CREATION PROCESS OF YOUNG ARTISTS IN BANDUNG CONTEMPORARY ART SCENE

• Main Author: RIZKY SOETISNA PUTRI (NIM: 37013003), KIKI
• Format: Dissertations
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/28492
• Institution: Institut Teknologi Bandung

Changes in socio-cultural contexts always influence the development in art, inasmuch as art is <br /> <br /> a manifestation of collective ideas about such matter. Accordingly, contemporary art is a <br /> <br /> culmination point of art practice with all the changes in paradigm that follows. Art creation in <br /> <br /> such context, thus, can no longer be identified by a singular tendency or method. This research <br /> <br /> aims to map patterns of art creation stages of young artists in Bandung. Young artists are <br /> <br /> defined as a part of the generation that are directly affected by the socio-cultural changes and <br /> <br /> an important event in Indonesian art history, which is the third visual art boom that peaks in <br /> <br /> 2008. Chosen samples are those who represent the category, namely Radi Arwinda, J.A. <br /> <br /> Pramuhendra and Wiyoga Muhardanto. <br /> <br /> This research employs a qualitative method using interdisciplinary approach. Theories on art creation <br /> <br /> is examined using cultural lens and artists’ social relation in the contemporary art field. Cultural <br /> <br /> changes are seen to relate to the context of the rise of information era that creates a shift in ways and <br /> <br /> methods of art creation. Amongst its findings is a new method, that is contextual stages of art creation. <br /> <br /> It draws together Graham Wallas’ model of creative process which is considered relevant to date, and <br /> <br /> Robert Nelson’s artistic methods in the creative arts. Contextual stages of art creation include firstly, <br /> <br /> general context of cultural changes and specific context related to personal matters or views of the <br /> <br /> artist. In Radi Arwinda’s stages of art creation, personal responses on cultural interaction mainly come <br /> <br /> from family influence and social relationship that arise significantly in forms of fusing Cirebon <br /> <br /> traditional idioms and popular culture. In J.A. Pramuhendra’s artworks, main ideas come from his <br /> <br /> reaction and critiques towards religion and belief system. Religious symbolic idioms appear in <br /> <br /> juxtapose with self-portrait and family image to represent his trauma and memory. In contrast, Wiyoga <br /> <br /> Muhardanto significantly differs from the two in which he processes a wider context in urban society <br /> <br /> into objects that represent middle class social system. <br /> <br /> The second stage is precipitation phase, or an incubation of ideas in a point where an artist actively <br /> <br /> interacts in a collegial relation, family, and hobby. In this stage, the artist diverts their consciousness <br /> <br /> to something that correlates with art but not the artwork. Radi Arwinda returns home to his family, J.A. <br /> <br /> Parmuhendra turns to music and work space, whereas Wiyoga Muhardanto notably benefits from his <br /> <br /> activities in an alternative space called Platform3. <br /> <br /> The third stage is artistic drive that motivates an artist to manifest their ideas into artworks. It follows <br /> <br /> by the last stage, that is strategy of representation which relates to methods and tendencies of young <br /> <br /> artists in designing their artworks. This stage is heavily influenced by corrections coming from inside <br /> <br /> the artist and external critiques; both are responses to the art field. The method of visual biography <br /> <br /> appears in Radi Arwinda’s strategy, mainly in his use of self-portrait. Iconography is used by J.A. <br /> <br /> Pramuhendra, especially through religious symbols in his artworks. Muhardanto uses instrumental <br /> <br /> method in relation to the development of tools and technology in art creation. <br /> <br /> The analysis generates a finding that cultural changes in socio-cultural contexts, contemporary art <br /> <br /> ideology, and method or responses to the art field indeed influence the art creation. Three artist samples, thus, represent the tendency in art creation of their generation, that are more open and <br /> <br /> strategic, yet unique and personal at the same time.