"art/portable"
a Solo Exhibition by ADITYA NOVALI
October 27 - November 26, 2004
CP ARTSPACE, JAKARTA




"ArtPortable"

by Suwarno Wisetrotomo

the saw never makes promises
to the wind
to return the tree
to the bird

(Sapardi Djoko Damono, On Tree, 3, 1998)

In the realm of poetry, we can often find words (and "things") that appear to be transformed and assume a life of their own - such as the words in the poetry of Sapardi Djoko Damono, which I have quated to begin this note. Some things unexpectedly assume some important existence and relations with other things (subject-object) in their surrounding. The saw we know as an inanimate object, unexpectedly (and touchingly) becomes the main "actor" in the drama of life of the tree-wind-bird. The saw, which appears to assume a life, is at the same time also powerless.

In the realm of visual art, we can also find visual elements and forms that appear to be alive - although this seldom happens. In both cases, whether it is in the realm of poerty or in visual art, it is perhaps the result of the artist's mastery in using certain things or elements (such as the saw in the before-mentioned poem) as the medium and the message at the same time. When the thing or the word is present, a wide-open horizon is challengingly stretched, inviting imaginations; it exists as a sign, an allusion, or a pasemonⁱ. The term pasemon is usually used to call or explain signs, codes, and significations in the communication patterns of the Javanese. A problem is not presented verbally (or avoiding verbal ways); instead, it is conveyed using certain signs, whether they are in the form of facial expressions, gestures, or even veiled phrases called often as sanepo. The term pasemon, however, is explained interestingly by Goenawan Mohamad, "We know, pasemon is a form ( or more prescisley a way) of expression that has been known in Java for years, or even ages (and perhaps it also exists in other places under different names). In English, it probably be translated as 'allusion'. I believe, however, that the term does not merely explain certain 'tricks' or devices in the order of communications. As we analyze it using the root of the term - semu - pasemon also implies something that is 'not the real thing,' but at the same time also 'tends toward some certain characteristic'."

(See further: Goenawan Mohamad, "Kesusastraan, Pasemon" in Kesusastraan dan Kekuasaan, Jakarta: Pustaka Firdaus, 1993,p. 117 - 128). But amid the deluge of creations and the inflation of sings, are we still able to grasp the hidden meaning behind the pasemon?

Although art nowadays is situated a situation of "anything can," and "anything may" (or anything goes), all works of art - and all artists' struggles - invariably exist in the tension resulting from the desire to communicate something (some value, some messages) as well and as clearly as possible, and the desire to avoid verbal ways. At this level, several possibilities thus exist: the artwork becomes too verbal, or becomes too judge the quality of the expression in an artwork. We almost never talk deeply about the relation between artistic expression and function, or about some matters about "the use" of the art work for the public or for a wider variety of interests; the use or purpose in the literal and figurative senses.

In truth, however, art or art works, amid the facts of our daily life, are being bombarded by a variety of questions, especially those about relations, context, values, and functions of the art works. The process of artistic creations believed to exist in a closed area, and the process of artistic appreciation existing in the open area, enable the public to conduct readings and search for the possible layered meanings.

Aditya Novali (born on November 17, 1978, in Solo, Central Java) has a formal architectural background (he graduated with a bachelor degree in architecture from the Parahyangan Catholic University in Bandung). He creates art works that offer some values and layered possibilities (of meanings) and touches upon the possible practical functions of the works. Aditya creates three-dimensional things (object) and some two-dimensional works, with a rigid, impeccable, and calculated craftsmanship. He works on wooden materials combined with other materials such as copper, metal, clothing, glass, rattan, fibers, iron, or lamps; making them into forms that entice our imaginations and touch upon certain associative meanings and functions. Several works have an in-between existence. Furthermore, his works enable the audience to respons to them - the audience are even encouraged to respond to the works so that they can satisfy their desire and imaginations about the associative meaning of the works. The audience participation becomes an important part of the presentation of Aditya Novalis's works.

Most of this works, in their presentation technique, require intricate and disciplined installations (especially those using electrical wires). Aditya seems to be playing around with artistic expression and function. He is also playing around with the imagining politics about high art and daily art. Sanento Yuliman once analyzed visual art in its relation with the Indonesia social and cultural context and proposed a description about the art practices in the Indonesian public. Basically according to Sanento, there are only two kind of dominant practices in the Indonesian art world - the practices in the "Upper Art" and those in the "Lower Art." (Read further: Dua Seni Rupa, Sepilihan Tulisan Sanento Yulimanⁱⁱ. Asikin Hasan (ed). Jakarta: Yayasan Kalam, 2001) ; playing around with the images of crafts and the exalted artistic expressions. Aditya Novali lightly and cheerfully supports the lofty artistic expressions, and all at once also deconstructing them. He shows that art expression, wild imagination, abstraction and symbols are as important as and can exist along, craftsmanship, intricacy, practical tendency and the function of the artwork.

Aditya's architectural background enables him to present works that are not speculative in structures and ofter myriad of possibilities and functions. Such potentials are put into advantage in the possibility to create intimate relations among the ideas, the created forms, and the imagination of the audience. Therefore, there is room for the audience to interact and participate in Aditya's creations. The audience can (and are expected to) spin, arrage, move, and re-install the works according to their imaginations and wishes.

In this sense, the imaginations and wishes of Aditya (as the creator) and those of the audience exist at the same level; all are open for the possibilities to be orderly or chaotic. Aditya's works free and free from the distinction of "classes"; none of them are lofty and none of them are lowly. Aditya's understanding about the values of the Javanese culture At an early age, Aditya Novali was known as a child painter with noted records. He was also known as a child puppet master, a dalang of the Purwa puppet theater, who had performed in many places. Enables him to fuse from and function, making them into unique metaphors.

Metaphors of things/objects

As has been mentioned before, Aditya's works are a fusion of a variety of materials, patterns (the result of his ability and tendency to create intricate ornamentations), functions (whether they are as Aditya has silently desired them to be, or as desired by the audience due to the formation of associations and imaginations), light (not only in the static and massive works, but also about the shadows as a part of their visual presentations, reminding us to Purwa shadow-puppet theaters), and his sharp ideas about the universe (note the titles of his works: "Maya," "Watsu," "Wana," Cakra," "Laku," or "Gelung." These are intimate titles, which at the same time are also metaphorical)ⁱⁱⁱ.

The desire to play, and the consciousness about space, in fact happens to anyone anywhere. We for example, often create the space in our imaginations. Aditya creates exactly that, without trying to monopolize the interpretative content. The audience can participate in materializing their dreams about the space or room, by spinning, turning, or moving the object suspended from the walls in a certain distance, shot by spotlights. The shadows on the wall become a part of your creation using Aditya's works (please observe and play with the work "Maya").

With the work "Cakra," in the form of a disc with a 100 cm diameter, several circular mirrors and frames are placed in a series; you can fill the frames with your favorite pictures or photographs. The work can be a part of your life, a life that is full of memories or perhaps traumas. Like a disc (cakra) that turns and stops with invariably different positions, life is forever unpredictable. In the work "Laku," wood is worked on to resemble a spiral, its end combined with metal plates. The title of the work reminds us and gently pushes us into an ascetic process that should actually become a part of our life. In the work "Ikat," woods is created into recesses with the pattern of parangrusak. The work also triggers our memory about the sacred values (parangrusak or other parang pattern are tradisional batik considered as sacred), about the traditional values (recesses and niches are dominant tranditional patterns in Java), and functional objects (such as chairs)

In general the tension and the clash (of values) such as these are the ones that appear (or made to appear) in Aditya's works. His playful spirit seems to hide the play of meanings and at the same time also offers us with something (some values) to be guessed at. Like Sapardi Djoko Damono's poem that presents object and words, and imbues them with so much life, Aditya Novali's works present material, object and patterns and imbue them with so much life as well. This is not merely because you have a room to participate (and interact) with the works, but also due the power of their formations. Function and expression, reality and metaphor, are at once present in avery one of his works.

Observing his creations, his creative urges, his ideas, and his ways in executing the ideas and putting them into real forms, I think and expect Aditya Novali to add colors to the world of art with some challenging "ways" and "language" that excitingly invite us to interpret and analyze them.

Such understanding can also explain the team ArtPortable used as the curatorial frame of this exhibitions. It implies that Aditya's works, outside the meanings desired by the artist, also give an ample room anyone to be a part of the works by "playing" with them. Aditya Novali's works agilely go through the boundaries of materials, definitions, classes, and values. In other words, the works are "portable" in a multidimensional sense.

Suwarno Wisetrotomo
Curator

ⁱThe term pasemon is usually used to call or explain signs, codes, and significations in the communication pattern of the Javanese. A problem is not presented verbally (or avoiding verbal ways); instead, it is conveyed using certain signs, whether they are in form of facial expressions, gestures, or even veiled phrases called often as sanepo. The term pasemon, however, is explained interestingly by Goenawan Mohamad, "We know, pasemon is a form (or more precisely) of expression that has been known in Java for years, or even ages (and perhaps it also exists in order places under different names). In English, it can probably be translated as 'allusion.' I believe, however, that the term does not merely explain certain 'tricks' or devices in the order of communications. As we analyze it using the root the term-semu-pasemon also implies something that is 'not the real thing,' but at the same time also 'tends toward some certain characteristic'." (See further: Goenawan Mohamad, "Kesusastraan, Pasemon" in Kesustraan dan Kekuasaan, Jakarta : Pustaka Firdaus, 1993, 117 - 128).

ⁱⁱSanento Yuliman once analyze visual art in its relation with the Indonesian social and cultural context and proposed a description about the art practices in the Indonesian public. Basically, according to Sanento, there are only two kind of dominant practices in the Indonesian art world-the practices in the "Upper Art" and those in the "Lower Art." (Read further: Dua Seni Rupa, Sepilihan Tulisan Sanento Yuliman. Asikin Hasan (ed). Jakarta : Yayasan Kalam, 2001)

ⁱⁱⁱAt an early age, Aditya Novali was known as a child painter with noted records. He was also known as a child puppet master, a dalang of the Purwa puppet theater, who had performed in many places.

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