Beyond the Future: Papers from the Third Asia Pacific Triennial of Contemporary Art

INDONESIAN CONTEMPORARY ART I N THE ERA OF POST-REFORMASI M.Dwi Marianto During the period that art works from Indonesia for the Third Asia-Pacific Triennial of Contemporary Art were being selected, the post-Soeharto 'Reformasi' Movement was born . Student demonstrations, mass rallies, and the concurrent iron-fist repression of the 'New Order' by authorities broke out like uncontrollable forest fires across many big Indonesian cities. Many of these events were widely reported by the media, both from with in and outside the country. At the time people everywhere rallied against a common enemy, namely the Soeharto regime. This 'people power' movement was strongly motivated by the hope that reformation , or as it is said in the Indonesian language 'Reformasi', would sweep away three decades of repressive military-praetorian rule. The word Reformasi became a mantra. It was like waking up from a bad dream . The word was publicly enunciated over and over in the hope that its effect would d issolve away the mountain of socio-economic problems that had been accumulated under Soeharto's calm­ looking but brutal administration. Significantly the 'reformasi' mantra also manifested creatively through the performing and visual arts. Many artists were deeply motivated to reflect both the conditions and events that characterised the end of the Soeharto era ( 1 965- 1 998), especially those of May 1 998 when student demonstrations forced the dictator from office. In the catalogue for the third APT, I pointed out that in Indonesia the line between the vernacular and contemporary art was blurring. This was marked by the strengthening use of art idioms and artistic means of expression - especially in respect to demands for democratic reform. Conversely this was directly reflected in various socio-cultwal movements within the Indonesian art scene. It has now been more than one and a half years since the birth of 'Reformasi'. Now, under the leadership of B . J . Habibie, even the Cabinet is referred to as 'the Reformasi Cabinet of Development'. But, ironically there has not been any substantial reformation at all, merely 'lip­ service', 'buying time' and the 'covering up' of blunders and scandals including mass killings in East Timor, Aceh, Ambon, and others affecting many people throughout the country. In the meantime the people cry out for change and most importantly, the freedom to cry out without fear of repercussions. The 'Reformasi Cabinet' has only reformed the meaning and orientation of the word 'Reformation'. Their buffoon-like performances have proven that they are merely a continuation of the former regime. Indeed President Habibie was appointed by Soeharto himself without any consultation with the People's Supreme Assembly Counci l . And this is reflected in his style of government. The Habibie reg ime in fact operates in more or less the same fashion as that of his predecessor, who continues to pull . the strings of power from behind the scene like a master puppeteer. Human rights violation by violation , scandal by scandal, the elite just continue as if nothing has happened . It is business as usual . Power holders freely play with the system . But nothing changes. Executive power and the control of both the legislative and judicial wings of government remain firmly in the control of Soeharto supporters. I n the meantime many of Indonesia's best and brightest young intellectuals cry out that 'Reformasi has already gone bad ! ' And the people become restless. Metaphors used for the arts are always created from , or at least affected by, ideas generated by physical and socio-cultural realities . Languages, idioms, expressions and art making are directly and indirectly crafted to function as survival mechanisms for both communities and individuals, especially as a way of sustaining the mental and emotional capacity to face challenges and overcome problems. Artists in Indonesia have recently had to create new symbols, idioms, expressions and of cou rse hopes during the monetary crises that precipitated the complete collapse of the Indonesian economy. In this dreadful m ilieu of rising poverty and g rave uncertainty the Indonesian people have used art as a way to both resist desperation and to assert heartfelt aspirations for a better future. I n this, people have learnt that expressing their resistance to the status quo directly is often ineffective. And dangerous. The Government is wel l skilled at selective violence in order to create examples of what happens when one 'steps over the line'. Under such conditions people don't need complicated or theoretical advice. What people badly need is the chance to 64