A miniature work “They Gave Evidence” by Dadang Christianto, collected by the Unsung Museum. Photo by Wirya Satya Adenatya
The Unsung Museum (Museum Tanpa Tanda Jasa) is a landmark, travelling exhibition that is currently crisscrossing the country and features miniature artworks that are big on cultural significance. The exhibition highlights the most important issues challenging Indonesia’s on going struggle for democracy since the nation’s colourful, fledgling journey began. These issues include tolerance of minority groups, along with ethnic, ideologically and religious diversity, and collective harmony.
Taking a series of chronologically banned, destroyed, removed or censored artworks the Unsung Museum displays them in scaled-down miniature versions of the real things. Accompanying these mini-masterpieces are news articles from the time, together with amusing parodied public reactions and news media video installations.
“Art is no stranger to controversy; throughout its history it has presented works that have irked the moral guardians of the day,” said Yogyakarta based curator Grace Samboh, one of many members of the Indonesian contemporary art community who have initiated the Unsung Museum in an event that characterizes the social conscience and synergy of some of the country’s most relevant and motivated artists and activists. “Sometimes to see why an artwork that is deemed controversial, we need to see it from a different perspective, and what better way is there than to see it in miniature.”
An audience member at ROH Projects, Jakarta during the Undsung Museum – Photo Credit/ Wirya Satya Adenatya
Beginning September 2016 at Jakarta’s ROH Projects, for 3 weeks the exhibition set out to inform, not only citizens, yet members of the Indonesian art industry, of the relevance of these pressing issues. The exhibition was next showcased in Central Java, at Yogyakarta’s Kedai Kebun Forum from late October running into November, then opening in West Java, at Bandung’s Ruang Gerilya, 15 December until 7 January 2017.
“We are retelling stories of several artworks that were once considered a ‘public nuisance’ during the Reformation Era because of three recurring reasons related to pornography, communism and SARA (ethnic, religion, race and inter-group relations) by three elements of the society (citizens/individuals, mass organizations and government),” Samboh said. “Based on these assumptions, several artworks attracted a variety of problems ranging from threats, restrictions, and even destruction.”
The country with the largest Islamic population on the planet, with Christian, Buddhist and Hindu religious minorities, however, is currently undergoing its most turbulent and disruptive period. The recent 8 May controversy at the Indonesian Islamic University’s Center for Human Rights Studies in Yogyakarta with the banning of paintings and poetry by members of the youth organization Pemuda Pancasila who enforced the closure of artist Andreas Iswinarno’s exhibition, Tribute to Wiji Thukul: Saya Masih Utuh dan Kata-kata Belum Binasa (I’m still complete and words have not yet been destroyed) on suspicion the works contained communism ideas, highlights the urgency of the Unsung Museum.
At ROH Projects, Jakarta during the Undsung Museum – Photo Credit/ Wirya Satya Adenatya
“Bearing in mind a number of concerns about the stability of (ideas within) democracy, as well as democratic behavior in today’s society, our main question is: What does democracy mean to each and every one of us today, as part of the society, as citizens, and as someone who works in the arts?” Samboh said reflecting on the inspiration behind the exhibition. “We have adopted the concept of a mobile museum for the exhibition due to its informative nature and educational aspects, as well as its openness to the public.”
The mini works collected by the Unsung Museum include versions of: ‘Pinkswing Park’, a walled photomontage by Agus Suwage and Davy Linggar, exhibited at the 2005 Jakarta CP Biennale, it was deemed to be blasphemous by Islamic fundamentalists FPI who forced the closure of public access to the work, while demanding prosecution of the artists, and They Gave Evidence exhibited in 2002 in Jakarta by Dadang Christanto, a major ceramic series of standing, naked figures, in their outstretched arms holding the remnants of burnings, drownings, beatings and other human mutilations, victims of oppression, social injustice and political violence.
Also collected are miniatures of a public artwork by Nyoman Nuarta that Islamic organizations protested against stating they were representational of Christian iconography and was consequently dismantled from its site in West Java in 2010. As well, an artwork by Galam Zulkifli that was removed in 2016 from the new Terminal 3 complex at the Soekarno-Hatta airport in Jakarta. Zulkifli’s enormous 200 x 600 cm painting includes iconic figures in the development of the Indonesian nation. Seri Ilusi # The INDONESIA IDEA was taken down in order to avoid a polemic on social media as one of the portraits in the painting featured DN Aidit, the former chairman of the Indonesian Communist Party.
An audience member during the opening of the Unsung Museum at ROH Projects, Jakarta – Photo Credit/ Wirya Satya Adenatya
“Within conversations surrounding these artworks, the conclusion is often misunderstanding,” Samboh explains. “The arts community considers the dismissal of these artworks were due to some people having misunderstood or failed to understand altogether. In fact, quite often the misunderstandings come not only from those who dismiss these artworks but also from the arts community itself.”
“The Unsung Museum is not an attempt to point out rights and wrongs. In light of democracy, we want to poke people’s awareness on equality of knowledge upon rights and obligations of the various elements in the arts community—within art disciplinary context.”
Along with Samboh the Unsung Museum is initiated by Aliansyah Chaniago, Fajar Abadi RDP, Jim Allen Abel, Julian Abraham ‘Togar’, Maryanto and Tamara Pertamina, while inviting other people, and aspires to continue inviting more people over time. “The Unsung Museum has already received strong public response,” Samboh said. “We are now compiling the feedback, and the topics are being discussed in the hope that we can publish a book on views of our recent democracy through the art publics’ perspective.”
“Our mission is to rekindle discussions about democracy in the Reformation Era with the arts community whilst not closing itself from the involvement of other members of the community.”
The Unsung Museum is scheduled to continue in Medan, North Sumatra, and Makassar and Manado in Sulawesi early in 2018.
Words: Richard Horstman
Images: Wirya Satya Adenatya
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