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OK, LET'S FUSE NOW Hafiz Rancajale*

"...Suddenly Indonesia National Gallery, Jakarta, becomes clamorous. The sounds of explosions, people talk, and flashes of light reflected off the walls create glare. The entire wall looks like moving, living, and conversing with himself. [...] actually, what is displayed in Jakarta International Video Art Festival 2013 was for auto-critique for misappropriation of meaning of the usage of video including television. Our television nowadays is deemed to have been provoked consumer attitudes, political campaigns, as well as boring crap.”1 After 10 years have passed, the clamorous of those moving images continues to over-shade until now. This could even be said that after the event of OK Video Jakarta International Video Art Festival 2003, there were more contemporary art events which show video art as part of displayed artworks. Video art has become an inseparable part of contemporary art events in Indonesia. In the history of Indonesia visual art, the used of video as medium have been started in the beginning of 1990s, marked by Heri Dono's "Hoping to Hear from You Soon" (1992) that used a video as a part of the installation artwork. The next was "12 Jam dalam Kehidupan Penari Agung Rai" (1993) by Krisna Murti who used video as a part of his installation. In that artwork, Krisna Murti suppress some monitors which show documentation of Balinese dancer, Agung Rai. Besides those two names, it was hard to find artists who used video as their medium at that time - either as part of a complete installation or a single channel video works. According to Jim Supangkat, the emergence of phenomena of use video technology for artworks in the beginning of 1990s was caused by the effect of this medium that can give many possibilities on art exploration. Seni rupa video (ind.) - the term used by Jim - finally became a simulacrum which shown different methods on developing the use of video equipment for the purposes of art.2 Video has destroyed almost the entire boundaries of what considered a reality. The behavior of destroying this boundaries then became fundamental concept in the representing through video art.3 In Hendro Wiyanto's opinion, Indonesian contemporary artists who use of video as medium tend to be rising within these last three years. However, questions are rise then: whether the emergence and evolve of video art in Indonesia only following the trends to surf in the big waves whipped up and blew from the other side, or it successfully acquired social meaning of its own historical basis? [...]. Other interesting thing is, in the last decade when video art seemed becoming a mainstay yet prestigious medium to develop contemporary art discourse, it is hard to track the traces of meaningful review of its practice in Indonesia.4 There is different view from Ronny Agustinus: "...It is strange indeed if there are parties who stunned seeing this sophisticated development, especially if the come from art scene. Some of them then give comments which are not only sound very trite, but also - sorry to say - stupid: "this is not art" or even: "what the hell is video art? Glodok people just better at it." I, myself, do not fully understand (or interested) the artworks in this Festival . But the fact that ruangrupa flooded by video artworks shows how this phenomenon really exist. The questions should be: why are we surprised seeing the linkage between art and technology as if this 1. Kompas, “Dinding Kita Penuh Gambar Video,” Saturday, July 12, 2013 2. Jim Supangkat, “Senirupa Video Krisna Murti”, Video Publik, Kanisius Publisher, Yogya. 1999/ page 02 3. Ibid., page 6 4. Hendro Wiyanto, ‘Menyusuri Buih-Buih Kecil atau Menunggang Gelombang: Para Perupa Indonesia Berselancar dalam Medium Video’, OK.Video Jakarta International Video Art Festival 2003 After Event Catalog, (Ruangrupa, Jakarta, 2003), page 97.

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MUSLIHAT OK. Video Catalogue  

Video Out | MUSLIHAT OK. Video - 6th Jakarta International Video Festival 5-15 September 2013 at Galeri Nasional Indonesia www.okvideofest...

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