Narasi Reverse bagi Kemajuan Seni Lukis

Theo Frids Hutabarat, Asmudjo J. Irianto

Abstract


Seni lukis pernah menjadi medium bagi perkembangan dan kemajuan seni rupa. Namun setelah Narasi Besar ditinggalkan, praktek seni lukis tidak lagi berjalan berdasarkan narasi atau paradigma tertentu. Seni lukis sekarang berjalan tanpa paradigma tunggal, dilakukan dengan membangun narasi subject matter individual, dan menjadi salah satu faktor produksi dalam seni rupa kontemporer. Kemajuan sekarang ditemukan pada gerak maju proses kerja melukis atau produktifitas penciptaan lukisan (yang berhubungan dengan rekognisi dan demand terhadap praktek tersebut). Karya ini mempersoalkan ‘kemajuan’ yang terjadi pada praktek seni lukis sekarang, dengan ‘membalik’ kerja tiga orang pelukis yang berada di tengah mekanisme produksi-konsumsi seni rupa kontemporer: Radi Arwinda, R.E. Hartanto, dan J.A. Pramuhendra. Dengan persetujuan yang mereka berikan, kerja melukis mereka ‘dibalik’, dengan melabur lukisan mereka sampai kembali menjadi kanvas kosong. Narasi reverse hadir dalam video rekaman proses melabur yang diproyeksikan ke lukisan yang sudah menjadi kanvas kosong. Proses ini bisa dilihat sebagai perjalanan mencapai ‘kanvas kosong’ yang menggambarkan kepenuhan potensi dalam seni lukis, yang terbuka bagi kerja dan persepsi yang di-‘proyeksi’-kan kepadanya.

Kata kunci: kemajuan seni; kerja melukis; narasi; penciptaan seni; proyeksi; reverse.

Reverse Narrative for the Advancement of Art

Painting was once become a medium for the development and advancement of the art world. However, after the Big Narrative being left, the practice of painting is no longer running by a particular narration or paradigm. Painting now practiced without any single paradigm, it is done by constructing a narrative of individual subject matter, and became one of the production factors in contemporary art. The progress is now found on forward movement of the painting working process or painting creation productivity (which is related to the recognition and demand for such practices). This work questioned the 'progress' that occurs in the practice of painting nowadays, by 'reversing' the work of three painters who were in the middle of the contemporary art production-consumption mechanism: Radi Arwinda, R.E. Hartanto, and J.A. Pramuhendra. With the approval from them, they gave their painting 'reversed', by whitewashing them to get back into a blank canvas. Reverse narrative present in the video that recorded the whitewashing process and then projected onto the painting that had become a blank canvas. This process can be seen as a way to achieving 'blank canvas' that illustrates the potential fullness in painting, which is open for labor and perception projected onto them.

Keywords: progress in art; painting labor; narrative; art creation; projections; reverse.


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References


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Danto, A., After The End of Art: Contemporary Art and The Pale of History, Princeton University Press, New Jersey, p. xiv , 1997.

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Kotz, L., Video Projections: The Space between Screens, Blackwell Publishing, United Kingdom, p. 102, 2006.




DOI: http://dx.doi.org/10.5614%2Fj.vad.2015.7.1.3

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