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Cita Rasa '75


“Cita Rasa ‘75”
Artist: Alfin Agnuba | Curator: Mira Asriningtyas | May 6 – 30, 2014

Alfin widely opens his personal space and let people interact with him for the first two weeks.  The gallery fluidly changed into artist studio, a kitchen, and richly filled with encounters, interaction, and relationship between artists and audience. In the last week of his exhibition, he start selling his ‘artwork’ in a ‘food stall’ inside the gallery. This food stall is not only selling edible pastry sheet with silkscreened GSRBI quotations but also selling ideas, concept, and artwork to public.

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Alfin membuka lebar-lebar ruangnya dan membiarkan interaksi terjadi selama dua minggu pertama. Ruang galeri terkadang menjelma studio tempat penciptaan karya, terkadang menjelma dapur, dan banyak diisi dengan perjumpaan, interaksi, serta hubungan antara seniman dan penonton. Di minggu terakhir pamerannya, jual beli 'karya seni' dilakukan di kedai makanan buatan yang menjual ide, konsep, dan karya kepada khalayak umum.  



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 Ex.Lab.1.2: Alfin Agnuba | “Cita Rasa '75”

Gerakan Seni Rupa Baru Indonesia (GSRBI) merupakan sebuah gelombang perubahan dalam dunia seni rupa Indonesia yang muncul pada awal tahun 70an sebagai respon atas kejenuhan seniman muda pada masa itu atas konsepsi seni rupa Indonesia yang seakan dibangun seragam. Mengapa gerakan seni rupa yang begitu penting terlihat seakan dikesampingkan dari pendidikan seni formal di kampus merupakan pertanyaan besar Alfin. Alih-alih mencoba menjawab pertanyaan tersebut,  Alfin mencoba untuk mencari tahu dan mempelajari GSRBI melalui buku kumpulan karangan yang disunting oleh Jim Supangkat terbitan Gramedia tahun 1979. Hasilnya, ia menyajikan ide-ide dasar, pola pikir, lima jurus gerakan seni rupa baru, dan kutipan dari para tokoh dan menyablonnya di atas makanan. Hal ini dilakukan sebagai usahanya untuk membagi intisari pengetahuannya kepada teman-temannya. Dengan sentuhan humor seperti yang kerap digulirkan tentang membakar buku, menyeduh abunya untuk menjadi teh, dan meminumnya supaya pandai; Alfin menyarankan supaya hidangan ini dimakan segera supaya pengunjung memiliki pengetahuan instan atas ide-ide GSRB.  Pada lapisan berikutnya, Alfin mempermainkan konsep keruangan 'Lir' dalam perannya sebagai restoran dan ruang interaksi. Peran ruang galeri yang terbuka bagi khalayak umum diubahnya menjadi sebuah studio yang umumnya privat. Sesuai dengan konvensi GSRBI yang menepis pemikiran romantis atas seniman yang merupakan penyendiri yang mencari ilham dan inspirasi di ruang privatnya, Alfin membuka lebar-lebar ruangnya dan membiarkan interaksi terjadi selama dua minggu pertama. Di waktu ini, ia juga menjadikan ruang galeri sebagai laboratorium percobaan untuk menguji rasa, medium, serta warna. Tegangan-tegangan antara yang privat dan yang publik dipermainkannya di awal pamerannya. Ruang galeri terkadang menjelma studio tempat penciptaan karya, terkadang menjelma dapur, dan banyak diisi dengan perjumpaan, interaksi, serta hubungan antara seniman dan penonton. Ia menggunakan bahan pewarna alami masakan sebagai pengganti cat, kulit pangsit sebagai pengganti kertas, dan menambahkan unsur aroma serta rasa. Baginya, seni dan makanan sama-sama adalah tentang selera serta cita rasa yang sifatnya personal. Di minggu terakhir pamerannya, jual beli 'karya seni' dilakukan di kedai makanan buatan yang menjual ide, konsep, dan karya kepada khalayak umum. Ruang galeri terkadang tetap menjadi ruang pamer (saat kedainya tutup) dan terkadang menjelma kedai yang menjual makanan ringan yang lezat, bergizi, dan mencerdaskan. 

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Gerakan Seni Rupa Baru Indonesia (GSRBI) or The New Indonesian Visual Art Movement is a big wave of changes in the Indonesian artscene of the 70s as a response to young artists’ boredom to the conception of uniformed Indonesian visual art.  The biggest question of Alfin is why would such an important movement seems disregarded in the university where he is now studying about formal art education. But, instead answering his own question, Alfin start to learn about GSRBI through the essay compilation about the subject. This 1979 essay compilation was edited by a senior curator, Jim Supangkat, one of the important figure of GSRBI. As a result, Alfin start to present the basic idea, school of thought, “The Five Movements of GSRBI”, and take quotations from GSRBI’s figures to later silk-screen them onto edible ‘paper’. Alfin sees this as a way to deliver the essence of his new-found knowledge about GSRBI to his friends. This is also an in-joke with a twist of humor well known among his local circle of friends: in you want to be smart instantly, try to burn a book full of knowledge, brew the ashes, and drink them to get the ‘nutrition’ of the book. In this exhibition, Alfin suggests his friends to eat the silkscreened pastry sheet to get instant knowledge and ideas about GSRBI. At the next layer, Alfin plays with the spacial concept of ‘Lir’ and its position as a restaurant with a space to interact. The gallery space that is open to public is turned into a studio that is usually more private. This thought is in line with what GSRBI believe against the romantic thought of a solitary artists who looks for inspiration inside his own private space. Alfin widely opens his personal space and let people interact with him for the first two weeks. This is also the time when he turn the art space into a laboratory of medium, color, and taste. The tension between what’s private and what’s public is continuously played here. The gallery fluidly changed into artist studio, a kitchen, and richly filled with encounters, interaction, and relationship between artists and audience. He use natural edible coloring as a substitution of paint, pastry sheet as a substitution of paper, and add up flavor and aromas in his work. To him, art and food both are about personal taste. In the last week of his exhibition, he start selling his ‘artwork’ in a ‘food stall’ inside the gallery. This food stall is not only selling edible pastry sheet with silkscreened GSRBI quotations but also selling ideas, concept, and artwork to public. The gallery can sometime be a gallery and sometime be a food vendor selling snacks that is rich in ‘nutrition’ and makes you smart.  

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