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Contemporary Indonesian Art
Indonesian art entered the global contemporary art world of independent curators, art fairs, and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural, and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theater) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions, and collectors in the local art scene and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for the global relevance of Indonesian art.
Cerminan Masyarakat, Pembukaan Diri
"The variety of the works in this book denoted the change of times, alternating the old with the new, with photographs referring to traditions and rituals - such as wedding ceremonies, family portraits and pilgrimages - and works revealing a glimpse into tomorrow's Indonesia." -- BOOK JACKET.
Living Art
Living Art: Indonesian Artists Engage Politics, Society and History is inspired by the conviction of so many of Indonesia’s Independence-era artists that there is continuing interaction between art and everyday life. In the 1970s, Sanento Yuliman, Indonesia’s foremost art historian of the late twentieth century, further developed that concept, stating: ‘New Indonesian Art cannot wholly be understood without locating it in the context of the larger framework of Indonesian society and culture’ and the ‘whole force of history’. The essays in this book accept Yuliman’s challenge to analyse the intellectual, sociopolitical and historical landscape that Indonesia’s artists inhabite...
Framing Indonesian Realities
Ritual language, wild and domestic animals, and objects of material culture like houses, palaces, and works of art, are often loaded with symbolic meaning. Reading the landscape , or giving meaning to the natural environment, is a cultural act as well, and one must discover what mountains, coastlines, and islands mean to different groups of people. In this book, written on the occasion of Professor Reimar Schefold s retirement from the Department of Cultural Anthropology at Leiden University, colleagues and former students from the Netherlands and abroad demonstrate the variety and wealth of the field of symbolic anthropology. The regional focus of the book is Indonesia. The studies presented range from small island communities in western, northern, and eastern Indonesia to urban settlements in Java and Sumatra. All the contributions are in one way or another related to Reimar Schefold s work over the past thirty-five years, work that includes extensive studies on material culture, rituals, and the use of symbols in the expression of ethnicity among the various cultural groups of Indonesia.
Art and AsiaPacific
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Koi Dan Trinacria
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CP Biennale 2005
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Decade of Dedication
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