Problems of acculturation and cultural tense occurring in Bali become an inspiration.
Bali has gone through many changes, be it from the aspects of religion, social, culture, and also economy. The matter can’t be separated from the outcome of tourism, as there has been tension between traditional importance and the strong current of the global capitalism.
Various problems of acculturation and cultural tension that occurs in Bali inspired I Ketut Teler to create works those criticize Bali in the most part. The exhibition that displayed 19 paintings and one installation art seemed to be sending out a big question of : Is Bali still worthy to be named the Island of Paradise?
Teler’s crititcal attitude, can be observed in his painting “Coca in Bali”, which portrayes the shift of value and practical characteristic of Balinese relating to the use of profane items for sacred necessities. The bottle of Coca Cola, an American produce soft drink, used as the container for the tirta, holy water used in Hindu-Bali rituals. The painting proofs one form of the acculturation between global culture (Coca Cola) with local culture (tirta) that takes place in Bali.
Teler’s concern for the rituals phenomenon is reflected on his installation art titled “Welcome toParadise”. Teler focused that many of the ritual (piodalan) activities in the temples, are often carried out with various human practicality importance; starting from economical, social, cultural, political, even cockfights (tajen).
On some of his works, Teler shows icons of Buddha, be it as the face of Buddha, or the mudra pose. He also jolt down on his painting, the relief imagery from the bottom part of Borobudur Temple, Maha Karma Vibhangga, that demonstrates the bond of earthy desires. On the other hand, Teler also presents himself as themodel of a painting by wearing a cloak in various poses. The cloak becomes the symbol and sarcasm for the religious leaders those put on their religious outfits just to shield off the acts those are deviated from the teachings of their religion.
The painter who was born in Tembuku, Bangli, 24 October 1971 studied fine-art in ISI Denpasar. In year 1995, he enlisted in the Artist Residence in Boston, U.S.A. In the same year he was also granted the “Kamasra” Award from ISI Denpasar. In year 2009 he held his sole exhibition in Hanna Artspace Ubud titled “Tolerism Terrorance”.
Bali has gone through many changes, be it from the aspects of religion, social, culture, and also economy. The matter can’t be separated from the outcome of tourism, as there has been tension between traditional importance and the strong current of the global capitalism.
Various problems of acculturation and cultural tension that occurs in Bali inspired I Ketut Teler to create works those criticize Bali in the most part. The exhibition that displayed 19 paintings and one installation art seemed to be sending out a big question of : Is Bali still worthy to be named the Island of Paradise?
Teler’s crititcal attitude, can be observed in his painting “Coca in Bali”, which portrayes the shift of value and practical characteristic of Balinese relating to the use of profane items for sacred necessities. The bottle of Coca Cola, an American produce soft drink, used as the container for the tirta, holy water used in Hindu-Bali rituals. The painting proofs one form of the acculturation between global culture (Coca Cola) with local culture (tirta) that takes place in Bali.
Teler’s concern for the rituals phenomenon is reflected on his installation art titled “Welcome toParadise”. Teler focused that many of the ritual (piodalan) activities in the temples, are often carried out with various human practicality importance; starting from economical, social, cultural, political, even cockfights (tajen).
On some of his works, Teler shows icons of Buddha, be it as the face of Buddha, or the mudra pose. He also jolt down on his painting, the relief imagery from the bottom part of Borobudur Temple, Maha Karma Vibhangga, that demonstrates the bond of earthy desires. On the other hand, Teler also presents himself as themodel of a painting by wearing a cloak in various poses. The cloak becomes the symbol and sarcasm for the religious leaders those put on their religious outfits just to shield off the acts those are deviated from the teachings of their religion.
The painter who was born in Tembuku, Bangli, 24 October 1971 studied fine-art in ISI Denpasar. In year 1995, he enlisted in the Artist Residence in Boston, U.S.A. In the same year he was also granted the “Kamasra” Award from ISI Denpasar. In year 2009 he held his sole exhibition in Hanna Artspace Ubud titled “Tolerism Terrorance”.
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