In this article, I conduct a comprehensive examination of the intricate interconnections within the Indonesian art scene, with a specific focus on the artistic endeavors of Seniman Merantau. These artists have established a reciprocal relationship wit...
In this article, I conduct a comprehensive examination of the intricate interconnections within the Indonesian art scene, with a specific focus on the artistic endeavors of Seniman Merantau. These artists have established a reciprocal relationship with prominent artistic centers like Yogyakarta and Bandung in Indonesia, while also demonstrating a propensity for settling in various locations, including their hometown. The study places particular emphasis on the Tambo Art Center (TAC) in Bukittinggi, West Sumatra, and explores the alternative art community of Omnispace, which exists on the periphery of the Bandung Institute of Technology (ITB), a crucial hub for art education in Java. These entities actively challenge the prevailing Javacentrism paradigm and seek innovative approaches to redefine and relocate artistic spaces. To illustrate these concepts, a detailed case study of the avant-garde art project, Omnispace, operating on the fringes, is presented.
Departing from the traditional focus on the tangible, political influence, and situational aspects of territory often encapsulated in the mandala model, this paper critically examines the symbolic representation of artists who endeavor to establish renewed and reciprocal relationships by harnessing the agency inherent in their artistic creations. By adopting a holistic perspective that intertwines the practices of Merantau artists, I assert the significance of acknowledging the dynamic and open circulation of mediation and exchange facilitated by non-human actors and the materiality of artworks.