The Compromise of Self and Identity within Indonesian Contemporary Art Essay

The Compromise of Self and Identity within Indonesian Contemporary Art - Essay Example The essay "The Compromise of Self and Identity within Indonesian Contemporary Art" talks about Indonesian Contemporary Art in the context of Compromise of Self and Identity. The aptitude for dialogue and ability to represent energetic reality is allowing the Indonesian contemporary artists to epitomize the most fundamental language. In addition, it has been an observation that any conceptual or artistic expression is always attenuated by a powerful, socio-political-cultural testimony. Perhaps nowhere is this disparity more strikingly seen than the swirling ideas in the exploration of self and identity, which undoubtedly fomented and regenerated repeatedly. Even so, the range of artworks conceived have become the â€Å"in-between† platform and terrain of difference that form their identity. In recent years, the social, political, and cultural reference within the formation of collective idealism has been called into question. The complexity of identity formation has reached a p oint in which so many versions of the self seem plausible. However, many artists offer a conception of both actual and conceptual self in which they coexist within cultural hybridization occurring in Indonesia. In this conception, the defining features of each self are retained and understandable to exist only in relationship to one another, like figure and ground, front stage and back stage as a single undifferentiated system of self and identity. In this regard, Indonesian artists today are capable of holding off. every explicit local or ethnic exercise while constructing new artistic or cultural traditions within their art. In specific, it is that duality of the idea of expression and ability to associate that gives way to opportunities of significant dialogue and powerful presentation of self. Unfortunately, it is observation that Indonesian contemporary art confronts misinterpretation as outsiders do not know the current situation in Indonesia, or that their knowledge on Indone sia is not up-to-date, hence, failing to understand the symbolism, perspective, and scope that the artwork entails. In short, taking consideration of not being present, the artwork becomes insignificant and loses integrity of its history. What one comprehends as the real identity of Indonesian art is in fact comes with various confrontations and misapplications, which eventually become difficult to be handled constructively. Various statements and answers on what message is actually conveyed in the artwork ultimately only succeed to reveal the fact that the art is still being questioned. Thus, one can understand why at certain times, the principals of art in this country are determined to find the ‘true identity’, while threatening all the potential establishment of ‘false identities’. The term ‘contemporary Indonesian art’—or its fractions, ‘art’ or ‘contemporary’, has never been under instant declaration. Ther efore, that term alongside with the awareness in understanding it develops gradually, and has its own contexts within the discourse. Although curator Jim Supangkat was not the pioneer of ‘contemporary art’ during the significant shift in Indonesian art; however, during that time, through his views and in supporting other artists, he was