{"id":4032,"date":"2019-06-25T08:29:50","date_gmt":"2019-06-25T01:29:50","guid":{"rendered":"https:\/\/fsrd.isi.ac.id\/?p=4032"},"modified":"2019-06-25T08:29:50","modified_gmt":"2019-06-25T01:29:50","slug":"pameran-seni-rupa-dies-natalis-xxxv-lustrum-vii-institut-seni-indonesia-yogyakarta-seni-rupa-di-era-revolusi-industri-4-0","status":"publish","type":"post","link":"https:\/\/fsrd.isi.ac.id\/en\/pameran-seni-rupa-dies-natalis-xxxv-lustrum-vii-institut-seni-indonesia-yogyakarta-seni-rupa-di-era-revolusi-industri-4-0\/","title":{"rendered":"Fine Art Exhibition of Dies Natalis XXXV - Lustrum VII Institut Seni Indonesia Yogyakarta \"Fine Art in the Era of Industrial Revolution 4.0\""},"content":{"rendered":"

On Monday, June 24, 2019 at the RJ Katamsi Gallery, the opening of the XXXV-Lustrum VII ISI Yogyakarta Dies Natalis Fine Art Exhibition was held which was opened by the Rector of ISI Yogyakarta with curators Bambang Witjaksono, M.Sn., Terra Bajraghosa, M.Sn., Dony Arsetyasmoro, S.Sn., M.Ds., Budi Hartono, S. Sn., M. Sn. The exhibition will run from June 24 - July 03, 2019.<\/p>\n\n\n\n

This year, the main theme of ISI Yogyakarta's 7th Lustrum commemoration is \"Artificial Intelligence in Art in the Era of Industrial Revolution 4.0\". Explained in detail the purpose of the theme is to see the achievements that have occurred for five years and the need for reflection towards the era of the industrial revolution 4.0. The industrial revolution 4.0 is an integration between the online internet world and the world of business or production in an industry that can support all fields, one of which is in the academic world. <\/p>\n\n\n\n

Fine Art Exhibition Dies Natalis XXXV\/Lustrum VII of Institut Seni\nIndonesia Yogyakarta 2019 is \"Fine Arts in the Era of Industrial Revolution 4.0\"<\/strong>\nthis time is quite special. The exhibition was attended by alumni of each\nprograms, students, and also lecturers within the Faculty of Fine Arts, Institut\nSeni Indonesia Yogyakarta. This exhibition\nattended by 27 Alumni and Lecturers, 111 Students from the Faculty of Fine Arts, ISI Yogyakarta.\nYogyakarta.<\/p>\n\n\n\n

           In the global art world, the aspect of\ntechnology, even what is now called the industrial revolution 4.0, has been very closely\nattached to the pattern, method, process and visual appearance. In this event, what is\ndifferent is because the theme of the industrial revolution 4.0 is associated with the world of fine\nfine arts academically. In fact, systematically, academic fine arts\nacademic art still relies on modern art patterns. The field of\ndesign, especially interior design, can be understood as one of the products of the industrial revolution.\nThe development of the times has an impact on the field of interior design because it gives rise to different materials and technologies that designers continue to respond to.\ndifferent materials and technologies that designers continue to respond to. Design\nInterior design, which was once limited to decorating a room, has now developed into a specific specialist\/expert that requires complex expertise ranging from knowledge of the interior design industry.\nrequires complex expertise ranging from knowledge of materials, technology, and lifestyle trends that develop in society.\ntechnology, as well as lifestyle trends that are developing in society.\nTechnology makes everything change quickly according to the wishes of its users, including the tastes of the community, which can change rapidly due to the influence of the der\nwhich can change rapidly due to the influence of the swift flow of information, one of which is through social media.\nOne of them is through social media. The existence of social media makes a place for\nself-existence that can be done by anyone, anytime and anywhere, including by uploading places with attractive designs and\nby uploading a place with an attractive and unique design, until the term\nthe term place\/location that Instagramable<\/em>. The\nprofessionals in the field of interior design are required to work creatively,\ninnovative, and multidisciplinary to be able to take advantage of technological disruption in order to\ncreate a better built environment. The multiplicity of the industrial revolution\n4.0 makes the boundaries between the digital, physical and biological worlds increasingly thin. All\nactivities centered on the incorporation of automation technology and cyber technology have\nchanged the paradigm of society, especially the millennial generation.<\/p>\n\n\n\n

           In Interior Design as a\nfield of applied science, a designer's sensitivity to the diversity of consumer\/market demands is a must so that his work can continue to be actualized.\nconsumers\/market has become a necessity so that his work can continue to be actualized in society.\nin the community. The era of the industrial revolution 4.0 can be agreed to have given rise to\ndifferent consumer characteristics with different demands. However,\nHowever, it cannot be ignored that there are still many parts of our society that have not been touched by this industrial revolution.\nuntouched by this industrial revolution, especially marginalized communities who do not have access to technology due to economic factors.\ndo not have access to technology due to economic factors. Therefore\ninterior designers are required to remain flexible and accommodating in responding to the changing needs of society without neglecting their role to remain flexible and accommodating.\nthe changing needs of society without neglecting their role to keep\nserve all circles of society who may still be in the zone of industrial revolution 3.0 or even 2.0.\nindustrial revolution 3.0 or even 2.0, because keep in mind the industrial revolution appears\nbecause of necessity, not for bragging rights.<\/p>\n\n\n\n

           Teddy\nRahardianto, an interior and furniture designer currently based in Osaka,\nJapan showcases his lobby design project Burbank Suites Apartments<\/em> at\nCikarang Jakarta which is thick with modern minimalist style in accordance with the trend of\nthat is favored by urbanites today. The decision to live in a big city made\nTeddy easily translates elegant design languages to be applied to his design.\napplied to his design. While Puspa Candrajati through her company\nKinanthi Royal Decor showcases a mini photobooth<\/em>to wedding\ndecoration<\/em>. His work has branding<\/em>\nstrong because it always consistently uses natural materials and outdoor settings.\noutdoors (outdoor<\/em>) with the concept of\nnatural but still exclusive and elegant.<\/p>\n\n\n\n

Students who\nThe students who chose the 'internet route' also struggled to present the excellence of their work, with part of the final project spent studying the\nwith part of the final project period spent learning the system and technical\nand technicalities of the medium, in addition to preparing the visual design. Gadgets<\/em> certain items were also presented by\nstudents in the final project exhibition to support this, either by buying, borrowing or renting.\nbuying, borrowing, or renting. The selection of the big theme of the anniversary which\nabout artificial intelligence sparked a thought to look back at works that at least use the internet in their distribution.\nworks that at least use the internet in their distribution. Very\nunfortunate, but this is the reality, the works of nginternet<\/em> It has multiple levels of difficulty to\ndisplayed in an art exhibition. The basic and most essential layer\nlayer is our inability as curators to provide gadgets<\/em> to showcase the work. Or\nthe incompatibility of software that sometimes when displayed is only trial,\nand has expired. On the work side, sometimes only the beta version is available.\nbeta version. Another alternative is to display the offline version, or a printed version of the presentation in the form of mind-mapping.\npresentations in the form of printed mind-mappings, but this will also erode the\nwill erode the user experience<\/em>-her.<\/p>\n\n\n\n

In the Visual Communication Design Study Program\nFaculty of Fine Arts ISI Yogyakarta, in the era of the industrial revolution 4.0 today,\nthere have been many students' Final Project works that refer to the Internet of Things<\/em>or at least\nhave a purpose in the system because the real focus is on the visual design.\nthe visual display design. In the early 2000s, digital-based design works such as games, short videos, and interactive tutorials were\ndigital-based design works such as games, short videos, and interactive tutorials, were designed\nto be displayed on computer screens and distributed through the physical form of compact discs.\ndisk. A decade later, the idea of distribution through physical mediums began to\nshifted to distribution through the internet. What is being distributed\nwas no longer limited to what could only be thought of as appearing on a computer screen, as in the era of smartphones\nscreen (computer), because in this era of smartphones, almost everything appears\nthrough the screen. And these things, the contents that are distributed, are definitely visual.\nare definitely visual. This visual nature, or more appropriately\ncalled 'information visualization' in the realm of industry 4.0, does not only\ndecorating or decorating a content, but also makes it easier to use the\nthe content itself by remembering that at this time the fulfillment of various modern human needs and\nneeds and necessities of modern humans are supported by internet technology.\ninternet.<\/p>\n\n\n\n

Art education, especially craft education, is always directly proportional to the development of technology.\nwith the development of technology. Proficiency and craftsmanship in the praxis of craft\ncraftsmanship is vital in creating craft products. However,\nHowever, relying on hand skills alone is not enough to produce an innovative\nan innovative craft product that has high value. The existence of\ntechnology in the industrial revolution 4.0 can be utilized by craftsmen to search for information to explore and refine their products.\nto find information in exploring and perfecting ideas and ideas without having to struggle and of course\nwithout having to struggle and certainly minimize the production costs incurred.\nincurred. However, will artificial intelligence eliminate artificial intelligence?\npractices in the field of craftsmanship and be eroded by the times?\ntime?   <\/p>\n\n\n\n

                 The diversity and abundance of natural resources, human resources, art and cultural heritage that Indonesia has is an indispensable capital.\nand cultural heritage that Indonesia has is an invaluable capital for the Indonesian nation.\nfor the Indonesian nation. In fact, craft and creative process in the era of artificial intelligence do not always come with the packaging of industrialization\ncreative processes in the era of artificial intelligence do not always come with the packaging of industrialization practices.\nalone. Craft art is present and attached to traditional societies, not separated from\nlifestyle, customs where they were born and live. As for craft art\ncan also be born from imaginary things, spirituality, contemplation, and so on.\netc. When the expertise of the hand is able to conquer the canting, playing the\ndynamic lines full of harmony on a piece of cloth, and repeated again after the coloring process, is a creative process.\nafter the coloring process, is a creative process that has yet to be replaced by a mechanical\nmechanical means. However, on the one hand, technological advances, such as the\ncell phones (cell phone), <\/em>also\nadvantageous for employees. With the advent of cell phones, the traditional\ntraditional marketing methods have been abandoned. Clerks can conduct\ntransactions with their clients only through cell phones, without having to meet face-to-face.\nface-to-face. Similarly, for banking matters, for example, the clerk can\nuse banking applications on their cell phones. <\/p>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The tradition of inviting alumni to play a role in event-event<\/em> campus events, such as Dies Natalis is something important and needs to be preserved because those outside the campus are milestones, the face of all of us in the discourse. art world <\/em>craft art. Their artistic achievements are always seen, noted and awaited, both nationally and internationally. Alumni, especially Craft Art, are expected to be able to display their creative ideas after leaving the lecture bench. Their off-campus experience, research-based work patterns are part of their intimate work procedures, so that they will be seen and reflected in every work displayed in the exhibition later. The Art Craft alumni who participated on this occasion included Endang Lestari, Carolina Rika Winata, Wahyu Hidayat (Gogon), Rudi Hendriatno, and Apri Susanto, who represented ceramic craft, textile craft, metal craft, and wood craft. It was only fitting for them to participate in this exhibition. It is undeniable that their work has always been update<\/em> with creative ideas, dedication, and hard work to create innovative works. <\/p>\n\n\n\n