Pub Date : 2015-04-12DOI: 10.24821/JOCIA.V1I1.1750
I. G. A. Sucitra
The Postmodern Paradigm in Contemporary Indonesian Art. This article is a theoretical production of the postmodern concept underlying conception of the birth of contemporary art. Reinforced by the growing tendency of young artists in Indonesia who cultivate the visual power of traditional culture combined with the latest aesthetic tendency. As a result, the works produced into works that are global, but still showing traces of the value of tradition. Theoretical studies on more articles will be initiated through the method of literature review. The study will be conducted for the analysis of the aesthetic concept of contemporary art through the study of literature from a wide variety of art books, writing art thinkers, and creators of art. The exposure of definitions and statements of art in this article aims to map out the direction of thinking contemporary art world in general and in particular examine the realm of creation of works of contemporary art in Indonesia.Keywords: postmodern, contemporary art, traditional culture
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Pub Date : 2015-04-12DOI: 10.24821/JOCIA.V1I1.1745
Hendi Linggarjati
Hendra Buana and his calligraphy painting (biography studies and aesthetics). Arabic calligraphy of contemporary art in Indonesia was pioneered by A. D. Pirous, Amri Yahya, followed by below-generation artists such as Syaiful Adnan, Hendra Buana, and Yetmon Amier. Developments in Indonesian contemporary Arabic calligraphy began to look MTQ atmosphere since the holding of the event in the city of Semarang in 1979. This study examines the biography of Arabic calligraphy artist Hendra Buana and his art characteristics. Biography analyzed by using the theory of Vera L. Zolberg, while the characteristics of his works are analyzed through the theory of Edmund Burke Feldman. This qualitative research data obtained through observation, interviews, document study and literature review. This study concluded that in the process of art, especially in Arabic calligraphy is influenced by several factors, both from internal and external. The study also concluded that the visualization of Arabic calligraphy on a painting by Hendra Buana will be built to process the wealth of artistic and meaningful traditional Arabic calligraphy art in the visual language of contemporary art of Arabic calligraphy. This research can provide an idea of how an Arabic calligraphy artist could exists and productive in the world art scene in Indonesia. The results could be used as a reference for writing the biography of the artist and his art in the future.Keywords: Hendra Buana, painting, Arabic calligraphy, contemporary.
亨德拉·布阿纳和他的书法绘画(传记研究和美学)。印度尼西亚当代艺术的阿拉伯书法由A. D. Pirous, Amri Yahya开创，随后是Syaiful Adnan, Hendra Buana和Yetmon Amier等下一代艺术家。自1979年在三宝垄市举办该活动以来，印尼当代阿拉伯书法的发展开始呈现出MTQ的氛围。本文考察了阿拉伯书法艺术家亨德拉·布阿纳的生平及其艺术特征。通过佐尔伯格的理论分析其传记，通过费尔德曼的理论分析其作品的特点。本定性研究的数据通过观察、访谈、文献研究和文献综述获得。本研究认为，在艺术发展的过程中，尤其是阿拉伯书法的发展，受到多种因素的影响，既有内部因素，也有外部因素。该研究还得出结论，将在亨德拉·布阿纳(Hendra Buana)的一幅画上建立阿拉伯书法的可视化，以当代阿拉伯书法艺术的视觉语言处理丰富的艺术和有意义的传统阿拉伯书法艺术。这项研究可以提供一个想法，如何一个阿拉伯书法艺术家可以存在和生产在世界艺术界在印度尼西亚。研究结果可作为日后撰写艺术家传记及其艺术的参考。关键词:亨德拉·布阿纳，绘画，阿拉伯书法，当代。
{"title":"Hendrabuana dan Seni Lukis Kaligrafinya (Kajian Biografi dan Estetika)","authors":"Hendi Linggarjati","doi":"10.24821/JOCIA.V1I1.1745","DOIUrl":"https://doi.org/10.24821/JOCIA.V1I1.1745","url":null,"abstract":"Hendra Buana and his calligraphy painting (biography studies and aesthetics). Arabic calligraphy of contemporary art in Indonesia was pioneered by A. D. Pirous, Amri Yahya, followed by below-generation artists such as Syaiful Adnan, Hendra Buana, and Yetmon Amier. Developments in Indonesian contemporary Arabic calligraphy began to look MTQ atmosphere since the holding of the event in the city of Semarang in 1979. This study examines the biography of Arabic calligraphy artist Hendra Buana and his art characteristics. Biography analyzed by using the theory of Vera L. Zolberg, while the characteristics of his works are analyzed through the theory of Edmund Burke Feldman. This qualitative research data obtained through observation, interviews, document study and literature review. This study concluded that in the process of art, especially in Arabic calligraphy is influenced by several factors, both from internal and external. The study also concluded that the visualization of Arabic calligraphy on a painting by Hendra Buana will be built to process the wealth of artistic and meaningful traditional Arabic calligraphy art in the visual language of contemporary art of Arabic calligraphy. This research can provide an idea of how an Arabic calligraphy artist could exists and productive in the world art scene in Indonesia. The results could be used as a reference for writing the biography of the artist and his art in the future.Keywords: Hendra Buana, painting, Arabic calligraphy, contemporary.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121759031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-04-12DOI: 10.24821/JOCIA.V1I1.1751
Michael H. B. Raditya
The Essence’s Transformation of “Football” Decoration of Batik Today. Nowadays, batik has a massive development in its existance. In primary side, the existance more strong, but in other side batik had been changed. About Two years ago, Batik football decorative emerged and become a commodity by the batik artisans. The position of batik footbal decorative has become a dilemma. The issues made because there are many support and counter for that development. The issue about aesthetics and commoditization was creating by purpose of this change. Moreover, questioning the essence and existance of batik itself. In this article, batik football decorative will be discussed based on the essence and change. The dicussion about essence will be analyze with the aesthetic and commoditization perspective, while the changes would be discussed with the function and change itself. This thing did it to find the essence of batik football decorative. Conclusion of the research said the batik football decorative used a commoditization and decrease the aesthetic things to create the batik itself. The change occurs because there is a correlation between internal and external aspect on integrated of batik. The Analyze becomes a reflection to society, in batik for spesific, and arts in general view.Keywords: Batik, Football, Transformation, Commoditization, Essence
{"title":"Perubahan Esensi Ragam Hias “Sepak Bola” pada Batik Masa Kini","authors":"Michael H. B. Raditya","doi":"10.24821/JOCIA.V1I1.1751","DOIUrl":"https://doi.org/10.24821/JOCIA.V1I1.1751","url":null,"abstract":"The Essence’s Transformation of “Football” Decoration of Batik Today. Nowadays, batik has a massive development in its existance. In primary side, the existance more strong, but in other side batik had been changed. About Two years ago, Batik football decorative emerged and become a commodity by the batik artisans. The position of batik footbal decorative has become a dilemma. The issues made because there are many support and counter for that development. The issue about aesthetics and commoditization was creating by purpose of this change. Moreover, questioning the essence and existance of batik itself. In this article, batik football decorative will be discussed based on the essence and change. The dicussion about essence will be analyze with the aesthetic and commoditization perspective, while the changes would be discussed with the function and change itself. This thing did it to find the essence of batik football decorative. Conclusion of the research said the batik football decorative used a commoditization and decrease the aesthetic things to create the batik itself. The change occurs because there is a correlation between internal and external aspect on integrated of batik. The Analyze becomes a reflection to society, in batik for spesific, and arts in general view.Keywords: Batik, Football, Transformation, Commoditization, Essence","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115428946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-04-12DOI: 10.24821/jocia.v1i1.1748
Adek Dimas Ajisaka
The Narration of Life behind the Blind Mask. Persons who are blind is the subject that inspires, and motivates the circumstance. The existence of the visually impaired persons indirectly also be social criticism against the life of the community. The limitation has led private owned blind on the value of life and humanity that we appreciate it much more. Introductions and proximity to the persons who are blind raises the creative impulse to embody the values of life and humanity of the blind in the form of works of art. The blind presents in the form of works of art is not merely a display of artistic value but also as an effort to build a positive mentality and thinking through the concepts presented. Blind was involved directly in the process of creation of the work. Facilitating the blind became a print model in the mask. The face mask was chosen because the face is the first individual identity markers and personal representation of the subject. The face became a symbol of insurer liability for what the whole body. The mask being representative of the individual where it has the power to convey the story, experience the value of life and humanity over individual timesKeywords: narration, mask, blind.
{"title":"Narasi Kehidupan di balik Topeng Tunanetra","authors":"Adek Dimas Ajisaka","doi":"10.24821/jocia.v1i1.1748","DOIUrl":"https://doi.org/10.24821/jocia.v1i1.1748","url":null,"abstract":"The Narration of Life behind the Blind Mask. Persons who are blind is the subject that inspires, and motivates the circumstance. The existence of the visually impaired persons indirectly also be social criticism against the life of the community. The limitation has led private owned blind on the value of life and humanity that we appreciate it much more. Introductions and proximity to the persons who are blind raises the creative impulse to embody the values of life and humanity of the blind in the form of works of art. The blind presents in the form of works of art is not merely a display of artistic value but also as an effort to build a positive mentality and thinking through the concepts presented. Blind was involved directly in the process of creation of the work. Facilitating the blind became a print model in the mask. The face mask was chosen because the face is the first individual identity markers and personal representation of the subject. The face became a symbol of insurer liability for what the whole body. The mask being representative of the individual where it has the power to convey the story, experience the value of life and humanity over individual timesKeywords: narration, mask, blind.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117227528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-04-12DOI: 10.24821/jocia.v1i1.1746
Vedy Santoso
Campaign Videography in Propaganda Art Myth (Semiotic Analysis towards Politics Video Clip of IndonesianPresidential Election 2014). Digital videography is one of the audio-visual work of art that developedwith the support of recording media technology. In addition to presenting the charged aesthetic value as a workof art, videography also has a function as media propaganda, as seen in the presidential election campaignvideography. In the 2014 presidential election, both candidates for president and vice president using the mediumof video as a tool to build their image in society. Effectiveness videography become the focus of the study,the extent to which the media can build a new myth in society in accordance with the imaging is presented inthe campaign video. By comparing both video campaigns of each candidate for president and vice president, wecan see how both sides provide imaging in accordance with the idealized image seoramg leader. Prabowo -Hattadescribe a leader who firmly and nationalist spirit, while Jokowi-JK portray themselves as populist leaderfigure. Then when videography charged art used for political, practical aesthetic symptoms can be translated aspropaganda art discourse by postmodern art theory. By looking at the interest of the public who enthusiasticallysupported the two presidential candidates and their representatives can be said that the image made by bothparties fairly successful. But the discourse of propaganda art is only a myth of mass culture that is momentary,because when the season finishes public campaigning has gained a new myth about the performance ofPresident. So from the phenomenon of Indonesian presidential campaign’s video in 2014 can be understoodthat the culture of democracy in Indonesia has experienced significant growth, and with the support of technologyvideography arena of ideological struggle-even extends not only affects political ideology, but also involves theideology of artists, ideology works of art, and the ideology of society into the arena.Keywords: Videography, Art Propaganda, and Myth.
{"title":"Videografi Kampanye dalam Mitos Seni Propaganda (Analisis Semiotik Terhadap Video Klip Politik Pilpres Indonesia 2014)","authors":"Vedy Santoso","doi":"10.24821/jocia.v1i1.1746","DOIUrl":"https://doi.org/10.24821/jocia.v1i1.1746","url":null,"abstract":"Campaign Videography in Propaganda Art Myth (Semiotic Analysis towards Politics Video Clip of IndonesianPresidential Election 2014). Digital videography is one of the audio-visual work of art that developedwith the support of recording media technology. In addition to presenting the charged aesthetic value as a workof art, videography also has a function as media propaganda, as seen in the presidential election campaignvideography. In the 2014 presidential election, both candidates for president and vice president using the mediumof video as a tool to build their image in society. Effectiveness videography become the focus of the study,the extent to which the media can build a new myth in society in accordance with the imaging is presented inthe campaign video. By comparing both video campaigns of each candidate for president and vice president, wecan see how both sides provide imaging in accordance with the idealized image seoramg leader. Prabowo -Hattadescribe a leader who firmly and nationalist spirit, while Jokowi-JK portray themselves as populist leaderfigure. Then when videography charged art used for political, practical aesthetic symptoms can be translated aspropaganda art discourse by postmodern art theory. By looking at the interest of the public who enthusiasticallysupported the two presidential candidates and their representatives can be said that the image made by bothparties fairly successful. But the discourse of propaganda art is only a myth of mass culture that is momentary,because when the season finishes public campaigning has gained a new myth about the performance ofPresident. So from the phenomenon of Indonesian presidential campaign’s video in 2014 can be understoodthat the culture of democracy in Indonesia has experienced significant growth, and with the support of technologyvideography arena of ideological struggle-even extends not only affects political ideology, but also involves theideology of artists, ideology works of art, and the ideology of society into the arena.Keywords: Videography, Art Propaganda, and Myth.","PeriodicalId":413801,"journal":{"name":"Journal of Contemporary Indonesian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125697626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-04-01DOI: 10.24821/JOCIA.V1I1.1729
Much. Sofwan Zarkasi
Artikel yang mengambil judul “Seni Rupa ‘Biasa-Biasa Saja’ Karya Herman ‘Beng’ Handoko” ini bertujuan memahami kreativitas dan menginterpretasi estetika seni rupa karya Herman ‘Beng’ Handoko atau yang sering dipanggil Beng Herman. Artikel penelitian ini menggunakan metode kualitatif dengan memahami proses kreatif Beng Herman menggunakan teori Deteritorialisasi dari Gilles Deleuze, dan memahami estetika karya Beng Herman dengan pendekatan estetika dari Clive Bell, yang menginformasikan seni sebagai pengalaman pribadi yang mengadirkan bentuk bemakna (significant form). Penelitian ini menghasilkan temuan berupa: pertama, seni rupa karya Beng Herman hadir dari sebuah rutinitas berolah rasa dan berfikir yang membebaskan dirinya dari batasan-batasan di luar dirinya yang penuh pembatasan sehingga karyanya hadir dari perasaan murni dari dalam dirinya. Pembebasan tersebut menjadikan rutinitas kegiatan berolah seni menjadi kegiatan ‘biasa-biasa saja’ bagi Beng Herman, yang semuanya direspon menjadi sebuah hasrat untuk menghasilkan karya estetis yang luar biasa terkait sebuah kedalaman proses individu yang menampilkan kejujuran tanpa penghakiman terhadap individu-individu lain. Mengapresiasi karya Beng Herman adalah pembelajaran dalam menghargai eksistensi individu, yang sekarang sering tidak dilihat oleh beberapa pemerhati seni karena kecenderungan terpesona oleh eksistensi estetika pasar. Kedua, estetika karya Beng Herman hadir dari susunan kesatuan garis maupun bidang yang dikoordinasi secara bebas, yang kadang tampak pengulangan-pengulangan yang menampilkan irama dinamis. Garis yang diulang-ulang sedemikian rupa, atau kadang hanya bidang-bidang geometris pada kertas koran, atau kertas apapun yang sudah terpakai dengan menggunakan tinta hitam, bolpoint, spidol warna hitam, merah, menyadarkan kita akan sebuah bentuk elementer dan suatu kesederhanaan tentang hidup dan kehidupan yang semua orang mengalami. Suatu hal biasa yang menjadi luar biasa adalah ketika sesuatu hal tersebut menjadi pengalaman pribadi yang dalam dan menghadirkan kemungkinan-kemungkinan serta makna beragam sesuai pengalaman estetik masing-masing individu.
这篇题为“纯粹的艺术”的文章的目的是理解创造力，并解释赫尔曼的“Beng”Handoko的美术美学。这篇研究文章采用了定性的方法，利用吉尔·德勒兹的创意过程，用克莱夫·贝尔的审美方法来理解dr . Deleuze的创作理论，并通过克莱夫·贝尔的审美方法来理解dr . dr .研究发现:首先，Beng赫尔曼的作品是由一种经过严格的思想和实践而来的，它将自己从严格限制之外的限制中解放出来，从而将他的作品从纯粹的内心感受中呈现出来。这项解放使艺术活动的例行公事成为一种“平庸”的活动，而这两种活动都成为一种愿望，目的是创造一种对他人不加评判地诚实的个人过程的深度。欣赏Beng赫尔曼的作品是对个体存在的欣赏的一种学习，而现在，由于其被市场审美存在的趋势所吸引，艺术观察者很少看到这种现象。第二，Beng赫尔曼的美学是由一组自由协调的线条和区域组成的，有时可以看到重复的动态节奏。以这种方式重复的线条，或者有时只是报纸上的几何块，或者任何用黑色墨水、圆珠笔、黑色、红色记号笔来使用的纸，会让我们意识到一种元素的形式，一种所有人都能体验到的简单的生活。当某件事成为一种深刻的个人体验，并根据每个人的审美体验提供各种可能性和意义时，它就变得非凡了。
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