Ilusi - Ilusi Nasionalisme

Title: Illusions of Nationalism
Date: 9 September 2007
Place: Jogja Gallery (near Alun-Alun Utara, at the end of Jln. Maliboro)

This art exhibition about Raden Saleh, arguably the most famous and important in Indonesian art history, was held from 18 August to 9 September. It was to commemorate his 200th birthday, hence the title for the exhibition.

Raden Saleh was considered the first 'modern' Indonesian painter as he was schooled in the western styles and techniques. And yes, some of his paintings were shown us during our SE 1101 course by Jan Mrazek. (Yes, more publicity for SEASP) and its relation to nationalism. Quite aptly, this exhibition attempts to explore nationalism and Raden Saleh as the two main overarching themes. Being someone who is not really artistically inclined, I must say I am not the best person to comment on the artistic aspect. However, I was really blown away by the message that each painter tries to express through their paintings, be it through abstractly, satire or even extrapolating ideas and concepts. Each painting expresses a different understanding of Indonesia as seen through their eyes.

As the foreword by the curator interprets the role of the painters to be ‘in charge to document the nation – state feelings, regardless what happens inside themselves … to present them in interesting aesthetic attraction’, it really captures the essence of the exhibition. From the parody of the Last Supper by Bambang Puranto to re-interpreting Saleh’s “The Capture of Prince Diponegoro” in the modern Indonesian political context, art and politics becomes one entity. In all, the exhibition clearly shows the fluidity and illusiveness of nationalism, as expressed through the title, and brings to the mind Benedict Anderson’s conceptualization of ‘imagined communities’.

Unfortunately, I was not allowed to take pictures of the paintings.
If you are interested, let me know and I can show you the catalogue.

More on Raden Saleh and his paintings:

The Arrest of Prince Diponegoro


Raden Saleh's version

In the painting, Raden Saleh deliberately distorted the heads of the Dutchmen much to be much bigger in a reference to their pomposity and pride and contrast to the balanced proportion of the Indonesians. What a subtle way to show resistance and nationalism. In addition, Raden Saleh also positioned himself in the painting in the crowd as the Javanese man with his face in his hands standing behind Diponegoro and the second self portrait is the bowing man under the ladder. 


The Dutch version, painter uncredited.

Note how the Dutch flag is high and flying in this version and the position of Diponegoro in relation to his captor. The difference in height between the two and facing away from his captor, as if he was ashamed of confronting his nemesis and accepting his fate, attempts to re-emphasize the superiority of the Dutch during the colonial period. Hence, Raden Saleh's version was somewhat of an act of resistance against Dutch colonialism. While he was never actively involved in overthrowing the Dutch, he fought and expressed nationalism through his painting.

His brush was to guns as his paint was to bullets.

Nor the fight makes us artists
but because we are artists
we become fighters.
- Albert Camus, 1940 -