Dede Eri Supria's Creative Process of Painting Marginaled Urban People in the New Order Era

Guruh Ramdani, Shuri Mariasih Gietty Tambunan, Yoesoef M, Christomy Tommy
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Abstract

This article aims to reveal the creative process of Dede Eri Supria (DES) in the context of the development of Indonesian painting, showing the structure, style and thematics that represent the impact of development policies and New Order cultural politics. The discussion of this creative process uses Gramsci's concept of hegemony, namely the dominant group's ideology, to perpetuate its power through its apparatus spread throughout civil society, most of which are intellectual groups. This ideological hegemony also occurred in Indonesian painting during the New Order era. This article uses a qualitative description method to reveal and discuss data obtained through interviews and literature studies. Based on these methods and concepts, the following results were obtained. First, DES's creativity was influenced by his social environment with exponents of the New Fine Arts Movement (GSRB), which resulted in his critical views on social and cultural problems and ideological problems in the creative environment of ASRI students and GSRB activists. Second, the DES creative process is a creative reaction to express "freedom" in work to fight the dominant ideology that dominates art. Third, through a creative space free from dominant art ideologies, DES and GSRB exponents display their works at the TIM GSRB Exhibition. Fourth, the social, cultural and political development conditions during the New Order era impacted the socio-economic lives of marginalized urbanites, becoming one of the stimuli for the DES creative process. Fifth, DES in painting uses various visual references but does not copy them outright and creates a new reality in the space of his canvas so that his paintings represent a new type of art that is original and represents the spirit of his time, namely the hyperrealism style.
Dede Eri Supria 在新秩序时代描绘城市边缘人群的创作过程
本文旨在揭示 Dede Eri Supria(DES)在印尼绘画发展背景下的创作过程,展示代表发展政策和新秩序文化政治影响的结构、风格和主题。对这一创作过程的讨论使用了葛兰西的 "霸权 "概念,即统治集团的意识形态,通过遍布民间社会(其中大部分是知识分子群体)的机构来延续其权力。这种意识形态霸权也出现在新秩序时期的印尼绘画中。本文采用定性描述的方法来揭示和讨论通过访谈和文献研究获得的数据。基于这些方法和概念,得出以下结果。首先,DES的创作受到了他与新美术运动(GSRB)倡导者所处的社会环境的影响,这导致了他在ASRI学生和GSRB活动家的创作环境中对社会和文化问题以及意识形态问题的批判性观点。第二,DES 的创作过程是一种创造性的反应,在作品中表达 "自由",以对抗主导艺术的主流意识形态。第三,通过一个不受主流艺术意识形态影响的创作空间,DES 和 GSRB 表达者在 TIM GSRB 展览会上展示他们的作品。第四,新秩序时代的社会、文化和政治发展状况影响了城市边缘人群的社会经济生活,成为 "可持续发展教育十年 "创作过程的刺激因素之一。第五,DES在绘画中使用各种视觉参照物,但并不完全照搬,而是在画布空间中创造新的现实,因此他的绘画代表了一种新的艺术类型,具有原创性,代表了他所处时代的精神,即超现实主义风格。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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