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INDONESIA
Journal of Contemporary Indonesian Art
Published by Institut Seni Indonesia Yogyakarta
ISSN : 24423394     EISSN : 24423637     DOI : DOI: 10.24821/jocia.v9i1.8936
Core Subject : Humanities, Art,
Arts Humanities
Journal of Contemporary Indonesia Art is a scientific journal that contains the results of research or creation on contemporary art related to Indonesia. Contemporary art is defined as the latest art phenomenon. Art includes a wide variety of fine arts such as painting, sculpture, graphics, ceramics, comics, New media art, as well as other forms of art, including types that have not been categorized. The limitation is that the work is more concerned with aesthetic value than functional value. The term Indonesia refers to works of art that are related to Indonesia.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 115 Documents
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Proses Penciptaan Dan Penyajian Karya Patung Publik Pada Jogja Street Sculpture Project #5 Rahayu, Ananta Dewi; Rosidi, Muhammad Rain; Wicaksono, Satrio Hari
Journal of Contemporary Indonesian Art Vol 10, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i1.12650

Abstract

The Jogja Street Sculpture Project (JSSP) exhibition is a programme by the Indonesian Sculptors Association (API) in collaboration with the Culture Service in the form of a public sculpture. The fifth JSSP, with the theme Ruwat Gatra Rasa: Redefining Form and Space, is located along Jalan Malioboro. The author researches the creative process of creating and presenting public sculpture using a qualitative descriptive method with an approach to the theory of the creation process, the theory of the function of art, the presentation of public sculpture, and the elements of sculpture. Data collection was carried out through a literature review, interviews, and observations. Public interest is present in four stages of creation, (1) Pre-Design, (2) Design, (3) Realization, and (4) Presentation. Aspects of public response are also explained, where anticipation of public interaction is also taken into account in the process of creating works exhibited by artists and the organizing committee. In the presentation aspect, the author examines the elements of sculpture that are present, the public response, and improvements made by the artist. Pameran Jogja Street Sculpture Project (JSSP) merupakan program Asosiasi Pematung Indonesia (API) yang bekerjasama dengan Dinas Kebudayaan, berbentuk pameran patung di ruang publik. JSSP kelima dengan tema Ruwat Gatra Rasa: Redefining Form and Space berlokasi di sepanjang Jalan Malioboro. Penulis meneliti tentang proses kreasi penciptaan dan penyajian seni patung publik menggunakan metode deskriptif kualitatif dengan pendekatan teori proses kreasi, teori fungsi seni, penyajian patung publik, dan elemen-elemen seni patung. Pengumpulan data dilakukan dengan kajian pustaka, wawancara, dan observasi. Kepentingan publik hadir dalam empat tahapan penciptaan, (1) Pra Perancangan, (2) Perancangan, (3) Perwujudan, dan (4) Penyajian. Aspek respon publik juga dipaparkan, di mana antisipasi interaksi publik juga diperhatikan dalam proses penciptaan karya yang dipamerkan oleh seniman dan panitia penyelenggara. Dalam aspek penyajian, penulis mengkaji elemen seni patung yang hadir, respon publik, dan perbaikan yang dilakukan seniman.
Self-Acceptance Process as an Idea in the Creation of Graphic Art Hasanah, Fi'luna Maungidhotul
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.13668

Abstract

The process of creating art is often closely intertwined with the direct experiences of an artist. Various emotions experienced during the journey towards self-acceptance have the potential to serve as sources of inspiration, with empirical experiences encompassing a range of feelings such as sadness, disappointment, or even feelings of inadequacy, to acceptance and gratitude in everyday life. Efforts to depict the journey of self-acceptance involve presenting excerpts of self-acceptance stories, the acceptance process, and the array of emotions felt by the artist into graphic art. The symbolic manifestation of the artwork is supported by realistic figures, presenting the journey of self-acceptance with relevant idioms to support ideas using high printing techniques. 
Penggunaan Kosakata Ciptaan Roald Dahl Sebagai Ide Penciptaan Karya Seni Lukis Kurniawan, Naja Izzah; Wicaksono, Satrio Hari; Junaedi, Deni
Journal of Contemporary Indonesian Art Vol 10, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i1.12645

Abstract

Painting is a visual language that can be the means of expressing one's creative expression and is useful in improving one's ability to think and imagine, especially one's aesthetic sensitivity. The transfer of language from verbal language to visual language is carried out in this Final Project by adopting the use of unique vocabulary found in Roald Dahl's children's novels in the form of paintings.‘Gobblefunk’ is a term created by Dahl to describe his own language. In this Final Project, his gobblefunk vocabulary is interpreted and used in the title of the work which has personal tendencies before being realized as a painting. The hope of achieving this Final Project is to represent the use of vocabulary created by Roald Dahl and the world of fantasy contained in his writings. This is channeled through a series of works that have a surrealistic component, colours that give a fantasy feel, human figures, and/or man-made or natural objects/subjects that are integrated into watercolour paintings with the addition of other media. Seni lukis merupakan salah satu bahasa imaji yang mampu menjadi sarana dalam mengeluarkan ekspresi kreatif seseorang dan bermanfaat dalam mengasah kemampuan berpikir dan berimajinasi, ataupun kepekaan estetika seseorang. Alih wahana dari bahasa verbal menjadi bahasa imaji dilakukan dalam Tugas Akhir ini dengan mengangkat penggunaan kosakata unik yang ditemukan dalam novel anak ciptaan Roald Dahl ke dalam wujud karya seni lukis. ‘Gobblefunk’ merupakan istilah yang dibuat oleh Roald Dahl untuk menyebut bahasa ciptaannya sendiri. Dalam Tugas Akhir ini, kosakata gobblefunk ciptaan Roald Dahl diinterpretasi dan digunakan dalam judul karya yang bersifat personal sebelum diwujudkan sebagai lukisan. Harapan capaian dari Tugas Akhir ini untuk merepresentasikan penggunaan kosakata ciptaan Roald Dahl dan dunia fantasi yang terdapat dalam tulisan-tulisannya. Hal tersebut disalurkan melalui rangkain karya yang memiliki komponen surealistik, warna yang memberikan nuansa fantasi, figur manusia, dan atau objek/subjek buatan manusia maupun alami yang terpadukan dalam lukisan cat air dengan tambahan media lain.
Candi Sewu Sebagai Rumah Manjusri Dalam Karya Seni Keramik Arissuta, Dona Prawita; Ayob, Norhayati Binti
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.14047

Abstract

The main focus of this research is on the designation of Sewu Temple as Manjusrigrha, which means the home of Manjusri as mentioned in the Manjusrigrha inscription found in 1960 in one of the ancillary temples (temple number 202) of Sewu Temple. Manjusri himself is a form of Bodhisattva that symbolizes the perfection of wisdom (Prajna). The figure of Manjusri is the source of ideas for making ceramic artworks with Gadamer's hermeneutic-dialogical approach. The interpretation will be framed in the context of the aesthetic richness of the Sewu Temple building as a whole and the interpretation of the figure of the Manjusri. The interpretation of Sewu Temple as a “home for Manjusri” is an effort to understand more broadly the meaning of the existence of Sewu Temple in the historical landscape of Indonesia's past. Hermeneutics-dialogic in this research is an ethical interpretative mode, which seeks a form of connection, presence and search for shared meaning that produces a taste of novelty as well as difference. While the methodology used in this research is Practice as Research (PaR), where the work produced in the research provides a new understanding of the existence of Sewu Temple in the historical consciousness of the Indonesian nation and uploads the aesthetic power of Sewu Temple.Candi Sewu sebagai sumber gagasan atau ide penciptaan karya seni keramik, Fokus utama penelitian ini adalah pada sebutan Candi Sewu sebagai Manjusrigrha, yang artinya rumah bagi Manjusri sebagaimana disebutkan dalam prasasti Manjusrigrha yang ditemukan pada tahun 1960 di salah satu candi perwara (candi nomor 202) dari Candi Sewu. Manjusri sendiri adalah salah satu bentuk Bodhissatva yang melambangkan kesempurnaan dari kebijaksanaan (Prajna). Figur dan sosok sang Manjusri menjadi sumber gagasan pembuatan karya seni keramik dengan pendekatan hermeneutika-dialogis Gadamer. Penafasiran akan dibingkai dalam konteks kekayaan estetik dari bangunan Candi Sewu secara keseluruhan dan penafsiran atas sosok sang Manjusri. Penafsiran terhadap Candi Sewu sebagai “rumah bagi Manjusri” merupakan sebuah upaya memahami secara lebih luas makna dari keberadaan Candi Sewu dalam lanskap sejarah masa lalu bangsa Indonesia. Hermeneutika-dialogis dalam penelitian ini sebagai suatu moda interpretatif yang etis, yaitu mencari bentuk keterhubungan, kehadiran dan mencari makna bersama yang menghasilkan suatu rasa (taste) kebaruan sekaligus perbedaan. Sementara metodologi yang digunakan dalam penelitian ini adalah Practice as Research (PaR), di mana karya yang dihasilkan dalam penelitian memberikan pemahaman baru tentang keberadaan Candi Sewu dalam kesadaran Sejarah bangsa Indonesia dan mengunggah kekuatan estetik dari Candi Sewu.
Eksplorasi Sampah dengan Teknik Assembling dalam Penciptaan Seni Patung Yudhistira, Yusuf Ferdinan; Kuntoro, Hadiyan Yusuf; Oktania, Sintya Nurul
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.13839

Abstract

An interest in geometric shapes has led the artist to create works that incorporate a lot of measurable and symmetrical visual components. This interest is accompanied by a passion for processing found objects or trash into new shapes using assemblation techniques. Assemblation is a technique in fine arts for assembling, combining, or constructing various types of media into a work of art. The type of waste that is being studied as a component in creating works of art is leftover waste from manufactured goods which anatomically has a measurable shape because it is designed using mathematical calculations related to the function of a product.Ketertarikan pada bentuk-bentuk geometris mengantarkan perupa pada penciptaan karya yang banyak mengolah komponen visual yang bersifat terukur dan simetris. Ketertarikan tersebut diiringi dengan kegemaran mengolah benda-benda temuan atau sampah menjadi bentuk yang baru dengan teknik asemblasi. Asemblasi merupakan sebuah Teknik dalam seni rupa untuk merakit, menggabungkan, atau mengkonstruksi berbagai macam media menjadi sebuah karya seni. Jenis sampah yang sedang ditekuni sebagai komponen dalam penciptaan karya seni adalah sampah sisa dari barang pabrikan yang secara anatomis memiliki bentuk yang bersifat terukur karena dirancang menggunakan perhitungan matematis yang terkait dengan fungsi sebuah produk.
Pembacaan terhadap Pameran Seni Rupa “Tempatan” oleh Empu Gampingan Widyaningrum, Irene Agrivina
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.12976

Abstract

Gender inequality not only results in social and economic disparities but also impacts environmental degradation, stemming from the imbalanced dominance of the patriarchal system that overlooks the role of women in society and nature. Rooted and established perspectives that place women and nature as objects have negative consequences for the environment. Empu Gampingan, a women's collective, is hosting an exhibition themed "Tempatan" at the National Gallery of Indonesia. This exhibition not only showcases aesthetically pleasing artworks but also depicts their stance towards the status quo, highlighting the various potentials and struggles of women for a better life, both individually and environmentally. The exhibition interprets "Siwur" as the philosophy of the exhibition, symbolizing women's resistance and strength in facing the social and cultural constraints that hinder them.Kesenjangan gender selain mengakibatkan ketimpangan dalam ranah sosial dan ekonomi juga berdampak pada kerusakan lingkungan yang merupakan akibat dari dominasi tidak seimbang dari sistem patriarki yang melupakan peran perempuan  di dalam masyarakat dan alam. Cara pandang yang telah mengakar dan menubuh yang menempatkan perempuan dan alam sebagai obyek membawa dampak negatif bagi lingkungan. Empu Gampingan sebagai sebuah kolektif perempuan mengusung sebuah pameran dengan tema “Tempatan” di Galeri Nasional Indonesia. Pameran ini tidak hanya sekedar menampilkan karya seni estetis namun juga menggambarkan bagaimana sikap mereka terhadap status quo dan juga menampilkan berbagai potensi dan perjuangan perempuan untuk kehidupan baik individu maupun sosial maupun lingkungannya. Pameran ini mengangkat pemaknaan “Siwur” sebagai filosofi pameran yang berarti simbol perlawanan dan kekuatan perempuan dalam menghadapi batasan-batasan sosial dan budaya yang hambatan mereka.
Alia Swastika dalam Kuratorial Seni Rupa Indonesia Welayana, Anitalia Stefany; Ikomah, Rinda Widya
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.13899

Abstract

This research aims to trace the trajectory of Alia Swastika (AS) in achieving her position as a leading curator in Indonesia. Using Pierre Bourdieu's theory of cultural production, this study analyzes the relationship between cultural capital and habitus that support AS in gaining legitimacy within the art field, particularly in curatorial practices. The research also examines the strategies AS employed in managing her cultural capital to reach her current status. The results show that AS does not solely rely on her inherent habitus but successfully manages the accumulation of cultural capital and employs effective symbolic strategies to secure legitimacy in the art arena.Penelitian ini bertujuan untuk menelusuri rekam jejak Alia Swastika (AS) dalam mencapai posisinya sebagai kurator terkemuka di Indonesia. Dengan menggunakan teori arena produksi kultural Pierre Bourdieu, penelitian ini menganalisis hubungan antara modal kultural dan habitus yang mendukung AS dalam memperoleh legitimasi di arena seni rupa, khususnya dalam bidang kuratorial. Penelitian ini juga mengkaji strategi yang digunakan AS dalam mengelola modal tersebut untuk mencapai posisinya saat ini. Hasil penelitian menunjukkan bahwa AS tidak hanya mengandalkan habitus yang ia miliki, tetapi juga berhasil mengelola akumulasi modal kultural dan menerapkan strategi simbolik yang efektif, sehingga memperoleh legitimasi di dunia seni rupa.
Repatriasi Arca-Arca Peninggalan Candi Singhasari sebagai Upaya Pelestarian Cagar Budaya pada Era Poskolonial Fatihah, Lauhil; Riyanto, Edi Dwi
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.12632

Abstract

Colonialism has left deep wounds on various aspects of Indonesian life, one of them is the cultural aspect. The large number of Cultural Heritag which taken by colonial nations out of Indonesia is a form of crime towards the cultural heritage of the Indonesian Nation that occurred in the past. In the postcolonial era, the Indonesian government carried out repatriation to returning the cultural heritage that belongingthe Indonesian nation back to Indonesia. This research aims to determine the repatriation of statues from Singhasari Temple and efforts to preserve cultural heritage in Indonesia in the postcolonial era. The research method used in this research is a field research method, namely a case study and uses data collection techniques, namely triangulation techniques. This research uses interpretive qualitative research methods and uses a cultural studies analysis model, as well as using postcolonial theory. The results of this research are that the repatriation carried out by the Indonesian Government of the statues from Singhasari Temple is a strategic step in efforts to preserve cultural heritage and promote culture in Indonesia in the postcolonial era.Kolonialisme telah menorehkan luka mendalam pada berbagai aspek kehidupan Bangsa Indonesia, salah satunya adalah aspek kebudayaan. Banyaknya Cagar Budaya yang dibopong oleh bangsa penjajah keluar dari Indonesia merupakan salah satu bentuk tindak kejahatan terhadap warisan budaya Bangsa Indonesia yang terjadi di masa lampau. Pada era poskolonial Pemerintah Indonesia telah melakukan repatriasi untuk memulangkan kembali Cagar Budaya milik Bangsa Indonesia untuk kembali ke Negara Indonesia. Penelitian ini bertujuan untuk mengetahui repatriasi arca-arca peninggalan Candi Singhasari dan upaya pelestarian Cagar Budaya di Indonesia pada era poskolonial. Metode penelitian yang digunakan dalam penelitian ini adalah metode penelitian lapangan, yaitu studi kasus dan menggunakan teknik pengumpulan data, yaitu teknik triangulasi. Penelitian ini menggunakan metode penelitian kualitatif interpretatif dan menggunakan model analisis kajian budaya, serta menggunakan teori poskolonial. Hasil dari penelitian ini adalah bahwa repatriasi yang dilakukan oleh Pemerintah Indonesia atas arca-arca peninggalan Candi Singhasari merupakan sebuah langkah strategis dalam upaya pelestarian Cagar Budaya dan pemajuan kebudayaan di Indonesia pada era poskolonial.
Applying Digital Technology in Exposing and Reintroducing a Forgotten Spice Plant Marianto, Martinus Dwi
Journal of Contemporary Indonesian Art Vol 10, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i2.14015

Abstract

Many people in Yogyakarta like to eat nasi rawon, brongkos rice, or konro soup, whose main spice is kluwak. Kluwak is the seed content of the pucung tree fruit (pangium edule reinw), which is fermented to convert the cyanide content of the seeds into a safely edible spice. The results of observations and interviews state that many people in Yogyakarta (as a research area) no longer know the existence of the pucung trees at all, even though the fruit and kluwak are written in the Book of Wulang Reh and Wulang Sunu written by King Paku Buwana IV; written on the Javanese tembang 'Bapak Pucung.' The number and existence of pucung trees in Yogyakarta are increasingly rare and forgotten. If left in its current state, the pucung tree will become extinct. That was why the creative idea of researching and making a graphic novel about this spice tree emerged. The author collaborated with Aznar Zacky, Yohannes Jatmiko Yuwono, and Viyantoro Giri Saputa to present this graphic novel for publication and socialization. The goal is for the wider community to recognize black gold (kluwak), care for and preserve this species, and cultivate its natural products smartly and ecologically.
Kajian Teori Formalistik Pada Patung Figur Deformatif Karya Win Dwi Laksono Dengan Pendekatan Semiotika Berna, Edbert Antonio; Wicaksono, Satrio Hari; Wantoro, Yoga Budhi
Journal of Contemporary Indonesian Art Vol 10, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jocia.v10i1.12649

Abstract

In this article, we will examine the signs and meanings of five works by Win Dwi Laksono. Win Dwi Laksono is an artist, especially in sculpture, who uses his body as the embodiment of his artistic ideas in his figurative sculpture works. His works are full of symbolic expressions about various thoughts, life experiences, and the philosophy of life that he believes in. The research method used in this writing is qualitative which is analyzed using a combination of Clive Bell's formalistic theoretical approaches and Roland Barthes' semiotics to analyze the work of deformative figure sculpture by Win Dwi Laksono. This approach will provide comprehensive insight into the formal elements and meaning contained in these works of art. From the results of the study, it can be seen how broad his feelings are in responding to and interpreting life. In creating his work, Laksono generally has two types of processes in producing shapes and textures, namely textures with finger strokes and smooth textures. This choice came from long practice in making sketches and illustrations which provided him with the precise processing of deformation in each of his personal works. Pada penulisan ini akan mengkaji secara kebentukan dan makna dari lima karya Win Dwi Laksono. Win Dwi Laksono adalah seorang perupa khususnya seni patung yang menggunakan tubuh sebagai perwujudan ide-ide seninya di dalam karya-karya patung figuratifnya. Karya-karyanya sarat dengan ungkapan simbolik tentang berbagai pemikiran, pengalaman hidup serta falsafah kehidupan yang diyakininya. Metode penelitian yang digunakan pada penulisan ini adalah kualitatif yang dianalisis menggunakan gabungan pendekatan teori formalistik Clive Bell dan semiotika Roland Barthes untuk menganalisis karya seni patung figur deformatif karya Win Dwi Laksono. Pendekatan ini akan memberikan wawasan yang komprehensif tentang elemen-elemen formal dan makna yang terkandung dalam karya-karya seni tersebut. Dari hasil pengkajian tampak umbar rasa beliau dalam menyikapi dan memaknai kehidupan. Pada penciptaan karyanya, Laksono secara garis besar memiliki dua jenis proses dalam menghasilkan bentuk dan tekstur yaitu tekstur dengan pelototan jari dan tekstur halus. Pemilihan ini datang dari latihan yang panjang dalam membuat sketsa dan ilustrasi yang menjadi bekal atas pengolahan tepatnya mendeformasi pada setiap karya personalnya.

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