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十方藝術空間展出印尼藝術家錫吉特・拉馬丹個展 「紅翼之牆」

2019-12-27|記者:方筠爾

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十方藝術空間展出印尼藝術家錫吉特・拉馬丹在台首次個展「紅翼之牆」。(記者 方筠爾/編輯)

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  • 展覽日期 ▍2019/12/21-2020/02/15
    開放時間 ▍週二-週六 13:00-19:00
    展覽地點 ▍十方藝術空間(台北市中山區德惠街51號)

  • 在每一個歷史演進中,警察被界定的身份都會隨著朝代所賦予的職責有所不同,藝術家對於「警察」的責權具有深厚的好奇心,英文展名中《Bhayangkara》取自於印尼警察的別名,其名稱為印尼開國元老之一Soekarno,在一次的演講中提到「印尼所代表的公家單位警察,必須秉持著當年在滿者伯夷王朝時期,國王身旁的誓死效忠的皇家護衛隊精神,並且在執法時,也須將此精神延續其中」。《Bhayangkara》在滿者伯夷時期為代表特別效忠國王的皇家護衛隊,但在今日的印尼《Bhayangkara》則是代表維護公共秩序和安全的執法單位,藝術家根據過去歷史及現今《Bhayangkara》的職責權力及任務的差異來探討,為何還要以《Bhayangkara》的意義來延續作為警察的代表名稱。

    在本次展覽中,藝術家透過自己的主觀解釋來探尋《Bhayangkara》的身份,並根據社會對於「警察」的看法,來解釋在世界上許多地區已成為一種現象,不僅在印尼,並在其他國家(尤其特別發生在亞洲)都遭遇到同樣的問題,在示威者走上街頭表達訴求或著是抗議政府的不公不義之時,時常會發生警民衝突,到後期演變為警察鎮壓示威者。藝術家也在本次展覽中探討著「警察是否淪為統治者鞏固政權的工具」,這也是全世界需要重視的社會問題,為何一個執法單位會引發與社會之間的緊張關係。

    藝術家大多都以木刻版畫做為藝術表現,木刻版畫在歷史上用為傳達訊息的媒介,並影響大眾對於社會以及政治的看法,藝術家並運用鮮明的視覺風格將版畫作為一個藝術傳達媒介,持續著與觀看者溝通對話。

    Sigit’s (b.1989) deep curiosity about the police identity encourage him to go deeper through their historical path. This exhibition title, Bhayangkara, was taken from the other name of Indonesian National Police Force. The name Bhayangkara is a recommendation from one of Indonesia’s founding fathers Soekarno, in one of his speech he mentioned that the National Police Force must take the spirit of Bhayangkara who were a loyal guardian army of the king in Majapahit Empire era (13th century) and also reflect Bhayangkara as the ‘way of life’ when they are on duty. Bhayangkara in Majapahit Empire were a special forces who guards the king with all of his interests. While Bhayangkara in Indonesia today were the law enforcement unit that have responsibility to maintain public order and security. According to that fundamental differences about task orientation and authority within the past and nowadays, the relevances of Bhayangkara concept are need to be reviewed. Why it is still used?

    In this exhibition, Sigit tried to trace back the identity of Bhayangkara through the subjective interpretation of an artist, based on the perspective of the society which has become a phenomenon in several parts of the world towards the institution that are now being highlighted. Not only in Indonesia, it become one of the critical issues that is also happening in several countries, especially in Asia. In this late situation, repressive actions often come up when they escorting the society express their aspirations; there is a tendency from this institution to become a tool to secure the ruling authority. This exhibition can be a representation of one of the sociopolitical problems that is happening now, to be a critic of the tension that occurs between one of the law enforcement institutions and the society.

    To accommodate his idea, Sigit mostly use woodcut printmaking technique that historically used as a propaganda medium to influence the audience’s perception on social and political issues. With a distinctive visual character, he made a printmaking as an art medium to communicate simultaneously with a large number of people.

十方藝術空間錫吉特・拉馬丹紅翼之牆印尼藝術家

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