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