About Biennale Jogja X - 2009
After approximately 21 years, after 9 times the event, Yogyakarta Biennale has become an art tradition that allows people to appreciate the development of aesthetic and artistic achievement of the principals of art in this city. Another thing that was always considered in the event biennale is a curatorial theme initiated want.
In this X Jogjakarta Biennale, curatorial themes set out from a real problem of art in this city, the memories so short that people will own history. The cause is one of the data management so weak, both individuals and institutions. Fragility of documentation becomes a critical point when the art building difficulty putting themselves in a broader context. That is why, Biennale Jogja X is a moment for the artist's invitation to read, interpret again the spirit of the time in every era of art history. The purpose of this biennale is not to collect records, but rather the artists awareness of the importance of the past that continues to have present.
If we flashback art Jogjakarta, then we will see a spirit that became his time marker. Populist humanism, has become the dominant marker in the spirit of the time Affandi, Hendra Gunawan, and Sudjojono beginners who are generations of modern art in Indonesia until the 1960s. ASRI who stood in the 1950s, could not also bring the discourse which then differentiate itself from the strong discourse in Bandung for example. In the new order regime, which woke up in the discourse of art also tend apolitical. Aesthetic forms that grow more dominant leading to the spirit of universal humanism with the strengthening of abstract art, decorative, and others. Later, we also know, "spirit" which has implications for the behavior and aesthetic choices, sued by later generations, as reflected in the "New Art Movement" and "Art Personality Is". Later, outside the world trend of art, the discussion of his "local" and to "global" in the 1980s has been dragged practices art Jogjakarta. In this case, the event Biennale Art of Painting I to Art Biennale Jogja IX can be used as a case study, particularly organizational problems its implementation. To the most contemporary practices of art can not escape from the urban culture and market trends.
From the reading of art history at the top of Yogyakarta, can be taken five (5) "spirit" or "paradigm" that major artists used to be a reference in the work, namely:
1. Humanism Populist
2. Universal Humanism
3. Resistance to aesthetic
4. Turbulence between global and local culture
5. Fine art based on the daily life of urban
Introduction curatorial
Things that distinguishes the city of Yogyakarta with other major cities in Indonesia is the pulse of art that so hard. There are no empty weeks without art exhibitions. Artists never run out of ideas for using various places as "gallery." No miss, even the ordinary citizen working in public spaces. This situation would be compared in a Javanese idiom, autumn mountain, where mutual cooperation, togetherness, still strong in the social process of artistic activity in Yogyakarta. These dynamics can also be described as a jam session in which each artist to each other in dialogue, sharing, and create in harmony creation.
Creative movement has spawned a monumental work and the discourse that marks the spirit of each era, such as humanism, democracy, universal humanism, resistance to the establishment of aesthetics, the unrest among the local and global culture, and urban art.
Jogjakarta X-Biennale 2009, titled "Jogja Jamming: Art Archive Movement" is a reflection of these dynamics. Reflection is poured in two practices, the artists interpretation of the spirit of the times in the archives and exhibitions. In this context, the meaning of the archive is not just an inanimate object, but also the memories that live in the present.
This practice presented by 126 artists who held interesting works in Taman Budaya Yogyakarta, Sangkring Art Space, Jogja National Museum. While the exhibition will be held in the archives of Bank Indonesia Building. Then more than 200 artists and city residents will melt together to respond to the corners of the city. At this point, the biennale is not just displaying works of art, but also space for the operation of a culture.
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