From Gampingan Axis, to Sewon - Bantul Axis (Historical Tread of ASRI to Faculty of Fine Arts ISI Yogyakarta) Notes: Suwarno Wisetrotomo
Asalamualaikum warahmatulahi wabarakatuh
Best wishes
Om Swastiatu
Ladies, gentlemen, and my respected audience,
This morning we are all aware, the reason we are gathered in this room, is to jointly celebrate the birthday, the birthday of ASRI Yogyakarta which became the embryo of the Faculty of Fine Arts ISI Yogyakarta. There is no more useful way to celebrate a birthday, except to try to set aside time to reflect, contemplate, do self-reflection, evaluate what has been done, and make a determination to do something better in the future. Because what is the meaning of remembering all that, if we are unable to learn the lessons?
For this reason, I would like to take a moment to invite you to imagine what happened about 62 years ago, when ASRI was declared. In 1949, four years after the Republic of Indonesia was proclaimed, a number of young figures such as R.J. Katamsi, Djajengasmoro, Sarwono, Hendra Gunawan, Kusnadi, Sindusisworo, Prawoto, and Indrosugondo, were struggling with the big idea of "establishing an art education institution". I don't know what exactly prompted that idea. Because the situation of art life at that time, actually - especially under the patronage of Bung Karno, the flamboyant first President of Indonesia - was in a conducive, romantic, and heroic situation. The artists were free, full of creative power, and even involved in the struggle for the independence revolution. I imagine that if they were to indulge themselves with their small communities, they would be happy enough. But they were still thinking about the interests of many people. I interpreted that along with the ideals of an independent, developed, and modern country, they wanted to place art not just as a skill, entertainment, and a pastime. But furthermore, they want to place fine arts in a position that is equal to science, and can play a concrete role in the development of the nation.
In various discussions or meetings in preparation for the establishment of ASRI, a number of arguments emerged, including from RJ. Katamsi who said, "art is a cultural product that can be preserved, maintained, and developed through an academy". Djajengasmoro also gave a speech and said that "ASRI draws inspiration from nature and the surrounding community, and tries to educate young artists to 'strengthen their sense of nationality'". If we pay attention, more than 60 years ago, they were already talking about the relationship between art and culture, the relationship between art and society, about how to nurture culture, about nature and society as sources of inspiration, and also about a sense of nationality.
We can imagine how these figures think, discuss and strengthen each other's arguments for the benefit of the artist community and the nation. They were not just preoccupied with themselves, their own work, or their own vanity, but they were thinking about a monumental institution. This burning desire was finally realized. The Decree of the Minister of PP & K No. 32 / Culture, dated December 15, 1949, contained the authorization of the establishment of the Indonesian Academy of Fine Arts (ASRI) in Yogyakarta. A month later, on January 15, 1950, at 10 am WIB, at the Kepatihan Ward in Yogyakarta, ASRI Yogyakarta was inaugurated. Let's take a look at a piece of RJ Katamsi's speech who was asked to be the First Director of ASRI Yogyakarta at the inauguration: "Ladies and gentlemen. ASRI was established with the hope that it would be able to 'raise the level of Indonesian art and culture', by "... guiding the ranks of dynamic and creative new artists, who can truly contribute their highly talented souls for the benefit of the country and the nation...". Katamsi's statement was lofty and noble; that the academy should aim to raise the level of art and culture; that it should contain dynamic and creative educators, artists, and aspiring artists who could one day contribute their skills to the nation. Five years later, in 1955, Bung Karno felt the need to visit the Gampingan campus to see firsthand the creativity of the lecturers and students.
ASRI continues to grow with the spirit of the times. In 1968, for the sake of the degree of graduates, ASRI changed its format to the Indonesian College of Fine Arts (STSRI) by perpetuating the name ASRI, becoming STSRI "ASRI" Yogyakarta, with the authority to graduate Bachelor of Fine Arts. The times were moving. STSRI was affected. After 16 years as an institution, STSRI "ASRI" followed the demands of the times, joining two other academies, namely ASTI and AMI, under the umbrella of ISI Yogyakarta, since July 23, 1984. STSRI "ASRI" metamorphosed into the Faculty of Fine Arts and Design, and since 1992 it has become the Faculty of Fine Arts.
My esteemed audience,
From ASRI to the Faculty of Fine Arts, this institution has traces and success stories that illuminate the Indonesian art scene, booming and going global. Not to be forgotten is the role of these figures who act as artists, as well as administrators. They are: (1). RJ Katamsi (First Director of ASRI 1950-58), (2). Ign. Djumadi M. Ed (Second Director, 1958-65), (3). Abas Alibasjah (Third Director, 1965-68, and First Chairman of STSRI "ASRI", 1968-75), (4). Abdul Kadir M.A. (Second Chairman, 1975-79), (5). Drs. Saptoto (Third Chair, 1979-84, First Dean of FSRD ISI Yogyakarta, 1984-91), (6). Drs. Narno. S (Second Dean, 1991-93), (7). Drs. Sun Ardi, S.U. (First Dean of FSRD ISI Yogyakarta 1993-2000), (8). Drs. Sukarman (Second Dean, 2001-07), (9). Dr. M. Agus Burhan, M.Hum (Third Dean, 2007-10), and now (10). Dr. Hj Suastiwi, M.Des (Fourth Dean since 2010). They are ten figures who sincerely and at all risks devoted themselves as administrators, as leaders of ASRI to FSR.
During that time, the institution gave birth to a number of names and events that inspired the development of art in Indonesia and the world. We cannot forget the names that made ASRI-FSR ISI Yogyakarta an institution with authority and charisma, such as Abas Alibasjah, Widayat, Fadjar Sidik, Saptoto, Suparto, Empu Ageng Edhi Sunarso, Soetopo, Margono, Sadjiman, Asnar Zaky, Hany Kardinata, Ir. Suparto, Ir. Merdah HS, Interior Design Alumni Association, HM. Bakir, Narno S, AN. Suyanto, Tukiyo HS, Sp. Gustami, Y. Eka Suprihadi, Herry Wibowo, Subroto Sm, Aming Prayitno, Nyoman Gunarsa, Wardoyo, Suwaji, and other contemporaries.
The teaching process at ASRI-FSR ISI Yogyakarta was also full of dynamics. Prof. Soedarso, Sp, can be mentioned as one of the carriers of the virus of information and inspiration through his method of teaching Western Art History and Indonesian Art History using many varied slide photographs, which undeniably influenced the thinking and creativity of students in the 1970s. Directly or indirectly, art thoughts and actions continued to emerge from the Gampingan campus, including the Black December Statement (1974), the Indonesian New Art Movement (1974-1979), the Art Performance of What Personality/PIPA (1977), the Happening Art Future Shock action (1982), Environmental Art (1980s), the Action of happening Destructive Image (1983), Village Unit Art/KUD (1985), and others that I cannot possibly mention in full in this opportunity. From these events we remember names such as Agus Dermawan T, Hardi, Suatmadji, Sudarisman, Tulus Warsito, Ris Purwono, Gendut Riyanto, Bonyong Munnie Ardhie, Redha Sorana, Ronald Manulang, Ivan Hariyanto, Haris Purnama, Moelyono, and a number of others, who made breakthroughs in art thought and practice.
This creative tradition continues in different modes and environments. At later times the institution was also embellished by the creative work of artists such as Edi Sunaryo, Ivan Sagita, Agus Kamal, Heri Dono, Eddie Hara, Dadang Christanto, Anusapati, Nyoman Erawan, Made Djirna, Made Budiana, Nindityo Adi Purnomo, Entang Wiharso, Nasirun, Noor Sudiyati, Titiana Irawani, Alvi Lufiani, Bambang Toko Witjaksono, Fauzie As'ad, Putu Sutawijaya, Pande Ketut Taman, Alfi, Handiwirman, Rudi Mantofani, Nano Warsono, Andre Tanama, to the generation of the 2000s with the challenges and spirit of a completely different era.
Ladies, Gentlemen, and Ladies that I honor,
Not only in the world of art practice, ASRI-FSR ISI Yogyakarta also gave birth to thinkers, writers, and curators, which began to be built by Drs. Sudarmaji, Prof. Soedarso Sp., MA, Agus Dermawan T, then Prof. Drs. SP. Gustami, Prof. Soeprapto Soedjono, Ph.D., MFA, Prof. Dr. Dwi Marianto MFA, Dr. M. Agus Burhan M.Hum, Drs. Sumartono MA, Drs. Sumbo Tinarbuko, M.Sn., Mikke Susanto, SSn, Kuss Indarto, S.Sn, Rain Rosidi SSn, Sujud Dartanto, SSn. M.Hum. Comrades who joined later, such as Drs. Wibowo M.Sn, and Widyatmoko M.Sn, also colored art and design thinking. It was they who began to build the growth of knowledge production as a counterbalance to the art and design practices that became the mainstream in this institution.
Dear Ladies/Father/Hadirs,
Because of these roles, in the 1970s, culturalist Emha Ainun Nadjib (if I remember correctly) divided two centers of science and art as Poros. The first is the Bulaksumur Axis (to refer to UGM, representing the center of science and technology) and the second is the Gampingan Axis (to refer to ASRI - STSRI "ASRI" representing the center of artistic thought and creativity). Both of them, meet at Malioboro Axis as melting pot where all disciplines meet and interact with the wider community. The term "axis" must be no joke, because an axis is the center, the axle, the midpoint, the axis of rotation. As a pivot, surely ASRI has enough prestige in terms of art thought and practice in Indonesia, and is able to be a partner for science and knowledge thought from the Bulaksumur axis.
The signs that ASRI was an important and influential center had been apparent for a long time. In 1956, at the Seminar on Science and Culture at Gadjah Mada University, a number of ASRI artists appeared as speakers. They were Soedjojono, Hendra Gunawan, Affandi, Widayat, and Amroes Natalsja. That year, they had already advocated to the government the need for a modern Museum of Fine Arts, a Museum of Fine Arts History, a Museum of Classical Fine Arts, a private Museum, and exposition spaces. In circles directly in contact with the wider public, the two axes, Gampingan and Bulaksumur met, at that time, in Malioboro.
The times are moving. The Gampingan axis must shift, moving to Sewon, Bantul. In my view, Sewon should also become an axis, even a new axis, with new strength, which should be more powerful, because it is complemented by Performing Arts and Recording Media Arts. The Sewon axis should be the headquarters where creativity and artistic thought are born and developed in their broadest and most possible forms within the academic corridor. The Sewon axis, with an awareness of its weaknesses and shortcomings, should still be more confident, and should also become a reference point for values. The Sewon axis should not lose the authority of value, meaning, and therefore should not be soft. It must have the courage to push forward ideas. It must have the courage to make breakthroughs, to build a wide network. We must have the determination to establish ourselves in the world map of fine arts. The Faculty of Fine Arts must not just be an accessory in the world of fine arts, but instead must become one of the mecca. The history and success stories we have are extraordinary capital to have such attitudes. FSR must dare to create a balance between the needs of Doctors and Professors and Artists, Designers, and Maestros/Empu Ageng of fine arts. An art higher education institution, in my view, must not experience an artistic crisis, nor a maestro crisis. There should be no mediocre attitude and mentality that feels great at home, but has no place in a wide public space. Self-confidence is very important, but we must also avoid unnecessary arrogance.
The fact of the matter is that we must look carefully at the space melting pot-The location has also shifted; no longer in Malioboro (because it has become a massive economic area), but in new public spaces such as Taman Budaya Yogyakarta, Tembi Rumah Budaya, Bentara Budaya Yogyakarta, Karta Pustaka, Cemeti Art House, Sangkring Art Space, Nitiprayan area, Sewon Art Space, Jogja National Museum, Jogja Gallery, and others. The challenges are of course also different. The Faculty of Fine Arts is directly confronted with art events, both in Yogyakarta itself and outside Yogya, such as the Jogja Biennale, Jakarta Biennale, East Java Biennale, Singapore Biennale, Beijing Biennale, Shanghai Biennale, and so on. These public spaces and important events should not only surround us, and thankfully take part, but should become important partners for FSR ISI Yogyakarta. Thus, our existence will be increasingly taken into account.
My esteemed audience,
Now let us take a moment to ask: Is it true that ASRI-FSR ISI Yogyakarta grew entirely with success stories? I think we must dare to make a critical evaluation. I would like to present some of these critical notes. FirstFrom the aspect of knowledge production - "art knowledge" - FSR, and I think also ISI Yogyakarta, is still very poor; Poor production and publication of books, poor dialog and discussion across fields, has not succeeded in encouraging or giving birth to real art scholars. SecondThe FSR ISI Yogyakarta has not shown a serious desire to dynamize the institution by, among other things, accepting lecturers from other relevant universities. ThirdHowever, FSR and even ISI Yogyakarta have so far failed to utilize "alumni" - as one of the pillars supporting the alma mater. In fact, alumni are a great potential that can be used as partners and mediating agents for institutional achievements. The "Documenting Now" exhibition held at the Art Gallery some time ago, curated by Mikke Susanto, which involved a number of FSR ISI Yogyakarta alumni was a good effort to involve alumni into the campus. This activity should be scheduled regularly. The Department's galleries, ISI Art Gallery, should be a showcase for the achievements of the educational process at FSR ISI Yogyakarta. FourthFSR ISI Yogyakarta really needs to give real appreciation to the efforts of its citizens - the academic community - who in their own way emphasize the existence of FSR ISI Yogyakarta. Examples are the creativity of "sloping wells", then natural disaster posts, including lecturers and students who excel both on and off campus, either in winning competitions, or speaking opportunities in various regional and international forums. They all become important "markers" that strengthen the existence of FSR ISI Yogyakarta. They should be appreciated, dikaruhke, or at least greeted. Initiatives need to be given space and channels. These critical notes may be uncomfortable to hear. But this is a fact that we must reflect on together, to be fixed, for the sake of togetherness to welcome the future.
My respected audience,
The 62nd anniversary of the birth of ASRI/FSR ISI Yogyakarta - or later we can call it simpler and more common - by saying the Dies of the Faculty of Fine Arts ISI Yogyakarta, is an opportunity to strengthen confidence, to strengthen self-confidence, that FSR has a success story. The entire academic community - lecturers, employees, students, and of course the leaders - have a big responsibility to maintain that belief and confidence. Among other things, by interpreting it with real, positive and constructive ideas and actions. Any institution cannot be built with grumbling and disappointment. That's why we all don't have to worry about ASRI's history being neglected if the invitation letter, banner, or poster doesn't say its name, as long as every citizen has an awareness and love of history. Because when talking about FSR ISI Yogyakarta, one cannot help but remember and understand ASRI. Because it is the womb that carries its children with special talents. Because it is a flexible and adaptive womb; which is always ready to accept changes with agility, as long as historical awareness is not abandoned. If next year and next we name the event every January 15 as DIES FSR ISI Yogyakarta, it is certainly true. Along with the rapid development of information technology, we can capture and save all events. A romantic attitude is still necessary, but it must still be adaptive to embrace the future.
Therefore, I find it relevant to use this platform to express my personal views on the disturbing rumors of ISI's conversion into ISBI. We all understand that ASRI-FSR ISI Yogyakarta was born out of a history that involved an interesting and full struggle of its citizens. passion. We grew up with that kind of historical awareness. Like independence, the founders of ASRI taught us that sovereignty as an independent institution is fought for, not given. The idea of ISBI - whether or not this information is true - for me, hopefully for those of us present here, is quite disturbing to our sovereignty, because it means cutting off history. For that reason, we should respond sharply and critically, certainly within the bounds of propriety.
All these reflections, memories, and anniversary events are nothing but to strengthen the awareness of origins, so that we all know ourselves, know how to place ourselves, and have reasons to feel proud to be part of FSR ISI Yogyakarta. Celebrating ASRI-FSR ISI Yogyakarta, actually also aims to glorify ISI Yogyakarta as our big umbrella, because we are part of the ISI Yogyakarta that we love. Of course, on the other hand, ISI Yogyakarta should also give adequate attention to FSR.
My esteemed audience,
I would like to end this speech, with a hope and an invitation, let us build, we maintain, we interpret the Faculty of Fine Arts ISI Yogyakarta by revitalizing the spirit of its founders, our teachers, understanding our failures, while being clairvoyant and agile in reading the future, so that our role and position in the global fine arts map is increasingly clear. A short statement by the theoretical physicist Stephen Hawking is helpful in nurturing that ideal. Hawking said "Look at the stars, not at your feet". Thank you for your patience in following this speech. Hail ASRI-hail the Faculty of Fine Arts ISI Yogyakarta.
Wasalamualalikum warahmatulahi wabarakatuh
Best wishes
Om santi santi santi om
(Delivered at the Commemoration of ASRI's 62nd Anniversary, January 14, 2012 at the Public Lecture Building of the Faculty of Fine Arts ISI Yogyakarta)
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