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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi Journal of Contemporary Indonesian Art Lekesan: Interdisciplinary Journal of Asia Pacific Arts Journal of Islamic Architecture JURNAL TATA KELOLA SENI Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya
Mikke Susanto
Insitut Seni Indonesia Yogyakarta
Arts Humanities Civil Engineering, Building, Construction & Architecture Education Languange, Linguistic, Communication & Media Social Sciences Other

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Curating the Painting Collection of the Presidential Palace of the Republic of Indonesia Susanto, Mikke; Simatupang, GR. Lono L.; Haryono, Timbul
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol 1 No 1 (2018): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1026.939 KB) | DOI: 10.31091/lekesan.v1i1.342

Abstract

The Presidential Palace of the Republic of Indonesia's collection of art objects was started by Indonesia's first president, Sukarno. Today, this collection includes more than 2,500 paintings, and as such this institution has acted like a museum. Throughout the tenure of Indonesia's seven presidents, this collection has experienced diverse stories related to its curation by various individuals over time. This article will focus on the historical issues of this collection's curation using qualitative research methods, in the hopes of revealing various curatorial issues. More specifically, the qualitative research conducted for this study is related to art history. This articleutilizes theory related to curation to discuss a number of topics, ranging from the role of the individuals responsible for the collection (i.e. curators), the systems of caring for and selecting works (curation), and the curatorial practices that have occurred until now. Elaborating on a number of archival documents related to this collection, this article examines the work of the collection's curators, from inventorization to opening the collection to the public. Over the course of 70 years, the Presidential Palace's collection has undergone various forms of curation, including acquisition, documentation, preservation, and exhibition. This research concluded that the role of the curator is very important and causes the collection to be preserved and more valuable. As such, this article suggests a special museum related to the paintings within the palace collection.
Sejarah dan Makna Fotografi Karya Pelukis Istana, Dullah Mikke Susanto; Irwandi Irwandi
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 16, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v16i1.3847

Abstract

History and Meaning of Photography of a Palace Painter, Dullah. The existence of Dullah the painter is equal with other famous painters, such as Affandi, Basoeki Abdullah, S. Soedjojono and Hendra Gunawan. In 1950 to 1960, he was appointed by President Sukarno as a palace painter. Apart from painting, he also liked to take pictures. His object was around his work as a palace painter and President Sukarno's figure. Reviewed from the historical approach and the meaning explored in it, the photos have an interesting connection. Those photos hold important narratives, especially in the field of history for the Indonesian people. Dullah's photography was able to record the life of President Sukarno while at the palace and outside the presidential palace. The photos clearly illustrate the human side of Sukarno, as a father, a leader, and an art lover. By knowing the connection,, photographs of Dullah's work need to be socialized to the public and can be used as a means of national education for Indonesia, especially for prospective leaders.  ABSTRAKEksistensi pelukis Dullah sejajar dengan pelukis ternama lain, seperti Affandi, Basoeki Abdullah, S. Soedjojono, dan Hendra Gunawan. Pada tahun 1950 hingga 1960, ia ditunjuk Presiden Sukarno sebagai pelukis istana. Selain melukis, ia juga hobi memotret dengan objek sekitar pekerjaannya sebagai pelukis istana dan figur Presiden Sukarno. Setelah dikaji dari pendekatan sejarah dan digali makna di dalamnya, foto-foto tersebut memiliki simpul menarik. Foto-foto tersebut menyimpan narasi penting, khususnya dalam bidang sejarah bagi bangsa Indonesia. Fotografi Dullah mampu merekam kehidupan Presiden Sukarno pada saat di istana dan di luar istana presiden. Sisi kemanusiaan Sukarno digambarkan dalam foto-foto tersebut, baik sebagai ayah, pemimpin, maupun penyuka seni. Dengan mengetahui simpul tersebut, foto-foto karya Dullah ini perlu disosialisasikan kepada publik dan dapat digunakan sebagai sarana pendidikan kebangsaan bagi Indonesia, terutama bagi para calon pemimpin. 
Ide Lukisan-Lukisan I Nyoman Masriadi Mikke Susanto
Journal of Contemporary Indonesian Art Vol 1, No 2 (2015)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v1i2.1753

Abstract

Perkembangan seni rupa yang terjadi sejak masa prasejarah hingga kini, telah melahirkan sejumlah pemikiran yang mempertautkan ide sebagai inti dari sebuah kebudayaan. Salah satu modal paling mahal yang dimiliki oleh seorang seniman adalah ide. Ide merupakan pokok dari pemikiran. Ide-ide tersebut melalui berbagai medium lalu diwujudkan, dimana akhirnya secara konkret dapat diindera, bisa sebagai lukisan, patung, musik, maupun karya seni lainnya. Secara garis besar, ide merupakan sesuatu yang hendak diketengahkan dalam sebuah karya. Dalam penelitian ini, penulis akan menelusuri mengenai ide dari Masriadi. Masriadi adalah perupa dari generasi 90-an. Masriadi sendiri merupakan mahasiswa angkatan tahun 1993 dan menyatakan keluar (drop out) tahun 1997 dari Jurusan Seni Murni - Fakultas Seni Rupa, ISI Yogyakarta. Masriadi adalah tipe personal yang tidak banyak bicara. Kebiasaannya yang cenderung tidak suka pada keramaian juga membentuk jati dirinya menjadi tertutup. Penelitian ini merupakan penelitian deskriptif yang mengarah pada estetik historis atau mendeskripsikan perjalanan ide seni dari perupa Masriadi dari masa ke masa. Metode yang diterapkan adalah metode wawancara langsung sumber primer yang diteliti. Selain wawancara, peneliti juga melakukan tinjauan pustaka tentang karya-karya yang dihasilkan dalam sejarah perkembangan ide berkesenian Masriadi. Akhir dari penelitian dapat ditarik kesimpulan bahwa sumbangan paling berharga dari Masriadi adalah ide kreatifnya yang mengantarkan kita memasuki dunia fantasi baru. Irisan tentang fantasi dalam memadupadankan berbagai unsur dengan gaya visualisasinya belum pernah dijamah oleh para pelukis lainnya di Indonesia atau di Asia. Masriadi menggali berbagai khasanah berupa percampuran dunia antara Barat dan Timur dengan ramuan ide yang secara personal dikerjakan dengan berbagai input.Kata Kunci: ide, pengalaman hidup, hasil karya
Konservasi Preventif Lukisan Koleksi Museum Istana Kepresidenan Yogyakarta (Preventive Conservation Painting Collection Yogyakarta Presidential Palace Museum) M. Kholid Arif Rozaq; Vicky Ferdian Saputra; Mikke Susanto
JURNAL TATA KELOLA SENI Vol 5, No 2 (2019): Desember 2019
Publisher : Program Pascasarjana ISI Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (107.046 KB) | DOI: 10.24821/jtks.v5i2.3262

Abstract

Museum Istana Kepresidenan Yogyakarta sebagai lembaga kenegaraan memiliki fungsi untuk melindungi, mengembangkan, dan memanfaatkan koleksi yang dimiliki. Konservasi preventif merupakan tindakan untuk mencegah dan meminimalisasi kerusakan atau kerugian di masa mendatang dengan cara mengontrol berbagai faktor deteriorasi objek koleksi. Penelitian ini bertujuan untuk mengetahui bagaimana praktik konservasi preventif lukisan di Museum Istana Kepresidenan Yogyakarta. Metode pendekatan yang digunakan adalah deskriptif analisis danevaluasi. Hasil penelitian, ditemukan bahwa praktik konservasi lukisandi Museum Istana Kepresidenan Yogyakarta telah sesuai dengan standar pelayanan yang diacu. Akan tetapi masih ditemukan beberapa kerusakan yang disebabkan oleh faktor deteriorasi seperti faktor inherent vice dan faktor elemen iklim.AbstractYogyakarta Presidential Palace Museum as a state institution has the function to protect, develop and utilize its collections. Preventive conservation is an action to prevent and minimize future damage or loss by controlling various deterioration factors of collection objects. This study aims to determine how the practice of preventive conservation of painting in the Yogyakarta Presidential Palace Museum. The method used is descriptive analysis and evaluation. The results of the study, it was found that the practice of conservation of painting at the YogyakartaPresidential Palace Museum was in accordance with the service standards referred to. However, it still found some damage caused by deterioration factors such as inherent vice factors and climate element factors. Therefore it is necessary to reevaluate the service standards that have been set as guidelines for preventive conservation practice of painting.
TIGA PELUKIS POTRET WAJAH KEPALA NEGARA PASCA PRESIDEN SUKARNO DI ISTANA KEPRESIDENAN REPUBLIK INDONESIA Susanto, Mikke; Simatupang, Lono Lastoro; Haryono, Timbul
Patra Widya: Seri Penerbitan Penelitian Sejarah dan Budaya. Vol. 19 No. 1 (2018)
Publisher : Balai Pelestarian Kebudayaan Wilayah X

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1499.815 KB) | DOI: 10.52829/pw.13

Abstract

Kepala negara adalah representasi bangsa. Wajah presiden adalah wajah yang dianggap mewakili segenap masyarakatnya. Oleh karena itulah, setiap presiden memiliki keistimewaan untuk diabadikan, baik pada sebidang kanvas maupun selembar foto secara resmi. Lukisan potret akhirnya menjadi pilihan yang menarik. Lukisan potret tidak hanya berfungsi sebagai penghias dinding istana, tetapi juga memiliki fungsi lainnya, baik yang bersifat sosial maupun personal. Setelah era Presiden Sukarno, terdapat tiga pelukis potret yang sering diminta untuk melukis kepala negara: yakni IB Said, Soetarjo dan Warso Susilo. Ketiganya mengalami masa kerja dari dekade 1960-an hingga dekade pertama 2000. Selama masa tersebut ketiganya telah membuat puluhan lukisan kepala negara. Mereka tidak saja melukis wajah presiden RI, namun juga kepala negara lain. Artikel ini ingin mengupas mereka melalui pendekatan sejarah. Di samping itu tulisan ini juga ingin mengetahui sejauh mana nilai-nilai karya yang dihasilkannya. Kesimpulannya cukup mengejutkan, mereka melukis dan mendudukan lukisan potret bukan sebagai karya pribadi. Inilah potret presiden pesanan, dimana pelukis hanya menjalani tugas sebagai instrumen mimetik atas realitas, bukan interpretator.____________________________________________________________Head of state is a nation’s representation. Therefore, every president has the privilege of being immortalized, both on a canvas and photography. Portrait painting becomes an interesting option, not only serves as a decoration, but also have social and personal functions. President Sukarno had three court painters. After that era, this tradition no longer exists. The Palace ordered portraits on three portrait painters: IB Said, Soetarjo, and Warso Susilo. Research about the history of the court painters have been written in a number of books and articles, but not with these three painters, though they painted from the 1960s to the first decade of 2000. This article wants to discuss their existence and creative process through historical approach. In addition, this paper also wants to know the extent to which the value of the work it produces. The conclusion, they paint and portrait paintings portraiture not as a personal work. The painter only serves as a mimetic instrument of reality, not an interpreter. His artwork, although a formal or state portrait, also has significance for discourse of political and power.
Neglecting Classic Worship Spaces: Masjid, Meunasah, and Balee E-Beut in Acehnese Society Afriadi, Dedy; Guntur, Guntur; Sugihartono, Ranang Agung; Abdullah, Irwan; Cahyani, Novita; Susanto, Mikke
Journal of Islamic Architecture Vol 8, No 3 (2025): Journal of Islamic Architecture
Publisher : Department of Architecture, Faculty of Science and Technology, UIN Maliki Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18860/jia.v8i3.26387

Abstract

The neglect of traditional religious architecture, such as the Tuha Mosque, Meunasah, and Balee e-beut, is a significant and concerning phenomenon in Acehnese society. Rapid modernization and the massive influence of global media have been a force in this neglect. The purpose of this study is to conduct a thorough investigation on the reasons behind the neglect of Aceh's classical houses of worship. The qualitative approach involved a comprehensive analysis of relevant literature and a number of direct observations of architectural sites and interviews with cultural figures. The research findings reveal that the neglect of Aceh's classical houses of worship is the result of many complex and interconnected factors. Society's preference for Middle Eastern architectural styles and the strong currents of modernization have been important forces underlying the neglect of classical worship spaces. At the same time, the scarcity of goods and materials appropriate to the needs of classical architecture and the skills of carvers (utoh) have become objective realities that have caused classical architecture to be unable to be rehabilitated, let alone to be built. In line with this alarming condition, it is urgent to take concrete steps in the form of initiatives to promote appreciation of local wisdom and classical cultural identity, a commitment to applying a cultural identity-oriented approach in the construction and preservation of new houses of worship.
Co-Authors Afriadi, Dedy Cahyani, Novita Guntur Guntur Irwan Irwan Irwandi Irwandi Lono Lastoro Simatupang M. Kholid Arif Rozaq Simatupang, GR. Lono L. Sugihartono, Ranang Agung Timbul Haryono Vicky Ferdian Saputra