Project No 7 : Ambivalensi

PLATFORM3 – Project No 7


AMBIVALENSI

Presentasi khusus oleh / Special Presentation by

Nadya Savitri

4 – 19 Juli 2010

Pembukaan Minggu / Opening in Sunday

4 Juli 2010. Jam / Time : 16.00

Di Platform3 , Jl. Cigadung Raya Barat No. 2 . Bandung. Indonesia

e-mail: mail.platform3@gmail.com

URL: https://infoplatform3.wordpress.com/

Deskripsi

Karya- karya Nadya Savitri berangkat dari wacana poskolonial yang berhubungan dengan gagasan tentang “tubuh ideal”. Dalam konteks masyarakat Indonesia, gagasan tentang keidealan tubuh juga telah terkonstruksi oleh sejarah kolonial: Kita cenderung melihat kulit putih, hidung mancung dan proporsi tubuh yang tinggi dan langsing, misalnya, sebagai ‘acuan’ kecantikan. Nadya bermaksud mempertanyakan kembali konstruksi itu dengan menghadirkan objekobjek berbahan keramik porselen. Berbagai karakter visual yang ada pada karya-karya ini, termasuk kualitas permukaan, bentuk objek, karakter dekorasi dan warna glasir, dimaksudkan untuk memancing identifikasi kecantikan yang terkonstruksi oleh kolonialisasi dan globalisasi.

Pernyataan perupa:

Hasrat menginginkan satu hal dan menolak kebalikannya menjadi ketertarikan saya dalam pengerjaan proyek khusus di Platform3 ini. Dalam teori postkolonial ini dikenal dengan istilah ambivalensi untuk menggambarkan hubungan kompleks antara penjajah dan yang terjajah. Istilah ini pertama kali dikembangkan dalam teori psikoanalis yang merujuk juga kepada ketertarikan dan penolakan simultan terhadap sebuah obyek, orang atau tindakan (Young 1995: 161).

Penggunaan keramik dengan dekorasi cobalt blue, dipilih karena adanya keintiman memori saya terhadap keramik Delft Blue yang identik sebagai souvenir dari negeri Belanda, keterpesonaan terhadap kualitas estetik dan Belanda sebagai penjajah. Padahal delf blue sendiri merupakan tiruan dari Cina.

Ambivalensi telah menjadi bagian dari kita. “Bagaimana mungkin si terjajah bisa menyangkal dirinya secara kejam….Bagaimana mungkin ia membenci penjajah, tetapi pada saat yang sama memuji mereka dengan penuh nafsu?” (Albert Memmi 1968, hlm. 45)

Dalam masyarakat konsumerisme, pemujaan, keterpesonaan terhadap orang-orang yang memiliki garis keturunan atau karakteristik fisik Barat: “ londo”, “bule” dan “indo” menjadi sebuah komoditas. Keramik dicetak dalam bentuk kemasan perawatan wajah dan tubuh juga merupakan keterpesonaan saya terhadap bagaimana produsen barang-barang ini mengadvokasi stereotype ideal mengenai tubuh dan kecantikan.

Tentang Perupa

NADYA SAVITRI lahir di Jakarta bulan Desember 1981. Lulus dari Fakultas Seni Rupa dan Desain ITB tahun 1999. Ia menyelesaikan studi magisternya pada tahun 2006. Nadya melanjutkan studi di Tokyo University of The Arts – Jepang , sebagai periset di bidang ceramic craft hingga 2007 dan mendapat gelar Master di bidang tersebut pada tahun 2009. Sejak tahun 2003, ia mengikuti berbagai pameran, antara lain “CP Biennale: Interpellation”, di Galeri Nasional, Jakarta (2003); “I Am Making Art Project: Recovery of The Submerged Knowledge”, di Rumah proses, Bandung (2004); “Perupa Keramik Muda”, di Galeri Nasional, Jakarta (2006); “Jakarta Biennale, Beyond: The Limits and Its Challenge”, Cipta Gallery, Jakarta; M1 Projects: Shinmatsudo Gyouten Geijutsu, Matsudo central park, Chiba prefecture – Jepang (2007); “The Romance of Three Kingdom” China, Japan and South Korea (2008); “New Century Pottery Art Exhibition”, China; “The Third Annual Alien Exhibition: Foreign Artist Making ,Work in Japan”, Tokyo University of The Arts Union gallery, Tokyo; “Short Circuit: The Book and The Guts”, Asumu gallery, Tokyo;“Contemporary Archeology”, SIGIarts gallery, Jakarta; “Jakarta Contemporary Ceramic Biennale 1, North Art Space, Jakarta (2009); “The Mist; A reflection upon the development of Indonesian contemporary art”, Lawangwangi Art and Science estate, Bandung (2010).

(ENG)

About the Project

Works of Nadya Savitri departed from post-colonial discourse associated with the notion of “ideal body”. In the context of the Indonesian people, ideas about body ideals have also been constructed by colonial history: We tend to see white skin, long nose and the proportion of high and slender body, for example, as a ‘reference’ beauty. Nadya intend to question the construction that by presenting the objects made of ceramic porcelain. Various existing visual character of these works, including surface quality, shape objects, character and color glaze decoration, intended to lure the identification of beauty constructed by colonization and globalization.

Artist’s Statement

Desire wanted one thing and reject the reverse be my interest in a particular project at this Platform3. In postcolonial theory is known as the ambivalence to describe the complex relationship between the colonizers and the colonized. This term was first developed in the theory of psychoanalysis which refers also to the interests and simultaneous rejection of an object, person or act (Young 1995: 161).

The use of ceramics decorated with cobalt blue, was chosen because of the intimacy of my memory of Delft Blue pottery is identical as souvenirs from the Netherlands, the fascination of aesthetic quality and the Netherlands as a colonizer. Whereas DELF blue itself is a clone of the Chinese.

Ambivalence have become part of us. “How could the colonized can be cruel to deny him …. How could he hate the invaders, but at the same time praising them with lust?” (Albert Memmi 1968, pp. 45)

In a society of consumerism, cults, the awe of people who have a lineage or physical characteristics of the West: “londo”, “Caucasian” and “indo” becomes a commodity. Ceramic casted in the form of facial and body treatments are also my fascination for how the producers of these goods are advocating stereotypes about body and beauty ideals.

————-

Nadya Savitri was born in Jakarta in December 1981. Graduated from the Faculty of Arts and Design, ITB in 1999. She completed master’s studies in 2006. Nadya continue his studies at Tokyo University of The Arts – Japan, as a researcher in the field of ceramic craft until 2007 and received her Masters degree in that field in 2009. Since 2003, she participated in various exhibitions, among others, “the CP Biennale: Interpellation”, at the National Gallery, Jakarta (2003); “I Am Making Art Project: Recovery of The Submerged Knowledge”, in the House process, Bandung (2004); “Young Ceramic Artists”, at the National Gallery, Jakarta (2006); “Jakarta Biennale, Beyond: The Limits and Its Challenge”, Notices Gallery, Jakarta; M1 Projects: Shinmatsudo Gyouten Geijutsu, central park, Matsudo, Chiba prefecture – Japan (2007 ); “The Romance of the Three Kingdom” of China, Japan and South Korea (2008); “New Century Pottery Art Exhibition”, China; “The Third Annual Exhibition Alien: Foreign Artist Making, Work in Japan”, Tokyo University of The Arts Union gallery, Tokyo; “Short Circuit: The Book and The Guts”, Asumu gallery, Tokyo; “Contemporary Archeology”, SIGIarts gallery, Jakarta, “Jakarta Contemporary Ceramic Biennale 1, North Art Space, Jakarta (2009);” The Mist ; A reflection upon the development of Indonesian contemporary art “, Art and Science Lawangwangi estate, Bandung (2010).

The Works

Cosmetics
Sunken relief series
2010
35.3 x 35.3 x 93 cm
Porcelain, plexiglas, fluorescent lamp, steel.

Distinction
2010
7 pieces, 6,2 x 3x 15 cm
Porcelain with blue cobalt decoration, plexiglas shelf

Never gone be
2010
2 pieces, 5.3 x 4.3 x 17 cm
Porcelain with blue cobalt decoration, plexiglas shelf

Ever after
2010
3 pieces, 3 x 2 x 9.6 cm
Porcelain with blue cobalt decoration, plexiglas shelf

Face off
2010
50 x 40 cm
mirror, wood.

Installation Views

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