Not so much.Also the time of Merdeka sounds very familiar to the time of Pol Pot and the Khmer Rouge, in which all intellectuals were killed or imprisoned, or made to go work the fields.
Not so much.Also the time of Merdeka sounds very familiar to the time of Pol Pot and the Khmer Rouge, in which all intellectuals were killed or imprisoned, or made to go work the fields.
It seems that fine arts do require excess wealth, otherwise who would buy or subsidize them?I'd say that the art market has been a place that required excess wealth ... societies that have excess wealth will invariably have collectors, galleries, well funded and professionally curated museums, etc.
BUT the fine arts do not require patrons. The fine arts do not require the excess wealth, although it would be wonderful to have genuine philanthropists who donate and otherwise support the fine arts.
Indonesia, it seems to me, was turned into a cultural wasteland during the great patriotic time of murder and terror, (merdeka! yippee!), where intellectuals had to flee or work in secret or be taken away in the dead of night... the loss of those intellectuals, in turn, led to a very noticeable lack of leading educators and/or figures who could help to nurture the next generation(s). We are here in the year 2024 and from what I can see, there is a very real and a very dangerous dearth of fine art in the daily life of Indonesians.* Obviously it's not just "creative industry" that needs this... engineering/architecture, basic problem solving, new business ventures, corporate leadership, common sense urban planning, etc., etc.
Perhaps the lack of intellectuals as role models is exacerbated by cultural norms/religious or superstitious beliefs/low IQ and a horrible 'education' system/etc. (I'm trying to be diplomatic), but a society that doesn't seem to celebrate the fine arts beyond batik and dangdut is in danger of remaining a stagnant place for youth. And a stagnant place for visitors (and expats [me]) who may be accustomed to having access to vibrant arts organizations and museums, trained art educators, regular art exhibitions around the community, art supplies easily found in shops, etc.
You may notice that I never mentioned corruption; how would patronage of the fine arts work in Indonesia? Ooops! I mentioned corruption.
Things move slowly. I'm encouraged by the few organizations and schools that are working towards a better future for the fine arts in Indonesia. Please visit one or more of the URLs which I've posted above...there are some great things happening! Maybe even outside of Jakarta/Bandung/Yogya!
*I do not live in Jakarta/Bandung/Yogya.
??? Why do you regularly hijack threads on this website?I understand that this topic is diverting from the original thread...
NO, those were protests. They are not related to 'art & painting'. (sigh)The vandalism attack on the Mona Lisa painting at the Louvre Museum in Paris is at least more pertinent to this thread, as it relates to the original discussion about art and painting.
God, please give me patience.Furthermore, in today's interconnected world, it's not unusual in discussion forums to draw comparisons with practices from other countries.

Hyphen— , co-initiated in 2011 by Ratna Mufida, Pitra Hutomo, and Grace Samboh as a sustainable conversational space regarding aesthetic practices. Not long after, that space expanded through engagement in various artistic activities, including exhibition-making, various forms of publishing, archiving, research, open-ended conversations, karaoke, barbecue nights, feasts, etcetera. Hyphen— aims to put forward curiosity and people’s common wellbeing as the estuary of artistic practices. They were joined by Akmalia Rizqita “Chita” and Rachel K. Surijata (in 2020); as well as Ruhaeni Intan and Andri Setiawan (in 2023).
They currently play with explorations on the practices of Gerakan Seni Rupa Baru Indonesia (Indonesia New Art Movement, 1975-1989), Kustiyah (1935-2012), and Danarto (1940-2018); exhibition histories surrounding Kesenian Indonesia (Indonesian Art, 1955), BINAL Experimental Arts (1992), Contemporary Art Exhibition of the Non-Aligned Countries (1995); while attempting to unravel Indonesia’s so-called national history through its visual representations.
Global Auction brought together a rich mix of works by Indonesian masters and contemporary voices.