p u k at I w a n
Y u s u f
p u k at I w a n
Y u s u f
p u k at
Hendro Wiyanto
Di seberang kamar tempatku menginap —hotel kecil lang gananku
kalau
sedang
ber
ada di Jogja— para tukang me manfaatkan tirai tipis berbahan plastik di arena tempat mereka mencangkuli tanah. Pagi itu ta bir kelabu memagari pandang anku ke arah gerumbul indah hijau tumbuhan di halaman. Be tapa “modern” penglihatan yang terasa bercadar. 4
Iwan menjumput bahan baru untuk karya nya —segulung kawat kasa— ketika mengi kuti “transit”, program residensi untuk se niman muda di Selasar Sunaryo Art Space (SSAS), Bandung, dua tahun lalu. Dia selalu tertarik pada rupa-rupa bahan, yang berasal dari alam maupun olahan pabrikan. Ketika mengeksekusi proyek seni buminya di Danau Limboto (2013) dia gunakan berton-ton tanaman eceng gondok (eichhornia crassipes) untuk menghidupkan lagi mitos telapak kaki raksasa, muasal sumber air di Limboto. Berminggu-minggu dia nyemplung ke dalam danau yang sekarat, tertambat oleh pukat ni lon degil milik para petambak ikan. Seperti yang dikerjakannya dengan jaring-kasa ketika di Bandung, dia merajut raut lembab wajah nelayan, mencadarnya dengan riakriak halus tenunan grid atau jejala.
/ t r aw l
Across the room where I stayed— a small hotel where I often stayed when I am in Jogja—the handy men were using a thin plastic curtain in the area where they were digging the ground. That morning a grey veil fenced off my sight from the beautiful clus ter of green plants growing in the front yard. How “modern” is this veiled sight.
Iwan was pinching a new material for his work—a roll of wire-mesh—when he was at tending “transit”, a residency program for young artists in Selasar Sunaryo Art Space (SSAS), Bandung, two years ago. He is always interested to various materials, the natural or the industrial fabrication. When he was exe cuting his earth art project in Limboto Lake (2013) he used tonnes of water hyacinth (eichhornia crassipes) to revive the legend of the gi ant foot prints, the origin of the water source of Limboto. For weeks he dived into the dy ing lake, tethered himself with a gnarly nylon trawl of the fish farmers. Just like what he did with the wire-mesh in Bandung, he knitted the damp face of the fishermen, veiled them with the soft ripples of the grid or netting.
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Kini kita sudah sangat terbiasa dengan barang pabrikan, keluaran mesin-mesin industri di mana-mana. Tapi jejalah “estetika” rupa pabrikan yang menyandang kekhasan olahan masih cukup langka dikerjakan para seniman. Iwan rupanya punya intuisi untuk menjajal sembarang material sebagai wahana olah artistik karyanya. Ia otodidak yang memiliki kepekaan bawaan untuk merasarasakan kekhususan rupa dan wanda, takjub oleh ekspresi mikro dan sembarang rinci sifat permukaan alam dan barang. “Pesan” seharihari di sekeliling kita yang tanpa sadar selalu kita sentuh dan cerap, sekaligus terlewat. Bahan pukat nilon yang halus, lentur dan ber-grid-grid itu menjadi wahana Iwan untuk berkarya di pameran ini. Grid adalah pembidangan terbagi, pecahan suatu luasan yang menghasilkan tertib susunan, himpunan satuan rampak yang terukur. Grid atau jejala merupakan pola bentuk beru lang. Perulangan yang tanpa akhir terkadang mengingatkan kita akan susunan keserupaan (self-similar) yang lebih kompleks dan canggih, keajaiban fractal yang memberi kita kekekalan rasa berirama. Permainan grid pada lembaran pukat halus yang digunakan Iwan menarik perhatian kita pada berbagai efek rupa: tipis bercadar, garis-garis bersilangan seperti arsiran rumit pada gambar, raut kasar
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yang menohok kita sebagai kulit tebal, se tumpukan barik, atau sebaran bidang-bidang lepas. Tapi bukan pola satuan grid pada bahan pukat yang mau dipertontonkan Iwan, melainkan efek otomatis-optisnya, main-mata dengan sifat dan rupa permukaan bahan, citra ilusi
sensitivity to senses the particularity of vi sual and physiognomy, astonished by micro expressions and any details of characteris tic of the surface of nature and objects. The “daily” messages around us that we subcon sciously touch and absorb, and at the same time missed.
Now we are very used to manufactured ma terials, products of industrial machineries everywhere. But “aesthetic” exploration of manufactured visuals that bears the particu larity of refineryis still a rarity to be done by artist. Iwan apparently has the intuition to try out any materials as a medium of his work artistic process. He is self-taught with innert
The fine, elastic and gridded nylon trawl is a medium for Iwan in creating his works in this exhibition. A grid is a space division, frac tions of an area that generates and orderly arrangement, a set of measured simultane ous units. The endless repetition sometimes reminds us to a more complex and sophisti cated arrangement of self-similars, fractal magic that will give us a rythmic sense of eternity. The grid play in the fine trawl sheet used by Iwan attracts our attention to vari ous visual effect: thinly veiled, overlapping lines like a complicated shading in a drawing, coarse expression that strikes us like a thick skin, a set of lines, or distribution of loose fields. But it is not the grid unit pattern in the trawl material that Iwan wishes to display, instead it is the automatic-optical effect, the eye-trick with the characteristics and visuals of the material surface, illusive images or virtual trick generated. One of the best examples re
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atau tipuan maya yang ditimbulkan. Salah satu contoh terbaik mengenai pemanfaatan bahan kasa-kawat (wire-mesh) baru-baru ini telah dipertontonkan oleh seniman muda, Park Seung Mo di berbagai pameran. Iwan, sebagaimana Seung Mo, bukanlah jenis seniman (pseudo) formalis dengan kecen derungan analitis seperti Mahendra Yasa, Wiyoga atau dedengkotnya sekalian, Sol LeWitt. Pecahan bagi-rata pada pukat itu di mata Iwan menakjubkan untuk dilihat utuh sebagai keseluruhan, gestalt rupa yang mengandung greget artistik. Ia mempertajam kepekaan kita pada sifat maya dan ketrans paranan, efek cadar, gelap-terang, ketebalan, kekhususan bobot-massa barang olahan pa brikan. Katakan saja, ia seniman estetik pe sulap bahan. Sudah sejak lama sejarawan seperti Sudjoko menepuk pundak kita agar tidak meremeh kan bahan-material lokal di alam kemodern an. Perhatikan, misalnya bahan dan rupa topi-pandan pada masyarakat di Timor. Itu tidak pernah cukup disebut sebagai hasil ke perajinan. Katanya, anyaman itu mesti kau rasa-rasakan, tidak semata kau tuduh sebagai kerja mengulang tanpa kepekaan. Sumbersumber kepekaan modern kita, begitu lebih kurang kata sang sejarawan, sebaiknya ber anjak saja dari apa yang terhampar di sekitar.
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Cepat atau lambat, maklumat Sudjoko mung kin akan menyerempet kepala Iwan. *** Semakin modern, semakin kita kaya grid, jala-jala yang menabrak penglihatan seharihari, di sembarang tempat. Kemodernan bisa disimbolkan sebagai grid, idea, tetanda atau “geometri” mufakat pada operasi rumus-formal, kemangkusan (keefektifan, berhasil guna), tapi juga — kalau kita mau— menyiratkan godaan atau seduksi. Yang terakhir itu barangkali tidak sepenuhnya
garding the utilization of wire-mesh recently has been displayed by the young artist, Seung Mo, not the type of (pseudo) formalist artists with analytical tendencies such as Mahendra Yasa, Wiyoga, or even the prominent leader, Sol LeWitt. The evenly distributed division of the trawl in Iwan’s eyes is amazing to be seen as a whole, the visual gestalt containing ar tistic exhiliration. It sharpens our sensitivity toward the virtual and transparency, the veil effect, dark-light, thickness, the specificity of mass-weight of a manufactured objects. Let’s just say, he is an material aesthetic magician artist.
Long has it been that historians like Sudjoko pat our shoulders so we will not underesti mate local materials in the nature of moder nity. Pay attention, for example the material and visual of the Timorese folk pandan hats. It will not suffice to be called as a craft pro duction. He said, the weaving must be sensed, it is not merely accused to be the repetitive work without any sensitivity. The sources of our modern sensitivity is so lacking, the his torian explained, we better start from what is available in our surrounding. Sooner or later, Sudjoko’s warning perhaps might graze Iwan’s head. *** The more modern, the more we are rich of grids, the nets that bump our vision everyday, everywhere. Modernity can be symbolized as grids, ideas, symbols, or “geometry” approval to the formula-formal, functionality (effectivity, efficiency), but also—if we wanted—implies temptation or seduction. The last one is perhaps not entirely realized by Iwan when expossing the trawl and the grid nets in a two-dimensional space. We are outside the imagery and veil, but the form and visual are at the same time inside and outside the veil. We are tempted to drill on and embrace those behind the veil.
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disadari oleh Iwan ketika memapar pukat dan jejaring grid pada bidang dwimatra. Kita di luar citra dan cadar, tapi bentuk atau rupa itu sekaligus di dalam dan di luar cadar. Kita selalu tergoda untuk mencecar dan merengkuh yang di sebalik cadar. Bahan pukat nilon yang digunakan Iwan lentur dan luwes seperti air. Bahan pabrikan lokal itu mudah melar, memain-mainkan luasan mata-pukat rapat atau lebar. Eksperimen Iwan dengan kelenturan bahan pukat melahirkan berbagai pola citraan garib atau ganjil. Citra pelukis-bangsawan Jawa, Raden Saleh yang direkam oleh Carl Johann Baehr, sekitar 1840, dalam ikat kepala dan bungkus busana tebal berwarna gelap menghadirkan rupa relief bergaya realis klasik. Potret Sudjojono langsung identik dengan “jiwa ketok”, melalui sepasang matacermin bolong. Sebaliknya, kita disuguhi raut acakadut dan kampungan Affandi tua yang tembus pandang, mengambang dengan senyum kebahagiaan, matanya menyipit sebagai tetanda siasat pada hidup.
tapi cara Iwan menghormat pada tokohtokoh itu boleh jadi menyimpan parodi tersendiri. “Bulan Berdarah”, dan “Rebutan Aspal”, misalnya menunjukkan ketangkasan penggunaan simbol. Sungguh kebangetan, kalau “lukisan dianggap bisa lahir dari dan hancur oleh sebuah partai dan rezim,” celoteh Iwan. “Bulan Berdarah” selesai dikerjakan persis pada 30 September 2015, tetenger paling bermakna pada peristiwa jagal pada sejarah nasional. Kebablasan pula, kalau lukisan yang cetha wela-wela palsu dikukuhkan dengan argumen palsu, layaknya barang asli. Ia mengingat flora dan fauna dalam khasanah masyhur seni lukis Widayat yang menjadi grid simbolis-magis pada alam. Burung-burung sang pelukis sudah raib dari rumahnya, diharapkan kembali ke haribaan utopis sang seniman selama hidup: museum kekekalan. Itu cara-cara Iwan memukat peristiwa. +++
Yogyakarta, 13 November 2015 Rujukan naratif melalui potret seniman jadul adalah cara sang otodidak mendekat pada tokoh-tokohnya, upayanya belajar pada sejarah seni rupa yang tak henti diperdebatkan. Apropriasinya tidak tajam,
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The nylon trawl used by Iwan is supple and flexible like the water. The local manufactured material easily expands, plays on the width of the net hole tight or wide. Iwan’s experiments with the trawl flexibility creates various imagery pattern, peculiar or strange. The image of the Javanese painter-prince, Raden Saleh, was recorded by Carl Johann Baer, circa 1840, the head wrap and thick dark colored clothing presented a realist classic relief visual. Sudjojono’s portrait is immediately identical to the “visible soul”, through the pair of see through mirror eyes. On the contrary we are presented with the ragged and rough face of the old see-through Affandi, floating with a smile of happiness, his eyes narrowing as a symbol of cunningness to life.
exactly at 30 September 2015, the most meaningful symbol in the event of massacre of the national history. It is also excessive, if a painting that is bluntly and blatantly fake is inaugurated with fake arguments, as if it is a real object.
The narrative reference through classic artist portraits is the way of the self-taught artist to approach the characters, his effort to learn from the endlessly debated history of art. His appropriation is not sharp, but the way Iwan pay homage to these figures could be a parody in its own. “Bulan Berdarah” (Bloody Moon), and the “Rebutan Aspal” (Fighting for Original but Fake), for example, displays the knack in symbolism. It is outrageous if “a painting can be created from and destroyed by a party and regime,” Iwan said. “Bulan Berdarah” was finished
Yogyakarta, 13 November 2015
He remembers the flora fauna in Widayat’s famous painting repertoir that becomes a symbolic-magical grid in nature. The painter’s birds are gone from his home, hoped to return to the painter’s utopian embrace during his life: the museum of eternity. These are the ways of Iwan in trawling events.+++
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Potret jaring troll di atas kanvas 200 x 200 cm 2015
Detail from Potret
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1840 jaring troll, waring, cat plastik di atas kanvas 200 x 200 cm 2015
Detail from 1840
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Jiwa Ketok jaring troll, cat plastik dan cermin di atas kanvas 220 x 140 cm 2015
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Burung-burung Ingin Kembali ke Rumahmu jaring troll dan waring di atas kanvas 220 x 140 cm 2015
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Rebutan Aspal jaring waring di atas kanvas 200 x 130 cm 2015
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Lukisan Palsu jaring waring di atas kanvas 200 x 170 cm 2015
Detail from Lukisan Palsu
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Asap Kuning jaring waring dan cat plastik di atas kanvas 185 x 185 cm 2015
Detail from ASAp kuning
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Bulan Berdarah jaring waring dan cat plastik di atas kanvas 220 x 140 cm 2015
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Iwan Yusuf Born in Gorontalo, North Sulawesi, May 19, 1982. Self-taught artist. Lives & works in Batu, Malang, East Java.
So lo P ro j e cts 2013
Menghadap Bumi Art Project, Danau Limboto, Gorontalo, Indonesia.
2012
Bayi Angsa, Gunung Banyak, Batu, Malang, Indonesia
2007
Seni Rupa Menghadap Bumi, Galeri Surabaya, Surabaya, Indonesia
G ro u p E x hibitio ns 2015
Pameran lukisan bersama, Riden Baruady Gallery, Gorontalo
Biennale Jatim # 6, Surabaya
Treasure of Culture, GOR Ganesa, Batu, Malang
Bale Project, Bazaar Art Jakarta, Jakarta
2010
Jakarta Art Award, North Art Space, Ancol, Jakarta
2009
Biennale Jatim III, Orasis Art Gallery, Surabaya. Surabaya Insight, Galleri Zoso Art Space, Surabaya.
2008
Of No Value, Orasis Art Gellery, Surabaya Kompetisi Pelukis Muda Jatim, Bang Wetan, Surabaya.
Tahu Campur, Balai Pemuda, Surabaya.
2011 Jakarta Biennale # 14, Galeri Nasional Indonesia, Jakarta
Art to Art, Museum Empu Tantular, Surabaya
Jatim Biennale IV, Orasis Art Galley, Surabaya
Amazing Grace, Orasis Art Gallery, Surabaya
Imaji Ornamen, Galeri Nasional Indonesia, Jakarta
2007
Matra Realis, Balai Pemuda, Surabaya
2014 Transit #2, Selasar Sunarjo Art Space (Bandung), Gallery Canna (Jakarta) Melancholia, Sangkring Art Project, Yogyakarta 2013 Transit #2: Zona Transisi, Selasar Sunarjo Art Space, Bandung Rumahku, Galeri Raos, Batu, Malang 2012
Pameran Seni Rupa, Esa Sampoerna Museum, Surabaya Malaysia Expo
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Catalogue for A solo exhibition by Iwan Yusuf Pukat Curator Hendro Wiyanto English Translator Mirna Adzania Published by D Gallerie Jakarta, Indonesia December 2015 Edition 500 copies Designed by Kotasis Kamar Desain 3x3x3 Surabaya, Indonesia www.kotasis.com
Printed in Indonesia
Jl. Barito I No.3, Kebayoran Baru, Jakarta 12130 | +62 21 739 9378 | dgalleriejakarta@gmail.com | www.dgalleriejakarta.com