Group Exhibition of Paintings
At Maha Art Space, Jl. Hang Tuah 58, Sanur
Tel: 8728866
A remarkable aspect of contemporary Balinese art is the range of concepts, themes, ideologies, techniques and styles which it embodies. It is tempting to see a cohesive pattern or style emerging, which could eventually be labeled as a contemporary Balinese style of painting. But, at present, it is difficult to think of contemporary Balinese art in any other way except purely in terms of individual artists, and how they try to make sense of a rapidly changing world of visual and spiritual experiences.
In the exhibition, ‘Optimism 2010’, issues about contemporary Balinese art and contemporary Balinese life are investigated by 27 artists, who were either born or now live in Bali. These artists include: Nyoman Wijaya, Made Sukadana, Wayan Pastika, Wayan Sumantra, Gede Arta, Nyoman Winata, Made Budiadnyana, Cundrawan, Dedy Reru, I B Puja, Made Astawa, Wayan Hendrawan, Uuk Paramahita, Wayan Muliastra, Wayan Kusuma, Made Kaek, Putu Bonuz, Kondang Sugito, Made Kesuma, Ketut Astawa, Antonius Kho, Wayan Redika, Putu Putra, Ketut Tenang, Made Wiradana, Made Duatmika and Kadek Wijana.
The catalogue for the exhibition suggests that: “traditional and contemporary Balinese art can only be distinguished according to their respective ideologies. One is a narrative offering visualizations of a Hindu-Bali cosmology, while the other is oriented towards a personal global art. One is traditional representation, while the other is an individual presentation, and is responsible for its own form of expression and the ideas it contains”. It could also be added that traditional Balinese paintings are rooted in the Indian epics of the Mahabharata and Ramayana, and were produced and used to decorate temples for celebrations and rituals. In addition, we can also find in traditional Balinese art, often referred to as ‘non-perspective’, that there is no central object or focus. All is unified in visual images reminiscent of a mantra. Repetitive and compact. Vibrating and intense. Narration, of fables for example, does not elicit comment; rather, it elicits rhythm and density. Creatures, whether human, animal or mythological, exist purely in the world that surrounds them. Technical aspects, like lines or incisions, are the results of manual labor devoted to creating a visual impact utilizing movement and vibrancy. However, contemporary Balinese art is influenced by contemporary Western art trends, and it is produced for the Balinese and tourist art market. Although the contemporary Balinese artist is a ‘free agent’, market forces, curators, and galleries, certainly do influence contemporary Balinese art.
Further, the exhibition catalogue suggests that: “contemporary Balinese art has changed through changes in ideology and the encroachment of globalization. Compared to other parts of Indonesia, globalization is more apparent in Bali, which can no longer view itself as Bali, or even as Indonesian. Bali must see itself as part of an encompassing global entity. Globalization is a reality in Bali today, where its effects have been clearly felt”. In the modern world, no culture however remote remains isolated. Clearly, the subject matter depicted in contemporary Balinese art has been affected by globalization. Subjects such as the environment, change, feminism, humanity, politics, and the effects of globalization, are all explored in this very interesting exhibition.
Some artists on show express how they interpret their own heritage and the loss of their heritage in contemporary Balinese life. The painting ‘Lamunan Siang’ by Gede Arta depicts the struggles of a rice farmer attempting to retain tradition in a harsh and unyielding environment. The works of Wayan Hendrawan, such as ‘Tukang Sapu’, and Wayan Muliastra’s ‘Suap’, both speak of contemporary issues, and represent forms of social protest, rejection, and a feeling of loss. Other artists give contemporary interpretations of traditional Balinese themes and techniques. The pieces ‘Roh 12’ by Made Kaek and ‘Kembang dalam Renungan’ by Ketut Tenang are both fine examples of traditional pencil and Chinese ink brush painting methods.
It is obvious that some of the artists on exhibit also show a familiarity with international modern art styles, through academic training in Indonesia and abroad. Art journals and the internet have, as well, appeared to offer a wide range of inspiration, as the range of styles on show covers everything from realism, to the decorative, and on to abstract expressionism. The painting of cows, in the work ‘Berbagi Ruang’ by Nyoman Wijaya, is a good example of realism while it highlights the role of the cow in the Hindu food chain. Made Sukadana’s ‘Minum Susu’ is an excellent example of hyper-realism as it too emphasizes one of the benefits of drinking the holy cow’s produce. Meanwhile, I B Puja’s ‘Untitled’ painting is executed in a forceful abstract expressionistic style.
One of the successful outcomes of this exhibition, ‘Optimism 2010’, is that it revels, when comparing traditional and contemporary art in Bali, that it is often difficult to see a relationship between the two. Their connection lies simply in the fact that they both occur at the same time and in parallel. Within traditional or contemporary Balinese art, everything is mixed together and intertwined, both the old with the new. However, ‘Optimism’ is the theme of this exhibition, and optimism can be interpreted as hope. The exhibition suggests a search for alternative forms of expression, while maintaining cohesion between traditional and contemporary Balinese art styles. The fascinating works of the artists in this exhibition all imply a desire for optimism as something necessary for Balinese life.
