SCULPTURE/ INSTALLATION

Arie Dyanto (16albermarle Project Space) and Rizka Azizah Hayati (Delmar Gallery)

Arie Dyanto’s becak (trishaws) hubcap series exhibited in On Tradition is a continuation of the highly regarded late artisan Sanento Yluiman work. Sanento Yuliman linked the process of painting becak hubcaps to the landscape of artists paintings of the Mooi Indies (Beautiful Indies). The Mooies Indies painting tradition was derided by Indonesia's "father of modernism" S. Sudjojono, as a practice that pandered to the aesthetic sensibilities of colonisers who wanted to obscure the harsh realities of rural life. In 1984, Sanento Yuliman drew attention to the painting of becak hubcaps as an example of the absurd hierarchy of "high" and "low" arts in Indonesia: "Driven by the need for survival, poor artists have to work with what is to hand: garbage, (paper, cans, plastics etc.) which they turn into children's toys, stoves, lamps; old tools or machines, of which they change the function. The repurposing of waste – one of the challenges of today's world – in our society is more welcome among the low arts than in the high arts." (Dua Seni Rupa [Two Visual Arts], 1984, p 29). As a highly respected contemporary painter, Arie Diyanto’s continues Yuliman’s insightful perspective and continues to create works that straddles this boundary with a keen eye for irony, titling his works with idiomatic phrases that reference the preoccupations of the Javanese culture in which he was raised.

Rizka Hazizah was born and raised in Martapura, South Kalimantan, where she was nurtured with a close connection to the culture of the forest and the Martapura River. The mystical culture of Kalimantan's rivers and forests is embedded in the collective memory of the local community. Ancestral rituals from Kalua, South Kalimantan respected and made offerings of food to supernatural crocodiles in the river, in return for the protection of the community. Furthermore, local stories tell of supernatural crocodiles frightening away Dutch colonists. For Rizka, this crocodile’s message demands that we continue to protect the river which is the home of our datu (leader) and ancestors.

Think About/Discuss:

Megalithic sculptures have been discovered in several sites in Indonesia. Subsequently, tribal sculpture using wood and stone flourished within the cultures of Nias, Batak, Asmat, Dayak and Toraja. Between the 8th and 15th century, influenced by Hindu-Buddhist Dharmic civilization, traditional Indonesian sculpture was refined, and the societies continued to use wood or stone as their common materials to build spiritual spaces, temples, relics and sculptures. Reflect on the deep cultural significance of traditional Indonesian sculpture using this link: Fascinating Culture of Indonesian Sculpture - Bahasa Bule

Both artists material practice is highly contemporary, and they use new mediums to Indonesia’s traditional sculpture history. Discuss the different materials used by each artist and consider how accessible these materials are to sources and what role do they play in the present day Indonesia. Why would the artists have chosen these materials? 

Despite their contemporary material practices, both artists reference Indonesian history and traditions in their concepts. Analyse the way traditional Indonesian culture and the history of colonisation are referenced in the artists’ conceptual practice. 

On the 16albermarle Project Space website, view additional images of the artists’ work and installation. 16albermarle - Ex #19 On Tradition Artists