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All Journal Architectural Research Journal Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Abjad : Journal of Humanities & Education Global Art Creativity Conference
Dewa Ayu Eka Savitri Sastrawan
Institut Seni Indonesia Bali
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Engineering Languange, Linguistic, Communication & Media

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REKA ALAM YANG DIREKA ULANG Sastrawan, Dewa Ayu Eka Savitri
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

Reka alam sudah sering tercerminkan dalam bidang lukisan sejak lama di Indonesia. Terutama di zaman era kolonial yang mencoba merekam serta mendokumentasi segala hal di sekitarnya demi sebuah laporan di negara asal koloni tersebut. Seringlah hasil lukisan tersebut diketahui sebagai Mooi Indië, keelokan Indonesia, sebuah gaya yang menjadi bagian daripada gaya lukisan Modernisme ala Indonesia. Namun, reka alam itu sekarang banyak yang tidak sejatinya seindah lagi. Setidaknya, reka alam itu direka ulang mengikuti apa yang terjadi padanya di lapangan hari ini. Ini terpapar dalam karya Made Bayak di tahun 2012 terutama melalui pamerannya di Santrian Art Gallery berjudul “Artist Don’t Lie” dan karya Ngakan Putu Agus Arta Wijaya (NPAAW) di tahun 2024 yang menjadi finalis UOB Painting of the Year Indonesia berjudul “Reset Landscape”. Pembahasan “Reka Alam yang Direka Ulang” bermaksud menyoroti penciptaan karya kedua perupa yang berjarak 12 tahun namun masih sama-sama relevan membicarakan keresahan yang terjadi pada alam atas ulah manusia. Adapun harapan yang masih ingin melanjutkan kehidupan berdampingan yang harmonis lagi bersama alam. Penelitian budaya visual yang melalui metodologi penelitian kualitatif ini bermaksud menyoroti representasi pengetahuan yang dihasilkan oleh karya Made Bayak dan NPAAW - bagai pengarsipan baru untuk masa depan.
A HERITAGE TO OPEN MORE CONVERSATIONS, THE CASE OF IDA BAGUS NJANA’S DEWI PERTIWI SCULPTURES Dewa Ayu Eka Savitri Sastrawan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 1 (2021): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

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Abstract

In the midst of the 2020 pandemic, an intriguing writing project landed. It was uncertain how it could be done with all the restrictions, as the project requires involvement of a heritage that needs to be observed directly. Yet gradually it leads to encouraging better understanding of our position as humans in this current situation. The heritage was Ida Bagus Njana’s sculptures. Njana is a well-known sculptor from Mas Village, Ubud, Gianyar, Bali. His works have been said to be the start of modern Balinese sculptures, especially his wood works. Very little of his works still exist in Bali, namely in his own family museum Njana Tilem Museum, then Museum Puri Lukisan, Pura Taman Pule temple, and Taman Werdhi Budaya. Existing writings on Njana lie in the existence of Pita Maha, the community or group of painters and sculptures in the 1930s. However, when conversations took place with his family in 2020, Njana’s sculptures were not merely an artwork to be sold, it’s filled with spiritual thinking and expressions. His works with the title “Dewi Pertiwi” (meaning: Goddess of Earth) are filled with surrealism - not only its elegant carved shapes being different from the traditional Balinese methods, but also its mysterious narration about the Goddess itself. It was later observed that these narrations were not that mysterious. It actually came from Njana’s knowledge from scriptures (lontar), which means he really thought through what he was expressing about the Goddess of Earth narratives. These “Dewi Pertiwi” sculptures speak of the environment and earth that we live in and serve as somewhat reminders. This then inspired us to continue the conversation of appreciating and understanding these narrations with our current life. And interestingly landed as a curatorial project “Pertiwi” with the theme resilience in a form of website, where Njana’s Dewi Pertiwi sculptures were part of its starting point.
WATER, ITS PRESENT, ITS FUTURE: A LOOK BACK AT ‘LIQUIDITY, INC.’. BY HITO STEYERL Dewa Ayu Eka Savitri Sastrawan
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 2 (2022): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

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Abstract

“Liquidity, Inc.” is an unpredictable video art that plays for 30 minutes. What’s being shown by the artwork might not be something that we can relate to straight away, moreover in the context of Bali. However, this paper aims to pour the artwork back to another clean container, to look back at one of Hito Steyerl’s bizarrely montaged fictional documentaries. As water becomes a more and more important matter to talk, think and encounter within our daily lives in the changing climate, along with possible connections on Bali’s tirta (water) belief, this writing aims to give a perspective on how we could view water in its present and future, in Bali and beyond, through an artwork such as “Liquidity, Inc.”
An Analysis of Differences Between “Communication” and “Expression” in Art: From Cave to Modern Art Budiarta, I Dewa Putu Gede; Mustika, I Ketut; Sastrawan, Dewa Ayu Eka Savitri
Abjad Journal of Humanities & Education Vol. 3 No. 1 (2025): Abjad: Journal of Humanities & Education
Publisher : Centre for Literary and Cultural Studies

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62079/abjad.v3i1.68

Abstract

Communicating is a human activity in stating one thing with an agreed way of doing it between the one who sends it and the one who receives it, make that in language, signs, or symbols. Expression is an effort in expressing an idea, either in language, signs or symbols, without any agreement from the sender and the receiver. Communication and expression in painting has become something that just happens, since art was created when human knowledge knows how to write up to writing is no longer needed as pressing buttons would finish the job. In communicating through an artwork there is an effort so that the target understands the idea being stated, while expression is purely expressing an idea without others consent in understanding it. Hence this analysis aims to dissect the differences through several artworks that have existed in the visual arts: from cave to modern art. This analysis also aims to provide extended knowledge on analyzing works of art through the ages.
A Peculiar Incident: Tracing Balinese Architectural Knowledge through Rewatching “Petualangan Sherina” Upon Mount Agung’s Eruption Dewa Ayu Eka Savitri Sastrawan
Architectural Research Journal Vol. 5 No. 2 (2025): Architectural Research Journal
Publisher : Program Studi Arsitektur, Fakultas Teknik dan Perencanaan, Universitas Warmadewa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22225/arj.5.2.2025.64-73

Abstract

The 2017 eruption of Mount Agung caused significant alarm among both tourism stakeholders and the central government simultaneously. This was not only due to the sudden eruption after fifty years of dormancy, but also because of a deeper issue reflecting the inherently selfish tendencies of humans. A mountain - literally part of the natural world - was instead perceived as an obstacle to tourism revenue, since visitors could no longer travel to Bali. It was an ironic situation, as if tourism property were more important than the natural event itself, despite the fact that, according to local belief, the eruption was timely and necessary, serving as a natural balance within which all living beings exist. During this period, the author experienced the unusual circumstance of rewatching the film Petualangan Sherina (Sherina’s Adventure) on a flight to Bali, after being stranded outside the island for several days due to the eruption and the closure of Ngurah Rai Airport. This peculiar incident raised numerous questions and prompted the author to explore Balinese architectural knowledge through various writings, as well as art and architectural exhibitions held in 2017.
Co-Authors I Dewa Putu Gede Budiarta I Ketut Mustika