RESIPROVOKASI

dunia seni rupa dapat kita rasakan melalui munculnya beragam gejala praktik seni rupa alternatif, eksplorasi media baru, kerja kolektif, dan inisiatif mandiri untuk berkarya dan berekspresi diluar institusi seni rupa. Kecenderungan ke arah seni rupa terlibat yang marak dipraktikkan perupa angkatan 1980-an kembali hidup menggantikan bulan madu panjang booming seni lukis sejak awal 1990-an. Runtuhnya rezim Orde Baru sebagai ‘musuh utama’ seniman dirayakan dengan beragam ekspresi dan bahasa-bahasa rupa baru yang cenderung ringan, meninggalkan gaya subversif, mengelaborasi isu-isu yang relevan dengan realitas keseharian. Periode ini ditandai juga dengan berlanjutnya gejala internasionalisasi perupa Indonesia di jejaring seni rupa regional Asia Tenggara dan Asia Pasifik maupun global sebagai efek pesatnya perkembangan teknologi informasi dan komunikasi. RESIPRO(VO)KASI dapat dimaknai sebagai “resiprokasi dan provokasi” ataupun “provokasi resiprokal”, yaitu metode komunikasi dan pertukaran gagasan dua arah secara egaliter antara perupa dan publik yang berrelasi langsung dalam proses penciptaan karya/peristiwa seni rupa, —disadari atau tidak— seolah saling memprovokasi satu sama lain. Munculnya kesadaran perupa pada upaya pelibatan publik atau melibatkan dirinya dengan komunitas dalam proses kreatifnya itu sendiri bermula dari penolakan terhadap elitisme seni rupa, pengkultusan profesi seniman oleh publik, dan keterasingan yang dibangun antara objek seni rupa dan pengunjung di ruang galeri/museum. Eksperimentasi kreatif melibatkan publik secara langsung merupakan salah satu upaya spekulatif memutus keberjarakan ini, meskipun hasilnya bisa jadi justru memunculkan keterasingan baru. Pameran ini bermaksud merepresentasikan kecenderungan praktik seni rupa terlibat dalam kurun waktu pascareformasi hingga sekarang sebagai praktik penciptaan karya ‘alternatif’ dari dominasi karya individual berbasis studio. Spektrum praktik seni rupa terlibat yang dimaksud pendekatannya erat dikaitkan dengan peristilahan dalam wacana seni rupa Barat seperti seni rupa relasional, seni rupa partisipatoris, seni rupa interaktif, aktivisme seni rupa, seni rupa berbasis komunitas, dan lain sebagainya. Pameran ini dikuratori oleh Bayu Genia Krishbie, sebagai bagian dari Condition Report, program pengembangan kuratorial Jepang dan Asia Tenggara yang digagas Japan Foundation Asia Center. Seniman yang berpartisipasi:
Moelyono (Tulungagung – Yogyakarta), Angki Purbandono (Yogyakarta), Wimo Ambala Bayang (Yogyakarta), Irwan Ahmett (Jakarta), Elia Nurvista (Yogyakarta), Fajar Abadi (Bandung), Vincent Rumahloine (Bandung), Alfiah Rahdini (Bandung), Jatiwangi Art Factory (Majalengka), dan Cut and Rescue (Jakarta). Galeri Nasional Indonesia
Jl. Medan Merdeka Timur No. 14
Jakarta Pusat 10110
Pameran buka setiap hari Senin-Minggu pukul 10.00 - 19.00
Kecuali Hari Libur Nasional
Biaya masuk gratis


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Socially and politically, the advent of Reformation in 1998 triggered an explosion of democracy, which was celebrated by the development of progressive thinking, and freedom of expression, association, discussion and union. The influence of this on the art world could be felt through the emergence of all manner of alternative art practices, explorations of new media, collective work and independent initiatives for making and expression outside of the art institution. The tendency to “participatory” art that first arose from the artists of the 1980s returned to life to replace the long honeymoon period of the painting boom that had occurred since the beginning of the 1990s. The fall of the New Order as the “primary enemy” of artists was celebrated with all kinds of new expressive languages that tended to be light-hearted, leaving behind subversive styles and elaborating on issues relevant to the everyday. This period was also marked by the continuing internationalisation of Indonesian artists in the artistic networks of Southeast Asia and the Asia Pacific, as well as globally as a result of the rapid development of information and communications technology. RECIPRO(VO)CATION can be interpreted as “reciprocation and provocation” or “reciprocal provocation”, a two-way method of communication and egalitarian exchange of ideas between artists and the public, which is directly related to the creative process of artworks/art events – consciously or unconsciously – as if each is provoking the other. The emergence of artists' awareness of these efforts towards public involvement or their own involvement in the public during their creative process begins with a rejection of the elitism of art, the cult of the artist, and the alienation that is created between art objects and visitors to galleries and museums. Creative experimentation in direct public participation is among the speculative efforts to bridge this distance, although the results can in fact engender a new kind of alienation. This exhibition aims to represent the tendency to participatory art practice from the post-Reformation era through to today as an “alternative” creative practice to the dominance of studio-based individual practice. The spectrum of participatory art practice addressed is in closely aligned in its approach to terms in Western art discourse, such as relational art, art and social practice, interactive art, activist art, community based art and so on. RECIPRO(VO)CATION is curated by Bayu Genia Krishbie as part of Condition Report, a curatorial development workshop by Japan Foundation Asia Centre. Participating Artists:
Moelyono (Tulungagung – Yogyakarta), Angki Purbandono (Yogyakarta), Wimo Ambala Bayang (Yogyakarta), Irwan Ahmett (Jakarta), Elia Nurvista (Yogyakarta), Fajar Abadi (Bandung), Vincent Rumahloine (Bandung), Alfiah Rahdini (Bandung), Jatiwangi Art Factory (Majalengka), dan Cut and Rescue (Jakarta)


National Gallery of Indonesia
Jl. Medan Merdeka Timur No. 14
Central Jakarta 10110
Opening hours are Monday – Sunday 10:00am – 7:00pm
Closed public holidays
Free admission. English translation by Elly Kent