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EXHIBITIONS 2009
→ NARASI
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→ INDEPENDENT ART
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→ BALINESE ARTISTS EXHIBITION
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→ PAMERAN PATUNG ALUMNI ISI
→ COSMIC ENERGY
→ BALI ART FAIR 2013

EXHIBITIONS 2015
→ FORM AND FANTASY
→ OFFERING
→ VIOLENT BALI
→ MY NAME IS WAYANG

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→ ART AS PERSPECTIVE
→ RUANG KECIL BERBICARA

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→ VIP GALLERY

EXHIBITIONS 2020
→ GALERY ZEN1

Group Exhibition "NARASI"

NARASI
1st March 2009 - 15th March 2009
Syang Art Space YOGYAKARTA

At least since a few years ago, the art of sculpture has got a good place among art critics and connoisseurs of art. The original sculpture is often regarded as second class citizens, now in line with the growth of the social field of art; sculpture also received a good place. This position is not only shaped by the reality of discourse, but, most importantly, formed by the artists’ creative process of sculpture. It is true that now the creations in the world of creation have exceeded the conventional boundaries that no longer categorize art profession in areas of painting, print-making, and sculpture for instance. However, inevitable that’s the artists who wrestle three-dimensional space has received a number of exciting achievements. This reality has been shown since at least the sculpture exhibition of 71 works of sculpture artist in House Full of Culture, Yogyakarta, and February 1992.

Conceivably, it was how excited the artists sculpture in exploration. A number of works are no longer present in the formal limit case only questioned the arrangement of lines, areas, and other visual things that only within the limits of visual text. But there are also a number of sculptures which brought the case context surrounding the text. There was representation that was built through the way of meaning of his subject matter. Social realities surrounding the life of artist sculpture at the time, has become a stimulus for the creative process of sculpture artist. The sculpture then has the contextual content that is not only important for social history, but also a point of departure to the context of an increasingly diverse. A narrative is constructed through a three-dimensional works. Top search, Tempo Magazine:".... record and because it is one milestone in the growth of Indonesian sculpture “).

If we look back, long before the events of 71 sculptors exhibition of Indonesia, we remember, how Affandi, Hendra, Trubus, Rustamaji, Edhi Sunarso, and Saptoto who in 1948 exhibited a number of works of sculpture with the principal claim about human figures. The principal claim was immediately connect with the problems accompanying context. Why not, anyone figure who becomes the object sculpture will be associated with his biography. There is a narrative that grows in the horizon when the expectations of the appreciator enjoy the statues. Also pictured, how a meaning that temporary stability, from the sculptures of human figures, were present. Meaning that appears when it would be different from the meaning that is produced these days. Identity makes the figures relating to the setting time when the statue was made. If you read the time, its meaning will be different when compared with the readings today. This is an open space (open space) of works of art.

Narrative Structure in Indonesian sculpture is present also in monumental sculptures. The spirit of heroism that’s came with the idea of making monumental sculpture existing parallel with the story of the hero. The story that represents the properties of the hero in a heroic connotation immediately transmitted to the children of the nation wants to be involved in realizing the nation-state. Monumental sculpture strongly presents also some signs that are ‘semiotis’ can be read as representations of national identity.

The narrative, as is echoed Chatman, built by two elements: story (story) and discourse (discourse). The story or the content of the event, events, and everything that is can be described. Discourse is a method on how to communicate the story. In Chatman limits, what is presented artist, start from where, what was in it, and so on, referred to as the narrative structure of story. While the arrangement of elements, visual execution, and so on, referred to as the structure of narrative discourse).

The concept of narrative is confirmed Chris Barker: "narrative is an orderly narrative that claims itself as the recording of an event. The narrative is structured form used to file a story about how the world runs. The narrative gives us a framework for understanding or reference rules (rules of reference) about how social order is formed, and in doing so this gives us an answer to the question: how are we supposed to live? ")

Somehow the statue, as compared with other art works, be closer to the concept of narrative as proposed Chatman. Perhaps because of the lexical word 'sculpture' have parallels with the human character. Big Indonesian Dictionary notes that the word 'statue' means as artificial form of people, animals, etc., those are made from stone, wood, and so forth. See also for example, the phrase 'like a statue' which means upright standing did not say or do not know anything. From the origins of this word, we like locked in the meanings of words that have been constructed in the way we speak. Easy to understand why then, narration or narrative can be (in the) present (right) from the works of sculpture. Of course, this is not intended to ignore the statues of non-representational creations are more focused on formal issues of the shapes. But, at least in the example case above (exhibition Affandi et al, 1948; and Indonesian Sculptors Exhibition 71, 1992) and the majority of this exhibition material, then the connotation of the meaning of the statue connected to associate with the concept of narrative Chatman feels right to do.

This essay, by itself departed from the connotative relationship. Let us look at several works in this exhibition. Most of the works in this exhibition about the human body, natural objects, and the only one who questioned the two purely visual aspects. Subject matter of monumental sculpture in the genre when presenting the statue, he must reveal the characteristics and identity of a person. In this aim are required to represent the sculptor 'who he'. 'Who is she' became important because who wants to build narrative of monumental sculpture is a matter of explanation about the person. In this case there are rules of reference that must be portrayed through the relationships between elements in these sculptures.

Now, in this exhibition, 'who he' is no longer important. Raised is 'what is it'. 'Does he' refers to a condition more specific about how the social order established by a number of building construction. For this reason, a number of sculptures in this exhibition are to present a narrative of the human body. There are a number of sculptures which Questioning relationship with the living body, the body's relationship with the level of idealization of the body, the body's relationship with fragments of broken bodies, the body's relationship with fashion and lifestyle, and there is also a Questioning the body to do with the characteristics of the medium of sculpture.

Body and space is the area where the body was given meaning by a space. The body will find its meaning when the space around him. How such meaning is created by the presence of the confining space of the body, or how such meaning is created by the space that frees the body. Space in this case is a social construction of meaning hierarchical positioning of the body. Body and all about the bodies inseparable from space and the space. This is the reality of our culture today, that continue to be built by a set of desires that are consistently not know the end. See for instance how the bodies that bluntly space enclosed by a circle or reflected by the reflection space.

Body to do with the level of idealization of the body, also is a product of cultural construction. Idealization is a process of adjustment with a hoping to attain. As the process, he never became a permanent reference or a boundary, and then idealism about the body is an endless quest at any time. He never found the end of his time. Despite such stop, he will be present again in the lap time. See for example how a sculpture brings idealization of the human body, whether uncategorized sexy, sensual, macho, or whatever. All those are temporary. The day will present a different narrative. Reality idealization that is not a permanent body has parallels with the main body to do with fashion and lifestyle. Fashion is a lifestyle element is formed also by the concept of idealization. There is a level of aspiration which imaged through fashion. And this is which then greeted by a culture of consumerism. Humans also celebrate it as the subject as well as objects.

Relation body with another body is associated with a narrative about human presence. They either are doing a job together, or dancing for example, remains associated with its importance as a social creature. The body in this case, no longer cans the body's own autonomous arbitrarily. He (the body) however formed on the interests of (the body) to another. Borrow the words of Anthony Synnot, ("the body does not just 'been there' in nature, but also become a social category with different meanings are produced and developed every day, by the parts in different populations. In other words, the body like a sponge in its ability to absorb the meaning, other than a very nuanced political").

On the other hand, a number of statues presenting the case of natural object with human emotions. In this case, how such emotions move the objects as part of statement of taste. The characterized by hard objects, can be presented in a graceful atmosphere. Character object as we know in everyday reality, a sudden change in the character of the statue of this type. Horizon our expectations, played by a sculpture of this type. A game that requires the narrative shuttles between everyday realities with a sense of reality sculpture.

There are also sculptures that bring emotion through the way of freezing events. The sculpture, like a work of photography that’ records certain scenes of the most stressful emotions. Freezing, of course, related to the human desire to capture a certain emotion is ever present. Road reconstruction freezing scene through the statue has a relationship parallel to the photographic technique. Just a matter of media and different method. And, of course, is the most important, issue is also different events. Some events can not be reconstructed in the event photography. However, in sculpture, all of it completely possible. Time, in this type of sculpture, as if to stop. We also enjoy immortality cessation through moving objects are frozen. Meanwhile, the horizon of hope we actually continue to run build narratives of the past to the present time.

Exhibition of sculpture Sculptors Association members Indonesia (API), this is a piece of sculpture Indonesia picture of reality today. Aspects of narrative, in my opinion, are that presented the most important core of these statues. At least, if not present, that's how I read it. This is connected also with the reality of today's culture is positioned as a construction reality. Thus, the narrative produced in this essay is just a bit of narration from the other narratives that can also be constructed by other readers.

NOTE :
More info on this exhibition reviews, see S. Budiman Hartoyo and R. Fadjri, “Patung tak Mandek”, TEMPO, 29 February 1992, pp. 112. In this paper, Budiman S. Hartoyo and R. Fadjri, among others, reviewing work of Edhi Sunarso, Awareness and Loyalty. This sculpture Questioning political life in Indonesia. Another work that is discussed is the Continuous and Change by Alce Lilly Sunardi assessed as a new form.

Chatman, Seymour, 1980. Story and Discourse: Narative Structure in Fiction and Film.
Ithaca: Cornell University Press.
Barker, Chris, 2005. Cultural Studies. Teori dan Praktik. Yogyakarta: Bentang.
Synnot, Anthony, 2003. Tubuh Sosial. Simbolisme, Diri, dan Masyarakat. Yogyakarta: Jalasutra.

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