A sneak into 17-year Jendela’s aesthetic practice
What is art? What is creating? What are the strong points in the works of Jendela Art Group (KSRJ) personnel? I collected and processed the answers into a diagram made of eight triangles. It all began from Yunizar’s linear perspective on KSRJ’s aesthetic practices: Rudi Mantofani (RM) – Yusra Martunus (YM) – Jumaldi Alfi (JA) – Yunizar (YU) – Handiwirman Saputra (HS). There are two main parts in the scheme, the top and the bottom. The axis of both parts is Alfi. To KSRJ members, Alfi is their spokesperson; not only to the outside, but also to the inside of KRSJ. Explaining his linear spectrum of KSRJ’s aesthetic practice, Yunizar said that Alfi’s works may tilt to the left (toward Rudi and Yusra) or the right (to Yunizar himself and Handiwirman). In short, Alfi represents all the KSRJ aesthetic tendencies.
The top part focuses on their works’, (physical) artifacts. The keywords (materiality, form, artistic, subject-matter) in this part are the formal elements of their works. This part of the diagram can be disclosed simply by tracing the artifacts and archive concerning KSRJ. Such as the works (itself), curatorial statements, reviews, interview recordings, quotes of the artists’ statements here and there, to media clippings. The elements in this part are accessible for any audience to directly experience, either through the exhibition or a variety of documentation/publications.
The bottom part looks into the foundational ideas of KSRJ members’ creation process. Thus, the keywords here were derived from the interview of all KSRJ members, starting from Yunizar’s linear approach mentioned above. For instance, Handiwirman explained, “Yusra, Alfi and I are still flexible to compromise (to comprehend) each others’ creation methods and modes. But look at Rudi and Yunizar; no way, they’re too extreme!” (he laughed). In a few different ways, the other KSRJ members also affirmed Handiwirman’s view. Thus the point, “compromising over the selection of (others’) aesthetic modus operandi” originated. From the similar view of KSRJ members on each other, three other points were gained, i.e. personal narration as a starting point, having the need to create, and observing artistic and aesthetic development.
(The complete essay is readable in the book also titled The Window of JENDELA, Grace Samboh (Ed.), OHD Museum, Magelang, Indonesia, 2013)
The Window of ‘Jendela’
8 December 2012 – 30 April 2013
Jl. Jenggolo 14
Saturday, 8 December 2012
Ahmad Mashadi (Head of NUS Museum)
Book launch and panel discussion:
Saturday, 26 January 2013
Enin Supriyanto, Kelompok Seni Rupa Jendela, and TK Sabapathy
Click here or here to see the show
Click here to watch the video documentation of the show