ANALYSIS OF JOGJA BIENNALE 1988 â 2007 DYNAMICS IN DISTRIBUTION AND RECEPTION DOMAIN WITH ARCHIVAL RESEARCH
Biennale is taken from the Italian word meaning 'every two years'. Today, the word 'Biennale' is more commonly used to refer to large-scale international contemporary art exhibitions held in various cities around the world. In Indonesia, biennales that are routinely held can be...
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| Format: | Final Project |
| Language: | Indonesia |
| Online Access: | https://digilib.itb.ac.id/gdl/view/66536 |
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| Institution: | Institut Teknologi Bandung |
| Language: | Indonesia |
| Summary: | Biennale is taken from the Italian word meaning 'every two years'. Today, the word 'Biennale' is
more commonly used to refer to large-scale international contemporary art exhibitions held in
various cities around the world. In Indonesia, biennales that are routinely held can be found in two
cities, Jakarta and Jogja. Biennale Jakarta is the first biennale held in Indonesia, precisely in 1974.
Then, the Jogja Biennale appeared in 1983 with the title 'Yogyakarta Painting Exhibition' which
then changed into 'Yogyakarta Painting Art Biennale' in 1988.
This research aims to understand the distribution and reception dynamics of Jogja Biennale by the
help of curatorial rationales and reviews in mass media. The samples in this study are Yogyakarta
Biennale I 1988 – IX 2007. The method used is Archival Research and Critical Discourse Analysis
(CDA) by Norman Fairclough to analyze every text involved. This research will also use Hans
Van Maanen’s Art Worlds Theory to understand art worlds’ domain, especially distribution and
reception. In this study, it was found that the Jogja Biennale underwent various developments in
accordance with the periodization of Indonesian art. This was caused by the initial goal of the Jogja
Biennale who wanted to display the latest tendencies in Yogyakarta art worlds, and later Indonesia.
Therefore, the aesthetic and ideological values that the organizer wants to convey are different
from each series, following the spirit of the times shown by artists at that time.
In terms of reception, Jogja Biennale does not always manage to convey its ideological value
through selected artists and works. These reception dynamics are obtained from various reviews
that can be found in mass media. In biennales that show the latest changes or developments, the
public mainly give positive response. Conversely, in more stagnant series of biennales, the public
gives more criticism or complains, either related to the technical aspects or ideas carried by the
organizer. |
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