COMMODIFICATION OF INDONESIAN CONTEMPORARY ART: SOCIAL-HISTORY BASE, STRUCTURE AND ITS IMPLICATION

• Main Author: DJATIPRAMBUDI (NIM: 37004001); Tim Pembimbing : Prof. Dr. Setiawan Sabana, M.F.A.; Dr. Biranu, DJULI
• Format: Dissertations
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/18336
• Institution: Institut Teknologi Bandung

Indonesian art since the last 1980s has shown marked unmistakable tendencies. The high point for this phase of development is the emergence of dynamic commodification of art which as a whole resulted in an important phenomenon of booming sales of art. The symptoms of art commodification is used here as a framework for understanding Indonesian contemporary art through interdisciplinary approach. <br /> <br /> <br /> <br /> This research is grounded in the problem of the practical relationship of art commodification and the social-economic-cultural constructs that lie underneath the phenomenon. In dealing with this problem, it is assumed as basic proposition that the commodification of arts is driven by an economic paradigm which is controlled by a social class who wields enormous power over capital and a network of economy and trading which understands art as a social product which functions as commodity. The social class who controls the social-economic-cultural infrastructure will continuously try to construe the art works as status symbol, based on desire for consumption, to serve as symbol of their control over capital, and as symbol of social and cultural identity based on economic premise which is reflected through the practice in social arena of art. <br /> <br /> <br /> <br /> This research aims to explain the symptoms of commodification of art and the implication that it creates and its holistic meaning in the context of Indonesian contemporary culture. The qualitative method is chosen for this research, since this method is designed to understand the contemporary phenomenon in unfolding flow of present time. This method uses data and information from key informants, who are mostly familiar figures from the art market, art practice and discourse in the art world in Indonesia. <br /> <br /> <br /> <br /> From the analysis techniques are applied, it can be a number of findings in this research: (1) Commodification of art on the early symptoms is a phenomenon by accident, not the symptoms studied in the context of culture that offers philosophical values. However, as symptoms commodification take advantage of the opportunities the economic crisis in order to explore alternative benefits in other sectors, (2) Commodification of art in the next level by designing the symptoms, the symptoms of a systematically planned by the agencies involved in it. In short meaning, Commodification of art in Indonesia is a symptom paradigmatik based on the strength of the economy and change the perception of modern art / in contemporary Indonesia; (3) Commodification of art in diametric operate in a network structure and economic domination by the economic elite class. Basic operation starting from the market ideology as the basis suprastrukturnya and networks that are concentric; (4) Commodification of art show mode selection aesthetic on the type of painting based visual 'realism' (5) Commodification of art in the platform is a symbolic strategy adaptive economic elite class which continues to produce meaning of social in order deconstruction of steriotipe perception of elite class that is considered asocial. <br /> <br /> <br /> <br /> Commodification of art in the case of Indonesia based on the empirical facts show particular model, namely the strength of economy, changes in global culture, and economic behavior of ethnic Chinese as economic elite class in Indonesia. In this model of ethnic Chinese into factors that determine (independent), because the ethnic minority in this historical and economic development are able to take advantage of synergistic opportunities in the midst of global changes, both in plain economic, social, and cultural. Punctilio this opportunity to show a high tendency economy as the ideal type ethnic Chinese in the context of the economic crisis of contemporary culture and the middle of developing. Commodification of Indonesian contemporary art in particular is a real social and economic construction, built by the tradition of the trade and the ethnic Chinese culture classes in the disposition of social elite, including social action, social status, lifestyle, strategy symbolic, and political identity. <br /> <br /> <br /> <br /> Scientific contribution to this thesis are: First, a description and analysis commodification of art through a description of social, economic, cultural, as critics on the explanation and analysis of the previous partial-tend not integral. Second, in the form of explanation of art commodification that is based on the historical basis, social and economic development as a critical study of the practice of commodification of art in Indonesia following the implications of its meaning and widely. Third, a new explanation on the Indonesian contemporary art in the scope of the social history of art.