Capturing A Subconscious Reality Through Film

Art After Drama (Photo courtesy of Tunggul Wirajuda)

Since its invention in the late 19th century, the moving image has captivated audiences.

But the medium’s reliance on recorded images is also its primary limitation, as it often portrays fleeting external visions that are easily manipulated into a distortion of reality, according to Indonesian artist and director Krishna Murti .

This limitation is something the artist hopes to transcend and expose in “Art After Drama,” an exhibition showing at South Jakarta’s Galeri Salihara until Sunday.

“I try to show films that project the inner world of the mind. That is why many of the pieces here have a strong subconscious element,” said Krishna, who incorporates theater, film, dance and literature in his work.

“The gradual, looping formats of the video installation also explore how one’s imagination is gradually fostered. It provides a contrast between the Eastern concept of time, which is like a wheel, with the linear Western concept of time, with its chronological use of past, present and future.”

The work that best embodies Krishna’s complex expression is video installation “Eggology.”

The 12-minute looping piece, which was based on ultrasonography images of a baby in its mother’s womb, was performed by Polish theater artist Ewelina Eve Smereczynska.

Smereczynska’s flowing, fluid motions in an oval space evoke the gestures and movements of a fetus in a mother’s womb.

“ ‘Eggology’ reminds us of the need to take care of our [emotional and physical] wellbeing even before we are born. For instance, some mothers in the West do so by playing soothing classical music to their fetuses, while many Muslim mothers recite surahs , or prayers from the Koran,” Krishna said.

“Most of all, ‘Eggology’ reminds one that life begins before we come into this world. So in that sense it can represent one of many phases in life.”

“Eggology” by Krishna Murti (Photo courtesy of Tunggul Wirajuda)

Another video installation in the exhibition, “The Tale of Sangupati,” touches on Krishna’s Javanese heritage.

The monodrama, a collaboration with fellow artist Landung Simatupang, recounts the efforts of protagonist Joyo (played by Landung) to uphold the heritage of his dalang , or wayang puppeteer, ancestors.

In the piece, which features a monologue depicting Joyo’s efforts to hold on to a fading tradition, Krishna uses many symbolic details to make his point. These include wafts of cigarette smoke to show how his wayang heritage is becoming an increasingly distant memory, as well as CGI images of wayang figures forming and eventually shattering at the end of his monodrama.

“Joko is in a dilemma. On one hand, his father made him swear to maintain his family’s traditions. But on the other hand, he was forced to sell the wayang he makes, and even his own family heirlooms, to make ends meet,” Krishna explained.

“So his hardship isn’t just merely holding on to dying traditions. Metaphorically it also represents the rest of us, as we’re forced to ‘sell our souls’ just to make it in life.”

Krishna’s “Dance of the Unknown” installation presents the cycle of life as seen through TV and the Internet.

The mix of dance and video presented by Gita Kinanthi seeks to stretch the limits of reality, both literally and figuratively. It literally makes viewers strain their necks and eyes, but also conveys how film has the ability to sway public opinion and understanding.

“Usually we don’t have time to grasp the truths of what we see, because it has already been ‘provided’ for us,” Krishna explained.

Originally published in The Jakarta Globe on July 31, 2013

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Revolutionising the Everyday With Art

A work featured in the “Disthing” exhibition (Photo courtesy of Tunggul Wirajuda)

Aside from Jakarta, Bandung is perhaps one of the most tangible symbols of Indonesia’s booming economy, as seen from the flocks of Jakartans who go there on weekends to make the most of its fashion and culinary delights.

But less well known, except for those who studied there, is the city’s vibrant, avant-garde student life, an aspect reflected by the Bandung Institute of Technology or ITB’s Faculty of Fine Arts and Design.

A number of alumni from the faculty have expressed their artistic visions through the joint exhibition “Disthing,” currently held at the Gallery Rachel in Central Jakarta.

“The title of the exhibition is a wordplay that uses the prefix ‘dis’ to lend more meaning to an [ordinary] ‘thing.’ The objects here are basically everyday items, so we aim to elevate them to art,” curator Asmudjo Jono Irianto said.

“The artists here work in the ‘commodity sculpture’ genre, which is both a critique of excessive consumerism and finding the aesthetic in everyday things from furniture, kitchen utensils, to vehicles like cars and motorcycles. But while many ‘commodity sculptures’ are ready-made items that are made for art, many of the things exhibited here are everyday products that are highlighted for their aesthetic values.”

The installation art pieces “Hanky Panky” and “Hanky Panky 2,” created by sculptor Faisal Habibi consists of stools which have been bent and twisted to represent his view of the dysfunctional relationship between people and the commodities that they buy.

“The name of the sculptures indicates there is something deeply wrong in how we view consumer goods or use. Both pieces represent items that are dominated by functions, to the point that our dependence on them deadens our own abilities,” Faisal said. “Our view of the objects almost represent a hyperbolic reality, in which lifeless or inanimate things appear to be more alive than they are.”

Faisal’s message may strike a chord with a public almost hyper dependent on smartphones, tablets and other gadgets.

On the other hand, fellow sculptor Cecilia Patricia “Patrice” Untario’s sculpture “Cautious,” turns the notion of form and function on its head. At first glance, the piece is indistinguishable from any other chandelier, with its shards of downward pointing glass.

A closer look reveals a few surprises, as the patterns are formed from condoms. Patrice seemingly wished to emphasize both items’ fragility, and their grave consequences once they are broken.

However, not all of the pieces are so jaded and cynical. Some, like painter Windi Apriani’s “September Song” and “Afternoon Shadows,” are more intimate.

“The sewing machine is in line with the theme of ‘Disthing,’ which is highlight an everyday item and give it more meaning. But sewing machines mean more to me than just a commodity to make cloth into outfits,” Windi said.

“As a skill passed down by my mother and grandmother, sewing shaped my identity both literally and figuratively.”

Sculptor Bagus Pandega’s work “Remembering and Forgetting” uses mechanics and vintage items to make an impression on the viewer. Featuring vinyl records and the speaker cones characteristic of gramophones, Bagus makes the cones spin instead of the record.

The works in the exhibition immediately made an impact with art buffs.

“I was particularly taken by Bagus’ work, particularly his use of mechanics,” fashion designer Ruth Marbun said.

“His use of vintage items give it a warm, quirky element that also made me appreciate its finer points and details.

“I also like Windi’s use of the multi layering technique in her paintings, because it gave a nostalgic depth than is otherwise possible in a two dimensional painting.”

Originally published in The Jakarta Globe on July 17, 2013

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See Indonesia’s Diversity Through Youthful Eyes

Sana Sini Budayaku (Photo courtesy of Tunggul Wirajuda)

Painting and drawing are two more accessible forms of art, and ones to which children are exposed from an early age. Often dismissed as resembling an explosion in a paint factory, children’s early experiments with color, shape and form can tell us a great deal about how their young minds view the world around them, but gets overlooked in an art world focused on established artists instead of developing budding talent.

The National Gallery in Central Jakarta has recognized this gap, putting together a program dedicated to children’s art. It is now launching its second children’s art exhibition.

Themed “Sana Sini Seni Budayaku” (“Here and There Are the Arts of My Culture”), the triennial event shows more than 200 works by children aged 5 to 15 from 23 Indonesian provinces.

“Their art shows Indonesia’s cultural diversity through the children’s various artistic points of view,” curator Kuss Indarto said. “The pictures are part of our efforts to give the children their individual and artistic identity, which is all too often eroded by pressure from art competitions that are often counterproductive because they are ‘industrialized’ through the sponsorship of major companies who grant ever-increasing prize money and parental pressure to win.”

Kuss’s fellow curator, artist Yuswantoro Adi, attributed the hindered development of children’s art in Indonesia to flawed teaching methods.

“Many of those who teach art in school aren’t even qualified to teach the subject. As a result, many drawings have repetitive patterns like trees or landscapes with hills, rice paddies and the sun,” he said. “They should also be allowed to play and express themselves instead of being taught symmetry or coloring within a certain boundary. Let their logic kick in and they will figure out those things in time.”

Sana Sini Budayaku (Photo courtesy of Tunggul Wirajuda)

The role of play in creativity is reflected in the courtyard of the gallery where the youthful artists get to create traditional toys like gyroscopes or statues and unleash their creative energies in new ways.

While the works in the exhibition range from doodles and stick figures by younger children to the two-dimensional drawings or murals of their older peers, they have much in common due to their precocity. The former is typified by the works “Palindo” by 5-year-old Cantika Aisyah Fitri Mursalin and “Kepala-Kepala Tadulako” (“The Heads of Tadulako”) by her 8-year-old brother Muhammad Gading Mursalin, which feature their point of view about daily life in their Central Sulawesi home.

The works, which portray various scenes like Independence Day celebrations, pastimes such as kite flying, and family portraits, show a naive yet sharp eye for their surroundings. The looks of the subjects, from cheery and gruff adults to open faced children, show the artists to be keen observers of their surroundings.

On the other hand, Jihan Az-Azahra’s “Budayaku” (“My Culture”) shows more advanced development, as seen in the truer portrayal of form, vivid colors and more expressive eyes. The 8-year-old’s work reflects Yuswantoro’s premise about children’s ability to rationalize and use logic to portray the human form. While the subjects’ heads and eyes are still too big for their bodies, the pride the artist felt in her traditional Dayak culture is reflected by the use of bright colors in the foliage, traditional costumes, and even feathers.

The use of brilliant colors and foliage is just as vividly reflected in “Burung Kukoo” (“Cuckoo Bird”) by Jakarta-based artist Hubert Leo. The work is nothing less than a riot of colors, as the green ferns and red foliage vie for the viewers’ attention. On the other hand, the Cuckoo is relatively drab, reminiscent of the “Where’s Waldo” drawings that were in vogue in the 1990s. Whether that is Hubert’s intent, or he intends for the viewer to seek out the bird amid all that color, is not clear.

While individual artists may be highlights, they are not its only feature. Studio Sanggar Daun (Leaf Studios), based in Surabaya, East Java, celebrated its hometown with “Surabaya,” a panorama of the city. Painted in a naive, two-dimensional style, the work engages the viewer by juxtaposing contrasting colors, from the green of the tree leaves and parks, to the fiery red of the tree roots as well as the soil shows the children’s awareness of their urban surroundings.

The curators explained that they needed to bring out their teaching bag of tricks to stimulate the artists’ creative impulses.

“Motivating the children requires a mix of encouragement, cajoling and even mockery in a challenging way,” said Yuswantoro.

“For instance, we have to challenge them to show their potential. All the time we give them the space and initiative they need to create,” Kuss added.

“We introduce themes for the children to work with. It sounds like it limits their creativity, but it does wonders because it helps them focus. The children’s work still comes out with surprising results.”

Originally published in The Jakarta Globe on July 10, 2013

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Pictures Worth Many Thousand Words

Renjana (Photo courtesy of Tunggul Wirajuda)

Illustration has been one of the most effective mediums of storytelling throughout history. Whether they be prehistoric wall paintings, Renaissance frescoes or 20th century comics, pictures derive their effectiveness from their power of stimulating senses.

Aside from comics, illustrations also go hand in glove in visualizing short stories, from their inception by writers like Edgar Allan Poe until today.

But this symbiotic relationship is rife with irony, because while readers are likely to notice pictures before they see the written word, they are more likely to be familiar with stories’ writers instead of illustrators.

The Bentara Budaya cultural center seeks to give illustrators their due in an exhibition titled “Pameran Ilustrasi Cerpen Kompas 2013” (“The 2013 Kompas Short Story Illustration Exhibition”), showing 48 illustrations from 48 short stories published in Kompas newspaper last year.

This year’s exhibit, held alongside the paper’s short story awards, had as a highlight artist Amrizal Salayan’s illustration for writer Budi Darma’s work “Laki-Laki Pemanggul Goni” (“The Man Carrying the Gunny Bag”). Published in February 2012, the tale was named best short story by a panel of Kompas editors.

“The outstretched hand [in ‘Laki-Laki Pemanggul Goni’] seems to portray the character’s piety and resignation,” said exhibition curator Putu Fajar Arcana.

“The picture portrays the contrast between the main character’s religious piety and the effects of those beliefs on others. This is reflected by his recurring vision of a man carrying a gunny bag.”

Amrizal’s stark yet striking imagery of the outstretched palm seems to convey the guilt and emotional vacuum of the main character. The grime on his hand, and the deeply etched lines of his palm also seemed to show the toll these feelings took on the character. The story and illustration perhaps capture the pitfalls of using one’s beliefs as a shield against guilt.

Tangan-Tangan Buntung (Photo courtesy of Tunggul Wirajuda

In contrast, Amrizal’s other work “Tangan-Tangan Buntung” (“Amputated Hands”), lacks the meditative, contemplative tone of “Laki-Laki Pemanggul Goni.” The work, a satire on the lack of accountability among Indonesia’s leaders, makes its point with the grotesque portrayal of the main character by artist Ipong Purnama Sidhi.

The portrait, which is drawn in bright, garish colors, seemed to convey the corrupting influence of power. The theme resonates in Indonesia due to the culture of impunity enjoyed by many of the country’s politicians today and in other eras of history, including the late President Suharto’s 32-year New Order regime.

“The illustrations can capture the essence of the tale because the writers’ vivid imagination is based on the visual arts,” Putu said.

In Susilo Budi Purwanto’s painting for “Renjana,” a short story by Dwicipta, the artist uses a surrealist touch worthy of Salvador Dali to flesh out the main character’s struggle.

By turning his back on the viewer, the painting’s subject seems to reflect the main character’s determination to hold on to his yClick here to read the original articleouthful idealism, despite his current circumstances. But the grasping hands shooting out of the subject’s back seem to represent his unwillingness to move on from the past.

In contrast, Koxis Verserken’s illustration for Agus Noor’s short story “Requiem Kunang-Kunang” (“Firefly Requiem”) uses simple illustration evoking the Virgin Mary and baby Jesus.

However, the homely image belies the double entendre in the title, namely the use of fireflies as a symbol of destruction left by ambition and sectarian conflict. Agus derived inspiration for the story from the sectarian conflict raging in Ambon, Maluku, in the early 2000s.

The exhibition features short story illustrations primarily from 2012, but also showcases some dating back as far as 2003 — the first year the event was held.

Originally published in The Jakarta Globe on July 4, 2013

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Hope, History and Waste in Two Shows

Land of Legacy exhibition (Photo courtesy of Tunggul Wirajuda)

One of Jakarta’s artistic landmarks, the Jakarta Arts Center at Taman Ismail Marzuki (TIM), is the place to be for theater, movies, or stargazing at the capital’s best-known planetarium.

But often overlooked by the crowds at TIM, with the exception of the bohemian artists who make the place their haunt of choice, are visual arts exhibitions that provide a glimpse into the country’s lesser known yet vibrant art scene.

We took a look at the exhibitions of two artists currently on display at TIM’s galleries to see how Indonesia’s circumstances and traditions shaped their outlook.

Land of Legacy: An Examination of Indonesia’s Potential

The dizzying pace of change in Indonesia over the past decade might seem mind-boggling to some people, but not Baron Basuning.

The 52-year-old painter catches an element of the country’s heady times through the dynamic lines and bold colors of the abstract works in “Land of Legacy.”

A late-blooming artist who gave up a career as a reporter for the online news portal Detik to paint full time in 1998, South Sumatra-born Baron’s exhibit highlights Indonesia’s potential and its natural riches.

“[‘Land of Legacy’] is a view of the sun from an airplane. It’s a metaphor for the bright future we might have ahead of us,” Baron said.

“However, the dazzlingly sunny patch could be the wasteland Indonesia will become if we fail to conserve it. We remain ignorant about Indonesia’s rich natural resources. That is one of the main reasons why more than 65 percent of those resources are owned by foreigners.”

One of the exhibition’s principal works, “Land of Gold” critically explores Indonesia’s potential riches as a blessing and a curse.

“‘Land of Gold’ is about the exploitation of gold and other resources by the Freeport-McMoRan company in Papua. They might make a fortune through those resources, yet the Papuan people are still impoverished,” said Baron.

“The theme of exploitation is just as apparent through the dark presence that is pulling the reclining figure.”

Baron’s work also touches on the world at large, as personified by New York City, and Indonesia’s place in it. “One of my paintings, ‘The Tale of 2 Islands,’ explores the intertwining yet different destinies of Run Island, which is part of the Banda Islands chain in eastern Indonesia, and Manhattan” said Baron, who showcased his work as part of a joint exhibition earlier this year at New York’s Agora Gallery.

“Run was exchanged for Manhattan as part of a 1665 treaty between the Dutch and English. Though the island was richer in spices and other natural resources than Manhattan, it still remained a sleepy tropical backwater, whereas Manhattan became a rich, populous city and a world center for the arts.

“Run’s fate is a reminder of what will happen if Indonesia fails to live up to its potential.”

El Silencio: Listening to the Sounds of Silence Amid Turbulent Times

Hidajat Lpd’s solo exhibition “El Silencio” examines how the silence of contemplation is becoming an increasingly scarce luxury in contemporary Indonesia, in contrast to the more idyllic times when he started his career in 1955.

In the exhibition catalogue, the 70-year-old painter laments the self-serving opportunism of Indonesia’s leaders and erosion of the country’s culture in the face of globalization.

Hidayat explores this phenomenon through the surreal and stark “Biduan Wanita Botak,” “The Bald Women Musicians” and “Accapella.”

A homage to the works of Theater of the Absurd playwright Eugene Ionesco such as “The Bald Soprano,” or“Bald Prima Donna,” Biduan Wanita Botak” pokes fun at Indonesia’s leaders for their perceived corruption, incompetence and lack of accountability.

The naked, bald figures in “Accappella,” on the other hand, seemingly bares that incompetence for all to see, while the leaders remain oblivious to it, much like the Emperor without his clothes.

Aside from stinging satire, Hidajat’s work can also be reverential, such as his “Ode Buat Rendra” or “Ode to Rendra.”

A tribute to late Indonesian playwright Rendra, the poignant stillness of the painting represents the void left by Rendra after his death in 2009.

At the same time, his tangible form reminds one about his place in Indonesian culture. Hidayat brings his more eloquent moments to the surface with wayang-themed works like “Pandawa Lima” and “Kalimusada.”

The paintings serve to reflect his reminiscences about the role wayang had in shaping his art and world view.

In “Pandawa Lima,” Hidajat argues that Indonesian wayang had already produced its own surrealist school of art hundreds of years before 20th century masters of the genre like Salvador Dali and Pablo Picasso elaborated the concept.

“Kalimusada” highlights the role that wayang played in spreading Islam throughout Indonesia.

However, Hidajat’s take on wayang is more than a lament for days gone by.

For starters, the stationary postures of the wayang in “El Silencio” are a critique of the meaninglessness and banality of Indonesian literature.

His painting “Sinden,” meaning a Javanese diva, is just as sharply critical, pointing out the pointlessness of soap operas, comedic variety shows and even television news, and their inability to enlighten the public.

Hidajat juxtaposed his criticism of Indonesian society for forgetting its cultural roots with works like “Teater Rakyat di Beijing,” or the “People’s Theater in Beijing.”

Until then, prepare to see Indonesian art and society in a new, jaded light.

Originally published in The Jakarta Globe on May 13, 2013

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Body Language Takes Shape on Canvas

Imba Tubuh (Photo courtesy of Tunggul Wirajuda)

The study of the human form has always been a favorite subject for artists. Whether they be larger-than-life ancient Roman and Greek sculptures or Renaissance paintings, capturing the nuances of a person’s physique has served as both an artistic inspiration and measure of skill.

Portraiture remains as popular now as it was in the past. Among contemporary artists observing the finer points of the human body is Balinese painter Ida Bagus Putu Purwa in his solo exhibit “Imba Tubuh” (“Illustrating the Human Body”) at Dia.Lo.Gue Artspace in Kemang, South Jakarta.

At first glance, the dynamic movements of Purwa’s subjects are reminiscent of the nudes of Leonardo da Vinci or Michelangelo. But while the focus of those Italian Renaissance masters reflects that era’s confidence as well as intellectual and artistic ferment, Purwa’s treatment of the human physique is more introverted in nature.

“My work centers on body language, especially its spiritual element. Body language is more profound than words, as it cannot lie,” said Purwa, an alumni of the Indonesian College of Fine Arts in Denpasar. “As such, it is a good way to express yourself.”

Purwa’s work derives its unique character from a veritable mix of Eastern and Western techniques. On one hand, the vigorous, three-dimensional movements of his figures represent the tangible, secular influences of Western art. On the other hand, Purwa shows the spirituality behind his pictures by making subjects seemingly dissolve into the two-dimensional background often seen in Indonesian paintings.

Aside from spirituality, the technique also conveys his uniquely visceral approach to art.

“I use paintings as a form of photography for my soul. Just as a photographer captures a fleeting, significant moment in the world around him, my work captures a particularly striking mood, state of mind and internal conflict,” Purwa said of the works that make up his second Jakarta exhibition, following a first show in 2008.

“In a way, my paintings are my confidants because they can provide me with a better sense of closure compared to sharing my problems with other people. But it can be daunting. For one, I am baring my soul for all to see, which can be extreme for many viewers. But I do not care, as it is liberating to convey all those feelings.”

Among the works that convey Purwa’s internal tensions best are the sketches from his “Movement Series.”

In her catalogue accompanying the exhibition, art critic Vidhyasuri Utami described these figures as straining and striving to break free of pressures, whether they come from the past, like traditions, or contemporary challenges like urbanization and capitalism, which emerge in a changing world.

Other works, such as “Under the Full Moon” and “Golden Moon” highlight Purwa’s deft use of color to capture certain moods and feelings.

“The use of blue shades on one hand, or red and other bright colors on the other, portray my mood at the time of making the paintings,” Purwa said. “For instance, the blue shade in ‘Under the Full Moon’ portrays downcast emotions of depression and confusion, while the use of yellow and red flames in ‘Golden Moon’ symbolizes high spirits and enthusiasm.”

Even as the Balinese artist’s works are grabbing the attention of art buffs in Jakarta, he’s preparing to broaden his scope and present overseas.

“I am going to hold a joint exhibition with a Dutch artist at an avant-garde gallery in Berlin on May 3 to June 4. My works at the exhibition are done differently than those of ‘Imba Tubuh,’ as they are on paper instead of canvas,” Purwa said. “The theme of the exhibition will be ‘Fascination’ due to the experimental nature of the medium I’m using, as oil and charcoal drawings on paper have never been done before.”

Originally published by The Jakarta Globe on Apr. 25, 2013

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Mexico’s Art Shows A History of Struggle

One of the artworks in “Visual Anthology of Mexico” (Photo courtesy of Tunggul Wirajuda)

For most Indonesians, Mexico is synonymous with foods like nachos or tacos and hosting the football World Cup in 1970 and again in 1986.

Far less is known about the nation’s arts, which are nevertheless a vibrant part of the country’s heart and soul.

Recently, Indonesia’s Galeri Nasional in Jakarta shed light on this unfamiliar world through the “Visual Anthology of Mexico” exhibition, which features the works of some of the country’s leading artists from 1940 to 2009.

The exhibition marks 60 years of bilateral relations between Mexico and Indonesia and is focused on the role of art in Mexican society and government.

“The art featured in the ‘Visual Anthology of Mexico’ exhibition is from the collection of the Ministry of Budget and Public Finance and Patrimonial Heritage,” museum guide Natasha Tontey said.

“The ministry received them [the pieces of art] as part of the [Mexican] ‘Payment in Kind’ [‘Page en Especie]’] program. Under the policy, which was formalized in a 1957 presidential decree, impoverished artists can pay their taxes through the government by sending them their artwork.”

She added that the value of the art was scrutinized by a special selection committee before being accepted.

Among the artistic figures who came up with the “Payment in Kind” program were David Alvaro, Carlos Merida and Diego Rivera, a legend of Mexican art who is best known as the creator of murals throughout Mexico City depicting various eras in the country’s history.

“Many of the artists featuring in the exhibition were influenced by him. Among them is Rodolfo Morales, whose surrealist style was [also] inspired by Marc Chagall,” Natasha said.

“Morales’s painting ‘Beyond the Silence’ pioneers a style that was known as magical realism, which originated in the state of Oaxaca. The painting is also inspired by the Day of the Dead, which is a pre-Christian tradition unique to Mexico and the country’s tradition of pre-Columbian art.”

The fusion of cultures is shown by the unearthly portrayal of two figures floating in the air lamenting over a dead man. While the corpse evokes the Day of the Dead tradition, its stillness also reminds one of the Pieta paintings and sculptures by artists like Michelangelo or El Greco, which show the Virgin Mary mourning over Jesus’s dead body.

Another work that brought up the same theme is Gustavo Adolfo Monroy’s painting “I’m Not Here.” Painted in a style reminiscent of Byzantine icons, the painting profoundly conveys the feeling and mood of loss and death.

The themes of death, religious belief, and pre-Columbian art can also be easily recognized in other pieces of art, particularly in Graciela Iturbide’s photograph “In the Name of the Father.”

“ ‘In the Name of the Father’ is part of a photo series touching on Mexico’s matriarchal society,” Natasha said. “The lamb represents [Christ’s] sacrifice in the name of the father. But the hand holding the animal is that of a woman, thereby representing the matriarchal social structure that has always been at the heart of Mexican society.”

Contemporary artist Patricia Henriquez uses video animation to comment on the cycles of life. Henriquez used trees, seeds and shadows as a metaphor for life. She used breathing and heartbeats to convey the sense of the earth as a living organism.

The exhibition also includes the work of foreign artists like Russian-born Angelina Beloff and British-born surrealist painter and novelist Leonora Carrington, recalling a time during the last century when Mexico was a haven for foreign artists.

“Beloff was strongly influenced by [Diego] Rivera, as she is none other than his former wife,” Natasha said.

Beloff’s work “Santa Maria Park” seems to combine the impressionist and expressionist styles of Matisse, Cezanne and Picasso with a uniquely Mexican touch.

The prominent role of women in Mexican art is seen in the status of Beloff, as well as Henriquez’s video collage, Carrington’s surreal work, such as “Gramercy Park IV,” and Frida Kahlo, perhaps the nation’s best-known female artist.

Besides painting, the exhibition also highlights the strides that Mexico has made in sculpture, a development that occurred late in the 20th century.

“Betsabe Romero’s ‘The Way to El Dorado’ is a reflection of the exploitation of humans and nature alike by capitalism,” Natasha said.

“Romero uses a golden wheel to make his point. The rubber on the wheel is derived from nature. It rides roughshod over people, while the gold layer represents capitalism.”

Another work, Jorge Marin’s “Archer On A Horse,” represents larger-than-life Renaissance nudes and equestrian statues, as well as sculptures depicting the archangel Michael.

The “Visual Anthology of Mexico” is a vision of modern art that is part contemporary, part visceral, and all Mexican.

Originally published by The Jakarta Globe on Apr. 22, 2013 

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