List of SENI RUPA BARU exhibitions

We have been working on this Seni Rupa Baru research since 2013. Now, we are finally in the process of editing the new 11 essays! They are: Amanda K. Rath; Bambang Bujono; Patrick D. Flores; Hendro Wiyanto; TK Sabapathy; Nuraini Juliastuti; Aminuddin TH Siregar; Mahardika Yudha; Brigitta Isabella and Syafiatudina; and ourselves, Hyphen.

Facts, news and essays from within this research is catalogued here. To find the actual files, please copy the file title, paste it on Google search box and add IVAA as we have copied all of our findings to share to the online world. If you cannot find it, you can send us an email or send a request to the file to IVAA following this procedure. It is just a matter of time before everything is available online, including the photographs we unravel from various sources.

In the mean time, allow us to share you this!


Slightly before the Indonesia New Art Movement:
Black December
December 31, 1974

Protesting students (source: Letter of protest)
Bonyong Munni Ardhi, FX Harsono, KP Hardi Danuwijoyo, Nanik Mirna, Siti Adiyati

Others that signed the letter (source: Letter of protest)
Muryotohartoyo, Juswar, M. Sulebar, Daryono, DA Peransi, Baharuddin Marasutan, Ikranegara, Adri Darmadji, Abdul Hadi WM

*) Names in bold later become participants of Seni Rupa Baru exhibitions

In 1974, five students from the Jogja art school* protested on the very first Pameran Besar Seni Lukis Indonesia (Indonesia Big Panting Exhibition, later become Jakata Biennale). The five students signed a mourning letter for the death of (creativity in) Indonesian painting and sent a wreath (mourning flower arrangements) to the biennale. They were then dropped out from their school. On the other hand, the Bandung art school was more supportive towards new practices that they can relate within the development of global art practices. Sanento Yuliman, a young lecturer in the Bandung art school connected Jim Supangkat to these Black December artists.

* (Akademi Seni Rupa Indonesia (ASRI, Indonesia Fine Art Academy)/now Institut Seni Indonesia – Yogyakarta (ISI Jogja, Indonesian Art Institute – Yogyakarta)

Pameran Seni Rupa Baru Indonesia 1975
2-7 August, 1975
Ruang Pameran (Exhibition Space) Taman Ismail Marzuki
Supported by Dewan Kesenian Jakarta (Jakarta Arts Council)

11 participants (source: Harian Berita Buana, 24 Juli 1975 – Pameran senirupa baru Indonesia 1975)
Anyool Subroto (Bdg), Bachtiar Zainul (Bdg), Bonyong Munni Ardhi (Jog), FX Harsono (Jog), Jim Supangkat (Bdg), KP Hardi Danuwijoyo (Jog), Muryoto Hartoyo (Jkt), Nanik Mirna (Jog), Pandu Sudewo (Bdg), Ris Purwana (Jog), Siti Adiyati Subangun (Jog)

With the support of Jakarta Art Council, Jim Supangkat organized for him and his friends to do a show in one of the galleries there. Prior to this show, Jim acknowledged many of the Black December protesters geometric painting practice that he found form wise similar to his Bandung friends, hence the combination of the 11 members are almost balance between Bandung (with Jakarta) and Jogja. Not quite as planned, in the exhibition, there were not so many geometrical painting works. The artists, especially the ones from Jogja, felt freed from their academic rules and given a stage in which they can explore, experiment and exhibit at the same time. The exhibition mainly consist of performative and installative works (be it using sculpture, painting, prints or objects) with a touch of site specificity. Their first exhibition became a boom because there were reviews on them almost every day of the show in both national and local media. It was as if the world is on the side of the youngsters.

Pameran Konsep Seni Rupa Baru Indonesia
23-28 August 1976
Balai Budaya Jakarta
Self sponsored and organized.

1o participants (source: Diary pages of Priyanto Sunarto, from Chabib Duta Hapsoro’s DECENTA research)
Jim Supangkat (Bdg), Muryoto Hartoyo (Jkt), Bonyong Munni Ardhie (Jog), Siti Adiyati (Jog), Nanik Mirna (Jog), FX Harsono (Jog), S. Prinka (Bdg), Satyagraha (Bdg), Priyanto Sunarto (Bdg), Wagiono (Bdg)

The show was divided in two parts. In August 23-25, the participating artists were hanging out (nongkrong) in Balai Budaya and held a marathon discussion on current art practices and how did it get there. The discussion was not meant to ‘solve’ art problems at the time but were more like an exercise to think about each individual practices and collective thoughts. The Indonesia New Art group believed that art history in Indonesian should begin from Raden Saleh and In August 26-28, the result of the discussion, generally in form of drawings, doodles, collages of images and objects, were arranged to be shown for public.

Pameran Seni Kepribadian Apa (PIPA)
1-3 Januari 1977

Senisono Gallery, Jogja
Self sponsored and organized.

15 participants, all Jogja-based (source: PIPA Catalogue, 1977)
Bonyong Munni Ardhi, Dede Eri Supria, Ronald Manullang, Gendut Riyanto, Ris Purwana, Redha Sorana, Slamet Ryadhi Pr., Budi Sulistyo, Iskandar Suryaputra, Tulus Warsito, Edi M. Doeriat, Pudji Basuki, Jack Body & Sapto Rahardjo & friends, Lucky Dip, Wienardi
*) Names in bold are all members of GSRBI

January 1977, in Jogja, Bonyong had encouraged his peers to do whatever they think is necessary artistically. They were refuting against the New Order’s enforced idea of national identity. The very first phenomenal Pameran Kepribadian Apa (What (is) Identity Art Exhibition) was held in January, at Senisono Gallery. The exhibition were never really opened for public as the police never gave the permit letter to. Nevertheless, the artists left their works installed in the gallery, closed down the main entrance door hanging a sign that says “Closed. Go to the nearest Police Station to enter the show!”, yet left the back door opened therefore people can still see the show. Exhibition bearing the same title were held again in 1978 and 1979; and even though they were not a collective nor group, the participating artists were recognized as the PIPA group members.

Pameran Seni Rupa Baru Indonesia 1977
23-28 February 1977
Ruang Pameran (Exhibition Space) Taman Ismail Marzuki
Supported by Dewan Kesenian Jakarta (Jakarta Arts Council)

18 participants (source: Harian Kompas, 22 Februari 1977 – Pameran Grup Seni Rupa Baru 77)
Agus Tjahjono (Bdg), Anyool Subroto (Jog), Bachtiar Zainul (Jog), Bonyong Munni Ardhi (Jog), Dede Eri Supria (Jog), FX Harsono (Jog), Jim Supangkat (Bdg), KP Hardi Danuwijoyo (Jog), Muryoto Hartoyo (Jkt), Nanik Mirna (Jog), Nyoman Nuarta (Bdg), Pandu Sudewo (Bdg), Ris Purwana (Jog), Ronald Manullang (Jog), S. Prinka (Bdg), Satyagraha (Bdg), Siti Adiyati Subangun (Jog), Wagiono (Bdg)

To describe the show in the way Siti Adiyati remembered it: The show was more organized compared to the first one (in 1975) and to the Concept Exhibition (in 1976). All 11 members of Indonesia New Art have established their own path in their artistic practices and they invited seven younger artists with similar tendencies to them into this show; hence the added names in red. This act of inviting younger artists or adding more members into the group is continued to the later activities or shows bearing the name Indonesia New Art. Bonyong had long acknowledge that similar artistic practices and tendencies are around him.  

Pameran Seni Rupa Baru Indonesia 1977
12-16 April 1977

Ruang Pamer Perhimpunan Kebudayaan Indonesia-Perancis, Bandung
Supported by Decenta Group, Perhimpunan Kebudayaan Indonesia-Perancis, and Alliance Francaise

18 participants (source: Exhibition Catalog)
Agus Tjahjono (Bdg), Anyool Subroto (Jog), Bachtiar Zainul (Jog), Bonyong Munni Ardhi (Jog), Dede Eri Supria (Jog), FX Harsono (Jog), Jim Supangkat (Bdg), KP Hardi Danuwijoyo (Jog), Muryoto Hartoyo (Jkt), Nanik Mirna (Jog), Nyoman Nuarta (Bdg), Pandu Sudewo (Bdg), Ris Purwana (Jog), Ronald Manullang (Jog), S. Prinka (Bdg), Satyagraha (Bdg), Siti Adiyati Subangun (Jog), Wagiono (Bdg)

A Bandung-based collective consisting of senior artists (all of them lecturing in the Bandung art school) became interested in showcasing the Indonesia New Art Exhibition in Bandung. Even though no clear statement was made, it is speculated that they want these kind of practices to be more accessible to (their) students and also younger artists in Bandung. Eventually the managed to fund the and re-exhibited the 1977 Indonesia New Art Exhibition in the French Cultural Institute’s gallery at the time.

Pameran Seni Rupa Baru Indonesia 1979
9-20 October, 1979

Ruang Pameran (Exhibition Space) Taman Ismail Marzuki
Supported by Dewan Kesenian Jakarta (Jakarta Arts Council)

27 participants (source: Harian Suara Karya, 19 Oktober 1979 – Realitas Sosial Menjadi Tema Favorit)
Ronald Manullang (Jog), Bonyong Munni Ardhi (Jog), Nanik Mirna (Jog), Semsar Siahaan (Bdg), S. Prinka (Bdg), Fredy Sofyan (Jog), Siti Adiyati Subangun (Jog), Agus Tjahyono (Jog), Danarto (Jkt), FX Harsono (Jog), Pandu Sudewo (Bdg), Dede Eri Supria (Jog), Slamet Riyadhi (Jog), Hidayat (Jog), Muryotohartoyo (Jkt), Itradi Subari (Jkt), Jim Supangkat (Bdg), Bachtiar Zainul (Bdg), Deddy Alhury, Mahin Ichna, KP Hardi Danuwijoyo (Jog), Haris Purnama (Jog), Redha Sorana (Jog), Gendut Riyanto Moeryatmodjo (Jog), Budi Sulistyo (Jog), Satyagraha (Bdg), Nyoman Nuarta (Bdg)

+ Semsar Siahaan (source: Semsar’s CV and this catalog, pg. 48).

In 1977, the group have expanded members in 18. This time, another three younger artists are invited to be part of the group. There were less and less critic and protests towards the kind of artistic practice that the group developed through the exhibition entitled Indonesia New Art or even in each and every member’s individual practices. Many do not seem to agree nor understand fully what their practices is leading towards, yet the (later become) Jakarta Biennale have invited some of the group members to participate since 1976. In another words, that shows a form of acceptance towards their kind of practices, new kind of practices.

At the time of the 1979 Indonesia New Art Exhibition, the group launched a monograph compiling existing essays, reviews and illustrations related or produced by and for themselves. They also proclaimed the group’s dismissal. Their explanation was that to become a movement, instead of a group, they needed to be done after a certain period of time and felt that one phase of exploration on Indonesia New Art is completed. Done. Each members then pursued their individual careers both in the art scene and in other professional fields such as advertising, non-governmental organizations, design firms, lecturing, etc.

Seni Rupa Baru: Proyek 1 – Pasaraya Dunia Fantasi
15-30 Juni 1987

Galeri Baru (New Gallery) Taman Ismail Marzuki
Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) and Harian Kompas

18 participants (source: Katalog Proyek 1: Pasaraya Dunia Fantasi)
Bernice (Jkt), Neni (Jkt), Dadang Christanto (Jog), Dede Eri Supria (Jog), Fendi Siregar (Jkt), FX Harsono (Jog), Gendut Riyanto (Jog), Jim Supangkat (Bdg), Oentarto Harris (Jkt), Priyanto Sunarto (Bdg), Rudi Indonesia (Jkt), S. Malela Mahargasarie, Sanento Yuliman (Bdg), Sari Manumpil (Jkt), Imanuel Subangun (Tim Humas Kompas, Jkt), Siti Adiyati Subangun (Jog), Taufan S.Ch (Teater Koma, Jkt), Wienardi (Jog)

Some members of the group realigned due to certain urgencies that were never spoken nor written. But, this time, unlike the beginning of their appearances, what they tried to pursue is nothing about being against their senior artists or lecturers, or being young and rebellious. As part of the contemporary society, they acknowledged the developing need that people are constantly in search of how can they function democratically within their smallest group of their living environment and at large.

They renewed their manifesto—or upgrade, to be precise—and have, whether intentionally or not, omit “Indonesia” from the title*. The omission of the country name can be seen as 1] broader sense of belonging of living space (rather than being against the idea of a nation); and 2] the (art historical) discourse that leads towards being citizens of the world—therefore embracing the idea of global art. The next—and last—event held bearing the New Art term was held in Perth and Tasmania, Australia. Meanwhile the new manifesto was clearly declining the idea of art that derives from artes liberales and called the Indonesian Modern Art and modern art in general as the Old Art (Seni Rupa Lama). They wanted to broaden the definition of art (seni rupa).

The 1987 event title actually tells you that this is not an exhibition or at least not a typical one at the time. According to Siti Adiyati, the event is “[…] not yet an exhibition,” as they were only showing their works in progress and research findings in visual forms. “We were only starting to make the works, but it was not in the show,” she continued. The research itself was done by researchers and non-governmental organizations that also have started observing consumer behavior. The project did involve researcher, media specialist, sociologist, journalist, theater-maker and filmmaker along with artists and designers. All of the project participants bear equal task towards executing the project and each of them were assigned in smaller teams. Therefore this event also mark one of the early conscious effort of multidisciplinary collaboration in the contemporary arts.

*) Since 1975 to the monograph in 1979, the manifesto is called Lima Jurus Gebrakan Gerakan Seni Rupa Baru Indonesia (Five Breakthrough Maneuvers of the Indonesia New Art Movement), meanwhile in 1987 it is titled Manifesto Seni Rupa Baru 1987 (1987 New Art Manifesto).

Seni Rupa Baru: Proyek 2 – The Silent World
13-18 September 1989

Galeri Baru (New Gallery) Taman Ismail Marzuki
Supported by Dewan Kesenian Jakarta (Jakarta Arts Council) and Djarum

4 participants (source: Harian Merdeka, 16 September 1989 – Suatu Pameran Eksperimental yang Pucat)
Gendut Riyanto (Jog), Jim Supangkat (Bdg), Nyoman Nuarta (Bdg), S. Malela Mahargasarie (Bdg) with sound ambience by Harry Roesli (Bdg)

This project was commissioned by Australia and Regions Artists Exchange (ARX) 1989 to Jim Supangkat as an individual artist. According to him, he already started questioning the necessity of being artist at the time. And this project was the last time he acted as an artist. Afterwards, he had started to function as curator in the sense that he is much more interested in creating space and opportunities for artists with artistic practices that are less mainstream in their own context. He become the first person in Indonesia that bears the title curator for the Jakarta Biennale in 1993.

Like the Project 1, their installation had both collaborative and research-based aspect. It was about AIDS and the human body which was considerably a new issue at the time. Even though no researcher was officially involved in this project, the theme of their installation was something that Supangkat have been writing about in Tempo magazine, where he regularly writes in the health column, since early 1980s.

Seni Rupa Baru: Proyek 2 – The Silent World
1-14 October 1989

Exhibited in the Australia and Regions Artists Exchange (ARX): Metro Mania, Perth 

Seni Rupa Baru: Proyek 2 – The Silent World
10 Feb-10 Mar 1990

Exhibited in Chameleon Exhibition Spaces, Hobart, Tasmania

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