Present Encounters : Papers from the conference of the Second Asia-Pacific Triennial of Contemporary Art, Brisbane, 1996

Semsar Siahaan (Session Commentator) Individual Freedom Approaching Creative Society I wil l show the drawi ngs and video and talk about how the d ilemma I face as an activist for workers' and human rights. I used to make propaganda posters or banners, but at the same time, I am also an artist, and show my works, my painti ngs. I th ink this is because I feel this dilemma will never ever end , the oppression of human rights is sti l l going on and artists who talk about social justice wi ll never fully get their i ndividual freedom - not from the government, or even from him or herself - because of the social condition. Ind ividual freedom of expression, particularly for an artist in I ndonesia, is always questioned and argued merely from the side of his social responsibil ity as an artist who is actually a part of the society. His presence is in the midst of a society that is still fighting for its fundamental rights to have decent lives as human beings. These fundamental rights range from freedom of expression, freedom of speech and the right to grow healthy from their cultu ral roots, to the right to ensure that the law wi ll protect them. The emotional condition of the artist facing these problems is both extrinsica lly and intrinsically formed so that he will have no choice but to become involved in mass organisations. Despite his degree of awareness of this reality, his art is confronted with a dilemma. As a result, his creativity may solely be transformed into a work of pol itical organisation propaganda or problem's advocacy - campaign i ng for people's rights. The work of art with the touch of campaign and propaganda is noth ing but an application of political strategy and tactics, as well as the collective interest of certain organisations, which is admi red needed and exist as one of the elements in any political g roup or organ isation. The involvement of an artist as an individual in either moral or political movements, actually broadens his horizons. It enriches not only his aesthetic experience, but also, his process of creating. It also g ives the artist an additional value i n humanity, so that his work of art has experience of the deepest side of humanity. But unfortunately, in reality, the artist's involvement in political activities has i nstead limited his ability to express himself freely. Therefore, it may be concl uded that a 'good ' artist activist is an artist who can separate an expression for the interest of a political organ isation from an expression of h is own h uman experience in the social d imension , which does have a stronger political impact. This way , h is work of art is enlivened by society. But in real ity, the fact is that it is difficult to free ourselves from this social reality, the social condition, because we a re always involved in the movement for land rights, for women's rights and so on . 71