, ia ditangkap dan ditahan dua malam di Markas Satgas Intel-Laksusda Jaya karena karya grafisnya berjudul Presiden. Pada 1982, berpameran tunggal kelima di TIM atas usaha DKJ dan terus berpameran tunggal di TIM—DKJ. Ia pernah menjadi angota Komite Seni Rupa DKJ (1985) dan bekerja di BP-3 TIM (1988) tapi segera mengundurkan diri. Hardi juga menulis kritik-kritik seni rupa di majalah sastra maupun di berbagai surat-kabar. Ia juga tercatat sebagai kolumnis budaya Harian Pos Kota. Hardi mendirikan HIPTA (Himpunan Pelukis Jakarta), menjadi ketua dalam kurun waktu 1987—1989. Pamerannya di Indonesian Cultural Plaza di Tokyo, membuatnya masuk dalam Apa-Siapa di Asia yang dipublikasikan NHK-Jepang. Hardi bersama keluarganya tinggal dan berkarya di Jakarta. AFTER graduating from high school in Surabaya 1970, Hardi (neé R. Suhardi) escaped, painting in Ubud for three months instead and befriending Ida Bagus Made and other painters in Bali. He moved to Surabaya and enrolled at the Academy of Fine Art (AKSERA) for six months. In 1974, he joined the Big Exhibition of Indonesian Painting (Biennale). At the early 1975, he was sanctioned academically and expelled from ASRI, due to his co-signing the “Declaration of Black December 1974”, together with another 13 artists. Between 1975-1977, thansk to the effort of painter Bert Hermens, he got a scholarship to study graphic design and photography at Jan van Eijck Academie in Maastrich, the Netherlands. In the same year, he exhibited together with Dutch artists in Hasellt, a city in Belgium. Upon returning to Indonesia, Hardi did a solo exhibition at TIM, sponsored by his best friend, Sides Sudyarto DS. In 1978, with some friends from ARH (Arief Rahman Hakim), he did an art presentation at Balai Budaya. In 1978, Hardi and S.

110 Sudjojono organised a joint exhibition at Balai Universitas Indonesia, whilst exhibiting at Humour Exhibition at TIM as well as at the Big Exhibition of Indonesian Painting (Biennale) 1978 at TIM-DKJ. In 1979, he did another solo exhibition at TIM-DKJ. During the Indonesia’s Exhibition of Young Painters 1979 at TIM-DKJ, he was arrested for two nights at the Headquarter of Intelligence (Markas Satgas Intel-Laksusda Jaya) due to his graphic work titled President in 2001. In 1982, he did a solo exhibition for the fifth time at TIM with the support of DKJ, and this continued. In 1985, he was a member of the Fine Art Committeeof DKJ, and in 1988 worked for BP-3 TIM although he soon resigned. He also wrote art criticism in various literature magazines and newspapers, including his own column on Pos Kota daily. He then cofounded HIPTA (Association of Jakarta Painters) and led it from 1987 to 1989. His exhibition at Indonesian Cultural Plaza in Tokyo made him included in Who’s Who in Asia published by NHK-Jepang. Hardi and his family live and work in Jakarta.

IRSAM (L. 1942) SETAMAT SMA pada 1959, Irsam melanjutkan pendidikannya di Akademi Seni Rupa Indonesia, sampai meraih sarjana muda. GANEFO adalah pameran pertamanya pada 1962 di Jakarta. Sejak saat itu hingga sekarang, telah mengikuti banyak pameran lukisan, baik nasional maupun internasional: pameran tunggal dan pameran bersama di Yogyakarta, Jakarta, Bandung, Surabaya, Semarang Denpasar. Menggelar pameran bersama di negara-negara ASEAN, Australia, India, Belanda, juga Bangladesh, Swiss, Brunei, Amerika Serikat, Italia, dan Perancis. Dari 12 kali penyelenggaraan Pameran Bienale Seni Lukis Indonesia di TIM-DKJ, Irsam telah 9 kali ikut sebagai peserta.

111 Pada 1974, dalam “Pameran Besar Seni Lukis Indonesia I” di TIM -DKJ, lukisannya Matahari di atas Taman memperoleh predikat terbaik. Ia mengikuti pameran internasional pelukis-pelukis Asia, di Jepang pada 1979. Ia mengikuti pameran “Seni Lukis ASEAN I dan II” dan berkeliling di empat negara anggota pada 1980—1981. Pameran bersama se-Asia di Fukuoka, Jepang. Pameran bersama Hipta di Surabaya. Pameran berdua di Mondecor Gallery, Jakarta. Pameran Kelompok 11 di Jakarta. Menjalani masa pensiun sebagai mantan Kepala Bagian Seni Lukis dan Grafis-Direktorat Kesenian, Direktorat Jenderal Kebudayaan pada Kementerian Pendidikan dan Kebudayaan, di Jakarta. AFTER graduationg from high school in 1959, Irsam continued his study at the Academy of Indonesia’s Fine Art until pre-baccalaurate. His first exhibition was GANEFO 1962 in Jakarta. From then on, he participated in many painting exhibitions, both across Indonesia and overseas, among them ASEAN countries, Australia, India and the Netherlands; as well as Bangladesh, Switzerland, Brunei Darussalam, the US, Italy and France. From 12 editions of the Indonesia’s Painting Biennale at TIM-DKJ, Irsam participated in at least nine of them. In 1974, in the first Big Exhibition of Indonesian Painting at TIM -DKJ, his painting titled Matahari Di Atas Taman (The Sun over the Garden) managed to get one of the best. In 1979, he participated in international exhibition with Asian painters in Japan. In 1980, he took part at the first ASEAN Painting Exhibition - it’s a touring exhibition within the ASEAN country members - followed by the second in 1981. He exhibited in group exhibition in Fukuoka (Japan), similar in Surabaya, duo exhibition in Mondecor Gallery, Jakarta and the Kelompok 11 (Group 11) exhibition, also in Jakarta. He is spending his retirement as civil servant, having once worked as the Head of Painting and Graphic Design, Directorat of Cltural, National Ministry of Culture and Education.

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JIM SUPANGKAT (L. 1948) ANTARA 1964—1966, Jim mulai belajar melukis di Sanggar Seniman, Bandung. Pada 1970—1975, ia mendalami studi di Jurusan Seni Patung Fakultas Seni Rupa ITB. Sejak 1970, Jim mulai berpameran seni rupa bersama. Jim memperoleh penghargaan Wendy Sorensen Memorial Award dari Fakultas Seni Rupa ITB untuk karya patung terbaiknya, Torn pada 1975. Ia belajar filsafat dan estetika kepada Romo Dick Hartoko OSJ -penulis dan pemikir kebudayaan di Yogyakarta, 1973-1975. Jim menjalani studi lanjutan mengenai estetika dan seni—sebagai mahasiswa pendengar—di Jurusan Filsafat Universitas Gajah Mada Yogyakarta, 1974 -1975. la menempuh pendidikan pascasarjana di Psychopolis Art-Academie Den Haag, Belanda, 1978—1979. Pada Agustus 1975, bersama sepuluh perupa muda kawannya, untuk pertama kali menggelar “Pameran Seni Rupa Baru Indonesia ’75” di TIM-DKJ. Pameran itu boleh dikatakan dipicu oleh „Pernyataan Desember Hitam 1974”, meski ia tidak termasuk yang menandatangani. Jim ikut serta dalam Pameran Besar Seni Lukis Indonesia II di TIM-DKJ, 1976. Bersama kelompoknya menggelar lagi Pameran Seni Rupa Baru Indonesia ’77 pada Meret 1977. Ia juga ikut serta dalam Pameran Besar Seni Lukis Indonesia III di TIM-DKJ pada Desember 1978. Jim Supangkat banyak menulis esai dan kritik seni rupa untuk berbagai kesempatan diskusi, seminar, dan kuratorial pameran seni rupa, maupun untuk sejumlah media seni rupa di dalam maupun di luar negeri, seperti Art and Asia Pacific, Australia and Asian Artnews, Hongkong. Ia pernah menjadi redaktur majalah gaya hidup pop paling terkenal, Aktuil, bersama Remy Silado di Bandung, lalu redaktur majalah Zaman dan terakhir Tempo. Setelah itu, sepenuh waktunya

113 ia menjadi kurator seni rupa. Mulai menjadi kurator untuk Yayasan Seni Rupa Indonesia (1990), tapi tidak lama, kurator Pameran Seni Rupa Gerakan Non-Blok, sebagai bagian dari Konferensi Negaranegara Non Blok yang diadakan di Jakarta (1995). Ia menerima penghargaan Prince Claus Award 1997 dari pemerintah Belanda. Ia adalah kurator tetap CP Art Space di Washington dan di Jakarta sejak 2001. Jim Supangkat menjadi kurator utama untuk CP Open Biennale International: “Interterpelation”, di Galeri Nasional, Jakarta pada September 2003. BETWEEN 1964-1966, Jim started to learn how to paint at Sanggar Seniman - an arts collective - in Bandung. Yet, in the period of 1970-1975, he studied at the Sculpture Department, Faculty of Art, ITB. He had been doing group exhibition since 1970. In 1975, he won Wendy Sorensen Memorial Award from his alma mater for his best sculpture. Between 1973 and 1975, he studied philosophy and aesthetic under Romo Dick Hartoko OSJ - cultural critic from Yogyakarta. During 1974-1975, he further studied aesthetic and the arts - as observing student - at the Philosophy Department, Universitas Gajah Mada Yogyakarta. In August 1975, he and ten artist fellows organised an exhibition of Pameran Seni Rupa Baru Indonesia ’75 (Exhibition of Indonesian New Fine Art ‘75) for the first time at TIM-DKJ. This exhibition was triggered by the “Declaration of the Black December 1974” although he was not among the signatories. Jim Supangkat has written numerous essays and criticism for various discussions, seminars, fine art exhibition curaltorial as well as special journals for the arts - including the international ones such as Art and Asia Pacific (Australia) and Asian Artnews (Hongkong). In 1976, Jim participated at the second Big Exhibition of Indonesian Painting at TIM-DKJ. In March 1977, he and his group exhibited again in the Pameran Seni Rupa Baru Baru Indonesia ‘77. He also participated in the third Painting Biennale at TIM-DKJ in 1978.

114 Jim continued his postgraduate study at the Psychopolis Art-Academie in Den Haag in 1978. He once worked as the editor for the most famous pop lifestyle magazine of the era, Aktuil, together with Remy Sylado in Bandung, then for Zaman magazine before finally joined Tempo, a weekly newsmagazine. Afterwards, almost half of his time he spent as curator. In 1990, he started to be the curator for Yayasan Seni Rupa Indonesia, but not for long. In 1995, he became the curator for Non-Block Movement Art Exhibition, as part of the Non-Block Conference taking place in Jakarta. He received the Prince Claus Award 1997 from the Dutch government. Since 2001, he has been working as the fulltime curator for CP Art Space in Washington and Jakarta. In September 2003, he became the main curator for CP Open Biennale International: “Interterpelation”, at the Galeri Nasional (National Gallery), Jakarta.

JUSWAR (L. 1953) JUSWAR adalah perupa asal dari Sumatra Barat. Selepas sekolah menengah, melanjutkan studinya di ASRI Yogyakarta yang mengantarkannya menuju ibukota Jakarta. Berbekal ilmu seni rupanya, Juswar melibatkan diri dalam Badan Pengelola Taman Ismail Marzuki (TIM), yaitu Bengkel Dekor pada 1968. Di TIM, Juswar menjabat sebagai Kepala Urusan Pameran membidangi Pertunjukan dan Pameran pada 1987. Di tahun yang sama, Juswar melibatkan dirinya bersama perupa lain dalam kegiatan pameran seni rupa di ruang pameran utama di TIM. ORIGINATING from West Sumatra, Juswar continued his study at ASRI Yogyakarta, which led him to the capital Jakarta. In 1968, with his experience in fine art practice, he got himself involved with the Badan

115 Pengelola Taman Ismail Marzuki (TIM) - the management arm of the Center - specifically with its decoration workshop. In 1987, Juswar was appointed to be the Head of Exhibition, supervising both Performances and Exhibitions, during which he had the chance to get to know the arts community up and close, including exhibiting his works together with other artists at TIM.

M. DARYONO (1933-1992) LAHIR dari keluarga ningrat. Tahun 1957 meninggalkan keluarganya untuk secara otodidak menjadi pelukis. Selama 1960—1962 berkelana di Bali. Sekembalinya dari Bali, di tahun 1963 ia mengikuti pameran lukisan bersama di Surabaya. Sejak saat itu, ikut aktif dalam pameran-pameran di beberapa kota di Indonesia. Kesertaannya yang penting adalah dalam Pameran Biennale Seni Lukis Indonesia yang diselenggarakan oleh DKJ. Dua lukisannya, Sumur Tua dan Pelabuhan Minyak terpajang dalam Pameran Dunia Minyak Indonesia yang disponsori Pertamina, di TIM tahun 1974. Selama empat tahun, 1969—1973, Daryono adalah dosen seni lukis di Akademi Seni Rupa Surabaya (AKSERA). Ia menjabat sebagai wakil ketua Dewan Kesenian Surabaya tahun 1972—1973. Daryono adalah pelukis yang memilih tinggal di Surabaya, dan menjadi salah satu “penjaga” dari “kubu” seni lukis Surabaya, bersama Amang Rahman, Khrisna Mustadjab dan Rudi Isbandi. Lukisan Daryono dapat dipandang sebagai realisme— ekspresionistis, dengan pokok antara ekspresi pribadi dan narasi sosial lingkungan. Pameran tunggalnya yang terakhir digelar pada Juli 1987. BORN from an aristocratic family, Daryono left his family in 1957 to learn how to paint. Between 1960 and 1962, he wandered around in Bali, and

116 upon returning in 1963, he joined a painting exhibition with Rabaya. After this, he had been relatively busy joining painting exhibitions across cities in Indonesia. Among the most important were the Indonesian Painting Biennale organised by DKJ where his two paintings, Sumur Tua (Old Well) and Pelabuhan Minyak (Oil Port) were showcased and The World of Kerosene exhibition sponsored by Pertamina at TIM in 1974. For four years (1969 - 1973), Daryono worked as lecturer at the Academy of Fine Art (AKSERA) in Surabaya. Between 1972-1973, he was the Vice Chairman of the Surabaya Arts Council. He chose to live in Surabaya and became the “guardian” of the local painting tradition, together with Amang Rahman, Khrisna Mustadjab and Rudi Isbandi. His paintings can be considered as of realism-expressionism style with subject of personal expression and social narration. Like he said himself, “I paint anything that touches my heart, especially those of human problems. Even if I paint something about social protest, what I do is to steer away from its political tendency....” (Exhibition Catalog, 1990). His last solo exhibition was in July 1987.

MURYOTO HARTOYO (L. 1943) MURYOTO mulai berlatih melukis di Sanggar Bambu tahun 1960. Lima tahun kemudian, ia masuk dalam Pendidikan seni rupa SRSRIASRI Yogyakarta. Selama kurun 1962—1965, ia turut serta dalam pameran dalam negeri bersama Sanggar Bambu, di seluruh Jawa dan Madura, di setiap Dies ASRI di beberapa kota. Dalam periode 19651969 ia berpameran di beberapa provinsi: Jawa Tengah, Jawa Barat, dan Jakarta. Kemudian pada 1969-1975, ia berpameran bersama pelukis di Jakarta. Pada 1974, Muryoto berpameran berdua dengan Bambang Bujono di Balai Budaya Jakarta. Lalu, setahun berikutnya, ia bergabung

117 dan turut serta dalam “Gerakan Seni Rupa Baru”. Sebagai eksponen dari GSRB, perang dan kehadiran Muryoto tampaknya tidak terlalu banyak dibahas. Pada 2010, Muryoto masih aktif sebagai pembicara dalam “Pesta Seni dan Pameran Senirupa Multi Dimensi” Komunitas Seni Bulungan, Jakarta Selatan. MURYOTO started to train in painting at the Sanggar Bambu artist collective in 1960 before he joined the high school and academy of fine art (SRSRI-ASRI) in Yogyakarta. During the period of 1962-1965, he did group exhibitions with Sanggar Bambu taking place all over Java and Madura, and at every annual exhibition of the national arts academy in several cities. In the period of 1965-1969 he also exhibited in several provinces (Central/West Java and Jakarta) and 1969-1975, he joined group exhibitions with Jakarta-based painters. In 1974, Muryoto did a duo exhibition with Bambang Bujono at Balai Budaya Jakarta. A year later, he joined the “Gerakan Seni Rupa Baru”. As co-initiator of GSRB, Muryoto’s ‘war’ and ‘existence’ were not much discussed. In 2010, Muryoto was still active as speaker at the Pesta Seni and Pameran Senirupa Multi Dimensi Komunitas Seni Bulungan - the festival organised by the arts community in Bulungan district, South Jakarta.

SOELEBAR M. SOEKARMAN MULAI aktif melukis sejak 1970 saat ia menjadi mahasiswa angkatan I Akademi Seni Rupa LPKJ/IKJ, jurusan Seni Murni (1970-1978). Ia memperoleh beasiswa dari Pemerintah Belanda untuk studi perbandingan di Akademi Seni Rupa, Rotterdam, dan museummuseum di Belanda dan sekitarnya serta mengikuti workshop grafis di studio Lantarn, Rotterdam antara 1972—1974. Ia juga lulusan Fakultas Pertanian & Kehutanan UGM, bagian Pertanian (1961-1963) dan

118 lulusan Fakultas Teknologi Pertanian UGM, bagian Teknologi (19631966). Sejak 1978, menjadi tenaga pengajar tetap FSRD LPKJ/IKJ sekaligus menjabat Sekretaris BPP LPKJ/IKJ. Ia kerap mengikuti dan mengorganisir pameran seni rupa, baik di Jakarta (sebagai project officer DKJ), maupun di kota-kota seperti di Surabaya, Denpasar, Yogyakarta dan Banda Aceh. Pameran tunggal yang pernah diikutinya antara lain; Pameran Tunggal di Anjungan Pemda DKI Jakarta di TMII, Jakarta (1979), Pameran Tunggal di PKJ–TIM, Jakarta (1981 & 1989), Pameran Tunggal di PKJ–TIM, Jakarta (1996), Pameran Tunggal di Ardiyanto Gallery, Yogyakarta; Darmint Art Gallery Cafe, Jakarta (2007), dll. Sedangkan Pameran Bersama yang pernah diikutinya antara lain; Pameran Lukisan Non Figuratif Indonesia di PKJ-TIM, Jakarta (1993), Pameran Seni Lukis Abstrak Bersama ‘Manifesto Abstrak Jakarta’ di PKJ-TIM, Jakarta (2005), Pameran Seni Lukis Abstrak Bersama ‘The Reality of Abstract – Niskala’ di Sika Gallery, Ubud, Bali (2006), Pameran Seni Lukis Abstrak di Indonesia I – 2007 di Galeri Nasional, Jakarta (2007), dll. Ia juga beberapa kali berpameran di luar negeri di antaranya pameran ‘PAN PACIFIC’ di Seoul, Korea Selatan (1985) dan di Fukuoka, Jepang (1990), serta pameran keliling Modern Indonesia Art (KIAS) di Amerika Serikat (1990-1992) dan juga mengikuti pameran bersama di Gallery Conninck, Amersfoort di Belanda pada 1993. Pendiri Indonesian Visual Art pada 1998 ini, menetap di Yogyakarta. Sampai saat ini masih aktif mengadakan penelitian kesenian di berbagai daerah, khususnya seni rupa kontemporer. SOELEBAR started to paint actively since 1970 when he enrolled at the newly-established Jakarta Institute of the Arts (LKPJ, later IKJ) from 19701978. Between 1972-1974, he got scholarship from the Dutch government to do a comparative study at the Academy of Fine Art in Rotterdam, at the local museums as well as participating at a graphic workshop at the Lantarn

119 Studio, Rotterdam. He also graduated from the Faculty of Agriculture and Forestry, Universitas Gajah Mada (1961-1963) and from Faculty of Agricultural Technology at the same University (1963-1966). Since 1978, he worked as full time lecturer at his alma mater as well as took up the position as the Secretary of the Institute. He often joined and organised art exhibitions, such as in Jakarta (as DKJ Project Officer), and in other cities (Surabaya, Denpasar, Yogyakarta and Banda Aceh). He held his solo exhibition at the Pavillion of Jakarta, at TMII, Jakarta (1979), PKJ– TIM (1981, 1989, 1996), at the Ardiyanto Gallery, Yogyakarta; Darmint Art Gallery Cafe, Jakarta (2007), etcetera. For group exhibitions, he joined - among others - the Non Figurative Exhibition at PKJ-TIM (1993), Abstract Painting “Manifesto Abstrak Jakarta” at PKJ-TIM (2005), ‘The Reality of Abstract – Niskala’ di Sika Gallery, Ubud, Bali (2006), the first Exhibition of Indonesian Abstract Painting at the Galeri Nasional, Jakarta (2007). He also joined several exhibition overseas, among them ‘PAN PACIFIC’ (Seoul, 1985) Fukuoka, Jepang (1990), the touring exhibition Modern Indonesia Art (KIAS) in the US (1990-1992) as well as group exhibition at Gallery Conninck (Amersfoort, the Netherlands, 1993). He co-founded the Indonesian Visual Art magazine in 1998 and lives in Yogyakarta. Until now, he remains active to do research on the contemporary art in several regions.

WIDAYAT (1919-2002) WIDAYAT mulai melukis sejak 1939. Setamat sekolah dasar kolonial HIS di Trenggalek (Jawa Timur) dan mencoba berbagai pekerjaan, Widayat memutuskan untuk memperdalam memperdalam kemampuan melukisnya dengan masuk ke ASRI pada 1937. Bersama

120 Solichin dan Abdul Kadir di tahun 1952, ia mendirikan sanggar Pelukis Indonesia Muda (PIM) di Yogyakarta. Setamat dari ASRI, pada 1955 ia menjadi Ketua Jurusan Dekorasi Ruang-dalam (Interior) di almamaternya, juga mengajar seni lukis, hingga pensiun pada 1988. Dua kali Widayat mengikuti pameran International Biennale Exhibition of Prints di Jepang, 1961 dan 1966. Baru pada 1963, ia berpameran tunggal di Jakarta dan pada 1970, ia berpameran tunggal di Yogyakarta. Ia menyertakan karyanya dalam Pameran Xilografi Kontemporer Sedunia (La Xilografia de Hoy) di Madrid tahun 1970. Ia adalah peserta pada Pameran Internasional Seni Asia ”Oggi di Milano” 1974. Karya lukisnya, Keluarga, memperoleh predikat lukisan terbaik dalam “Pameran Besar Seni Lukis Indonesia (Biennale)” tahun 1974 di TIM-DKJ. Karyanya termasuk satu dari lima karya terbaik yang memicu “Pernyataan Desember Hitam 1974”. Karya lukisnya juga disertakan dalam “Pameran Seabad Seni Rupa Indonesia” di Balai Museum Seni Rupa, Jakarta. Pada 1978, ia turut dalam pameran Singapore Festival of Art di Galeri Museum Seni Rupa Singapura. Ia juga mengikutsertakan karya grafis cukilnya pada Pameran Internasional Trienale Cukil kayu di Freiburg, Swiss. Pada 1979 ia memamerkan karyanya dalam “Pameran Seni Rupa Kontemporer Asia ke-XV” di Jepang, selain juga pada Pameran Seni Asia di Bahrain, Timur Tengah. Pada 1985, ia berpameran retrospektif di Galeri Seni TIM- DKJ. Ia mengadakan perhelatan besar karya-karyanya dalam “Pameran Lukisan 81 Tahun H. Widayat” di Galeri Seni Rupa Nasional pada 2000. Pameran terakhir menjelang wafatnya, yakni pameran tunggal “Garis Seni H. Widayat’ di Galeri Seni Semarang pada April 2002. WIDAYAT started to paint in 1939. After graduating from HIS (Dutch Elementary School) in Trenggalek (East Java) in 1937 and tried several jobs, he decided to study at ASRI, focusing on deepening his painting skills. In 1952, together with Solichin and Abdul Kadir, Widayat co-founded artist

121 collective Pelukis Indonesia Muda (PIM) in Yogyakarta. Graduating from ASRI in 1955, he became the Head of Interior Decoration Department at his alma mater, teaching painting, until his retirement in 1988. He exhibited International Biennale Exhibition of Prints in Japan twice, in 1961 dan 1966. He did his solo exhibition in 1963 in Jakarta, and later in Yogyakarta in 1970 when he also showcased his works at the La Xilografia de Hoy in Madrid. In 1974, he participated at an Asian art exhibition titled ”Oggi di Milano”. Toward the end of 1974, his painting titled Keluarga (Family), was awarded among the best painting at the Big Exhibition of Indonesian Painting which eventually triggered the “Declaration of Black December 1974”. His paintings were also included in the A Century of Indonesia’s Fine Art at Balai Museum Seni Rupa, Jakarta. In 1978, he joined the Singapore Festival of Art at the Museum Gallery of Fine Art. He also showcased his works of lithography at the Lithography Triennale in Freiburg, Swiss. In 1979, he exhibited his works at the the 15th Contemporary Asian Art Exhibition in Japan, in addition to another line up in Bahrain under the same theme. In 1985, Widayat held the retrospective exhibition at TIM- DKJ. In 2000, he held a big solo exhibition, “Painting Exhibition of the 81st Widayat” at the National Gallery, Jakarta. The last exhibition, just prior to his death, was the solo exhibition titled “Garis Seni H. Widayat” (the Artistic Line of H. Widayat) at the Galeri Seni Semarang, April 2002.

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KERABAT KERJA // ORGANIZING COMMITTEE Pusat Kesenian Jakarta - Taman Ismail Marzuki // Jakarta Arts Center - Taman Ismail Marzuki

Dewan Kesenian Jakarta // Jakarta Arts Council

Ketua Badan Pengelola Pusat Kesenian Jakarta // Head of Management, Jakarta Arts Center Bambang Subekti

Pengurus Harian 2013 – 2015 // Board of Director 2013-2015 • Irawan Karseno (Ketua Pengurus Harian / Chairman) • Alex Sihar (Sekertaris Umum / General Secretary) • Madin Tyasawan (Ketua Bidang Umum / Head of General Affair) • Irvan Noe’man (Ketua Bidang Administrasi dan Keuangan / Head of Finance and Administration) • Helly Minarti (Ketua Bidang Program / Head of Programme)

Konsultan // Consultant Sriwarso Wahono Publikasi Acara // Publication Bambang HP Bidang Program // Program Division Agung Sunaryo Galeri Cipta II Bambang Subagiono Tim Display // Display Crew Yana Irawan, Bambang Subagiono, Giyono, Adit, Abas

Komite Seni Rupa // Committee of Visual Art Hafiz Rancajale, Inda C. Noerhadi, Irawan Karseno, Irvan Noe’man, Sarnadi Adam Manajer Program // Program Manager Ana Rosdianahangka Pelaksana Program // Program Officer Andike Widyaningrum Pelaksana Muda // Project Officer Aurora Benita Kurator // Curator Leonhard Bartolomeus & Riksa Afiaty Penyedia Data // Data Gathering Sri Tuti Handayani Manajer Humas // Public Relation Manager Anggara Subowo Publikasi // Publication Dita Kurnia Desainer Grafis // Graphic Designer Riosadja Video Dokumentasi // Video Documentation Joel Taher Foto Dokumentasi // Photo Documentation Taris Zakira Alam

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UCAPAN TERIMA KASIH // ACKNOWLEDGEMENT Seluruh staff dan pengurus Pusat Kesenian Jakarta Taman Ismail Marzuki Seluruh staff dan pengurus Dewan Kesenian Jakarta Bambang Budjono Enin Supriyanto FX. Harsono Jim Supangkat Mahardika Yudha Ugeng T. Moetidjo Indonesian Visual Art Art Archive (IVAA)

Kurator // Curator Leonhard Bartolomeus Riksa Afiaty Pembukaan // Opening Jumat, 19 Desember 2014 17:00 WIB Pameran // Exhibition 20 Desember 2014 – 10 Januari 2015 10:00 – 20:00 WIB Diskusi // Discussion Selasa, 20 Desember 2014 15:00-17:00 WIB Pembicara / Speaker: FX Harsono, Bambang Bujono, Hafiz Rancajale Moderator: Enin Supriyanto Tempat / Venue Galeri Cipta II, Taman Ismail Marzuki Jl. Cikini Raya, No. 73 Jakarta Pusat