Contemporary Art

Kontemporer berarti sekarang atau masa kini. Contemporary means now or the present. Seni kontemporer memiliki masa popularitas tertentu sehingga seni ini dapat dikatakan bersifat temporer. Contemporary art has a certain period of popularity that this art can be said to be temporary. Seni ini dapat dinikmati pada masa populernya dan apabila sudah lewat maka masyarakat tidak lagi menyukainya. This art can be enjoyed at the time when the popularity and by the community no longer like it. Karya-karya seni kontemporer pada mulanya muncul di Eropa dan Amerika, seperti lukisan karya Andy Warhol dan patung karya Hendri Moore. The works of contemporary art at first appeared in Europe and America, such as paintings by Andy Warhol and sculptures by Moore Hendri. Belakangan ini, seni kontemporer telah berkembang di berbagai negara yang memiliki gagasan yang unik, seperti berupa patung dari es, lukisan pada tubuh manusia (body painting), seni instalasi, grafity, dan sebagainya. In recent years, contemporary art has developed in various countries who have unique ideas, such as the form of ice sculptures, paintings on the human body (body painting), art installations, Grafity,

ART Collage

Introduction

The presence of secondhand goods such as old magazines, old newspapers, clothing, cardboard, cans, plastic packaging, and dead leaves around our house often perceived cleanliness and comfort disrupt life.

All this is true if the goods are used only seen as a "waste" or useless junk. But do not rush you dispose of goods used because you can turn "waste" into things "precious". The touch of creative ideas are fresh and artistic skills that you have will produce a variety of collage creation are unique and no other.

While still in elementary school you are familiar with the term "collage" through the activity or ornaments to decorate the walls of the jug with seeds or pieces of rag. Decorate the surface of an object by gluing something on the surface is the oldest type of Kria created by humans. According to the experts estimated this activity originated in Venice, Italy at about the 17th century when Venice became the leading city in terms of printing in Europe. Collage art flourished in France, England, Germany and other cities in Europe.

In its growth, creative collage used as a personal aesthetic element in a work of painting. Collage becomes the favorite among artists of the world. Pablo Picasso, George Braque and Max Ernest known for painting works that use collage of paper, cloth and various other objects. This is the creative innovations of these artists within the past 90 years. Henri Mattise is one of the artists who actively creative with collage as her fingers until stricken with arthritis can not paint anymore. Mattise turned to collage, she cut the colored paper in large sizes with different shapes to create a beautiful mural paper (Linderman, EW ,1984:141-142). On this site you will be given practical tips to make a collage of old materials or natural materials that are in the neighborhood. You can use the collage for a variety of needs. Make a collage can be decorated or decorating the procedure very attractive to be applied to greeting cards, paper bags, decorative boxes, book covers, picture frames, wooden trays and so on. In addition, you can also develop a collage as an aesthetic element in art or explore creatively as a work of art.

Description Collage


Collage of words in the English language called 'collage' comes from the word 'coller' in French which means 'glue'. Further understood as a collage of art techniques against various types of materials other than paint, such as paper, cloth, glass, metal etc. and then combined with the use of paint (oil) or other techniques (Susanto, M., 2002:63). Collage of various materials can be bonded to various types of surfaces, such as wood, plastic, paper, glass and so on to be used or intended as a functional object or work of art.

Activities arranged in a collage composition is an important activity and complex. Various elements of different form of character combined in a composition to express artistic ideas or specific meaning (Sunaryo, A., 2002:8-9). The definition of the form elements here are the aspects of the visible, concrete is in fact intertwined and not easily separated from each other. Determines the overall look of realization and meaning aspects of the form itself.

Materials

Various types of materials can be used as raw material a collage. In general, a collage of raw materials can be grouped into:

Natural materials (leaves, twigs, dried flowers, shells, rocks, etc.),

processed materials (plastics, synthetic fibers, metal, rubber, etc.) and,

used materials (magazines, bottle caps, bags of candy / chocolate, etc.).

Creative ideas to make a collage can be developed from the use of small materials such as buttons, pins, toothpicks and seeds can be used to produce a collage composition of non-figurative (abstract) and figurative compositions.

Type of supporting material required in making a collage is the surface of an object or objects to be taped collage. In principle, a collage can be used in almost all types of materials / materials (wood, plastic, glass, paper, cloth, metal, etc.) provided that the surface is relatively flat.


Tools and Techniques

Types of equipment and collage techniques that are used need to be tailored to the type of raw materials due to the character of each specific type of material. Types of equipment and techniques used to create a collage made of a different nature to the needs of a collage made from refined or made from the former. In general, the major equipment required are:

cutting tools: such as knives, scissors, saws, pliers, and so on.

adhesive materials: such as adhesive paper, adhesive vinyl, white glue / PVC, plastic glue, needle and sewing thread, and other types of adhesives (adjusted to the type material).

Various types of collage either in the form of two-dimensional and three-dimensional generally made with a variety of techniques such as: torn techniques, techniques scissors, cutting techniques, raft technique, adhesive techniques, sewing techniques, ikat technique and so on. You can use more than one technique to create works of collage, mixed technique can even be explored artistic touch to the works of collage. Various methods / techniques used to create a collage, among others:

Overlapping or close to each other (overlapping)

Structuring space (spatial arrangement)

Repetition / recurrence (repetition)

Composition / combination of various types of textures of various materials.

Classical Art in Modern Civilization

Angklung is a typical musical instrument sunda community. Along with the development of modern musical instruments, art music angklung increasingly rare in use, so many of us who have forgotten about the angklung.

In the official site mentioned that the Bandung regency angklung comes from the word which means ringing ank and Lung, which means broken or missing. Angklung also be described as incomplete barrel, so angklung can not be played by only one person, but must be with some people.

Angklung made of bamboo, and played by shaken. One angklung can produce 2 to 3 tones for each size angklung.
Angklung born from a myth in the Sunda against Nji Sri Sri Pohaci as a living goddess. In contemplation of Sundanese communities in managing the farm, producing poetry of worship and respect for the Goddess Sri.

Worship poems are accompanied by musical instruments made of bamboo which we know today with angklung. Tribute to Dewi Sri is also accompanied by dance. The cult of the Goddess Sri done when the rice planting and harvest, with the goal of keeping the rice does not grow fast and wreaked havoc.

In angklung development is also used as a tool in the battle penggugah spirit. So that the existing site mentions that angklung was banned during the colonial era, it also results in decreased angklung popularity at the time, and angklung often only played by children.

There are various types of angklung in West Java. Baduy Angklung Angklung is contained in the Bedouin community. Angklung is made not merely as an instrument of public entertainers, but the instrument used only at certain times. Angklung by masyarakt Baduy this can only be played at planting time, but for the next six months angklung and other musical instruments can not be played.

Angklung Dogdog found on the public Lojor Kasepuhan Pancer Pangawinan spread in the area of Mount Mist (Adjacent to the area of Sukabumi, Bogor and Lebak). Dogdog Lojor is actually an art, but art is also used as an instrument Angklung. Once this art is used in planting rice, but have now used as entertainment at the event kiatanan, wedding and other events.

Angklung Gubrag can we meet in Bogor area. Angklung is very old and supposedly this angklung made in a village called Kampung Cipining at pceklik period. Angklung is used at the time of planting rice, harvesting rice, and put the rice into the barn.

Next is the type of angklung Badeng. Angklung is located in Garut district. Angklung Badeng is the main instrument in this art. Angklung is used for entertainment in the message of Islam in Garut. With the expected Badeng art Islamic art developed in the 16th century or the 17th.

Angklung Beans teradapat in Baros, Arjasari, Bandung. Beans is one of Sundanese arts community who use the Angklung. This art uses angklung 2 ovarian, 2 angklung ambrug, angklung panempas, pancer angklung 2, 1 angklung enclok. 3 fruit dogdog then, consisting of 1 talingtit, panembal, and badublag. This angklung originally used in rice planting ritual but around the 1940s, this art as a tool to change public entertainment only.

At this time angklung also not be forgotten by the community just Sundanese. It's just a ritual function as a means of ritual anklung change as a means of entertainment. Angklung now used as a traditional art to entertain tourists. In fact, according to Anis a player in Saung Mang Anklung Ujo, arts entertainment angklung had reached the country, such as Malaysia and the Netherlands.

Angklung also often dikolaborasi with other music. As will be shown at the Nusantara Kemilau 2008, there will be performances collaboration between instruments Rampak angklung with drums, percussion & dj, so the attraction angklung will grow, especially the young generations who will continue pelesteraian traditional music of Indonesia.

mengmas packs more "wild"

Although activists traditional painting Kamasan puppets remain strong with the standard-standard outlined his ancestors, does not mean the development of this traditional art to be stagnant or roads in place. Generation still has a roomy space to be creative and create innovations. If in the early development of wayang painting was only shown on the stretch of wood, then "crossed over" into the fabric (canvas), this time the puppet figures are even more "wild" is displayed on the stretch of animal skins, egg shells, coconut shell, bamboo, even a helmet.

Art products resulting function also varied, ranging from purses, fans, farmers' hats, ashtrays, flower pots, cow and a row rumbled goods other crafts. For convenience Kamasan village, ideas pouring out of wood and cloth media that is not a form of "betrayal" of their ancestral traditions. Media where the expression may vary, but the character, style, color and detail puppet is still subject to the standard-existing standard. "In the beginning, creation is experimental. But in its development, the type of craft that just very interested tourists, especially foreign tourists, "said I Ketut Widastra (53), the youngest son of I Ketut Rabeg, a''temperature" Kamasan puppet artist.

According to the Head of SDN 1 Semarapura Klod this Kangin, "crossing" medium of expression from wood and fabric to the other media has developed pascakunjungan Walter Spies and R. Bonnet to the village of Kamasan. According to them, so that production can compete at the global level must be able to follow the emerging trend. "People then tried to paint puppet on a Kamasan Stil fan, bamboo hats, purses and other items. Currently, the helmet was also getting to be a target, "he said.

Widastra added, the products are usually used as a souvenir by tourists. Therefore, the shape and size also created mini that is comfortable to carry. Especially for souvenir items, the price is much cheaper when compared with the paintings made over the span of wood and cloth. "When wood processing technologies become more advanced, we also make an egg-teluran of wood. On top of it and then painted with Kamasan stylishly dressed puppets. Given the limited space, we obviously can not display the epic story of the Mahabharata and Ramayana as a whole, "he said again.

Furthermore Widastra said dye is used also changed with the times. Kamasan Painting tempo first, he said, the pure-dye using natural dyes derived from fish bones, rocks, plants and ink dissolved in water (the burning of charcoal-ed). Most of the natural dyes were obtained from Nusa Penida, there is even a special imported from China. For example kencu to produce intense red color.

Color-making process also needs a relatively long time that made it less practical and efficient. If there is a large-scale orderan, Kamasan artists obviously can not fulfill. Therefore, they are forced to turn to the colors of the manufacturer (color chemistry) is easily obtained. Only, in the coloring process that most of the artists still include natural colors to maintain the natural impression. "At present, natural colors were more difficult to obtain. However, for certain orders, we still use it. Of course, the price was higher, "said a fixed Widastra took puppet Kamasan painting between busy teaching.

Men who have a show room to display works of art produced by this family confirmed, most of propriety Kamasan Village Banjar Sangging indeed dependent of the puppet art. In other words, the art of this heritage has evolved into a home industry. While access to markets, still rely on visits from tourists who come to the village of Kamasan. Very rarely specifically menjajakkan out Kamasan products. Conventional sales system like this also requires that they compete among friends. "Our income is dependent of tourist visit. In lean times like the present guest, could be a whole week we were not able to sale, "he said again.

So, what products are most attractive to tourists? According to Widastra, tourists who come can be classified into two groups, namely the true art lovers and tourists. True art lovers usually hunt paintings of fruit quality by famous artists. While the tourists tend to buy souvenirs valuable "tilted" as wallets, egg-teluran, fan and other products. "Not all tourists who come have a high art appreciation. They usually just buy regardless of who the painter. After all, the goal only to by-by and given to relatives in their home countries, "he said.

He added, Kamasan painting made famous painters such as Rabeg and Mangku Mura - two Kamasan puppet master painter - and using natural dyes and painted on cloth prices Bali can penetrate tens of millions of dollars.

sikek clever weaving history

There is no definite history of when starting songket developed in Minangkabau or in Sikek Cleaver. However tetuntulah weaving skills have been taken by our ancestors nation called Austronesian or Malayo-Polynesian, too, from the Land of origin, when there was a massive migration of population from mainland Asia to the south and tumur several thousand years ago, along with all the cleverness essential for life, such as planting becocok intelligence, versatility makes and use of agricultural tools and woodworking and weapons, and so on. In accordance with human nature, basic carpentry skills enrichment of aesthetic experience that became what is now known as the crafts, and later became art. This is in line with developments in the field of artistic expression such as motion, sound art and performance art. Such as inheritance, weaving virtually the same age as stelsel matrilineal Minang people, rice fields in LUHAK terukaan nan Tigo, and oral culture Kato Pusako proverb proverb.
Here too we find common ground on the Austronesian family of fabrics of Sumatra in general with the entire archipelago fabrics to Sumba and Timor, as well as La Na-weaving in northern Thailand and Laos. These families will break up later viewed in terms of motive kahalusan after the entry of Indian and Chinese culture from the north. However, the similarity in terms of equipment beretahan weaving and weaving techniques.
Several hundred years ago, in the upper Batang Hari river, called River Dareh, developing a residential and a prosperous trading center. Residents of the area now called River Nature surambi allocation, and from areas further to the north again, to come to this place to sell the natural results of spices and gold. This area also visited by traders who came from across the sea, from India and China. The women in this area wear prettier clothes for the size of the period, the term now: more fashionable.
This area became known as the kingdom Darmasyraya. This would cikla-cultures. Over the years this area became a meeting point between the economic and cultural-cultural culture that is more rich and developed in the north, China, Mongol and India, with the local culture. In the past few decades, or perhaps up to two hundred years, After experiencing the turn of the kings and rulers, people absorb a lot of science and technology from foreign nations, in addition to economic progress and political enrich and enhance our local culture. Among the progress that is experienced in the field of clothing and weaving techniques, patterns and motifs and enrichment materials that can be used.
If earlier, according to the development of society, people make clothes from yarn made from materials available in their residential places, such as bark fiber, with the development of people trafficking in India to introduce material from cotton and linen fibers, yarns also overlaid with a thin gold plate. Chinese traders brought silk from silkworm cocoons, also yarn wrapped with gold paper and gold known as prada thus be expected that the Indian traders trade too much tersbut materials.
In the year 1347 moved Adityawarman and cultural center of the kingdom of the Malays Darmasyraya to Pagaruruyung, and the area around Mount Merapi and Mount Singgalang which at that time consisted of LUHAK nan Tigo and the Seven Rantaunya Jurai, became known as the Nature Minangkabau, with several central government spread in Pariangan, Tarok River, Limo People, Pagaruryung, Batipuh, Sumanik, Saruaso, Buo, Biaro, Payakumbuh, and others.
Alam Minangkabau with natural philosophy embraced masyrakatnya, flow and proper and natural takambang become teachers, is a chance for growth and culture and the arts berkembangya with enrichment of elements of foreign culture. Composition of community exogamy tribes, and, still more excellent way, sumando manyumando rules, has to eliminate inter-group conflicts so that peace can be realized in the long term and provide opportunities for village children To learn and refine the science and skills including weaving skills .
Batipuh region, as one of the central government, the position as Mr. Tiger Batipuh Gadang Koto Piliang Campo, can be expected to be one very important area in the heyday of old Minangkabau, along with other areas of the above. In line with the situation, people would mandapat more opportunities also to conduct economic and cultural activities including weaving skills so that the quality and style of the higher woven and smooth. Weaving girls and tingkuluk sarong with gold thread to use when they married, and another woman weaving cloth for sale.
Minangkabau traditions in weaving activity is to encourage further because at every ceremonial occasion, woven fabrics are always obliged to be used and presented. The words in the dinukilkan customary names that motive's lips, and uttered all the time. Woven into the clothes of kings, progenitor and progenitor-puti-puti. This period, the glory days of the Ottoman Empire and Central Asia, on top of the greatness of the Mongols in India when the Emperor Akbar, 1556-1605 is promoting the arts and sciences, in the heyday of the Ming and Manchu Dynasty in China: when it perdangangan and cultural exchanges are very rapid and involves the Minangkabau as an area that became the path of trade and the country also has an important commodity of trade of spices and gold, the art of silk weaving and thread view gold in Sumatra, along with Suji and embroidery were the top progress and find features own signature.
Almost all parts of Minangkabau, from LUHAK to Overseas, having centers of weaving handicrafts, Suji and embroidery. Are still developing their style and their own characteristics, which are dominated by the antique dealers and collectors. Some villages are very popular with tenununya cloth and very productive at that time was Koto Gadang Sungayang, and Pitalah in Batipuh, and villagers who continue the tradition of weaving legacy today is the village that includes Batipuh is also Sapuluh Koto Sikek Cleaver.
Motifs woven Clever Sikek always taken from the example of old fabrics are well preserved and is often used as the clothes in traditional ceremonies and for other functions within the scope of traditional ceremonies, such as "tando," and also displayed or held batagak home at the time.
It's hard to say who can be called as a master weaver these days, but the weaving of the famous expert on generations before us have the names of Sari relapse, however, in Salama Baruah; Nuriah, Ipah, pasah, Nyiah and Jalisah Cape.
There are dozens of people on Cleaver master Sikek weaving in those days. Will remain about a hundred years ago persuaded some clever women are very active in the field Sikek and craft business is so menenuni their nickname derived from weaving equipment known until now. Among them, known the names of Macau in Tanjuang Inyiak, Inyiak Suri in-Nur, Inyiak Banang, and Inyiak Karok.
Sikek clever, as the "center of excellece" songket in that time, of the women had done well by weaving a typical request from other areas such as the Pitalah in Batipuah, Koto Gadang in Agam and Sungayang with shades of yarn and specific motif with the area, and known until now as Sungayang motives, motives Koto Gadang and others.

The works of graphic art in the exhibition-quality Trienal Indonesian Graphic Arts III 2009

"Flash flood" is one of the graphic art Winanto Taufiq of five works of graphic art in the title "The damage Imaji About Nature" as the first winner in the competition Trienal III Indonaesia Graphic Arts in 2009.

Entering the showroom Bentara Budaya Yogyakarta on the ten-day art lovers to the fore (especially graphic arts) will get the works of graphic art and stunning quality of 50 works of graphic art graphic arts competition the participants titled Indonesia Trienal Graphic Arts III 2009 ".

The works of graphic art on display at the Bentara Budaya Yogyakarta from 13-22 November 2009 to come to represent the achievements in the quality work of art graphic creation of all theories which use graphic techniques such as high printing technique, printing technique in (intaglio), flat printing technique ( lithograph), printing techniques filter (screen printing) as well as various combinations of printing techniques.

The works of graphic art on display looks amazing eye because there is work that treats the work of the latest views on the development of graphic arts world today.
graphic art "Engraver Family With Their Dog Tracker" which was created by using wood and cukil stencil on canvas by Irwanto Lentho.

graphic art "Engraver Family With Their Dog Tracker" which was created by using wood and cukil stencil on canvas by Irwanto Lentho.

One member of the jury Trienal Indonesian Graphic Arts III 2009, Efix Mulyadi briefly explained when observing the works of the winners and finalists exhibited Trienal III Graphics 2009 This year, it's easy to see the combination works and non-graphic printing graphic printing.

Mulyadi Efix also the Executive Director of Cultural Bentara see the combination of this technique occurs in essential parts of the motif or theme figures and coloring directly hand to provide background outside the field yag techniques have been tilled with graphic print.
Old Sitompul Anggara work titled "Horizon" became champion in the competition III Trienal Indonesian Graphic Arts III 2009.

Old Sitompul Anggara work titled "Horizon" became champion in the competition III Trienal Indonesian Graphic Arts III 2009.

In the work of "satellite" which was created Putra Eko Prasetyo where acrylics are also used as a representative of the accompanying hand coloring printed graphics through cukilan kay cukilan-hard (hardboard cut) may be an example of the work is Efix Mulyadi.

Aspect Themes

Chairman of the Jury Trienal Indonesian Graphic Arts III, Aminudin TH Siregar suggests, this exhibition of graphic arts qualifications prioritizes conventional graphic arts techniques to loosen aspects of the theme to develop standard forms (which became certainty) graphic arts convention homeland.

Aspects of the theme, write Aminudin in the exhibition catalog, qualification-aesthetic themes, we view this technique as an integral part in the exhibition this trienal graphic arts. It is expected to create integration among several aspects in the context of the exhibition.
"Greedness" graphic art from wood to canvas cukilan finalist works Sukma Pramana Anga.

"Greedness" graphic art from wood to canvas cukilan finalist works Sukma Pramana Anga.

Blend in with the theme of printing technique in which the work embodied in a collection entitled "The damage Imaji About Nature" which includes five graphic art Winarso dikreasi Taufiq became the first winner in the competition this trienal graphic arts. The works on display Taufiq Winarso together the work of the next champions like Irwanto Lentho (champion II) which exhibit the work of "Engraver Family With Their Dog Tracker and Anggara Old Sitompul with his work titled" Horizon ".

Five works of graphic art that Taufiq Winarso "Flood additions", "Toxic River", "Oil Bomb", "flash flood", and "Crazy Way", shows the strength and ingenuity of this Kebumen original artist chose the theme of the environment created by the technique quite hard at work graphic arts, print.
"Garuda In the grip of the defendant" is the graphic art of the wood work cukilan competition finalists Trienal Indonesian Graphic Arts III 2009, I Kadek Adi Septa.

"Garuda In the grip of the defendant" is the graphic art of the wood work cukilan competition finalists Trienal Indonesian Graphic Arts III 2009, I Kadek Adi Septa.

While the graphic works titled "Family Engraver with Their Dog Tracker" by Irwanto Letho and "Kala Cakra" Sitompul Old Anggara work, the more graphic art show currently eligible Indonesia coupled with the works of other art.

While the graphic works titled "Family Engraver with Their Dog Tracker" by Irwanto Letho and "Kala Cakra" Sitompul Old Anggara work, the more graphic art show currently eligible Indonesia coupled with the works of other art.
"Dog Hunters" is the work of graphic art techniques cut hardboard Purwantoro Edy's finalists.

"Dog Hunters" is the work of graphic art techniques cut hardboard Purwantoro Edy's finalists.

The works created by the finalists of competition Graphic Arts Trienal Indonesia III 2009 is equally great. In addition to creating advanced graphic art with some of their printing techniques are also able to present themes that are also in.

Graphic art entitled "Greedness" Anga work Sukma Permana example, able to present a complete work of combination. With a high print techniques in the canvas, Anga produce content themes of greed (greedness) possessed by human beings with all the trees cut down in the woods. To the extent that the shape of a tree so serakahnya. (The Real Yogyakarta / joe)

John M Fakri Syahrani artwork exhibited in the final graphics in the graphic arts competition with the title "Jungle Law cukilan made of wood on canvas.

John M Fakri Syahrani artwork exhibited in the final graphics in the graphic arts competition with the title "Jungle Law cukilan made of wood on canvas.

Graphic art work from wood to canvas cukilan "Trying to Fight Fate" by Ariswan Adhitama.

Graphic art work from wood to canvas cukilan "Trying to Fight Fate" by Ariswan Adhitama.

Reflect the dynamics of Contemporary Sculpture

TEMPO Interactive, Jakarta: Page back of the building Erasmus Huis, Jakarta, since January 14, 2009 was different from the existence of new objects in the vicinity. In the court building, visitors can immediately see several sculptures with a variety of styles and materials.

One of the sculpture is the work titled Anusapati Shelter for the Goodhearted, which appears as an object of non-figurative sculptures that look different from other sculptures on display in the same room.

Anusapati create a high object about one meter of wood that resembles a house with a certain gradient, so that looks like an illusion and reflection on the concept of equilibrium (balance). This is an interesting work because it can get out of the convention statues that had been there, both in terms of media or form.

And in fact, throughout the development of contemporary art in Indonesia, not many sculptors who could produce works of sculpture beyond the conventions of this kind of work Anusapati. And this is one of the mirror that reflected the exhibition titled "The Spirit of Interaction" which lasted until February 14, 2009.

Curatorial concept of this exhibition was done by senior sculptor, Dolorosa Sinaga. The basic idea, he took every sculptor who was involved in this exhibition to respond to the gallery space and rear yard building and garden Erasmus Huis. In this way, sculptors are encouraged to interact, both with a space or a medium that he used to work.

In the gallery space in Erasmus Huis, displayed some works are quite fresh and interesting. Karya Abdi Setiawan, a graduate majoring in sculpture artists Faculty of Fine Arts Indonesian Arts Institute (ISI) Yogyakarta, for example, became one of the work that can bring visitors laughed.

He displays the common people +, a pair of wood-style human statues are realists talk with familiar: a common people and the police figure. The police asked "What is it, why your face is bruised?" The ordinary man replied. "No tau lah, sir. Did I just pass by and then accused thieves."

At the other end of the room, visitors can see the work Titarubi, Vagina Brocade had become part of the film Opera Java Garin Nugroho. This work is in the form of a large cone-like netting made from brocade, surrounded by a half-body statue. The statues were closed Tita with colorful brocade.

Beside him, work with the same material, is a form of appropriation of the legendary work of Michael Angelo, David. The work entitled Surrounding David Titarubi This is the interpretation of the construction of masculinity and femininity are represented in the history of modern art. The original version of this work, to reach nine feet high, on display at the National Museum of Singapore from May to September 2008 last.

The works displayed in the backyard of this building actually has a great potential to "hit" conventions of modern sculpture. Awan Simatupang works, Vertical, for example, shows an interesting approach is far from the monumental impression that we usually feel when confronted with the statue. The work was composed of nine small boxes, about 40x40 inches, is installed through the garden path. Uniquely, each resembling a box in the urban area, surrounded by grass around. Buildings symbolized with thin wooden rod attached rose.

Then, Hardiman Radjab, as usual, still too late to process old suitcases. He put some suitcases that "breathe" on park benches. The work titled Long Journey reflects a pause that always we need in a way, let alone a long journey. Suitcase that has always been a friend in the adventure and included the stories become part of the memorabilia.

Compared with other works in this exhibition, Hardiman succeeded in creating an atmosphere of quiet and poetic, which makes the statue was talking to the visitors. Hardiman the other works seem more contain humor: he made some old suitcases to be similar to the bread sponge. A simple idea but talented.

Several other works are still using the old approach is common in modern statues. They treat heavy materials such as bronze or metal with a conventional manner so as not to show an effort to exceed the bronze as a medium.

The forms are processed was likely "that-that" it: human figures or bodies distorted, new realism model, and the like. Unfortunately, between material selection and processing of these forms, did not seem to want to study the birth of the idea behind these works.

The results became the basis of interaction curatorial idea then was to produce a variety of works. This diversity is, on the one hand, show some different approaches in the development of arts in Indonesia. But on the other hand, because space for artists interpretation is too large, then the works on display were "disconnected" from each other.

Or, in other words, a capability gap with other artists artists, especially in the sculpture reflects the history and the ability to sharpen the idea itself, is too visible.

ALIA Swastika, art observers