Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa
The main focus of this journal is to promote global discussion forums and interdisciplinary exchanges among academics, practitioners and researchers of visual arts and visual culture.
Series will encourage practice and research innovation that focuses on visual arts and visual culture, contributing to a better understanding of the highly dynamic development of dynamic theories, practices and discourses of visual art and visual culture.
Articles
462 Documents
<![CDATA[FENOMENA MARITIM INDONESIA SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS ]]>
<![CDATA[Dardiri, Thoriq Bidar]]>;
<![CDATA[Gozali, Amir]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 9 No. 1 (2017) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (575.752 KB)
|
DOI: 10.33153/bri.v9i1.2112
<![CDATA[ABSTRAKBerbagai fenomena maritim Indonesia akhir-akhir ini cukup menarik perhatian untuk dibicarakan, hingga diangkat menjadi tema penciptaan karya seni lukis. Hal-hal tentang kemerosotan dunia maritim Indonesia sebenarnya harus menjadi kegelisahan bersama bangsa ini. Berangkat dari pemikiran tersebut, diciptakanlah karya-karya seni lukis dengan tema Fenomena Maritim Indonesia, dengan harapan bahwa pewacanaan persoalan kemaritiman Indonesia dewasa ini dengan media seni lukis dapat menjadi salah satu bentuk peran serta dalam pencarian solusi masah terkait. Wujud media wacana seni lukis ini dikemas dengan menggunakan kaidah-kaidah penciptaan karya seni lukis pada umumnya yang dieksplorasi dengan karakter dan teknik pribadi.Kata kunci: maritim, Indonesia, seni lukis ABSTRACTVarious maritime phenomena of Indonesia lately enough to attract attention to be discussed, until it was appointed as the theme of the creation of painting. Things about the decline of the Indonesian maritime world should actually be anxiety with this nation. Departing from that thought, created works of art painting with the theme of Maritime Phenomenon of Indonesia, with the hope that the present maritime issues magazine with the media of painting can be one form of participation in the search for related solutions. The form of media of painting discourse is packed by using the rules of creation of paintings in general are explored with character and personal techniques.Keywords: maritime, Indonesia, painting]]>
<![CDATA[Bentuk Dan Strategi Perupaan Mural Di Ruang Publik ]]>
<![CDATA[Syamsiar, Syamsiar]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 1 No. 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (3654.908 KB)
|
DOI: 10.33153/bri.v1i1.235
<![CDATA[Mural now familiar to resi-dents of the city, almost in every street corners is murals with a wide range of visualization. The road users would not want to accept the existence of these murals. Two adjacent cultural city as a focus of research has a picture of the existence of the creation of the mural as follows: 1) The form and content according to envi-ronmental conditions, 2) Mural in form and content does not comply with the environmental conditions. 3) murals that have no clear goal and collided with the graffiti. The strategy needs to be done in the creation of murals, for suitable for public spaces are: 1) Workers mural art or artists should have experience in work-ing on the mural, 2) the idea or content of the mural should be considered in depth and tho-rough, to be more appropriate and beneficial to the wider community, 3) Visually (shape or form) should contain murals created aesthetic value as the comparison between the images with road users can be seen clearly. 4) Good collaboration with municipalities, and relevant par-ties would further support the implementation process of mural making 5) With the holding of the race course will also affect the variation of the mural that was created, because each group or individual has a different cha-racter-creation different, 6) Age mural tends to be short compared with other conventional works, because it works more on outdoor murals, so the weather was affecting the continuance. 7) In the mural creation strategies, will vary with the creation of conventional painting, because the mural visualization tend to occupy a vast space and some-times high, so that the necessary technical perspective and a more powerful distortion. Keywords: Mural, teknique and public art]]>
<![CDATA[Fusi Seni Dan Teknologi Mendorong Metamorfosis Bentuk Karya Seni Rupa (Studi penciptaan karya Video Performance) ]]>
<![CDATA[Isnanta, Satriana Didiek]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 2 No. 2 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1510.982 KB)
|
DOI: 10.33153/bri.v2i2.307
<![CDATA[The presence of cameras,film,and video has created a synthesis between the art world's imagination with technology of mechanical reproduction. The birth of photography and cinema has brought great changes in human culture. A break in to level the concept of separation of art and technology. It is unceniable that the trend of development of contemporary art lately, so intersect at all with the development of existing technology, particulary information technology and recording media. This is evident with the emergence of several new genres in the contemporary art of Indonesia and the world.With a background as above, then the author of experimenting to make multi-media art works that exploit information technology and recording media. And this paper is the result of the experimentation process of making the work of Video Peformance. This genre according to the most interesting writers of the genres that exist in other new media art, it is associated from its long history as well as the mutation process when in contact with technological developments.Keywords : art, technology, video, performance art]]>
<![CDATA[Pengembangan Souvenir Berbahan Kertas Koran Berupa Lukisan Wayang Beber Di Surakarta ]]>
<![CDATA[Zarkasi, Much. Sofwan]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 2 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (920.757 KB)
|
DOI: 10.33153/bri.v5i2.411
<![CDATA[Firstly, the basic idea of this study, is an awareness of the presence of associated opportunities creativity and eksperimentation in the handicraft products made from waste newspapers materil collaburated with artwork tradition, that is wayang beber, as a unique selling point that can increase the sale value of handicraft products. The novelty in this research is twofold : 1) to study this form of visual materials and techniques used in the manufacture of wayang beber image are different than usually the process of working on image wayang beber is using tradition techniques “sungging†that is painting techniques using natural dyes as well as the manufacturer, so in this study, art works of wayang beber made with collage technique, it is a technique using glue stick and newspapers and without any dye. 2) until now the souvenir or craft art with materials such as newspaper products wayang beber artworks using waste newspaper material on canvas has never existed.Keywords : wayangbeber, souvenir, newspaper]]>
<![CDATA[VISUALISASI ILUSTRASI DI DALAM BABAD SINDUJOYO ]]>
<![CDATA[Utama, M. Wahyu Putra]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 8 No. 2 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (532.573 KB)
|
DOI: 10.33153/bri.v8i2.1811
<![CDATA[Ilustrasi di dalam babad Sindujoyo merupakan hasil kebudayaan masyarakat Jawa yang memiliki karakteristik visual dalam perwujudannya.Visual di dalam ilustrasi dapat diidentifikasi dari unsure senirupa (warna dan bidang) dan penggambaran figure meliputi:interior rumah, arsitektur bangunan, peralatan dan perlengkapan, senjata yang digunakan, busana yang dikenakan tokoh. Identifikasi penggambaran ilustrasi di dalam babad Sindujoyo menunjukkan karakteristik penggambaran Jawa-Kolonial yang memperlihatkan perpaduan kebudayaan antara Jawa, pengaruh pada masa Kolonial dan pengaruh Islam sebagai agama yang berkembang pada masa kemunculan karya ilustrasi di dalam babad. Ilustrasi di dalam Babad Sindujoyo memiliki ciri-ciri visual sebagai berikut; penggambaran menyerupai wayang, penyederhanaan bentuk dan menjauhi bentuk seperti asli yang divisualisaikan kedalam bentuk dwimatra dan menghadap kesamping dengan latar polos, sifat naratif, stilasi gambar dengan bentuk yang deformasi yang naif, penggambaran yang tidak mengenal perspektif dan ekspresif.Nilai yang dimuat di dalam ilustrasi cerita babad Sindujoyo memperlihatkan relasi dan refleksi kehidupan masyarakat Gresik mengenai pandangan masyarakat Jawa yang tersirat melalui nilai ajaran tuntunan hidup di dalamnya.Kata kunci: Babad Sindujoyo, Ilustrasi, Visualisasi]]>
<![CDATA[Dinamika Kehidupan Sosial, Politik Dan Budaya Sebagai Salah Satu Sebab Munculnya Fungsi Seni Sebagai Media Penyadaran ]]>
<![CDATA[Zarkasi, Much. Sofwan]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 2 No. 1 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (2297.252 KB)
|
DOI: 10.33153/bri.v2i1.279
<![CDATA[A paper titled dynamicization Social Life, Politics and Culture Play a Role as One For The emergence of Function of Art For the Media Awareness, describes the role of social life which affect the life and artistic development, especially the emergence of bentukl art that serves as a social awareness. Cultural and social development in a community group from the backwards will bring changes to all fields of politics, economics, art and culture itself. Community needs to grow and expand along with the awareness of individuals or the community in understanding life. Art is the one that felt the changes. The products or works of art created as a counterweight and a response will be the condition of the existing reality. The function of art became more varied, according to the understanding and awareness of its presence.This paper concludes; con-clude that a development of cultural, social, political, economic, will affect the dynamic role of art or artistic function. The effect was so strong because of environmental conditions will affect the human mind or society in it. Art as a product of society must be related to the functions of his presence in the environment and the arts have the power or the power transformation can be flexible and meaningful presence in social life. One of them is an art as a medium of awareness, where the presence of works of art based on awareness of partiality on a commitment to humanitarian and mission aware-ness through art rather than as a mouthpiece of propaganda that is not berestetika, but shared learning space for social transformation that contain aesthetic values.This artwork is also a form of expression or the response of the community in this manner can the artist or the general public towards social environmental conditions that may occur injustice, and this fact must be disclosed.  With the presence of works of art that has a function as a medium of awareness is expected to occur active communication related to the social reality which is disclosed in the message works. Creators and connoisseurs of art could be more touched and try to understand social reality or the reality that exists, which eventually is expected to show a change for the better. Keywords: art, Function of Art, Media Awareness]]>
<![CDATA[Animasi Kartun 2D Berbasis Seni Pertunjukan Tradisi ]]>
<![CDATA[Sugihartono, Ranang Agung]]>;
<![CDATA[Murtono, Taufik]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 4 No. 2 (2012) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (3113.362 KB)
|
DOI: 10.33153/bri.v4i2.377
<![CDATA[Indonesian animation lack in using the potential of local culture is the basic reality for this artistic research. The animation creation that refering on the characteristics of traditional performing arts is the focus. This study uses an pratice-based research. Research procedures conducted in two phases, namely analysis and development/implementation. Analysis involves identifying and studing the research object (puppet motion as a reference) and the creation of animated cartoon films. The results of this artistic research showed that a) Elements such shadow puppets (Wayang Kulit) and Wayang Beber typical with their decorative can be applied in character and environment visualization, and provide imaginative effects, b) Movement shadow puppets have a body language that can be used as a reference animated cartoon motion c) the philosophy and meaning in shadow puppets movement is applied to the animated film that can make an animated cartoon has special characteristics and different from Western animation principles, and d) Performance of narrative animation that refers to Dalang’s narratives in shadow puppets making movies more typical Indonesian animation.keyword: film, cartoon, animation, tradition]]>
<![CDATA[KAJIAN ESTETIKA SENI LUKIS OBJEK ALAM KARYA ARFIAL ARSAD HAKIM ]]>
<![CDATA[Asmoro, Yudo Apri]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 2 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (706.122 KB)
|
DOI: 10.33153/bri.v7i2.1601
<![CDATA[Artikel ini membahas tentang proses penciptaan karya seni lukis yang dilakukan oleh Arfial Arsad Hakim. Fokus permasalahan yang menjadi pokok bahasan skripsi ini adalah: Estetika Seni lukis Objek Alam Arfial Arsad Hakim. Metode penelitian ini adalah penelitian kualitatif yang bersifat deskriptif. Kajian estetika seni lukis objek alam karya Arfial Arsad Hakim menggunakan teori dari Weits Mooris. Sumber data dalam penelitian ini diperoleh dari berbagai nara sumber, sumber tertulis dan foto guna memperoleh data yang diperlukan. Penulis menggunakan teknik pengumpulan data melalui observasi, wawancara, studi pustaka, dan pendokumentasian. Proses analisis data interpretasi dan interaksi denganpendekatan teori Weitz Moris dilaksanakan melalui beberapa tahapan, yaitu: pengumpulan data, reduksi, sajian data, serta kesimpulan. Hasil penelitian dari Kajian Estetika Seni Lukis Objek Alam Karya Arfial Arsad Hakim adalah, pencarian jati diri merupakan sesuatu yang berat bagi Arfial Arsad Hakim, pengaruh seni abstrak yang merubah gaya seni lukis Arfial Arsad Hakim untuk meninggalkan objek alam namun tetap beraliran naturalis, objek alam dbuat dengan mendistorsi bentuk sehingga lebih sederhana namun tetap harmonis dan menyederhanakan warna. Bentuk visual seni lukis karya Arfial Arsad Hakim mengalami penyederhanaan bentuk dan warna, bentuk divisualkan lebih sederhana namun tetap harmonis dengan sapuan kuas yang halus, menggunakan warna yang teduh dan tidak kontras, sapuan yang halus menghasilkan garis yang lembut. Sedangkan menurut Pendapat pengamat seni mengenai lukisan karya Arfial Arsad Hakim melukiskan alam yang berbeda dengan pelukis alam lainya melainkan alam yang telah mengalami perubahan dari segi objek dan komposisi dan memberikan kesan ketenangan dan kelembutan walaupun Arfial Arsad Hakim adalah seorang yang teguh dan keras akan tetapi Arfial Arsad Hakim senang berdialog dengan ketenangan dan kelembutan.Kata kunci: Estetika, Objek, Seni Lukis Arfial Arsad Hakim ]]>
<![CDATA[EKSPLORASI TEKNIK FACE DAN BODY PAINTING UNTUK MENAMBAH ARTISTIK PAGELARAN BATIK FASHION ART WEAR ]]>
<![CDATA[Syamsiar, S.,]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 10 No. 1 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1246.822 KB)
|
DOI: 10.33153/bri.v10i1.2176
<![CDATA[ABSTRACTThis artistic research is conducted to explore face and body painting techniques. Its application to the model in fashion batik fashion show. Face painting is a painting that only uses the face as a medium (the field to be painted), while the body painting medium is the whole body from the neck to the feet. The creation process model refers to contemporary art in which art barriers are not limited to a combination of face and body painting, batik fashion art wear, dance art and music art, which is packaged in the form of a fashion show. Kind of batik fashion art wear is selected batik carnival fashion, glamorous batik fashion, Fashion Batik Klasic and fashion batik casual. The four forms of fashion batik is chosen because it is often displayed in the event of a major fashion show in the city of Solo.Creation methods include Exploration (Observation, exploration of objects and the subject of creation), Improvisation (Experiments to make sketches of face design and body painting), Embodiments (creation of works and Fashion show performances). Creation of the work of face and body painting is expected to be able to produce artwork face and body painting the right model used in batik fashion art wear fashion, and able to add artistic batik fashion art fashion wear. Keywords: Face painting, body painting, fashion, batik, artistic, art wear.]]>
<![CDATA[Ironi Dalam Memori Ruang Waktu Analisis Trauma Jiwa Sebagai Ide atau Refleksi karya Dengan Pendekatan Psikoanalisis Freud ]]>
<![CDATA[Wahyudi, Tri]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (1836.171 KB)
|
DOI: 10.33153/bri.v4i1.347
<![CDATA[In psikoanalitika viewpoint, experiences during early life can and will shape his personality during later life, so that psychological problems in adulthood will be influenced by childhood trauma or difficulty. As adults most people do not remember that there's something to be started when they were still traumatized childhood and memories of the trauma will be hidden in their subconscious. Theory of psychoanalysis based on the application of the theory developed by Freud to focus on the structure and function of human thought in practical scientific and continues to influence the ideas, opinions, mindset and actions of their day-to-day. The first innovation is Freud when he recognized a different mindset between the conscious mind and the subconscious mind. Under the influence of the subconscious thoughts and feelings are allocated out of place, where they can be put together and expressed through an abstract shape in which the objects can be a symbol of another incident.Analysis with Freud's theory as well as to analyze the work of artists who use the subject of personal experience to present ideas in the works he made, in the course of his work meyisakan various problems that are hidden from the memory of the past as well as to convey no meaning in every image ironic paradox sometimes unintentionally created in game visual artists at work in the fields or created in the space of expression for the artist or artist author. Keyword: Psychoanalysis Freud, the idea of â€‹â€‹the work from artists, Irony, Memory space Time]]>
