Indonesian contemporary art is apparently still unheard of abroad, especially in Europe.
When Friedhelm Huette, the global head of art at Deutsche Bank who manages hundreds of fine art events, came to Jakarta to open "Expose *1", an exhibition of Indonesian contemporary art held by the bank and Nadi Gallery at the Four Seasons Hotel recently, he was virtually speechless over the contemporary art works on display. "I'm learning more and more," he told The Jakarta Post when asked to comment on Indonesian contemporary art. "I have a little bit more knowledge on fine art in China, Singapore and Japan."
Huette's unawareness was reminiscent to what art critic Enin Supriyanto experienced when he was invited to be panelist at a symposium in Germany. "Among the questions asked to me during the symposium was: Why is the contemporary art of Indonesia, one of the biggest countries with the biggest numbers of citizens in Southeast Asia, not often present in significant international art forums relative to its Chinese, Indian or South Korean counterparts?"
He admitted it was hard for him to give an immediate and succinct answer, but he offered two reasons for the "beclouding" of Indonesian contemporary arts.
First, he said, "In a lot of European countries and in the United States, modern and contemporary arts are always seen as cultural practices integral to the cultural and social developments in Europe and the U.S. As Asian art is included in such discourses, it tends to be relegated or rendered as exotic, or even worse, as art works derivative or imitative of what is found in the West."
Second, he continued, "in a lot of cases, the economic development of a country on an international level provides one among the significant factors of international recognition or given works of art. In this last mentioned respect, Indonesia is obviously not noticeable yet."
He said he was initially unsure about the relevance of his answers before Ulli Sigg, one of the most renowned and respected collectors of Chinese contemporary art, told him that he didn't know anything about Indonesian contemporary art.
"I have to tell you frankly, I really don't know anything about Indonesian art," Enin said, quoting the collector.
While art discourses are still dominated by Euro-American views, he said, Asian arts, including Indonesian, paradoxically has enjoyed the boom of an international art market network.
A piece by Balinese painter I Nyoman Mariadi, which was sold for US$360,000 at a Sotheby's auction, epitomizes the "industrial" development and the soaring prices of Indonesian contemporary arts, he added.
The condition is alarming, Enin argued, because the boom of Indonesian arts in the Asian market is happening without "critical reference", putting it in "a fragile position in the face of market speculation that might turn ridiculous".
"It is now the time for Indonesian artists to work professionally and to learn to cooperate with professional partners, be they art brokers, art galleries or curators. A critical mindset in dealing with art market situations will of course help them to avoid or at least minimize the dangers and risks that market speculation might generate," he said.
"Expose *1" aimed to provide opportunities for communication and dialogue between Indonesian artists and galleries with institutions that are attentive and supportive to global art activities. The exhibition presented 13 Indonesian young artists who, Enin said, "have helped shaping, and become significant parts of the development in Indonesian contemporary art, painting, sculpture and installation, in particular."
The artists included Agus Suwage, Aytjoe Christine , Djumaldi Alfi, Handiwirman Saputra, Heri Dono, Eko Nugroho, Dipo Andi, Eddie Hara, S. Teddy, Ugo Untoro, Yuli Prayitno, Yunizar and Yusra Martunus. The event was part of the Deutsche Bank Corporate and Art Day, "which more broadly seeks to introduce the 'Indonesian story' via leading Indonesian companies and artists to local and international investors".
Huette responded positively to Enin's idea to make the global art community more aware of Indonesian contemporary arts. "We talked about it with Enin. About maybe in two to three years we may bring Indonesian artists to Berlin," he said.
Huette said contemporary art was the art of today, thus it is a form of fine art that the Deutsche bank company should go for because it fits its philosophy: Innovative and going for new ideas. And, of course, "for a better surrounding in the work place, art is necessary," Huette said.
