Articles - 31 March 2008
Trajectory of Memories, Tradition and Modernity in Ceramics
Arafura Craft Exchange
Arafura Craft Exchange Trajectory of Memories, Tradition and Modernity in Ceramics, curated by Sudjud Dartanto, will be held at the Museum and Art Gallery of the Northern Territory in Darwin from 12 July, 2008 to 18 January, 2009. Sudjud Dartanto is a lecturer, independent curator and writer based in Yogyakarta, Indonesia. He is a founding director of Galeri Benda and in 2003 undertook an Asialink residency at the Institute of Modern Art and Fusions Gallery, Brisbane.
Introduction
Jenny Orchard
Rosey eyes 2005
50 x 30x 40cms
Press-moulded, slipcast and hand formed in earthenware clay; low firing; earthenware glaze, underglaze, oxide and clear glaze
The general framework of the Arafura Craft Exchange Trajectory of Memories, Tradition and Modernity in Ceramics is the presentation of work by seven contemporary ceramicists with each ceramicist represented by a small body of recent works (2002 - 2007). The curatorial premise has been developed by Guest Curator, Sudjud Dartanto following field research in Australia and Indonesia undertaken in early 2007.
Mr Sudjud Dartanto has selected works for exhibition through an invitation process from Australia and undertook studio visits with a number of ceramicists in Darwin, Adelaide, Melbourne and Sydney. Mr Dartanto, who ordinarily works at the Craft Art Department at the Indonesia Institute of the Arts in Yogyakarta is also active as an independent writer and curator. Director of the Museum and Art Gallery of the Northern Territory Ms Malgorzewicz says "Mr Dartanto is a respected writer, lecturer and curator representing Indonesia at international forums concerning contemporary art practice". The exhibition has benefited from an Indonesian interpretation of contemporary craft practices and acknowledges and fosters Indonesian expertise in an international arena by curating both the Indonesian and Australian components.
The exhibition is the result of a review process undertaken by the Museum and Art Gallery of the Northern Territory in 2002 and 2003 which identified a genuine interest both by local practitioners and the general public in seeing and exhibiting craft practice from urban and non-traditional arenas (MAGNT, Strategic Directions Paper no 2, 2003). In the context of Darwin-based visual art and craft infrastructure and audience expectation, there exists a need for the display and critical engagement with contemporary craft practice. The Museum and Art Gallery of the Northern Territory is uniquely placed to develop such a project and the first in the series Arafura Craft Exchange: Fibre 2005, which focused on the creativity in employing a seemingly 'simple' weave or basketry technique enabled a diversity of programs and outcomes.
Dona Prawita Aristuta
Loroblonyo/Two together 2004
70 x 25 cms each
Pinch and slab construction in stoneware clay; stoneware firing; stains, underglaze, clear glaze and acrylic paint
The Arafura Craft Exchange Trajectory of Memories, Tradition and Modernity in Ceramics will be augmented with forums and artists' residencies with selected exhibitors undertaking residencies leading up to and during the exhibition. The exhibition also provides significant outreach programs such as writer, curator and artists' talks, seminars, residencies and workshops partnered with Northern Territory organisations, such as Territory Craft, Artists in Schools (NT Remote Indigenous School / Community Education Centre) and the Charles Darwin University (Darwin campus).
Mr Dartanto says ceramic culture in Indonesia is being practiced by traditional and academic peoples. "There are many locations of ceramic production from traditional approaches to the modern. There are many references, from monographs and journals that represent this phenomena, and which certainly assists us to understand about the complexity of Indonesia ceramic culture. What we need to now know is, how ceramic culture is practiced by traditional and modern approach at the current time? Especially, where and who are ascribing values and meanings: are there changes now?" To answer this question Mr Dartanto undertook field research in Indonesia to get closer to the issue and its complexity and acquire the most current information about ceramic culture in Indonesia.
Mr Dartanto in consideration of his role as curator observes "While the purpose of the project should be to highlight regional specifics as well as working or collaborating with artists from different cultural contexts, a further role that I play is to initiate international craft projects as new avenues for sharing, learning and dynamic discussion in craft as a way of thinking."
Curator of Trajectory of Memories, Tradition and Modernity in Ceramics
Sudjud Dartanto
Yogyakarta, 11 March 2008
Translation by Bun Teo and Tisha Tejaya
Sudjud Dartanto is a lecturer, independent curator and writer based in Yogyakarta, Indonesia. He is a founding director of Galeri Benda and in 2003 undertook an Asialink residency at the Institute of Modern Art and Fusions Gallery, Brisbane.
Michael Doolan
Blue story (bear and bird) 2007
36 x 38 x38 cms
Handmodelled earthenware clay; earthenware firing; and adhered nylon
Courtesy of Karen Woodbury Gallery
Photography Graham Baring
The curation is based on several themes that emerge from various aesthetic and conceptual abstractions embodied in the works of Indonesian and Australian ceramicists. These artists live in neighbouring countries that occupy the same region of Asia Pacific. Trajectories of Memories, Tradition and Modernity in Ceramics invites us to trace the paths of memories of ceramic artists in this region, to unveil their responses to living traditions, which continue to evolve as we move through modernity.
In this exhibition, the curator attempts to tease out narratives that are recorded materially. These narratives reveal rich diversity in the interpretation of history and culture, each viewed from a distinct individual angle. Then again, these viewpoints are by no means static or fixed or unchanging. Rather, they are active loci, points that shuffle and grow in response to external stimuli and internal contemplation. Evidence of external influences can be found in the interaction of tradition and modernity which sets off a vast array of creative responses. We note that today's artists have greater access to various cultural heritage and they explore these avenues further than ever. In this sense, contemporary artists are not unlike pilgrims who pay homage to traditional and modern codes.
The word 'craft' is used in this event with the understanding that this term is placed within the context of craft discourse. It is acknowledged that the discourses may vary, as the artists come from different places, namely Darwin, Sydney, Melbourne, Bandung and Yogyakarta. Each place may have a distinct historical perspective on the discourse, yet such differences will only add to the variety of viewpoints that we prefer to celebrate rather than dispute. When it comes to ceramics, art and craft do share common ground; we agree that ceramicists of either side strive to create works that contain both the aesthetics and conceptual ideas of the creators.
This sums up the curatorial ideas behind this exhibition, a presentation of works that record the paths taken by each creator as he or she interacts with the dynamics of tradition and modernity.
The exhibition features Indonesian ceramicists Asmudo Jono Irianto (Bandung), Dona P Arisuta (Yogyakarta), Noor Sudiyati (Yogyakarta) and Titarubi (Yogyakarta), Australian ceramicists Michael Doolan (Melbourne), Jenny Orchard (Sydney) and Harvey Ottley (Darwin). These seven participants are artists who actively express their aesthetic and conceptual ideas through, among others, the medium of ceramic.
The works of Noor Sudiyati, Dona P Arisuta and Harvey Ottley show that this expression takes different shapes as artists' choices are affected by a variety of factors such as age. Noor chooses the path of magic-decorative tradition that fits the temperament of her expression, while Dona, a younger practitioner focuses on expressive language which reminds us of popular cultural idioms. Harvey appears to embark on the construction of a tradition unique to the geo-cultural sphere of Darwin, beating out a path to post-tradition, as he takes decorative illustration further down the track.
Harvey Ottley
Horsehair vase 1 2005
20.5 x 15x 15 cms
Manipulated slip cast construction in earthenware clay; low firing; burnished, terra sigillata and horsehair
The positioning of one's personal stories as the antithesis of grand narratives are reflected in the works of Titarubi and Jenny Orchard. Titarubi's reflection starts with the mutilation of the body into separate pieces, while Jenny turns to surrealism. It is as if Titarubi is saying that language has the power to shatter the body, even as Jenny attempts to present an integrated self against a surreal background.
Both artists appear to express their disenchantment with the current climate of intolerance towards non-rational experience. Interpreted differently, it can also be said that these artists' works subvert the reality as we know it, visually challenging us to take another look at the objects and to imagine an alternative to realism.
The works of Asmudjo and Michael Doolan display playfulness towards various signs and symbols, idioms of modernity. If we were to draw a parallel with language, these artists' expressions would encompass parody, humour, satire and irony. With this strategy in place, Asmudjo and Doolan tease and taunt us, all the while managing to suspend the lure of consumerism, the hallmark of modernity.
In all of these themes, each ceramicist displays distinctive characteristics that are informed by their immediate socio-cultural surrounding. Whether the artist's attitude is advocatory, subversive or flirtatious, their works demonstrate the dynamics of tradition and modernity in their life journey.
The themes also indicate differing historical interpretation. Tradition and modernity give birth to a multitude of moments of history. However, as it often happens, a grand narrative sweeps away all these other viewpoints, and so the subjects are gone from the main stage of modernism; while other traditions surrender to the aristocracy and subordinate folklores and other grassroots cultural practices. In this light, the creative responses of ceramicists create a space for reflection. This reflection is also present in the memories of the artists' experience. The recollection of these memories may not be complete, but each recollection illustrates the need to mark out every point in one's own history.
This exhibition is about the dialogue between the self and life. The context of memories in artist's work is inseparable from his or her social life. The distance of the past and the present can be bridged by these memories. To unveil these memories, we look for traces of specific visual signs.
In a way, the curator is trying to reconstruct the context of the works in display. Needless to say, this event also opens up an opportunity to simply enjoy the artistic achievements of Indonesian and Australian ceramicists. We hope that the exhibition initiates a desire to share and learn about the differing cultural loci of the two countries.
Dona Prawita Aristuta
Nuk renggunuk 2005
Mother (70 x 40 x 40cms)
Child (23 x 23x27cms)
Pinch and slab construction in stoneware clay; stoneware firing; stains, underglaze, clear glaze and acrylic paint
