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Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 267 Documents
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Fenomena Horror Vacui Terkait Aplikasi Ragam Hias Aceh di Interior Bandara Sultan Iskandar Muda Ilham Syahputra; Andriyanto Wibisono; Ruly Darmawan
Journal of Visual Art and Design Vol. 8 No. 2 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.8.2.3

Abstract

Pada diri manusia, terdapat perasaan yang disebut 'horor vacui'. Horor vacui perasaan yang tidak dapat membiarkan tempat atau bidangnya kosong. Bidang kosong ini kerap diisi dengan objek-objek visual tertentu yang mempunyai nilai simbolis seperti ornamen tradisional. Perasaan ini masih berkembang di masyarakat saat ini. Tetapi orang-orang saat ini hanya menggunakan ornamen tradisional demi tujuan estetika. Fenomena ini (horor vacui) juga terjadi pada orang-orang Aceh. Interior dari Bandara Internasional Sultan Iskandar Muda diisi dengan ornamen tradisional Aceh, menunjukkan kepada kita tentang seberapa kuat perasaan horor vacui pada masyarakat Aceh. Selain berdampak pada pengurangan nilai, horor vacui dalam penggunaan ornamen tradisional Aceh pada interior Bandara Internasional Sultan Iskandar Muda, juga menghasilkan persepsi dari pengunjung bandara. Persepsi ini muncul bervariasi. Penelitian ini dilakukan mengingat pentingnya mengisi kekurangan literasi tentang horor vacui dalam desain interior dan studi tentang ornamen tradisional pada interior bandara, terutama tentang ornamen tradisional Aceh.Kata kunci: horor vacui; interior bandara; nilai; ornamen tradisional Aceh; unsur estetika.Horror Vacui Phenomenon Related to Aceh Decoration Application in Sultan Iskandar Muda Airport InteriorIn human beings there is a propensity called 'horror vacui' (Latin). Horror vacui means that you cannot leave a place or surface empty. The empty area is often filled with visual objects that have a symbolic value, such as traditional ornaments. This propensity is still strong in today's society. People commonly use traditional ornaments because of their aesthetic value. The phenomenon of horror vacui also affects the people of Aceh. The interior of Sultan Iskandar Muda International Airport is filled with Acehnese traditional ornaments, showing a strong sense of horror vacui. In addition to reducing the aesthetic value of the environment, horror vacui in the use of traditional Acehnese ornaments in Sultan Iskandar Muda International Airport also has an impact on the perceptions of the airport visitors. These perceptions vary. This research was conducted because of the lack of knowledge about the important subject of horror vacui in the field of interior design and to study the use of traditional ornaments in airport interiors, specifically traditional Acehnese ornaments in Sultan Iskandar Muda International Airport.Keywords: horror vacui; airport interior; value; Acehnese traditional ornaments; aesthetics.
Cross Sectional Attitudes of Public Sculpture Matrix in Southwestern Nigeria Moses Akintunde Akintonde
Journal of Visual Art and Design Vol. 7 No. 2 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.7.2.1

Abstract

Public outdoor sculpture practice in the Southwestern Nigeria entails different types of attitudes. These attitudes are discernable from the stage of commissioning of work, its conceptualization to the display and uses in the public sphere generated diverse fundamental, constant technical issues. Some are explicitly alluring while others are absurd, fleeting and injurious to the practice. However, whatever attitude advanced in the public outdoor sculpture practice, it has not been discussed cross sectionally. The inadequate scholarship attention on the attitudinal issues in outdoor sculpture certainly created art historical gap apt to make the study of contemporary Nigeria art incoherent. Apparently, attitudinal studies certainly involve psychological measurement - a type of instrument that does not required descriptive survey. For this reason, the study was based on qualitative methods. The study categorised various attitudes in outdoor sculpture practice in the studied area into pre-unveiling, unveiling and post unveiling stages and critically examined them. Some attitudes in the practice of the art were observed to be stimulant for advancement; invariably others are clearly incongruous to the spirit of typical Yoruba societal value orientation in orderliness, therefore degrading and detrimental to the development of the outdoor sculpture in the public sphere.Keywords: Art patron; cross sectional attitude; outdoor sculpture; post-unveiling; pre-unveiling; public art; Southwestern Nigeria; unveiling.
Dualisme Modular Natas Setiabudhi Daryono Putra; Asmudjo Jono Irianto
Journal of Visual Art and Design Vol. 9 No. 2 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2017.9.2.3

Abstract

Abstrak. Dualisme merupakan konsep filsafat yang menyatakan bahwa segala sesuatu memiliki dua hal yang berlawanan atau prinsip. Hidup dan mati, laki dan perempuan, siang dan malam, jiwa dan raga, sehat dan sakit, kaya dan miskin, baik dan buruk, halal dan haram, pro dan kontra, aktif dan pasif, statis dan dinamis, tampan dan buruk rupa, besar dan kecil, panjang dan pendek, manis dan pahit, mahal dan murah, kuat dan lemah, dan seterusnya. Dalam konteks karya ini merupakan representasi dari manusia yang pada dasarnya memiliki 2 kepribadian, baik dan buruk. Keduanya diterjemahkan ke dalam konsep modular dalam menyusun sebuah konfigurasi karya.Pesan yang ingin penulis sampaikan adalah seseorang tidak bisa dinilai dari "baju atau seragam" yang ia pakai. Selain itu keseimbangan dalam baik dan buruk yang direpresentasikan dengan modul positif dan negatif menjadi ambigu dalam kaitan dengan pahala dan dosa dalam Islam. Karya ini meminjam gambar Rubin's vase/goblet (vas/piala Rubin) karya seorang psikolog gestalt Edgar Rubin asal Denmark yang ditransformasi menjadi sebuah karya keramik 3 dimensional [1]. Vas/piala Rubin ini secara perseptual memiliki 2 makna, yaitu gambar vas/piala dan siluet wajah dari samping yang saling berhadapan (pengaruh antarobjek dan latar secara bergiliran). Proses kreasi berasal dari pengalaman empirik personal yang dihubungkan dengan teori-teori pendukung. Perpaduan keduanya menghasilkan karya seni yang merupakan representasi dari realitas. Dalam penciptaan karya seni rupa sebenarnya tidak ada metode baku seperti halnya dalam riset pada umumnya. Proses kreasi kadang berdasarkan intuisi, pengalaman personal yang dominan dan mengandung narasi yang sangat subjektif. Kesemuanya itu dikaitkan dengan disiplin ilmu lainnya (sosial, ekonomi, budaya dan politik) untuk menghasilkan sebuah representasi.Kata kunci: ambigu; dualisme; gestalt; keramik; modular; vas/piala Rubin.Modular DualismAbstract. Dualism is the concept that everything has two opposite sides or principles. Life and death, male and female, day and night, body and soul, health and sickness, rich and poor, good and evil, halal and haram, pro and con, active and passive, static and dynamic, good and bad looking, big and small, long and short, bitter and sweet, expensive and cheap, strong and weak, and so on. In the context of art, dualism is the representation of human beings as basically having two personalities, good and evil. Both were translated into a modular concept for creating a work configuration. The message that the artist wanted to deliver is that an individual cannot be judged from the 'clothes or uniform' s/he wears. In addition, a balance between good and evil represented by positive and negative modules is ambiguous in relation to the concept of reward and punishment in Islam. This final project draws upon the famous vase/goblet picture by Danish gestalt psychologist Edgar Rubin, which was transformed into a three-dimensional ceramic artwork [1]. Rubin's vase/goblet perceptually contains two meanings, namely the image of a vase/goblet and a facial silhouette facing each other (alternatingly appearing as object or background). The creative process comes from personal-empirical experience linked to the supporting theory. The combination of both resulted in an artwork that represents reality. Generally, in the creation of visual artworks there is no formal method as in scientific research. The creative process is sometimes based on intuition, a dominant personal experience and contains a very subjective narration. All of these are related to other disciplines (social, economical, cultural and political), in order to create a representation.Keywords: ambiguity; ceramic; dualism; gestalt; modular; Rubin's vase/goblet.
Pengaruh Variabel Interior dan Musik Terhadap Persepsi Pengalaman Romantis Pengunjung Kafe Andrianto Andrianto; Prabu Wardono; Dona Saphiranti
Journal of Visual Art and Design Vol. 8 No. 1 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.8.1.3

Abstract

Suasana interior kafe yang dapat memberikan pengalaman romantis diperlukan oleh pengunjung yang berpasangan. Pada penelitian sebelumnya, pengaruh dari variabel pendukung pengalaman romantis dijelaskan secara terpisah, untuk itu penelitian ini menguji kombinasi dari variabel warna meja, musik, dan pencahayaan terhadap persepsi pengalaman romantis. Dua puluh pasang responden dilibatkan untuk menilai kondisi dari kombinasi variabel yang paling efektif dalam mendukung suasana romantis di dalam kafe. Hasil penelitian yang didapat secara umum adalah warna merah pada meja dan jenis musik klasik lebih dapat menciptakan persepsi pengalaman romantis dibandingkan dengan warna ungu pada meja dan jenis musik jazz. Dalam mendukung stimulus atau variabel berupa warna dan musik digunakan pencahayaan dengan intensitas pencahayaan redup. Kesimpulan tersebut didasarkan pada respon persepsi yang diberikan subjek penelitian dimana variabel warna interior dengan warna merah memiliki nilai rata-rata yang lebih tinggi dibandingkan warna ungu. Hal yang sama terjadi pada pemilihan musik dimana jenis musik klasik mendapatkan nilai rata-rata yang lebih tinggi dibandingkan dengan jenis musik jazz.Kata Kunci: intensitas cahaya; jenis music; kafe; persepsi pengalaman romantis; warna meja.Influence of Interior and Music Variables in Romantic Experience Perception of Café VisitorsAbstract. The atmosphere of a café interior that gives a romantic experience is desirable for couples in love. In this preliminary research, a number of aspects supporting a romantic experience were investigated by combining three variables (table color, music and lighting) that influence the perception of a romantic experience. Twenty couples of respondents were involved to consider the conditions of these variables in creating a romantic atmosphere in a café. The findings generally showed that tables with a red color and classical music are better able to create the perception of a romantic experience than purple tables and jazz music. Variation of light intensity (dimming) was used to support the stimulus of the variables of color and music. The response from the research subjects revealed that the use of the color red in the interior yielded a higher average score compared to the use of the color purple. The same occurred for the music choice, in which classical music gained a higher average score compared to jazz.Keyword: café; lighting intensity; music; perception of romantic experience; table color.
Socio-Psychological Impact of Outdoor Sculptures in Nigeria Urban Cities Allan Francis Ebunola Oladugbagbe
Journal of Visual Art and Design Vol. 7 No. 2 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.7.2.3

Abstract

One major element that finds expression at road intersections, parks, gardens, square and open spaces in the urban landscape are outdoor sculptures. Of great significance is the historical information they disseminate, the visual impressions they convey and the aesthetic value they add to the quality of the city. From 1960s and after the civil war, the uses of sculptures for embellishments in public places have increased tremendously in Nigeria. However, outdoor sculpture for the purpose of recreation and relaxation in our built environment has not been adequately addressed scholastically in Nigeria. This paper, therefore, focuses on the social values derivable from the use of sculpture in urban design and the losses that could accrue to the social system if not adequately managed. The values of these sculptures to the socio-psychological development of Nigerians and the beautification of the urban environment are equally emphasized. The study shows that incorporating sculptures into public places without doubt will heighten public appreciation and aesthetic perception and make Nigerian cities unique and vibrant.Keywords: Nigeria urban cities; socio-psychological impact; outdoor sculptures.
Visual Communication and Design’s Role Drives Branding Innovation and Social Responsibility Stephen T.F. Poon
Journal of Visual Art and Design Vol. 8 No. 1 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.8.1.1

Abstract

In this paper, the aim of research is to analyse the theoretical principles of traditional and newer forms of branding design, and to review the visual communicator’s roles as constructed through traditional, social and postmodernist perspectives. Where designers traditionally direct their course in the branding process to solving clients’ problems through the production of symbolic icons and images, this study will place their responsibility towards understanding society’s attitudinal and behavioural change at the forefront. This paper uses case study and qualitative inquiry methods to challenge the design fraternity to see beyond the bread-and-butter work behind conceptual design development, and to find a stronger relational understanding between their life experiences, changing consumer perceptions of the world, and businesses’ ultimate goals of profit. Research shows that as the dynamics of ethical business and social purpose continue to affect the production and consumption of goods, the visual communicator’s role is to both define and empower cultural consumption as the core brand purpose of today’s organisations - five decades since Ken Garland’s manifesto; “First Things First” was proclaimed. Lastly, it shall be argued for every designer to evaluate their social responsibility in the branding execution of marketed consumer brands beyond symbolic meaning construction. Keywords: design; postmodern branding; social innovation; social purpose.
Translasi Pencak Silat Kedalam Film Animasi (Studi Kasus Film Kung Fu Panda) Riyo Ramadhan; Hafiz Aziz Ahmad; Alvanov Z. Mansoor
Journal of Visual Art and Design Vol. 9 No. 2 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2017.9.2.4

Abstract

Abstrak. Sebagai tradisi yang telah membudaya dari sejak zaman dahulu kala, pencak silat lahir sebagai benteng kekuatan pertahanan diri sekaligus menjadi seni yang memperkaya khazanah kebudayaan bangsa Indonesia. Namun, kuatnya terpaan kebudayaan seni bela diri impor yang masuk (karate, kung fu, tae kwon do, muay thai, capoeira, dll), yang selalu didukung dengan berbagai kemasan media entertainment modern, membuat silat menjadi kalah populer bahkan di mata dan persepsi masyarakat Indonesia sendiri. Hal ini mengakibatkan para generasi muda memandang seni bela diri impor menjadi lebih superior ketimbang pencak silat. Jika hal ini terus berlangsung tanpa ada usaha untuk mengembangkan pencak silat melalui media modern, maka akan sangat sulit untuk mempertahankan dan mengembangkan tradisi ini di masa depan. Tujuan dari makalah ini ialah untuk membuktikan dan menggali potensi animasi sebagai media alternatif yang efektif untuk memvisualisasikan adegan dan cerita bertemakan pencak silat. Adapun studi kasus yang menjadi acuan dalam penelitian ialah film animasi "Kung Fu Panda".  Penelitian ini mengkaji studi kasus dengan menggunakan metode kualitatif deskriptif, lalu dianalisis dengan pendekatan analisis deskriptif untuk mengkaji dan mengidentifikasi pemasalahan dan solusi. Pembahasan dari makalah lebih ditekankan pada kekuatan penyampaikan cerita melalui gambar (visual storytelling) yang efektif terkait dengan pencak silat. Hasil dari penelitian ialah cara penyampaian pesan yang efektif mengenai elemen dan esensi pencak silat sebagai bentuk translasinya kedalam film animasi. Pesan tersebut dapat disampaikan dengan menggunakan aspek narasi, gesture, dan simbol yang diakomodasi dengan aspek visual storytelling.Kata kunci: Budaya Indonesia; film animasi; Kung Fu Panda; pencak silat; visual storytelling.Translating Pencak Silat Into An Animation Film (Case Study The Film Kung Fu Panda)Abstract. A tradition that has been part of Indonesian culture since ancient times, pencak silat was born as a form of self-defense and at the same time has grown into an art form that belongs to the cultural treasures of the Indonesian nation. However, strong exposure to martial arts from abroad (karate, kung fu, tae kwon do, muay thai, capoeira, etc.), always supported by a variety of modern media entertainment, has made pencak silat loose prominence in the eyes and perception of Indonesians. This makes the younger generation consider foreign martial arts to be superior to pencak silat. If this continues without any effort to propagate pencak silat through modern media, it will be very difficult to preserve and develop this tradition in the future. The objective of this study was to demonstrate and explore the potential of animation as an effective alternative medium to visualize pencak silat themed scenes and stories. The animation film 'Kung Fu Panda' was used as a case study. It was examined using a descriptive qualitative method and then analyzed using a descriptive analysis approach to assess and identify problems and solutions. The discussion in this paper emphasizes the strength of delivering the story through images (visual storytelling) effectively associated with pencak silat. The result of the research is an effective way of delivering a message about the elements and essence of pencak silat translated to animated film. The message can be delivered using narrative aspects, gestures, and symbols accommodated by the visual aspect of storytelling.Keywords: animated film; Indonesian Culture; Kung Fu Panda; pencak silat; visual storytelling.
Tubuh, Tubuh, Tubuh Ira Natalia Irianto; Tisna Sanjaya; Ira Adriati
Journal of Visual Art and Design Vol. 10 No. 1 (2018): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2018.10.1.1

Abstract

Abstrak. Tubuh merupakan bentuk representasi identitas dari individu. Bentuk tubuh dari satu individu ke individu yang lain pasti berbeda, setiap bentuk tersebut dapat dengan mudah diidentifikasi dan juga dimaknai tidak hanya secara visual melainkan juga nilai-nilai lain yang mengikutinya. Nilai dan norma terhadap bentuk tubuh dinilai berdasarkan nilai tatanan sosial yang berlaku di mana individu itu berada, sehingga bentuk dan nilai kesempurnaan akan tubuh tidaklah absolut, namun demikian penilaian dan pemaknaan akan tubuh tersebut secara tidak langsung dapat mempengaruhi cara pandang dan pemahaman individu itu sendiri akan tubuhnya. Pembuatan karya seni gambar tentang tubuh yang dibuat penulis, merupakan sebuah bentuk penghayatan dan pengenalan lebih dalam akan tubuh penulis sendiri, bagaimana kekecewaan dan kebencian akan ketidaksempurnaan tubuh penulis dikonfrontasikan melalui kegiatan intimasi yang dilakukan selama melakukan penciptaan karya seni gambar pada penelitian kali ini yang diberi judul 'Tubuh, Tubuh, Tubuh'. Penggambaran representasi tubuh dalam karya ini memperlihatkan pose tubuh secara detil dan realis, tubuh secara keseluruhan baik itu dari depan maupun belakang, juga ditambahkan dengan bentuk-bentuk abstrak dan detail dari pemahaman penulisan akan tubuh tersebut, menggunakan pensil berwarna sebagai medium penggambaran karyanya. Penciptaan karya gambar tentang tubuh ini, melalui proses yang cukup panjang, memberikan ruang untuk penulis dalam memahami tubuh sendiri, melalui detail arsiran, warna, dan kedekatan akan detail-detail bentuk realis tubuh yang digambarkan secara sempurna, membawa penulis ke ruang yang lebih intim tetapi juga kadang berjarak, tentang bagaimana penulis pada akhirnya menerima pemahaman dan keadaan terhadap ketidaksempurnaan, kekecewaan dan kebencian akan tubuh penulis sendiri. Perenungan dan kontemplasi selama proses penciptaan membawa pemikiran penulis ke ranah yang lebih terbuka, penulis menyadari proses penciptaan karya kali ini merupakan bentuk lain katarsis penulis dalam mengatasi permasalahan-permasalahan yang sebelumnya dimiliki penulis.Kata kunci: drawing; katarsis; konflik; konfrontasi; penghayatan;tubuh. Body, Body, BodyAbstract. The body is a representation of the individual identity. Body shape is different from one individual to another. Each form can be easily identified and interpreted not only visually but also by other values that follow. Values and norms toward body shape are valued based on the prevailing social order.  Therefore, shapes and values of the perfection of the body are not absolute. However, rating and explaining the body can indirectly affect the perspective and understanding of the individual's own body. Creating art images of the body by the author is a form of appreciation and recognition even deeper into the body of the author herself. Disappointment and hatred of the imperfections of the author's body were confronted through intimacy which was conducted during the creation of the artwork images of this final work entitled 'Body, Body, Body'. The depiction of the body in this work shows body poses in detail and with realism, overall, both front and back, and added with abstract forms and details of the author's understanding of the body, using colored pencils as a medium for the author's depictions. This creation of drawings in this project, through a long process, provided space for the author to understand her own body. Through detailed shading, color, and proximity of detailed body shapes depicted perfectly, bringing the author to a more intimate space yet sometimes also more distant, about how the author finally accepted the understanding and the circumstances of the imperfections, disappointment, and hatred of the body of the author herself. Reflection and contemplation during the creation process brought the author to a more open realm; the author realizes the process of creating the work this time is a form of catharsis of the author in overcoming previous problems.Keywords: body; catharsis; conflict; confrontation; contemplation; drawing.
Bhayangkara (Tafsir Visual Peristiwa Sejarah Perang Bubat) Mochammad Sigit Ramadhan; Aminuddin T.H. Siregar
Journal of Visual Art and Design Vol. 9 No. 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2017.9.1.2

Abstract

Abstrak. Menelusuri lebih jauh sejarah kepolisian, nama Bhayangkara yang tersemat di korps Kepolisian Republik Indonesia berasal dari nama pasukan Bhayangkara yang merupakan pasukan khusus yang dipimpin oleh Patih bernama Gajah Mada di masa Kerajaan Majapahit. Adanya kesamaan nama Bhayangkara yang menjadi nama lain korps Polisi Republik Indonesia dengan Bhayangkara yang merupakan pasukan khusus Kerajaan Majapahit, serta adanya kesamaan unsur penyalahgunaan kekuasaan yang dilakukan oleh oknum-oknum Bhayangkara di dua masa yang berbeda tersebut mendorong penulis untuk melakukan peninjauan kembali terhadap konsep Bhayangkara dulu dan sekarang. Pada karya tugas akhir ini penulis memposisikan diri sebagai penafsir sebuah peristiwa sejarah yang dituliskan secara visual berdasarkan intensi penulis sebagai otoritas yang berkuasa atas karya yang merupakan manifestasi penafsiran peristiwa sejarah. Penulis mempertanyakan identitas dan kuasa polisi melalui sebuah penafsiran kembali peristiwa sejarah Perang Bubat yang terjadi di abad ke-14, melalui medium seni grafis cetak tinggi cukilan kayu yang dalam sejarah perkembangannya digunakan juga sebagai media propaganda untuk menyebarkan sebuah pandangan terhadap suatu wacana sosial politik dalam sistem berpikir khalayak. Karya ini diharapkan dapat menjadi bahan tinjauan kritis dan pembelajaran atas kejadian yang terjadi berabad-abad silam dalam konteks kesekarangan untuk dimaknai sebagai peristiwa sejarah yang perlu dipahami dalam menyikapi masa depan.Kata kunci: bhayangkara; penafsiran; polisi; propaganda; sejarah; seni grafis.Bhayangkara (Visual Interpretation of the Bubat War Historical Event)Abstract. Exploring the history of the Indonesian Police, the name Bhayangkara as contained in the Indonesian National Police corps comes from Bhayangkara, the elite guard in the Majapahit Kingdom that was commanded by Patih Gajah Mada. The similarity of the name Bhayangkara, which is another name of the Indonesian National Police corps, and Bhayangkara, the elite guard in the era of the Majapahit Kingdom, and the similarity of power abuse by several people or parties inside Bhayangkara in these two different eras pushed the authors to re-observe the concept of Bhayangkara in the past and today. In this artwork, the authors position themselves as interpreters of a historical event represented visually based on the authors' intention as an authority over the artwork as a manifestation of the interpretation of a historical event. About the authors question the police's identity and power through the reinterpretation of the historical event of the Bubat War in the 14th Century. Using a xylography woodcut printmaking technique that historically was developed as a propaganda medium to influence the audience's perception on social and political issues. This artwork is intended as a substance of critical observation and a learning material about the historical event that happened centuries ago in a contemporary context to be interpreted in facing the future.Keywords: bhayangkara; history;  interpretation; police; printmaking; propaganda.
Urban Paranoia II Rendy Pandita Bastari; Aminudin T.H. Siregar
Journal of Visual Art and Design Vol. 9 No. 1 (2017): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2017.9.1.3

Abstract

Abstrak. Kriminal adalah masalah yang sulit untuk dipecahkan, di negara yang paling aman pun masih terjadi kasus kriminal, inilah mengapa kriminal adalah kasus yang hampir mustahil untuk dipecahkan. Kriminal adalah sesuatu yang membahayakan kita karena mengancam kita secara materi dan juga secara mental. Ketika berita menenai kriminal tersebar memalui kecepatan informasi media massa, maka informasi tersebut secara tidak langsung menjadi sebuah teror. Teror disini tentu saja bersifat imajinatif, artinya apa yang kita takuti adalah ketakutan kita sendiri, singkatnya kriminal membuat kita semua paranoid secara tidak sadar. Untuk mengatasi masalah personal ini penulis menemukan seni sebagai sesuatu yang bersifat terapeutik, yakni pengalihan enerji alam bawah sadar kepada sesuatu yang lebih berguna. Sebagai salah satu yang mengalami teror berita kriminal tersebut. penulis ingin merepresentasikan fenomena tersebut, maka penulis akan membuat karya seni berdasarkan dari unsur piktorial konten media massa, yakni menggunakan foto-foto berita kriminal dari media massa (elektronik maupun cetak) yang representatif di kota Bandung. Dengan foto-foto tersebut penulis akan menambahkan figur simbolik dari kebudayaan Indonesia dengan metode yang juga bersifat imajinatif dan kompulsif yakni drawing secara digital.Kata kunci: digital; drawing; kriminal, seni, terapeutik; teror.Urban Paranoia IIAbstract. Crime is a difficult problem to solve. Even the safest countries experience crime, this is why crime is almost impossible to abolish. Crime is something that endangers us because it threatens us materially and mentally. When a crime story spreads with the speed of mass media's information, that information implicitly becomes a terror. The terror in this case, of course, is imaginative. In other words, what we fear is fear itself. In short, crime unconsciously makes us paranoid. To resolve this personal problem, the authors found art as something therapeutic, i.e. a diversion of our unconscious energy to something more beneficial socially and personally. As some of many experiencing the terror of the crime stories, the authors want to represent the phenomenon. The author, therefore, would like to create an artwork based on mass media's pictorial content, using published crime stories' photos from representative mass media in Bandung. With these photos, the authors will add a symbolic figure from Indonesian's culture with an imaginative and compulsive method, namely digital drawing. Keywords: art; crime; digital; drawing; therapeutic; terror.

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