ANTARA PICTURE

JAKARTA, 9/27/2011─Selebritrist, actrist Titi Sjuman take action in front of a painting after opened Fighting Cocks Group Yogyakarta exhibition titled 'Tubuh-tubuh Margin' (Marginal Bodies) at Philo Art Space, Jakarta, Monday night (26/9). The exhibition will be held until October, 10, 2011.
Picture: ANTARA/Dodo Karundeng/mes/11

Whose Canvas: MULTAZAM (ZAM) KAMIL

THE BEAT, June 10, 2011

Multazam Kamil and his art works at Santrian Gallery, Bali (04/30/2011)

Concept
Zam Kamil works of art visually speak to us about the little poetic moments of life, the fallibility of the human spirit and certain poignant situations in life. In Zam Kamil’s painted world, matters relating to the material and the physical realm are left forgotten as one can find a sense of wonder towards nature in his creations.

MIRRORS FOR JAVA LAND

Koran Tempo, Senin, 1 November 2010

RAMAH TAMAH TANAH JAWA, 2010

Human figure in a suit and tie down respectfully. His left hand was stretched wide, and the right hand attached to the chest. Tree down in front of him. Trees and people are impressed saluted one another. But the human head in the form of a shovel, that ready to dredge anything in front of him.

SO HOW Nurul Hayat aka Acil described the situation of the Java community through three-dimensional artwork of newsprint materials called 'Ramah Tamah Tanah Jawa' at the exhibition titled 'Tanah Jawa' in Taman Budaya Yogyakarta, October 27-31, 2010. Acil is being questioned the Javanese amicability, but then the migrants take advantage. “Is that amicability of the Javanese instead of strength or weakness?” Acil said.

The group exhibition that initiated by Arts Liberation Front followed by 38 ethnic Javanese artists featuring 78 works, 13 of them three-dimensional works. “Their hope, people from outside (non-Java) might be able to see the culture of Java with a different angle,” wrote Anton Larenz in curatorial.

Most of the work has passed the technical problems. But the problems arise on the theme of ‘Java’ that traps the artists in Java idioms cliche, like puppet imagery, women with kemben, Java script, till Java custom clothing. Even Djoko Pekik represent his old work entitled 'Detik-detik Jam 00 Tahun 2000', that depicting a crowd in front of the Yogyakarta Palace.

But Acil and most artists going to free themselves from Java idiom cliche. For example, the work of Tri Suharyanto, sculpture titled 'Imagine'. This work is made of resin in the form of a book called 'Nusantara' that propped up a dozen pictures of green shake hands. “I imagine it would be wonderful if the Javanese hold hands, give and take,” he said.

Or also Priyaris Munandar sculpture titled 'Berburu Tangga Surga'. This work is a red painted wooden pole with five spades read five main religions: Buddhism, Hinduism, Catholic, Christian and Islam. According to him, every religion teaches kindness and promise paradise. But, he said, the most important way people can enjoy heaven on earth. “The trick, is keep the balance of earth and heaven energy,” said Priyaris. (HERU CN/RFX)

CERMIN UNTUK TANAH JAWA

Koran Tempo, Senin, 1 November 2010

RAMAH TAMAH TANAH JAWA, 2010

Sosok manusia berjas dan berdasi itu menunduk takzim. Tangan kirinya merentang lebar, sedangkan telapak tangan kanan menempel di dada. Di depannya pohon menunduk. Pohon dan manusia itu terkesan saling memberi hormat. Tapi kepala manusia itu berupa sekop yang siap mengeruk apapun di depannya.

BEGITULAH cara Nurul Hayat alias Acil menggambarkan situasi masyarakat Jawa lewat karya tiga dimensi, dari bahan kertas koran berjudul 'Ramah Tamah Tanah Jawa' pada pameran bertajuk 'Tanah Jawa' di Taman Budaya Yogyakarta, 27-31 Oktober 2010. Acil sedang mempertanyakan keramahtamahan manusia Jawa, dan pendatang memanfaatkan sifat manusia Jawa yang ramah. "Apakah keramahan orang Jawa itu kekuatan atau justru kelemahan?", ujar Acil.

Pameran yang diprakarsai kelompok Arts Liberation Front ini diikuti 38 perupa etnis Jawa yang menghadirkan 78 karya, 13 di antaranya karya tiga dimensi. "Harapan mereka, orang dari luar (bukan etnis Jawa) mungkin bisa melihat budaya Jawa dengan mata yang berbeda," tulis Anton Larenz, dalam konsep kuratorial.

Sebagian besar karya sudah melewati masalah teknis. Tapi masalah muncul pada tema Jawa yang menjebak perupa pada idiom klise Jawa, seperti citraan wayang, perempuan berkemben, teks aksara Jawa, hingga pakaian Jawa. Bahkan pelukis Djoko Pekik memaksakan diri mengusung karya lawasnya berjudul 'Detik-detik Jam 00 Tahun 2000', yang menggambarkan kerumunan massa di depan Pagelaran Keraton Yogyakarta.

Tapi Acil dan sejumlah perupa membebaskan diri dari idiom klise Jawa. Misalnya, karya Tri Suharyanto, berupa karya patung berjudul 'Imagine'. Karya berbahan resin ini berupa citraan buku bertuliskan 'Nusantara' yang menopang belasan citraan tangan hijau yang saling berjabat. "Saya membayangkan, alangkah indahnya jika masyarakat Jawa saling bergandengan tangan, saling memberi dan menerima," katanya.

Atau juga karya patung Priyaris Munandar berjudul 'Berburu Tangga Surga'. Karya ini berupa tiang kayu bercat merah dengan lima sekop bertuliskan lima agama besar: Buddha, Hindu, Katholik, Kristen dan Islam. Menurut dia, tiap agama mengajarkan kebaikan dan menjanjikan surga. Tapi, katanya, yang terpenting bagaimana manusia bisa menikmati surga di bumi. "Caranya, menjaga keseimbangan energi bumi dan langit," ujar Priyaris. (HERU CN/RFX)

MULTAZAM KAMIL AT THE ARYASENI ART GALLERY

Asian Art News, November/December 2006

MELANCHOLIC SANGUINE
Oil on canvas, 140 x 180 cm, 2006

The recent exhibition of Kamil's oils, entitled Dance of Live, includes work from 2002 to the present. These paintings show the artist to be love with the drama and dignity of the human body alone and in groups, at play and rest, and its potential to inspire a sense of the freedom and joy of living. Yet, his people are entirely anonymous, without definite features, without the singularity of clearly defined personalities. It is only through the boldness of Kamil's line and colors that we obtain any sense of gender and personality.

COLOR and the drama of movement are the heart and the strength of the work by the young Indonesian painter, Multazam Kamil. It is this that lends his art its youthful spiritedness. The dynamic and the spirit of Kamil's oil paintings, however, owes a great deal to the work of such masters as Paul Cezanne (1839-1906) Henri Matisse (1869-1954). Paintings such as Cezanne's Bathers (1898-1905) and Matisse's 'Dance' (1910) and 'Joy of Life' (1905-1906) are clearly referenced throughout Kamil's oeuvre.

The recent exhibition of Kamil's oils, entitled Dance of Live, includes work from 2002 to the present. These paintings show the artist to be love with the drama and dignity of the human body alone and in groups, at play and rest, and its potential to inspire a sense of the freedom and joy of living. Yet, his people are entirely anonymous, without definite features, without the singularity of clearly defined personalities. It is only through the boldness of Kamil's line and colors that we obtain any sense of gender and personality.

As Kamil's protagonists cavort, dance, recline, or bind together in acts of love and joy, the rhythm of their actions draws the eye to their activity. This is enhanced by the strength of his colors. From subtle blues and greens to bold reds and yellows, from light cream to black to grayish white, all are used in dramatic and contrasting fashion to bring alive his studied situations. Works such as 'Temptation and Tenacity' (2006), with its tight geometry of naked and clothed figures, and the simple, open 'Acrobat' (2002) are good examples of Kamil's technique.

There is an obvious romanticism to Kamil's thinking, but it is not something that permeates all of his work. However, his art does have a certain youthful sentimentality to it that detracts from the power of his best paintings. This sentimentality is revealed in certain languid poses and such details as the dove.

The spirit of personal freedom and sensuality are well expressed in many works. There is, however, another side to Kamil's work, one that smacks sadness, loneliness, and alienation. The joy and the sadness, of the world as Kamil sees it, is brought together in 'Melancholic Sanguine' (2006) with a forcefulness that is missing in many of his other works, especially those that tend too much towards the romantic and the sentimental.

IAN FINDLAY

SPIRIT ’90 EXHIBITION: THE EXPRESSION OF CONSCIENCE WHICH FIND A PLACE AGAIN

Harian Bernas, Minggu Kliwon, 20 Februari 1994

THE WILD THING, 1994
(Dr. Oei Hong Djien's collection)

Four other prominent painters that I noted were Yani Halim, Moch Basori, Multazam Kamil and Temmy Setiawan. Yani’s artworks, 'Love, Devil and Wild Bords' and 'Ridiculous Love Stories', Basori’s artwork, 'Dari Balik Jendela Sunyi', Multazam’s artwork, 'The Wild Thing' are the works which strong language and content. They wrapped the idea with the 'language forms' which held convincingly.

FINE ARTS, especially painting in the city of Yogyakarta has its own history and special creative way. This may be quite closely related to the circumstances of the undeniable Yogyakarta as one of the cities which keeps dynamics and exceptional magma of art. Art in the city of endless created by artists, almost ever drought of ideas.

Creation and creativity always hand in hand has launched a new sprinkling which is always exciting. Fine art (again, especially painting) is the one of the full expression media that blast even exploded made by Yogyakarta artists from time to time. Although the unforgettable rebel movement in the art world a broader embryo and then his motor activity also occurred in the city of Yogyakarta.

Entering the second month of 1994, several artists (young artists) in Yogyakarta make a movement, although it is quite conservative but have a sense of interest, especially for painting maps of Yogyakarta (Indonesia). The first is the Yogyakarta Young Painters exhibition (January '94) that is not very attractive even weak in the curation process. And the second is a painting exhibition (group) of Spirit '90 (February, 5-10, 1994), both held at Purna Budaya, Yogyakarta.

The exhibition that organized by the students of the Faculty of Fine Arts (FSR) ISI Yogyakarta force in 1990, consists of 24 people who joined in the (group) Spirit '90 is interesting and worthy of mention.

First, in the context of the current competition between people that keeps pace with tough, against a backdrop of growing erosion of team spirit, they actually present in the spirit of the Group of confident, firm and orderly. They are working and seriously in the preparation of the work, and in preparation for the exhibition. We know, group work, especially for artists, who tend to be selfish, not easy to coordinate. But it seems, the spirit and romance of sufficient strength is one of the factors in their favor for the Organization of activities. If they can keep this as a ‘power’ of the group, not only the exhibitions, but also (hopefully) the thought. As a young artist who still have enough time, they have the opportunity to equip themselves thought process and explore creativity and desire to be different in the future.

Second, the works that they present the average seems to indicate a higher class, if you watch the age class (education), that they follow. Most of them show together is quite encouraging. One thing i noted with interest that they offer the expression of conscience which registry free from full trust, potential and find a place (again) in the middle of a connoisseur of painting.

The expression of conscience that I mean is the reappearance of the total expression, tend to abstract and distant from arrange the shape or form, as well as other key elements. Because during this time that impression organize – and because of that the work losing expression and its mystery – that always we find in each event.

Their work appears to intend an abstract expression of reality and reality expression of abstraction according to their conscience. Look for example, I Nyoman Sukari, 'Bali Action' and 'Bali Night’ that process the breathing of art forms in accordance with the Bali tradition with modern ways. Manner of writing (brushtroke) that so expressive, wet paint that's left to melt everywhere, the choice of heavy colors and playing random fields, is that the visual value. That is can be seen to in the work of Ida Bagus Wayan Baskara Krishna Santi, 'Berkelana Dalam Gejolak Putih' or 'Bersimpang Dalam Senandung Putih', which offers the absurdity of dreams in Bali idiom.

Then Rudy Pariasa’s artwork, I Made Wiradana, I Wayan Sunadi or I Ketut Tenang, showing the spirit of Bali that is ‘only’ process the ornaments and more simple. Herman Susila and Burhanuddin offer a breath of surrealistic fantasy. While the game's watercolor of Tommy Faisal Alim expected to jump more than one technical game.

Four other prominent painters that I noted were Yani Halim, Moch Basori, Multazam Kamil and Temmy Setiawan. Yani’s artworks, 'Love, Devil and Wild Bords' and 'Ridiculous Love Stories', Basori’s artwork, 'Dari Balik Jendela Sunyi', Multazam’s artwork, 'The Wild Thing' are the works which strong language and content. They wrapped the idea with the 'language forms' which held convincingly.

The different offering is the work of Temmy Setiawan. It seemed to have the spirit of surfing, the spirit of exploration of the area to accommodate their ideas. Look at their strongest, 'Penghasilan yang Tak Seisi Perut' with leaves that have original wooden frame which form the elements, strong and unified. Or his other works, 'Di Pintu Ku Menghadap, di Pintu Ku Berharap', which uses a sheet of leaf of the intact door as a "canvas" of painting. Exploration is compelling, and certainly could be expected to enrich the form of expression of Indonesian art.

Spirit '90 is a group of young artists as well as the fine arts potential of the city of Yogyakarta. They expressed themselves appear as a search for the true essence. Exhibition is the milestones and a touchstone of them; would survive and continue to capture the artist's profession that full of challenges, or later retired from the scene of fierce competition. The competition was won by identity, rather than outside it.

If they, either among them are trapped in the 'out of the affairs of artists’, they was satisfied with speed, ease will be deleted artists predicate (artists) who have a true identity.

The struggle of fine art competition is complex and difficult. For the Spirit ’90, congratulation and to the reality of an open process ever more with the spirit and strong ‘faith’ or leave the arena immediately.

SUWARNO WISETROTOMO
(Art critic and lecturer Design and Fine Arts Faculty Indonesia Art Institute (ISI) Yogyakarta)

PAMERAN SPIRIT '90: 'KATA HATI' YANG KEMBALI MENDAPAT TEMPAT

Harian Bernas, Minggu Kliwon, 20 Februari 1994

THE WILD THING, 1994
(Dr. Oei Hong Djien's collection)

Empat pelukis lainnya yang menonjol yang saya catat adalah Yani Halim, Moch Basori, Multazam Kamil dan Temmy Setiawan. Karya Yani, ('Love, Devil and Wild Bords' dan 'Ridiculous Love Stories') karya Basori ('Dari Balik Jendela Sunyi') karya Multazam ('The Wild Thing') adalah karya-karya yang kuat bahasa ungkapnya maupun muatan isinya. Mereka membungkus gagasan dengan 'bahasa rupa' yang dikuasai dengan meyakinkan.

SENI RUPA, khususnya seni lukis di Yogyakarta ini memiliki sejarah serta perjalanan kreatif yang istimewa. Barangkali hal ini cukup erat hubungannya dengan situasi dan kondisi Yogyakarta yang tak dapat diingkari adalah sebuah kota yang menyimpan dinamika dan magma kesenian yang istimewa pula. Kesenian di kota ini tak habis-habisnya diciptakan oleh para seniman, nyaris tak pernah kekeringan gagasan. Kreasi dan kreativitas senantiasa beriringan, meluncurkan letupan-letupan baru yang sering menggairahkan. Seni rupa (sekali lagi, khususnya seni lukis) adalah salah satu media ekspresi yang penuh letupan bahkan ledakan yang dilakukan oleh para pelukis Yogyakarta dari waktu ke waktu. Sekalipun tak dapat dilupakan gerakan-gerakan pemberontakan dalam dunia seni rupa yang lebih luas embrionya dan kemudian juga aktivitas gerakannya juga terjadi di Yogyakarta.

Memasuki bulan kedua tahun 1994 ini, beberapa pelukis (muda) Yogyakarta membuat suatu gerakan, sekalipun cukup konservatif namun memiliki arti yang menarik, khususnya bagi peta seni lukis Yogyakarta (Indonesia). Pertama adalah pemeran Pelukis Muda Yogyakarta (Januari '94 lalu) yang tidak begitu menarik dan tampak lemah dalam proses kurasinya. Dan yang kedua adalah pameran lukisan (kelompok) Spirit '90 (5-10 Februari 1994), keduanya berlangsung di Purna Budaya Yogyakarta.

Pameran yang diselenggarakan oleh para mahasiswa Seni Lukis Fakultas Seni Rupa (FSR) ISI Yogyakarta angkatan tahun 1990, terdiri dari 24 orang yang tergabung dalam nama (wadah) Spirit '90 tersebut menarik dan pantas dicatat.

Pertama, di tengah arus persaingan antarindividu yang terus berpacu dengan ketat, di tengah semakin terkikisnya semangat kelompok, mereka justru hadir dengan semangat kelompok yang penuh percaya diri, solid dan tertib. Mereka bekerja keras dan serius dalam menyiapkan karya-karya maupun dalam persiapan pameran. Kita tahu, kerja kelompok terlebih bagi para seniman yang cenderung egoistik-tidaklah mudah mengkoordinasikannya. Namun tampaknya semangat dan romantisme angkatan merupakan faktor yang cukup menguntungkan mereka untuk menyelenggarakan kegiatan. Hal ini jika dapat mereka pertahankan tidak saja aktivitas menjadi 'kekuatan' kelompok yang menarik, tidak saja aktivitas pameran-pamerannya, melainkan juga (mudah-mudahan) pemikiran-pemikirannya. Sebagai pelukis yang masih muda usianya mereka memiliki kesempatan cukup panjang untuk melengkapi diri dengan pemikiran, mengolah serta mengeksplorasi kreativitas serta keinginan untuk tampil beda di masa-masa mendatang.

Kedua, karya-karya yang mereka sajikan rata-rata tampak menunjukkan kelasnya lebih tinggi, jika dilihat dari usia angkatan (pendidikan) yang mereka tempuh. Sebagian besar dari mereka menunjukkan totalitas yang cukup menggembirakan. Satu hal yang saya catat dengan menarik adalah bahwa mereka menawarkan satu ekspresi kata hati yang total-leluasa-penuh keyakinan, potensial dan ternyata mendapatkan tempat (lagi) di tengah penikmat seni lukis.

Ekspresi kata hati yang saya maksud adalah munculnya kembali ekspresi yang total, cenderung abstrak dan jauh dari kesan menata-nata format atau bentuk serta elemen-elemen dasar lainnya. Karena selama ini kesan menata-nata itulah-dan karenanya sebuah karya menjadi kehilangan ekspresi dan misterinya-yang nyaris selalu kita temui dalam setiap peristiwa pameran.

Pada mereka terlihat kecenderungan ekspresi yang mengabstraksikan realitas maupun yang merealitaskan abstraksi sesuai dengan kata hatinya. Lihatlah misalnya karya I Nyoman Sukari ('Bali Action' dan 'Bali Night') yang mengolah nafas bentuk-bentuk seni tradisi Bali dengan cara ungkap modern. Sapuan kwas (brushtroke) yang ekspresif, cat basah yang dibiarkan meleleh di sana-sini, pilihan warna-warna berat serta permainan bidang yang acak, adalah bobot visual dari karya tersebut. Hal senada juga dapat dilihat pada karya Ida Wayan Bagus Krishna Santi Baskara ('Berkelana Dalam Gejolak Putih' atau 'Bersimpang Dalam Senandung Putih') yang menawarkan absurditas mimpi-mimpi dalam idiom Bali.

Kemudian karya Rudy Pariasa, I Made Wiradana, I Wayan Sunadi, atau I Ketut Tenang, menunjukkan spirit Bali yang 'hanya' mengolah ornamen-ornamen Bali dan lebih sederhana. Herman Susila dan Burhanuddin menawarkan fantasi dengan nafas surealistik. Sedangkan permainan cat air Tommy Faisal Alim bisa diharap untuk meloncat lebih dari sekadar permainan teknis.

Empat pelukis lainnya yang menonjol yang saya catat adalah Yani Halim, Moch Basori, Multazam Kamil dan Temmy Setiawan. Karya Yani, ('Love, Devil and Wild Bords' dan 'Ridiculous Love Stories') karya Basori ('Dari Balik Jendela Sunyi') karya Multazam ('The Wild Thing') adalah karya-karya yang kuat bahasa ungkapnya maupun muatan isinya. Mereka membungkus gagasan dengan 'bahasa rupa' yang dikuasai dengan meyakinkan.

Tawaran rupa yang paling berbeda adalah karya Temmy Setiawan. Ia tampak memiliki semangat menjelajah, semangat melakukan eksplorasi material untuk menampung gagasan-gagasannya. Lihatlah karyanya yang terkuat, 'Penghasilan yang Tak Seisi Perut' dengan bingkai lembaran-lembaran kayu yang masih asli, menjadi elemen yang kuat dan menyatu. Atau karyanya yang lain, 'Di Pintu Ku Menghadap, di Pintu Ku Berharap' yang menggunakan selembar daun pintu utuh sebagai 'kanvas' lukisannya. Eksplorasi yang meyakinkan dan tentu bisa diharap untuk memperkaya ungkapan rupa seni lukis Indonesia.

Spirit '90 adalah kelompok pelukis muda dan sekaligus potensi seni lukis yang dimiliki Yogyakarta. Mereka telah menyatakan diri tampil sebagai upaya meraih jatidirinya yang sejati kelak. Pameran adalah batu loncatan dan batu ujian mereka; akan bertahan dan terus menggenggam erat profesi sebagai pelukis yang penuh tantangan, atau kemudian mengundurkan diri dari gelanggang kompetisi yang sengit. Kompetisi meraih jatidiri, bukan yang di luar itu.

Jika mereka atau tepatnya di antara mereka ada yang kemudian terperangkap ke dalam 'urusan-urusan di luar kesenimanan', merasa cepat puas, dengan mudah ia akan segera terpelanting ke luar dari predikat seniman (perupa) yang memiliki jatidiri sejati.

Pergulatan kesenian memang rumit dan penuh tantangan. Kepada Spirit '90, selamat memasuki realitas yang semakin terbuka dengan semangat dan 'iman' yang kuat atau meninggalkan gelanggang dengan segera.

SUWARNO WISETROTOMO
(Pengamat seni rupa, staf pengajar FSRD ISI Yogyakarta)

THE CREATIVE PROCESS OF NURUL HAYAT (Urban Discourse connectivity with Dimension)

What remains of urban life are only the texts that you can read so well in naked bodies.
 (Nurul Hayat)

In the context of urban life, the question of identity is absolutely necessary for interaction between people. Through his works, Acil was trying to criticize a misunderstanding when the stress of identity itself relies solely on advertising, lifestyle or trend. He wanted to 'expose' the bodies that rely on that nonsense. Even in the extreme, he 'removed' all the attributes of beauty or handsomeness by removing the hair on the heads of his figures.

Creative Process Background
A YOUNG MAN ran into the crowd fighting to get in a city bus crowded with people. His relatively small body got caught in the door before it finally succeeded in breaking into the middle of the crowd. People were squeezed in around him. One-two people are talking, but most were silent, hardly greeted each other.

Out there, the ads on large standing billboards were seen at the crossroad of many roads. There were giant televisions and dull banners, some of which appear to be torn. Buildings were reaching into the sky. And further, he saw the dazed people stopping at the bus stops. People were fighting over something. People were chasing each other. And people swarmed down to either doing nothing. That is how he went through the day-to-day life in the city from 1999 to mid 2006.

Time blows quickly and unconsciously the living experience for nearly seven years in the city left a deep impression in the minds of Nurul Hayat, a young artist whom by his colleagues is often called Acil. The frozen faces without expression that he found when traveling by bus or electric train suddenly appeared back in all his paintings. So it is with the people who are huddled and high-rise buildings with a complex winding layout, which are always equipped with emergency stairs.

Nurul Hayat (Acil) was born in Tasikmalaya, West Java, on 6 September 1972. An alumnus of Sarjanawiyata Tamansiswa University, he is going through post-graduate education at the Indonesian Arts Institute (Institut Seni Indonesia) Yogyakarta majoring in Art Creation. He now lives in Perum Sewon Asri, Bantul, Yogyakarta together with colleagues.

Acil is a unique and multitalented artist. In addition to drawing, installation and painting, he enjoys composing songs. His collection of songs has reached tens or even hundreds of titles. He explores different types of music from ballads to reggae. His musical activities got a boost from when he was still joining Suwung studio Yogyakarta and continue even when he travels. Music is his greatest weapon to kill his boredom that often strangles him during his stay in Jakarta.

PERINGKAT, 2010

In addition to painting, tri-dimensional works is a new activity that he is now engaged with no less seriousness. Acil deliberately chooses newspaper, as the media of his tri-dimensional works for its ecological reasons as well as it is readily available and so easily transmitted to others. His tri-dimensional works have been exhibited at the Taman Budaya Yogyakarta and reviewed by the Kompas newspaper (the Friday edition, October 29, 2010), Kedaulatan Rakyat (the Sunday edition, October 31, 2010) and Tempo (the Monday edition, November 1, 2010).

MEMBABI BUTA, 2010

The Framework of Thought and The Search Phase of Two-dimensional Works
Many years of contact with the environment, human characteristic and social problems of the city itself is the inspiration for Acil. Almost every day he saw people from different backgrounds doing their respective activities in order to realize their dreams and goals. For Acil, all that a man does is an attempt to establish his existence. It has been that the nature of human desire is always to be recognized in the middle of his society.

In that framework, the nature of competition is something natural. And is it not that competition in a variety of reasons and forms always present in our midst? This is not surprising considering that nature of human beings is always the desire to be the premier. But then the question arises, what is the essence of competition between the men?

To answer the question above, Acil deliberately quoted Friedrich Wilhelm Nietsche’s philosophy of human existence; "In inter-human relationships that have grown there are great human beings, ueber-Mensch, superman, that they can overcome the strength of the group of people in mass. That should be the goal of human life is embodying great human beings who are stronger, smarter and more daring ".

So it is only natural that a bunch of masculine bodies, naked, colorful bald heads, with flat facial features, often appear in Acil’s fine works. They are always in chasing, jumping, embracing or reaching 'something' poses. Acil has a view that the essence of artistic professional attitude is absorbing environmental phenomena and then communicating them. So he chooses the way of narrative communication just like a novel or comic book storyline that has elements in it, where there will always be leaders who represent a certain character. But in this case, Acil tells us all just by drawing a single frame.

Personality is an important element in a story, not to mention great ideas about human nature that Acil tried to narrate through his works. He adopted the stereotype Si Polan as the figure in his works. Si Polan is a figure without identity (noname) who is perfect and perfectly follows the lack of benefits as men. As we all know that the name itself is often associated with the yellow book of the students to represent ‘the who’ in religious cases ─ frequently found in books that discuss the field of Shariah.

The name of the stereotype Si Polan has different versions in other countries, for example, in Arabic it is called Fulan, the Americans call him John Doe, the Chinese call him Thio Sam, he is called Ah Beng in Singapore and the Portuguese people call him Fulana. Now, Acil described Si Polan as a bald-headed man (colorful) with one tone body-color, because body movement is a shadow (wayangan; one colour tone). The body is simply the tools of the brain in the head. Without a head, the body would have no identity. And of course, different heads have different ways of thinking (contents of mind).

Therefore, the biggest 'goal' to be achieved by a man in his life was often translated as 'perfect man'. Just as the works of the series "Nine Spirit" that were made during the year 1999, Acil described the glorious achievement by the symbol digit '9 '. The interpretation of the symbol will not be discussed here, but basically Acil wanted to stress out that the competition between people to achieve superiority will end in a noble purpose (the highest), which is dimensional (multilevel) ─ the circumstances of one situation will not be equal of the other situations, or one subject to another.

In another point of view, WT Stace in his book The Concept of Morals confirmed that something that is said to have existence is when it is public. That is, the existence of something should be 'seen' and 'experienced' by many people.
It is a valuable experience when standing on the bus or the city of Jakarta-Bogor electric train, he saw people standing or sitting so close to each other but they do not greet each other. They do not know the background of each other, name, address, education and so forth. For Acil, the people in front of him ' do not exist' because he does not know their identity, nor the person in front of Acil. And so forth. All people mutually negate their existence.

In the context of urban life, the question of identity is absolutely necessary for interaction between people. Through his works, Acil was trying to criticize a misunderstanding when the stress of identity itself relies solely on advertising, lifestyle or trend. He wanted to 'expose' the bodies that rely on that nonsense. Even in the extreme, he 'removed' all the attributes of beauty or handsomeness by removing the hair on the heads of his figures.

WHERE AM I
Mixed media on canvas, 120 x 150 cm, 2010

He tries to answer the symbolization of the urban life phenomenon by putting the areas of building complete with their stairs. At first, he found the stress of urban life phenomena in the areas of the building, but when the process of his thinking continued to evolve, it is found that it is the text that actually forms the context (urban phenomenon).

MANY WAYS TO NINE
Acrylic on canvas, 140 x 200 cm, 2009

When confronted with the distance, the text reflects the reality in the minds of men that often even reproduces itself into new meanings. Acil seems to understand this phenomenon in which the framework of visual semiotics he 'flipped' the text to be an element of artistic (encourage) to his works, which was interleaved with carefulness and accuracy.

The recent facts of the communication revolution era - by the visual, are represented by newspaper sheets. We cannot deny that the newspaper is the product of urban life. But then naturally it bounced and turned into the most dominant agent in shaping the patterns of lifestyle and self-image of the urban society itself. The relationship of both is clearly manifested by gadget ads, good services, clothing, accessories, beauty, and others.

Departing from that idea, Acil decided to change into a collage-painting technique by placing a newspaper collage on the areas of his two-dimensional works. This decision is fundamentally important to maintain a strong connectivity between the aesthetics language (visual media) with the discourse initiated.

REDIRECTION
Mixed media on canvas, 145 x 220 cm, 2011

The inevitability of fine art today is that it will continue to grow and continues to find its shape. Hence, the artist is expected to continue to explore options in terms of aesthetic language and thinking pattern, which are the background to the birth of his works.

In this case, Acil is special as a professional artist. Although he is still new but he is a hard worker and learner, as evidenced by his growing ideas in line with his passion to continue foster his creativity and rejection to be limited by the media and dimensions alone. We are all waiting for Acil’s next creative exploration.

Yogyakarta, Desember 2010
DEDI YUNIARTO

PROSES KREATIF NURUL HAYAT (Keterhubungan Wacana Urban dengan Matra)

What remains of urban life are only the texts that you can read so well in naked bodies.
 (Nurul Hayat)

Dalam konteks kehidupan masyarakat urban, identitas adalah persoalan mutlak bagi pergaulan antar manusia. Melalui karya-karyanya Acil mencoba mengkritisi pemahaman yang salah ketika aksentuasi identitas itu sendiri semata-mata disandarkan kepada iklan, lifestyle atau trend. Ia ingin ‘menelanjangi’ tubuh-tubuh yang bersandar kepada omong kosong itu. Bahkan secara ekstrem ia ‘hilangkan’ segala atribut kecantikan atau ketampanan dengan menghilangkan rambut di atas kepala tokoh-tokoh dwi matranya.

Latar Belakang Proses Kreatif
SEORANG anak muda berlari-lari berebut masuk ke dalam sebuah bis kota yang penuh sesak dengan manusia. Tubuhnya yang terbilang kecil itu sempat tertahan di pintu sebelum akhirnya berhasil menyusup ke posisi tengah. Di sekitarnya orang-orang saling berhimpit. Satu-dua orang terlihat berbincang namun nyaris sebagian besar diam tak saling menyapa.

Di luar sana nampak iklan pada baliho-baliho jangkung yang banyak berdiri di perempatan jalan. Televisi raksasa serta spanduk-spanduk kusam yang beberapa di antaranya nampak tercabik-cabik. Gedung-gedung menjulang ke langit. Dan lebih jauh lagi ia melihat orang-orang termangu di halte-halte pemberhentian. Orang-orang berebut sesuatu. Orang-orang saling berkejaran. Dan orang-orang bergerombol yang entah melakukan apa. Demikianlah ia lalui hari demi hari kehidupannya di kota Jakarta dari tahun 1999 hingga medio 2006.

Waktu berhembus cepat dan tanpa disadari pengalaman hidup selama hampir tujuh tahun di kota Jakarta menyisakan kesan mendalam di benak Nurul Hayat, seorang seniman muda yang oleh teman-teman seprofesinya kerap dipanggil Acil. Betapa tidak, wajah-wajah beku tanpa ekspresi yang dahulu kerap ia jumpai ketika menempuh perjalanan dengan bis atau kereta listrik tiba-tiba muncul kembali pada setiap karya-karya lukisnya. Begitu pula dengan manusia-manusia berjubel serta gedung-gedung bertingkat dengan tata ruang berkelok-kelok nan rumit yang selalu dilengkapi dengan tangga darurat.

Nurul Hayat (Acil) lahir di Tasikmalaya, Jawa Barat pada 6 September 1972. Alumni Universitas Sarjanawiyata Tamansiswa ini sedang menempuh pendidikan pasca sarjananya di Institut Seni Indonesia (ISI) Yogyakarta dengan mengambil program studi penciptaan seni lukis. Bersama rekan-rekannya ia kini menetap di Perum Sewon Asri, Bantul, Yogyakarta.

Acil adalah seorang seniman unik dan multitalented. Selain piawai drawing, instalasi dan melukis ia juga gemar mencipta lagu. Koleksi lagu-lagu ciptaannya telah mencapai puluhan bahkan ratusan judul. Ia menjelajah berbagai jenis musik dari mulai balada hingga reggae. Aktivitas bermusiknya mendapatkan dorongan sejak masih bergabung di Sanggar Suwung Yogyakarta dan terus berlanjut hingga ia melanglang buana. Musik pulalah senjata pamungkasnya untuk membunuh rasa suntuk yang kerap mencekiknya selama di Jakarta.

PERINGKAT, 2010

Selain melukis, kini membuat karya-karya tri matra merupakan aktivitas terbarunya yang digeluti dengan tak kalah serius. Acil sengaja memilih kertas koran bekas sebagai media karya-karya tri matranya dengan alasan ramah lingkungan sekaligus mudah didapatkan sehingga dengan mudah pula ditularkan kepada orang lain. Karya-karya tri matranya sudah pernah dipamerkan di Taman Budaya Yogyakarta dan diulas oleh harian Kompas (edisi Jumat, 29 Oktober 2010), Kedaulatan Rakyat (edisi Minggu, 31 Oktober 2010) dan Koran Tempo (edisi Senin, 1 November 2010).

MEMBABI BUTA, 2010

Kerangka Pikir dan Tahap Pencarian Karya-karya Dwi Matra
Bertahun-tahun bersinggungan dengan lingkungan, karakteristik manusia serta gejala sosial kota Jakarta merupakan bahan inspirasi tersendiri bagi Acil. Hampir setiap hari ia saksikan orang-orang dari berbagai latar belakang melakukan aktivitasnya masing-masing demi mewujudkan impian dan tujuan mereka. Bagi Acil, semua yang dilakukan manusia merupakan upaya untuk membangun eksistensi dirinya. Sudah jamaknya bahwa hasrat alamiah manusia selalu ingin diakui keberadaannya di tengah-tengah pergaulannya.

Dalam kerangka itu maka kompetisi menjadi sesuatu yang lumrah saja terjadi. Dan bukankah kompetisi dalam berbagai alasan serta wujudnya selalu hadir di tengah-tengah kita? Hal ini tidak mengherankan mengingat naluri manusia selalu ingin menjadi yang terunggul. Namun lantas timbul pertanyaan, apakah esensi dari kompetisi antar manusia tersebut?

Untuk menjawab pertanyaan di atas, secara ekstrem Acil menyitir filosofi Friedrich Wilhelm Nietsche mengenai eksistensi manusia:

“Dalam pergaulan antar-manusia maka yang harus ditumbuhkan adalah manusia-manusia agung, ueber-mensch, superman, yaitu mereka yang oleh kekuatannya bisa mengatasi kumpulan manusia dalam massa. Yang harus dijadikan tujuan dalam kehidupan kemanusiaan ialah menjelmakan manusia-manusia besar yang lebih kuat, lebih cerdas dan lebih berani.”

Sehingga tidaklah mengada-ada apabila kita menyaksikan segerombolan tubuh-tubuh maskulin, telanjang bulat, berkepala plontos warna-warni, dengan raut wajah datar, kerap muncul dalam karya-karya rupa Acil. Mereka selalu dalam pose-pose mengejar, melompat, merengkuh atau menggapai ‘sesuatu’. Acil memiliki pandangan bahwa esensi laku kesenimanan secara profesional adalah menyerap fenomena lingkungan dan kemudian mengomunikasikannya. Maka ia memilih cara komunikasi naratif sebagaimana layaknya novel atau komik yang memiliki unsur alur cerita di dalamnya, di mana akan selalu ada tokoh yang mewakili suatu karakter tertentu. Namun dalam hal ini Acil hanya bercerita melalui satu bingkai lukisan saja.

Tokoh merupakan unsur penting dalam sebuah alur cerita, tak terkecuali gagasan besar tentang naluri manusia yang coba dinarasikan Acil melalui karya-karyanya. Ia mengadopsi stereotype si Polan sebagai tokoh dalam karya-karya lukisnya. Si Polan adalah tokoh tanpa identitas (noname) yang sempurna; sempurna berikut kekurangan dan kelebihannya sebagai manusia. Seperti kita semua ketahui bahwa nama Polan itu sendiri acap dikaitkan dengan kitab kuning para santri untuk mewakili ‘si anu’ dalam kasus-kasus keagamaan-banyak dijumpai dalam kitab-kitab yang membahas bidang syariah.

Nama stereotype si Polan memiliki sebutan yang berbeda-beda di negara lain, misalnya di Arab ia disebut Fulan, di Amerika sebutannya John Doe, di Tionghoa disebut Thio Sam, di Singapura disebut Ah Beng dan di Portugis orang-orang menyebutnya Fulana. Nah, si Polan dalam rekaan Acil digambarkan sebagai lelaki berkepala botak (berwarna-warni) dengan tubuh berwarna satu tone; karena gerakan tubuh hanyalah bayangan (wayangan; warna satu tone). Tubuh sekadar alat dari otak yang berada di kepala. Tanpa kepala, niscaya tubuh tidak memiliki identitas. Dan tentu saja lain kepala lain pula warnanya (isi pikirannya).

Syahdan, ‘tujuan’ paling tinggi (mulia) yang hendak diraih manusia sepanjang usianya kerap diterjemahkan sebagai ‘insan kamil’. Maka sebagaimana karya-karya seri “Nine Spirit” yang dibuat sepanjang tahun 1999, Acil menggambarkan pencapaian mulia tersebut dengan simbolisasi angka ‘9’. Interpretasi mengenai simbolisasi tersebut tidak akan dibahas di sini, namun pada dasarnya Acil hendak menegaskan bahwa kompetisi antar manusia untuk mencapai keunggulan akan berakhir pada satu tujuan mulia (paling tinggi) yang bersifat dimensional (bertingkat-tingkat)-tidak akan sama antara situasi satu dengan situasi yang lain, atau subyek satu dengan yang lainnya.

Dalam sudut pandang yang lain WT Stace dalam bukunya The Concept of Morals, menegaskan bahwa sesuatu dikatakan bereksistensi apabila ia memiliki sifat publik. Artinya, keberadaan sesuatu itu harus ‘disaksikan’ dan ‘dialami’ oleh banyak orang. Adalah sebuah pengalaman berharga ketika berdiri di dalam bis kota atau kereta listrik Jakarta-Bogor, ia saksikan orang-orang berdiri atau duduk begitu dekat satu sama lain namun mereka tidak saling menyapa. Mereka tidak saling mengetahui latar belakang; nama, alamat, pendidikan dan lain sebagainya. Bagi Acil, orang di depannya ‘tidak ada’ sebab ia tidak mengetahui identitasnya, begitu pun sebaliknya bagi orang di depan Acil. Demikian seterusnya. Semua orang saling meniadakan eksistensi masing-masing.

Dalam konteks kehidupan masyarakat urban, identitas adalah persoalan mutlak bagi pergaulan antar manusia. Melalui karya-karyanya Acil mencoba mengkritisi pemahaman yang salah ketika aksentuasi identitas itu sendiri semata-mata disandarkan kepada iklan, lifestyle atau trend. Ia ingin ‘menelanjangi’ tubuh-tubuh yang bersandar kepada omong kosong itu. Bahkan secara ekstrem ia ‘hilangkan’ segala atribut kecantikan atau ketampanan dengan menghilangkan rambut di atas kepala tokoh-tokoh dwi matranya.

WHERE AM I
Mixed media on canvas, 120 x 150 cm, 2010

Ia mencoba menjawab simbolisasi fenomena kehidupan urban dengan meletakkan bidang-bidang bangunan lengkap dengan anak tangganya. Semula ia menemukan aksentuasi fenomena kehidupan urban pada bidang-bidang bangunan itu, namun ketika proses berpikirnya terus berkembang ia menemukan bahwa tekslah yang membentuk konteks (fenomena urban).

MANY WAYS TO NINE
Acrylic on canvas, 140 x 200 cm, 2009

Ketika berhadapan dengan jarak, teks memantulkan realitas di dalam benak manusia bahkan acap kali mereproduksi diri menjadi makna-makna baru. Acil rupanya memahami fenomena ini di mana dalam kerangka semiotika visual ia ‘balikkan’ teks menjadi salah satu elemen artistik (encourage) bagi karya-karyanya yang disisipkan dengan penuh kehati-hatian dan kecermatan.

Fakta mutakhir era revolusi komunikasi saat ini yakni secara visual teks diwakili oleh lembar-lembar kertas koran. Tak dapat dipungkiri bahwa koran adalah salah satu produk kehidupan urban. Namun kemudian secara alamiah ia melantun dan berbalik menjadi agen paling dominan dalam membentuk lifestyle serta pola citra diri masyarakat urban itu sendiri. Pertalian keduanya sangat jelas termanifestasi melalui iklan-iklan gadget, good services, busana, aksesoris, kecantikan dan lain sebagainya.

Bertolak dari gagasan tersebut di atas, Acil memutuskan untuk merubah teknik melukisnya menjadi kolase-kolase dengan menempatkan kertas koran bekas pada bidang dwi matranya. Keputusan ini sangat fundamental mengingat penting menjalin keterhubungan yang kuat antara bahasa estetik (media visual) dengan wacana yang digagas.

REDIRECTION
Mixed media on canvas, 145 x 220 cm, 2011

Keniscayaan fine art hari ini ialah bahwa ia akan terus berkembang dan terus-menerus mencari bentuknya. Sejurus dengan itu seniman dituntut untuk terus bereksplorasi dalam hal pilihan bahasa estetik serta kerangka pikir yang melatar belakangi kelahiran karya-karyanya.

Dalam hal inilah letak keistimewaan Acil sebagai seorang seniman profesional yang meski perjalanan kesenimanannya masih terbilang hijau namun ia tipe seniman pekerja keras dan pembelajar, terbukti dengan jelajah gagasannya yang kian berkembang sejalan dengan hasratnya untuk terus mengembangkan kreativitas dan menolak dikungkung oleh media serta matra (dimensi) semata. Kita tunggu penjelajahan kreativitas Acil berikutnya.

Yogyakarta, Desember 2010
DEDI YUNIARTO