Unpacking: Appropriation
In Ghosts of the Past the artists respond to historical events and conversations by visually referencing sourced archival images and appropriating them to encourage a new, sometimes sceptical perspective. In an artist interview with the gallery Enka and Ipeh acknowledge that the process of finding images is a diverse one:
‘At times we find it in books, directly visit museums and sites or locations to document it in situ. We also take some from the internet/websites. For example museum websites that provide photo archives. However we are always cautious about copyright and usually choose archived photos that are more than 50 years old.’
Both Enka and Ipeh have practices that marrying archival images with contemporary symbolism and iconography. Enka in particular draws visuals from mass-produced products from his childhood such as 80s comics, 90s wayang and hero posters. Throughout the artworks in Rumah Yang Yahud (A Cool House) there is a consistent narrative of the early development of Indonesia and its revolutionary struggles. However, through Enka and Ipeh’s deliberate focus on found images and appropriation, the artists show particular interest in how the global tension of the international Cold War influenced local politics and their country’s destiny.
Think About/Discuss:
Appropriation: To take possession of another’s material. Often without permission, reusing it in a context which differs from its original context, more often in order to examine issues concerning authenticity or to reveal meaning not previously seen in the original. This is far more aggressive than allusion or quotation; it is not the same as plagiarism but must consider copyright.
In art and art history appropriation refers to the practice of artists borrowing, copying or altering pre-existing objects or images in their art, often with the purpose of changing the original meaning. The reason for borrowing a known image is that it carries a pre-established associations which the artist wishes to explore through alternative perspective in their artmaking. For example, Andy Warhol appropriated Campbell’s Soup Cans as he was commenting on American consumer society and mass production.
Think about the Postmodern technique of appropriation in relation to resurfacing historical images and archives. Brainstorm with your peers some of the artistic intentions behind this artist choice. Consider the ethical consequences when borrowing an image.
In the three works above, there are several images that have been appropriated from found archives or images. In Lukisan penyambutan (Welcome Painting), we see the familiar images of Princess Diana, Prince Charles, 1st Indonesian President Sukarno (1901-1970) and 5th President Megawati Sukarnoputri (2001-2004). Also in this artwork (and throughout the exhibition), traditional Javanese masks and batik shirts are appropriated and used as suggestive uniforms.
In Tiga Tokoh (The Three Figures), historical photograph published by The Asahi Shimbun is appropriated in new media and context. In Okupasi (Occupation) Dutch marines re-occupy Hotel Rupublik in Lunajang Indonesia 1947, appropriating a historixal photograph by Hugo Wilmar.
Compare Enka and Ipeh’s use of appropriation as a means of questioning Indonesia’s history with the following artists:
Emmanuel Fox’s The landing of Captain Cook at Botany Bay (1770) and Daniel Boyd’s We call them pirates out here (2006) as part of his Treasure Island exhibition at the Museum of Contemporary art (2022-2023).
Artworks by John Glover and the appropriated digital animation The claiming of things by Joan Ross (2012).
Vincent Namatjira’s The Royal Tour (2020) in response to press and media releases from 1950-2000.