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Ruang CI-3 Kecenderungan Moo-Indie dianggap oleh kalangan

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Ruang CI-3 Kecenderungan Moo-Indie dianggap oleh kalangan
Ruang CI-4
Space CI-4
Peri ode terpenting dalam
perjalanan seni rupa modern Indonesia
adalah kemunculan beberapa kelompok
perupa yang bergerak melalui perkumpulan ,
sanggar, dan lembaga pend idikan tingg i.
Gerakan-gerakan ini tumbuh di mana-mana,
khususnya seman gat untuk menghadi rkan
lembaga pendidikan tinggi sen i rupa
berlangsung di beberapa kota sejak akhir
tahun 40-an hingga 10-an (Bandung,
Yogyakarta , Surabaya, Jakarta) . Tak syak
apabila akhirnya banyak tokoh yang lahir
dari gerakan perkumpulan dan lembaga
pendidikan tinggi, seperti Achmad Sadali ,
Popo Iskandar, G . Sidhart a, S ri hadi
Sudarsono , Umi Dachlan , Sunaryo
(Bandung); Fadjar Sidik, Widayat , Abas
Alibasyah , Aming Prayitno , Sapto Hudoyo,
Nyoman Gunarsa (Yogyakarta); Zaini ,
Nashar, dan Rusli (Jakarta) ; Amang Rahman
Jabair (Surabaya) .
S. Sudjojono - Cap Go Meh (1940), Oit on canvas, 73 x Slcm
Alfandi - tbuku (1941), Oil on canvas, 42 x 32 cm
Space CI-3
Ruang CI-3
The Mooi Indie tendency was
considered by its opponents as not showing
sensitiveness and attention to the daily situatiC''1
of the Indonesian people who were enduring
oppression and colonization. Those opposed to
Mooi Indie were a range of painters associated
In Persatuan Ahli Gambar Indonesia (PERSAGI).
This group attempted to be more realistic in the
process of visualizing the situation of the Indonesian
people who were imbued with the spirit of
nationalism during theirstruggleforindependence.
Sud]ojono was the catalyst of movement and
concurrently spokesman of PERSAGI. He was
not alone. Other PERSAGI painters like Otto
Djaya, Agus Djaya, and Surono were with him.
Besides, Affandi also belonged to the figures
who supported the movement inspired by similar
nationalistic spirit, outside PERSAGI
Kecenderungan Moo-Indie dianggap
oleh kalangan penentangnya tidak
memperlihatkan kepekaan dan kepedulian
situasi keseharian rakyat Indonesia yang tengah
dilanda tekanan dan jajahan , Kalangan
penentang Mooi-Indie adalah sebarisan pelukis
yang bergabung dalam Persatuan Ahli Gambar
Indonesia (PERSAGI). Kelompok ini berupaya
lebih realistis di dalam proses menampakkan
situasi rakyat Indonesia yang tengah gigih
menekankan semangat nasionalisme dan
mendorong sikap perjuangan kemerdekaan.
Sudjojono adalah tokoh penggerak dan juru
bicara PERSAGI. la tidak sendirian. Para pelukis
PERSAGllainnya, diantaranya Otto Djaya, Agus
Djaya, dan Surono. Oi samping itu, Affandi juga
termasuk tokoh yang bergerak dengan spirit
nasionalisme yang sam a di luar PERSAGI.
10
The most significant period of the
modern Indonesian arts' journey was the
emergence of several groups of painters
who conducted activities through
associations, studios, and the institution of
higher learning. These movements spread
out in many places, particularly the spirit of
establishing fine arts higher learning that had
taken place from the end of 1940s to 1910s
(Bandung, Yogyakartra, Surabaya, Jakarta)
It goes without saying that many figures were
born from such movements and institutions
of higher learning, among others: Achmad
Sadali, Popo Iskandar, G. Sidharta, Srihadi
Sudarsono, Umi Dachlan Sunaryo (Bandung);
Fadjar Sidik, Widayat, Abas Alibasyah, Aming
Prayitno, Sapto Hudoyo, Nyoman Gunarsa
(Yogyakarta): Zaini, Nashar, and Rusli
(Jakarta); Amang Rahman Jabair (Surabaya).
Ruang CI / Lorong
Perupa-perupa yang lahir dari
generasi perkumpulan dan lembaga
pendidikan tinggi yang turut mengisi
perja lanan seni rupa modern Indonesia
tersebar di berbagai kota sejak dekade 50an hingga 10-an. Oiantara mereka terdapat
nama-nama seperti Sudarso, Haryadi S.,
Henk Ngantung , Suna rto PR ., Hendra
Gunawan , Oullah , Ka rtono Yudokusumo ,
Siti Ru li ati, Nasyah Ojamin , Rustamadji ,
Amang Rahman , Krishna Mustadjab , Rudi
Isbandi , Sudjana Kerton , Nashar, Nayoman
Tusan , Bagong Kussudiardjo , dan Barli
Sasmitawinata . Sepanjang dekade 10-an
dan 80-an berbagai gaya te lah lahir, di
dalamnya didukung oleh nama-nama
seperti Sri Warso Wahono , Nunung W.S.,
dan Sunaryo. Pada dekade-dekade ini pu la,
di Yogyakarta berkembang gaya surrealistik
yang melahirkan nama-nama seperti Ivan
Sagito , Agus Kamal , Sucipto Adi , dan
Effendi.
Hendrawan Rianto - Lorobtonyo ( 1997), Teracola, metal and bambo
11
Ruang CI-5
Space CI Icorridor
Sebagaimana kita ketahui bahwa,
perjalanan sen i rupa modern di Indonesia
dekade tahun 70-an dan 80-an diwarnai pu la
dengan sebuah gebrakan yang menyebut
dirinya sebagai Gerakan Seni Rupa Baru
Indonesia. Gerakan ini memunculkan sederet
nama seperti Jim Supangkat, FX. Harsono,
Hardi, Wagiono S., Bonyong Munni Ardhi, Ris
Purnomo, S. Pr inka, Anyool Soebroto,
Satyagraha, Nyoman Nuarta, Pandu Sudewo,
Dede Eri Supriya, Siti Adiyati Subangun,
Bachtiar Zainoel, Nanik Mirna, dan Agus
Tjahjono. Pada koleksi Galeri Nasional
Indonesia, karya-karya mereka tidak termiliki,
namun bisa disebut koleksi karya Dede Eri
Supria dan Hardi (untuk mewakili tokoh-tokoh
Gerakan Seni Rupa Baru Indonesia).
Sisi lain yang patut ditekankan dalam
perangai kekaryaan sejak Gerakan Seni Rupa
Baru Indonesia adalah kemunculan media
baru sebagai semangat dari seni rupa
kontemporer Indonesia yang belakangan kita
ketahui sebagai kecenderungan seni rupa
instalasi. Koleksi yang dimiliki Galeri Nasional
Indonesia terdapat nama-nama seperti Agus
Djolly, Marida Nasution, Iriantine Kamaya, dan
Hendrawan Riyanto.
Painters born from the movements
and institutions of higher learning who
participated in the passage of modern
Indonesian fine arts, dispersed to several
cities since the 1950s to 1970s, They were
among others: Sudarso, Haryadi S., Henk
Ngantung, Sunarto PR., Nasyah Djamin,
Rustamadji, Amang Rahman, Krishna
Mustadjab, Rudi Isbandi, Sudjana Kerton,
Nashar, Nayoman Tusan, Bagong
Kussudiardjo, and Barli Sasmitawinata. The
1970s - 1980s decades had given birth to
various styles, supported among others by
Sri Warso Wahono, Nunung W.S., and
Sunaryo. The surrealistic style which
produced such names like Ivan Sagito, Agus
Kamal, Sucipto Adi, and Effendi also
developed during this period.
Space CI-5
As mentioned before, the journey of
modern Indonesian fine arts during the 1970s-1980s
was also tinged by a shake dowri by the so-called
Gerakan Seni Rupa Baru Indonesia. This movement
produced a line up of names like Jim Supangkat,
FX. Harsono, Hardi, Wagiono S,. Bonyong Munni
Ardhi, Ris Purnomo, S.Prinka, Anyool Soebroto,
Satyagraha, Nyoman Nuarta, Pandu Sudewo, Dede
Eri Supriya, Siti Adiyati Subangun, Bachtiar Zainoel,
Nani Mirna, and Agus Tjahjono. The Indonesian
National Gallery's collection does not have their
works, but a collection of Dede Eri Supria and Hardi
can be mentioned as representing figures in
Gerakan Seni Rupa Baru Indonesia.
Another aspect worth mentioning within
the artistic disposition since Gerakan Seni Rupa
Baru Indonesia, was the emergence of a new
medium representing the spirit of the Indonesian
contemporary art that of late was known as the
inclination of installation fine arts. Some works by
such names like Agus Djolly, Marida Nasution,
Iriantine Karnaya, and Hendrawan Riyanto are
represented in the Indonesian National Gallery's
collection.
Ivan Sagito - Meraba Dlrl (1988), Oil on canvas, 72 x 90 cm
BERBAGAI
KECENDERUNGAN
SEN I RUPA MODERN
DIINDONESIA
VARIOUS
INCLINATION
OF MODERN
INDONESIAN FINE ARTS
Selain penggayaan dalam
perangai kekaryaan seni rupa modern di
Indonesia, terdapat beberapa unsur
penemuan gagasan yang berangkat dari
semangat lokalitas Indonesia dan mediamedia umum yang dikenali dalam
khasanah seni rupa modern. Sekumpulan
karya-karya ini tentunya patut dikemukakan
sebagai upaya para perupa Indonesia di
dalam proses menjawab tradisi
pengembangan kreativitas , baik di dalam
pengadukan unsur lokal mau pun
penunjukkan kegairahan dalam proses
pensejajaran dengan kecenderungan
umum seni rupa modern , Diantarnya kita
bisa mencatat munculnya gaya dekoratif
yang khas Indonesia , kaligrafi modern
Islam , lukisan kaca, seni lukis batik, seni
grafis , seni patung , dan seni keramik.
Apart from styling in the disposition
of modern fine arts in Indonesia, there are
some elements of discovery of ideas
emerging from the spirit of Indonesian
locality and general medium known within
the treasure or repository of modern fine
arts. This group of works is worthwhile
mentioning as efforts by Indonesian painters
in the process of responding to the tradition
of creativity development, either in the
mixing of local elements or as manifestation
of the strong desire in the process of
parallelism with the general inclination in
modern fine arts, We can record among
other things the emergence of typical
Indonesian decorative style, modern Islamic
calligraphy, glass painting, batik fine arts,
graphic art, sculpture art, and ceramics art.
Space CII-1
Decorative fine arts
Decorative elements containing
special spirit within the modern fine arts in
Indonesia, has as a matter of fact, participated
in affecting the character of the entire journey.
However, there are matters that need special
emphasis on the works by some artists,
among others: Kartono Yudokusumo, Widayat,
Irsam, pande Gede Supada, Damas Mangku,
Made Wianta, Nyoman Arsana, Dos Laksono,
and Arief Sudarsono. Their works show an
inclination of processing decorative element
on the face of modern fine arts in Indonesia,
which nota bene deserves special notification,
if we wish to compare it with the inclination
of modern fine arts in the other hemisphere
(including Europe and the United States of
America).
Kartono Yudhokusumo - A nggrek (1956), Oil on canvas, 72 x 9 1 cm
12
13
Ruang CII-1
Seni Lukis Dekoratif
Unsur-unsur dekoratif yang
memuat semangat khas di dalam seni lukis
modern di Indonesia sesungguhnya turut
mewarnai seluruh perjalanan, namun ada
hal-hal yang patut ditekankan secara
khusus pada karya-karya beberapa perupa.
Mereka diantaranya adalah Kartono
Yudokusumo, Widayat, Irsam, Pande Gede
Supada, Damas Mangku, Made Wianta,
Nyoman Arsana, Dos Laksono, dan
Arief Sudarsono. Karya-karya mereka
memperlihatkan satu kecenderungan
pengolahan unsur dekoratif di dalam wajah
seni lukis modern di Indonesia , yang
notabene menjadi catatan khusus manakala
kita hendak membandingkannya dengan
kecenderungan perjalanan seni rupa
modern di belahan dunia lain (juga
termasuk di Eropa dan Amerika).
Ruang CII-3
Space CII-3
Seni Grafis
Graphic Art
Seni grafis di dalam peta seni rupa
modern di Indonesia memiliki catatan perjalanan
yang panjang , sejak tahun 30-an hingga kini.
Media ini sesungguhnya secara langsung
merupakan imbasan besar dalam tradisi seni
rupa Bara!, dikembangkan secara pribadi oleh
para penekunnya atau melalui pengajaranpengajaran di beberapa lembaga pendidikan
tinggi seni rupa di Indonesia. Penggarapan
tekniknya berangkat dari tradisi seni cetak
dengan berbagai karakter acuan, seperti cetak
tinggi , cetak dalam, cetak datar, dan cetak
salinan (copy-graphic) . Beberapa nama
penekun seni grafis di Indonesia yang karyakaryanya dikoleksi Galeri Nasional Indonesia
diantaranya adalah Mochtar Apin , Kaboel
Soeadi, Sun Ardi, Sriyani, G. Sidharta, Srihadi
Sudarsono, T. Sutanto, Setiawan Sabana,
Sunaryo, Priyanto Sunarto, Tisna Sanjaya,
Muiyadi, Firman, dan Yusuf Susilo Hartono.
Graphic art on the map of modern
fine arts in Indonesia has a record of a long
journey since the 1930s up to now. This
medium in fact had directly caused a big
repercussion in the tradition of Western fine
arts tradition , developed individually by its
devotees or through teachings in various
institutions of fine arts higher learning in
Indonesia. Its technical processing started
from the tradition of printing art with various
characteristic reference , such as high print,
deep print, level print, and copy graphic.
Some devotees of graphic art in Indonesia
whose works are collected by the Indonesian
National Gallery, are among others: Mochtar
Apin, Kaboel Soeadi, Sun Ardi, Sriyani,
G.Sidhatta, Srihadi Sudarsono, T.Sutanto,
Setiawan Sabana, Sunaryo, Priyanto Sunarto,
Tisna Sanjaya, Mulyadi, Firman, and Yusuf
Susilo Hartono.
AD. Pirous . Atap Langi! Bumi Ham"';ran (7990), mix media, 750 x 700 em
Ruang CII-4
Ruang CII-2
Space CII-2
Seni Lukis Kaligrafi Modern Islam
Space CII-4
Lukisan Kaca dan Kriya
Glass painting and Craft
Modern Islamic Calligraphic Fine Arts
Tahun 70-an, seni rupa modern di
Indonesia di dalam catatan khusus , sempat
memberikan khaSanah lain , yakni masuknya
unsur religiositas yang diolah melalui tradisi
seni rupa modern. Salah satunya adalah
kehadiran unsur ka ligrafi modern Islam .
Kecenderungan seni lukis yang satu ini telah
menampakkan kejelasannya, dengan
banyaknya penekun yang terlibat di dalam
penjelajahan gaya, teknis, dan media. Oi
dalam kecenderungan perangai kekaryaan
seni lukis kaligrafi modern Islam di Indonesia
tentunya tidak bisa tanpa catatan nama-nama
penekunnya, diantaranya A.D. Pirous, Amang
Rahman, Amri Yahya , Abay D. Subarna,
Syaiful Adnan , Hendra Buana, Yetmon Amier,
Sam Bimbo, Firdaus Alamhudi , dan Said
Akram .
In the 1970s, modern Indonesia
fine arts in a special notation , 'had yielded
another treasure trove, i.e. the inclusion of
religiosity processed through modern fine
arts tradition. One of these was the
presence of modern Islamic calligraphic
element. The inclination towards this genre
of fine arts became more obvious with the
increasing number of devotees involved in
the exploration of style, technique , and
media. Within .the inclination on the
disposition of modern Islamic calligraphic
art in Indonesia , the following names
deserved mention: A.D. Pirous, Amang
Rahman, Amri Yahya, Abay D.Subarna,
Syaiful Adnan, Hendra Buana, Yetmon
Amier, Sam Bimbo, Firdaus Alamhudi, and
Said Akram.
14
Lukisan kaca dan beberapa media
di luar seni murni, dalam tradisi pemahaman
seni rupa modern (khususnya di lingkungan
pendidikan tinggi) di Indonesia kerap dianggap
sebagai disiplin kriya. Media di luar seni murni
yang dimaksud termasuk beberapa media
yang tidak tergolong seni lukis, seni patung,
dan seni grafis, yaitu seperti keramik, batik
tapesteri, kriya logam-kayu-kaca-plastik. Seperti
fotografi, jenis-jenis media ini sesungguhnya
masih dalam wacana yang belum berakhir
secara tegas. Kendati demikian, penekunpenekun media ini sangat banyak dan
bertebaran di beberapa tempat di Nusantara.
Beberapa nama diantaranya : Rastika, Haryadi
Soeadi, Gurun Kadeg, Made Suparta, Gustami,
Narno S., Suyatno, Yusuf Affendi , Praba, dan
Suyatna.
Glass painting and some media
outside pure art, in the traditional
comprehension of modern fine arts
(especially within the environment of higher
learning) in Indonesia is often considered as
craft discipline. Media outside the confine of
pure art include several media that do not
belong to the category of: fine arts, sculpture
art, and graphic art; such as ceramics ,
tapestry, batik, metal-wooden-glass-plastic
crafts. Like photography, the sorts of this
media are still' in a discourse that has not
definitely finished yet. Nevertheless, it has a
great number of devotees scattered over
many places in Nusantara, among others:
Rastika, Haryadi Soeadi, Gurun Kadeg, Made
Suparta, Gustami, Narno S., Suyatno, Yusuf
Affendi, and Suyatna.
15
Ruang CII-5
Space CII-5
Seni Lukis Batik Modern
Gedung E
Modern Batik Painting
Seni lukis batik modern merupakan
salah satu kecenderungan khas seni rupa
modern di Indonesia. Yang dimaksud dengan
seni lukis batik modern ini sesungguhnya
termasuk dalam tradisi seni luki s yang
dikerjakan dengan teknik batik dan mengangkat
tema-tema dalam kehidupan modern . Di
Indonesia, seni lukis batik modern ini umumnya
dikerjakan oleh para perupa dari atau kini
menetap di Jawa (Tengah dan Timur) .
Belakangan , para penekun seni lukis batik
modern agaknya mulai tersebar di beberapa
tempat di Nusantara. Beberapa karya koleksi
Galeri Nasional Indonesia diantaranya adalah
kreasi Widayat, Mustika, Damas, Sondak,
Bagong Kussudiardjo, VA Sudiro, Sun Ardi,
Ida Hadjar, dan Mahyar.
Modern Batik Painting is one of a
special tendency of modern fine arts In
Indonesia. What is referred to as modern
batik painting has actually been Included in
fine arts conducted with batik technique and
featuring themes of modern life. In Indonesia,
modern Batik painting is generally carried
out by painters from or those who have settled
in Java (Central and East Java). Eventually,
devotees of modern batik painting have
apparently spread out in several places in
Nusantara Some of the modern batik
collection of the Indonesian National Gallery,
are among others creation by Widayat,
Mustika, Damas, Sondak, Bagong
Kussudiardjo, V.A. Sudiro, Sun Ardi, Ida
Hadjar, and Mahyar.
Ruang CII-6
Taman
CI
Gedung A
Space CII-6
Seni Patung
CII
Sculpture Art
Seni patung telah menjadi bag ian
penting di dalam peta perjalanan seni rupa
modern di Indonesia. Media seni patung
dengan pokok khasnya berupa karya trimatra
(tiga dimensional) dibentuk melalui berbagai
bahan (kayu , logam, batu , keramik, kaca,
plastik) dan teknik (pahat, cor, las, gabungan
teknik) . Para penekun seni patung yang
terse bar di seluruh pelosok Nusantara ,
senantiasa mencoba melakukan eksplorasi
bahan, teknik, dan pengungkapan tema hingga
penguasaan ruang . Dari sejumlah penekun ini,
Galeri Nasional Indonesia telah mengkoleksi
diantaranya karya dari I Gusti Ketut Swena,
Rustamadj i, Edi Sunarso, Amrus Natalsya,
Harsono, dan Budiani.
Sculpture art has become a
significant part on the map of modern
Indonesian fine arts in Indonesia. The sculpture
art's medium with its particular basic of three
dimensional work shaped through various
materials (wood , metal, stone, ceramic, glass,
plastic) and techniques (carving, melting,
welding, and combination of techniques). Its
devotees who are scattered all over Nusantara,
have continually' tried exploring materials,
techniques , and expressing of themes to
dominating of space related to the art. The
Indonesian National Gallery has a collection of
their works, among others by: I Gusti Ketut
Swena, Rustamadji , Edi Sunarso, Amrus
Natalsya, Harsono, and Budiani.
16
e
I
I
, -
Gedung D
Lantai II
I
- _I
Gedung D
Lantai I
Keterangan:
Gedung B
Lantai I
Gedung C
Lantalll
Gedung C
a. Ruang Pamer Tetap
b . Gudang Koleksi
Gedung A
a. Lobby
b . Ruang Pameran Besar
c . Ruang Pameran Keeil
d. Ruang Serba Guna
e. Ruang Sekretariat
F. Gudang
Gedung D
a. Musholla
b. Ruang Laboratorium
c . Gudang
d. Toilet
e. Gudang Koleksi
Gedung B
a. Ruang VIP
b . Ruang Seminar
c. Ruang Pamer Temporer
d. Gudang
e. Kon servasi
f. Ruang Workshop
Gedung E
a. Lobby
b. Ruang Pimpinan Galeri
c. Ruang Adm inislrasi
d. Ruang Ku ratorial
e. Perpustakaan Kebudayaan
f. Ruang Auditorium
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