Art of Indonesia

There is the assumption that our art world is a world that is "marginalized and / or termaginalkan"?. Others say the development of our art is only "roads in place"?. Even in some discussion about the art also did not complain about the birth of the great works of art in Indonesia. Is this correct? If the art world are "marginalized and / or termaginalkan"?, Only "roads in place"?, And not the birth of great works, it seems to be correlated with the condition of our public life

Life and the development of art is very determined by the condition of the people. The local living conditions will affect other choices will be revealed themes in a work, even more will be very decisive people who actually lovers (apresiator) art. This is because in the development of art, play an important role apresiator. Is nonsense, by way without the audience.

When judging from the aspect of public life, the essence of our society, both connoisseurs, bureaucrats, and artists themselves are the marginal society. The people who are on the line margin, between tradition and modernity, between the ethnic nation, among cities with villages (villages), between the feudal with egalitarian attitudes. And on the lines of other margin, at one time they can seem very traditional and the other when they all seem very modern. Likewise, at one point they seem cosmopolitan nationalists even while maintaining his ethnic attributes, living with city facilities while still thinking "ndeso", glorifying democracy but in practice remain inspired by feudal.

If it is connected with our art world in this West Sumatra, the reality described above it is very evident through the expression Wakidi way done. He reveals the social problems of such communities through the paintings of patterned likisannya-conventional naturalistic. Themes such as the conflict between tradition and modernity, ethnicity conflict, a conflict that stemmed from the feudal attitudes, hypocrisy, and other marginal permamasalahan are central themes chosen as revealed apparently Wakidi.

Public figure who made the object of the selected phrase Wakidi way it is a reflection of the new society we are marginal. The phenomenon of corruption, collusion, and neopotisme (CCN) for example, derived from the values of the feudal culture that requires a leader to accumulate wealth to secure life and his people. Similarly Minangkabau people (maybe also other ethnic communities) who lived in Jakarta, if the wedding party will feel more vibrant and tradition when compared with if the party was held at nagarinya. Many conglomerates figures and intellectuals who still require kebangsawan titles such as Datuk, Raden, Pati, etc. (feudal). Characters after releasing its structural position, frequently voicing the attitude and the desire not to do when he can do it in the capacity of the first term.

Such marginal communities, although grow and develop into a new middle class, but the nature of marginality persisted. New middle class society that is people who were also significantly marginalize our art world. Shifting cultural values of an agrarian society to industrial culture to culture and information has given birth to community groups as a new middle class is no longer to empower the arts in general and fine art in particular as a place of their spiritual contemplation. This means that between raso jo pareso they become unbalanced.

Imbalance between what is material to the arts (visual art) as a work of spiritual nuanced. This phenomenon is visible from many indications that most of the attention of our society toward greater material when compared with attention to the problems of art (spiritual). If we are not vigilant, this imbalance will destroy our society as a spiritual people, because by spending his attention to "fight for influence"? and so on, then the enrichment of spiritual experience will diminish. As a result, our society will be hit by pendangkalan spiritual meaning spiritual nature as a people will lose little by little.
Other indications show us that today the bulk of our society (especially leaders) are proud to have wealth and worldly power rather than having a painting, culture, wisdom of life, art and so on. Developed countries (U.S., Europe, Japan, Korea, etc.) which eventually became rich countries in terms of property is a major contributor unbalanced situation, since lifestyle-oriented citizens Matei area, serve as a model or parameters of a life of success. To achieve "success of life"? This race community property and the pursuit of power that many are willing to leave the spiritual problems of humanity.

Another indication that the arts and culture (and arts) and other aspects of spirituality is no longer a component of life that are important to our society is the "size"? for what is called "Developed Country and Under-developed Country"? is not measured by the cultural richness such as painting (art) for example, but measured by material things, such as Community Poverty Index (HPI) or the success of the Development Index (IKP), percapita income, and others with similar meanings.

It is thus also affecting our education are more likely to print a clever man to pursue material wealth rather than educate the people as a people wise and prudent. It is not strange that the parents will also be more proud if their children good at maths, because armed with that knowledge he would master the advanced technology as an engine to print the property and wealth. Conversely, those who cultivate their children more art, including fine art, much disappointed, because their children will not be able to compete in the fighting over wealth and power as an icon of success of a life. With such attitudes, we need not be discouraged, if the art world generally, and fine art in particular became marginal.

Attitudes and tendencies of this view also penetrated the ranks of our bureaucrats. They consciously or otherwise marginalize have also followed our cultural arts including visual art. In fact, they know that the foundation of a nation can not be measured by the HPI or IKP, but also the cultural arts. But in his treatment, art and culture (one art) they always marginalkan. This phenomenon is seen from the attitude and treat them to the work of art. Rarely among our bureaucrats are fond of collecting works of painting, and if there are exhibitions and other arts performances they rarely attend, unless invited to do the opening. Development of art and culture are treated less reasonable when compared with development in other sectors. This can be seen once in kebijakkan policies they take, the development of arts and culture always get the last rank (in terms of allocation of funds), although it has formed setakad Department of tourism and culture. They realized that the success of tourism industry highly correlated with the arts and culture, can be a flagship to reach foreign exchange, but still (in-) marginalkan. Perhaps they forget or intentionally forget that Sianok Gorge is famous in foreign countries thanks to the work of Wakidi way, thanks to touch the canvas artists, but art is still marginalized. Other evidence is not many hotels are decorated with paintings by artists, devoid of any other art performances. In short, our bureaucrats are already succeeded in becoming a community literacy, numeracy, but is still blind culture and religion, and therefore need alleviated again.

This situation is compounded by the attitude of an artist who's work tends to be too easy. There are paintings that only sparks of color alone, in addition to the definition of art itself, which is increasingly blurred. For example an Italian artist Piero Manzoni in 1961 that his signature over the bodies of women with no clothes on while stating that women are the sculptures on display ready. Or the French artist Ben Vauteier year 1962 that displayed itself as a sculpture in a gallery for fifteen days, and Pi Lind in 1969 in Stockholm that put the foundations in a sculpture gallery in the hope that the visitors would stand on the grounds that a statue, and many similar examples such as the work of Manzoni, Vautrier to illustrate how the definition of art is blurred. The result is the emergence of many individual styles that are not so prominent, not because of the birth of an important period, not the emergence of major works, and the separation of art from life contexts, and ultimately their work becomes too remote. Even things that makes the leading art historians such as Hans Belting suggests that art history has ended; the end rather than art history as a humanistic discipline, but it is art history as a chain of period-style development (a phenomenon that such profit is not our encountered in our artists in this area). In such circumstances reasonable if not born great works in our art world. Of course we do not want that we live constantly with the situations and conditions like this, we certainly do not want our society into a society that kropos, dry spiritual, cultural blindness, and loss of sense of values. For that we hope can mengasahnya artists, through creative work and expressions seem.

From the above description we can take a conclusion that in essence our art world (especially the arts) is a marginal art. Marginal nature except look of the themes expressed also determined by the marginal people as well. The intellectuals, bureaucrats, and artists themselves are expected to cultivate art world and also can protect the people love art, also still is marginal and can not be expected to enlighten our art world. For some time our art world will remain isolated.

Remoteness that, should, will not make the artists stop creating, gave birth to works of great, serious and qualified for major work, a serious and quality and will last through time and space. In most of conscience, let us plant the motto "Work while preaching"?, Hopefully with this motto, the conscience of intellectuals, bureaucrats, technocrats and people moved to badarai we love the work of art's self-image culture of Indonesia