The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

While Nindityo Adipurnomo exemplifies the case of an artist from the East who faces attack by Western values, he is still very much a part of the local culture into which he was born. His father is from Surakarta and his mother from Yogyakarta, the two major centres of Javanese culture. Adipurnomo spent his childhood and youth in an environment which today is still bound to Javanese traditions. Adipurnomo studied at the Faculty of Painting, Indonesian Institute of the Arts (ISI), in Yogyakarta, graduating in 1988. While he immersed himself in the Javanese traditions that exist very strongly in Yogyakarta; on campus, he also associated socially with students who were influenced by the Northern European COBRA style, such as Eddie Hara and Heri Dono. Together with several friends, Adipurnomo opened an exhibition room to display works that differed markedly from works that aimed to satisfy market tastes. This exhibition room became the embryo of the Cemeti Gallery which, in turn, was to become one of the cornerstone galleries in exhibiting contemporary Indonesian art. In this rather small gallery, Adipurnomo and his wife, Mella Jarama, attempted to 'socialise' contemporary fine art. Prior to graduation from art school, Adipurnomo was given the opportunity to study at the State Academy of Fine Arts in Amsterdam. Initially, he was enchanted with Western art, but after spending a year in the world of art in The Netherlands, Adipurnomo felt as if he were on the brink of losing his self-confidence and began to doubt if he would ever become an artist. This loss of confidence was the result of seeing that the diverse range of patterns in painting and sculpture had seemingly been already explored by Dutch artists. Adipurnomo felt that to become an artist he must first possess something unique to himself; something that no other artist possessed. This time spent studying in The Netherlands was a time of self-searching. Yet, it was also in The Netherlands that Adipurnomo discovered something that he could at last call his own. A Dutch acquaintance had given him a book on classical Javanese dance. He realised this could serve as a source of inspiration in his art. Adipurnomo became fascinated with the slow but dynamic movement characteristic of classical Javanese dance. On his return from The Netherlands, Adipurnomo continued in the COBRA style but adapted it to become a more expressive style, while still maintaining its figurative forms. His interest in Javanese culture grew more intense as he focused his study on the Bedoya classical dance form. An understanding of movement in classical dance led to drastic changes in the patterns Adipurnomo adopted in his painting, as seen in the techniques he employed when drawing, and painting in oils. In 1990, Adipurnomo created a series of paintings entitled 'The floor pattern', an abstract representation of movement in classical Javanese dance which projected an image characterised by the use of dynamic markings and scratchings. Adipurnomo's interest in the culture of his ancestors increased, just as the cultural conflict within him grew. As a Javanese, Adipurnomo was expected to maintain harmony and display respect for others.The principle of harmony requires avoidance of open conflict. Respect for others in accordance with their position and status must always be demonstrated. 1 In contrast, he was also exposed to Western values characterised by openness, directness and frankness. The two sets of cultural values clashed within him. On this conflict of values, Adipurnomo said: 'I constantly experience a terrifying confrontation of Western and Eastern (Javanese) values. But it is fascinating because in this confrontation the flames of tradition, change and renewal are contained'. A culture that gives priority to harmony and respect, represents, for the Javanese, a society that is both closed, and to a certain extent, even artificial. Outward appearances are more important than actual content. Adipurnomo's understanding of the reality of this culture is represented symbolically by the konde, a haifpiece worn by women on special occasions. Adipurnomo sees the konde as a symbol that expresses ambivalence towards the values of his ancestors. On the one hand, the konde represents both form and beauty; on the other hand, it represents the burden of Javanese women. In an installation entitled The exotic burden ofJava 1993, Adipurnomo utilises the medium of wood, presented in the konde form. The various konde are exhibited in several locations that differ in height, symbolising the stratification that exists within society. In his newest work, Introversion (April the twenty– first) 1995-96, Adipurnomo uses the symbol of the Detail, Introversion (April the twenty-first) 1995-96 Installation comprising mirrors, wood, paper,charcoal,glass, fibreglass Collection:Theartist konde to depict artificiality. This aspect of Indonesian life is apparent, for example, from the considerable number of days that are dedicated as national days of commemoration. For instance, Kartini Day is celebrated nationally every April. Kartini was born into the Javanese nobility; she lived at the close of the nineteenth century and was dedicated to the emancipation of women. On Kartini Day, women wear national dress, including the kebaya (short, coat-like blouse) and konde. Now, however, this day represents just another ceremony celebrated as a matter of course; it has lost all essential meaning with respect to the struggle to which Kartini was so dedicated. Adipurnomo depicts this irony through the visualisation of a process of evolution. Using the form of a konde, he depicts a transformation from the simple form of a konde to the form of Kartini. He presents twenty-one oval mirrors, each enclosed in a wooden frame and shaped like a standard vanity mirror. Over each mirror is attached a wooden konde adorned with an assortment of accessories. On the reverse side of each mirror a drawing of a konde is displayed. In addition, five konde, fashioned from transparent fibreglass, are adorned inside with a range of accessories. In summary, this work serves to symbolise the introverted character of the Javanese. R.Fadjri, Writer, Yogyakarta,Indonesia 1 It is interesting that, at present. Javanese culture isthe dominant culture of Indonesia.The domination byJavanese culture isnot only reflected in the increasing absorption of the Javanese languagewithin the Indonesian language, but isalso apparent in thebehaviour of Indonesiansfrom other subculturesand in political life. ARTISTS SOUTH AND SOUTH-EAST ASIA I 79