Lama Sabakhtani

Humanizing theological meaning through real objects representation.

The theme of artists and his connection with his sacred entity is still dominant in the event of Indonesia’s fine-art. This can be observed also in the sole exhibition of Ay Tjoe Christine on artistic collaboration with Deden Sambas in the Lawangwangi Art and Science Estate, Bandung, titled; “Lama Sabakhtani Club”.

Ay Tjoe Christine presented a different concept with her previous sole exhibition; Symmetrical Sanctuary in SIGIArt Space, Jakarta, last January 2010. Now Christine is journeying through the interpretation of Jesus’s last remark on the cross, “Eloi, Eloi, lama sabakhtani” (Marcus 15:34 and Mathews 27:46). Christine’s intrigue towards this theological entity was showcased in Christine’s unique images, as the exhibition’s subject-matter.

What’s interesting was not only the two-dimensional production which was produced as a personal project, but also the three-dimensional works worked together with Deden Sambas as the implementer-artist, leading to the presentation of 4 eye-catching three-dimensional works. On the two-dimensional works, Hendro Wiyanto affirmed that the visual idea of Ay Tjoe Christine with the main elements such as the flaming cadmium red – red colors and piles of gloom black – ivory black colors were more dominant.

“The colors are produced from the sticks of oil-paints those are more freeing when nocked, creating a linier drawing and sense,” Hendro Wiyanto said. On the gigantic three-dimensional work titled ‘Lama Sabakhtani #1”, Christine displayed the object of a guillotine with three blades connected to light bulbs. Deden Sambas executed the three-dimensional work quite in a perfectionist manner by bringin the object to live in a 50 seconds cycle. The three blades go up and down in 50 seconds duration, resulting in a sound effect which Christine believed to echo the interpretation of the text ‘lama sabakhtani’.

The work can probably answer Christine’s problem in interpreting the intersubjective relation that almost always bounce back to her works. The exclamation ‘lama sabakhtani’ that is full of religious theological meaning, according to Hendro Wiyanto, was made more human by Christine through real objects representation.

Through this exhibition, Indonesia’s fine-art public get to again see the power of one Ay Tjoe Christine; as a young artist who chooses an eclectic way in reading the inter-relation issue of herself with the substance beyond her being.

Fine-Art Brand, Space & Image

Tweet.. tweet.. tweeeett.. Standing with both arms wide opened Entang Wiharso continuously blows on his shistle. Meanwhile two beautiful ladies dressed in all white looked solemnly drips wax to both of Entang’s hands. Opening the Space & Image exhibition in the Ciputra World Building, through his performance art Entang Wiharso seemed to be giving criticism to involved elements in the art world. Representing the figure of an artist, Entang spread out his hands and had them dripped by wax, as if he wishes to scream how hard the life of an artist is.

The critic expressed by Entang was in harmony with the vision that Ciputra aspires to develop with his “artpreneurship. Combining art and entrepreneurship; Ciputra hopes to create a new brand for the Indonesian world of art and culture. The brand is hoped to be able to excel Indonesia’s art value, particularly financial wise. When the hope comes true, what will happen is that art will be able to provide welfare for the lives of art workers; and in all desire, to escalate the livelihood of the people of this country in general.

“Mine resources will someday run out, what can always be improved are art and culture,” Ciputra said during the press conference prior to the launching of the Space & Image exhibition.

Optimistic that the art world can be improved, that night Ciputra Group coordinated with Heri Permad Management and gathered 82 artists to be involved in the exhibition. Inevitably, the Ciputra World office building estate was swarmed with various artworks such as sculptures, installation, and also paintings.

“The available space is not a representative space for exhibitions, for this is an office building. But that is where the challenge lies, how to ‘subdue’ the space,” Suwarno Wisetrotomo said.

In the 1990’s many national fine-artists contributed in international biennales. But over the years the number of Indonesian fine-artists those were invited had become less and less. Hopefully the brand Ciputra was mentioning does not only excel the financial aspect only, but also improves Indonesia’s art on its quality.