Dewi Dian Reich, There is Intellectual Stagnation in Balinese Art

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Dewi Dian Reich, There is Intellectual Stagnation in Balinese Art
Modern Text
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Sawidji Gallery
Dr. Mas Ruscitadewi
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    In English

    An interview with Dewi Dian Reich, Founder of Sawidji Artist Collective and Gallery by Mas Ruscita Dewi. May 17th 2023 Bali Post. Looking at the challenges faced by Balinese artists in the face of a changing global and local markets.

    In Balinese

    In Indonesian

    Wawancara dengan Dewi Dian Reich, Founder Sawidji Artist Collective and Gallery karya Mas Ruscita Dewi. 17 Mei 2023 Pos Bali. Melihat tantangan yang dihadapi seniman Bali dalam menghadapi pasar global dan lokal yang terus berubah.

    Text Excerpt

    Bahasa Kawi/Kuno

    In English

    Since the island of Bali with its inhabitants and all its activities was introduced to the international world, Bali has not escaped the world's attention. Especially art lovers, who value what the Balinese people do, create and create in terms of customs and religion as noble works of art. Bali's creative culture is well-known, according to Dewi Dian Reich, many Balinese people are creative, even in remote areas of Bali.

    For this woman who was born in Sydney Australia, it is difficult to say who is truly a connoisseur of Balinese art without understanding art and its categories.

    "The over-commercialization of art, which is so focused on profit, makes this assemblage of markets very unclear. How art for tourism, art for collectors, and art for souvenirs," said the founder of the Sawidji Artist Collective, Mas Ubud, Bali. According to the Australian National School of Arts graduate in Bachelor of Fine Arts, these types of art have very different identities. In Bali, they are all side by side in a very tight market pool.

    "The tourist market in the majority doesn't know the difference, most of those who vacation in Bali are not serious art enthusiasts. They are generally people who are enjoying a vacation. Many things have changed in the Balinese art scene. There is currently an intellectual stagnation in Balinese Art,' she said seriously.

    Dian Dewi, whose works have been exhibited by the ACP Gallery (Australian Centre of Photography), National Art School, and the AAAA Gallery, said that we could reason that this stagnation is normal, after a peak of intense creative activity, that there are lulls in one way or another. Feeling the stagnation of art, she is trying to find a way to break the ice through the initiatives of the Sawidji Artist Collective that she founded.

    "Sawidji takes a different approach and doesn't operate like the traditional gallery model. We focus on community building, which gives artists a collaborative space and digital resources as well as representation to grow their profile on a multi-channel platform. Not only do we provide resources, but within them are creators, founders, and maintainers by and for artists, writers, and photographers with experience in systems and management. We are not defined by the operational context of the gallery. We create, we narrate, we connect and share knowledge and we challenge stagnation. We are also not about any specific category of art but believe in heritage, culture and environmental well-being of our community. Intrinsically, what we do optimally is to nurture our creativity, and safeguarding the its true authenticity,” she explained.

    For a more traditional gallery model, Dian, who has a deep love for art, history and her Indonesian heritage traditions, believes collectors are still active. Even though things have gone down a bit since the start of covid.

    'Expenditure statistics in the international art market remain fairly stable at the top end with a forecast of increased activity in the next year. However, these are interesting times because there is a deep transition between art and how society perceives art. Today's perception and relationship to art is very different from 20 years ago. In this top segment, we have to question the demographics and the dominant age groups who are still actively collecting conventional works of art. Is there a balance between the new generation of enthusiasts who will continue to invest in art like that of their predecessors?" she said in a questioning tone.

    Dian states that artists in Bali are extremely blessed with a wealth of creative talent.

    "Maybe this creative talent is innate and part of Balis’ cultural heritage. Tourism has also brought much success to Balinese artists, which is uncommon for most of the art community elsewhere. This growing global audience has made the Balinese art community perhaps very comfortable. Even though the world comes to Bali, Balinese artists seldom have a global view of direct experience. Most artists don't broaden their views to broaden or explore across cultures or global contexts in detail. The point of contact with the global world is limited. Outsiders can empathize with Balinese art, but Balinese art does not often empathize with the outside world. The fact that in general the Balinese people are not known as nomads or adventurers this way, their exposure to the world is limited to what they look directly at their page," said Dian.

    Her passion is changing the conventional context of art and its encouraging it to have different roles in communities. According to Dian, their community spirit apart from sharing knowledge and collaboration, also focuses on digital awareness and its application in one's career. According to her, cross-disciplines in art mediums are very effective in expanding vocabulary and one's creative language.

    "Collaborate and work together to trigger and challenge conventional concepts of art. And return to progressiveness and not get stuck in the same repetitive cycle," she hopes.

    The woman who from 2008 actively worked in Digital Development, CRM and Business Solutions, including the Lean Methodology and practice assesses Balinese art and culture has long enjoyed the peak of popularity, but according to her if you want to stay developing Bali must understand and behave as part of a wider global platform. .

    "Sharing knowledge now isn't just about being active within ocal communities. We have to think bigger and broader. It's about a global dialogue and building cross-cultural relationships while maintaining our unique identity. Digital networks are tools that need to be understood and need to be integrated into the public face of artists , and galleries alike. This network is not limited to social media platforms. Digital platforms are wide ranging and can be a tool to integrate better synchronization in personal and organizational projects. Once the skill level is balanced with other international organizations and communities we can traverse distances and access networks that were difficult to access previously. Revitalization of the intellectual value of art is needed. Understanding art through our freedom of

    personal perspective whilst not ignoring the global context and relevant historical roots," she concluded.

    In Balinese

    In Indonesian

    Sejak pulau Bali dengan penduduknya dan segala aktivitasnya diperkenalkan ke dunia internasional, Bali tak luput dari perhatian dunia. Khususnya para pecinta seni yang menghargai apa yang dilakukan oleh masyarakat Bali, berkreasi dan berkreasi secara adat dan religi sebagai karya seni yang luhur. Budaya kreatif Bali terkenal, menurut Dewi Dian Reich, banyak orang Bali yang kreatif, bahkan di pelosok Bali sekalipun.

    Bagi perempuan kelahiran Sydney Australia ini, sulit dikatakan siapa yang benar-benar penikmat seni rupa Bali tanpa memahami seni dan kategorinya.

    “Komersialisasi seni yang berlebihan, yang begitu terfokus pada keuntungan, membuat perhimpunan pasar ini menjadi sangat tidak jelas. Bagaimana seni untuk pariwisata, seni untuk kolektor, dan seni untuk oleh-oleh,” ujar pendiri Sawidji Artist Collective, Mas Ubud, Bali. Menurut lulusan Australian National School of Arts yang meraih gelar Bachelor of Fine Arts ini, jenis-jenis seni tersebut memiliki identitas yang sangat berbeda. Di Bali, semuanya berdampingan. di kolam pasar yang sangat ketat.

    “Pasar turis mayoritas tidak tahu bedanya, kebanyakan yang liburan ke Bali bukan peminat seni yang serius. Mereka umumnya adalah orang-orang yang sedang menikmati liburan. Banyak hal yang berubah dalam kancah seni Bali. Saat ini sedang terjadi stagnasi intelektual dalam Kesenian Bali,' ujarnya serius.

    Dian Dewi yang karya-karyanya telah dipamerkan oleh Galeri ACP (Pusat Fotografi Australia), Sekolah Seni Nasional, dan Galeri AAAA, mengatakan bahwa stagnasi ini wajar saja, setelah puncak aktivitas kreatif yang intens, bahwa ada menidurkan dalam satu atau lain cara. Merasakan stagnasi seni, ia mencoba mencari cara untuk mencairkan suasana melalui inisiatif Sawidji Artist Collective yang ia dirikan.

    Sawidji mengambil pendekatan yang berbeda dan tidak beroperasi seperti model galeri tradisional. Kami fokus pada pembangunan komunitas, yang memberi seniman ruang kolaboratif dan sumber daya digital. serta representasi untuk mengembangkan profil mereka di platform multi-channel. Kami tidak hanya menyediakan sumber daya, tetapi di dalamnya terdapat pencipta, pendiri, dan pengelola oleh dan untuk seniman, penulis, dan fotografer dengan pengalaman dalam sistem dan manajemen. Kami tidak ditentukan oleh konteks operasional galeri. Kami menciptakan, kami menceritakan, kami terhubung dan berbagi pengetahuan dan kami menantang stagnasi. Kami juga bukan tentang kategori seni tertentu tetapi percaya pada warisan, budaya, dan kesejahteraan lingkungan komunitas kami. Pada hakekatnya, yang kita lakukan secara maksimal adalah memupuk kreativitas kita, dan menjaga keasliannya yang sebenarnya,” jelasnya.

    Untuk model galeri yang lebih tradisional, Dian yang memiliki kecintaan mendalam pada seni, sejarah, dan tradisi warisan Indonesianya, yakin kolektor masih aktif. Meskipun keadaan sedikit menurun sejak awal covid.

    'Statistik pengeluaran di pasar seni internasional tetap cukup stabil di ujung atas dengan perkiraan aktivitas yang meningkat di tahun depan. Namun, ini adalah saat-saat yang menarik karena ada transisi yang mendalam antara seni dan cara masyarakat memandang seni. Persepsi dan hubungan seni rupa saat ini sangat berbeda dengan 20 tahun lalu. Di segmen atas ini, kita harus mempertanyakan demografi dan kelompok usia dominan yang masih aktif mengoleksi karya seni konvensional. Apakah ada keseimbangan antara generasi baru peminat yang akan terus berinvestasi dalam seni seperti para pendahulu mereka?" katanya dengan nada bertanya.

    Dian mengatakan, seniman di Bali sangat dikaruniai segudang bakat kreatif.

    "Mungkin bakat kreatif ini bawaan dan bagian dari warisan budaya Bali. Pariwisata juga membawa banyak kesuksesan bagi seniman Bali, yang tidak biasa untuk sebagian besar komunitas seni di tempat lain. Pemirsa global yang berkembang ini memiliki membuat komunitas seni Bali mungkin sangat nyaman. Padahal dunia datang ke Bali, seniman Bali jarang memiliki pandangan global tentang pengalaman langsung. Kebanyakan seniman tidak memperluas pandangan mereka untuk memperluas atau menjelajahi lintas budaya atau konteks global secara rinci. Titik kontak dengan dunia global terbatas. Orang luar bisa berempati dengan kesenian Bali, namun kesenian Bali seringkali tidak berempati dengan dunia luar. Faktanya bahwa pada umumnya masyarakat Bali tidak dikenal sebagai pengembara atau petualang dengan cara ini, keterpaparan mereka terhadap dunia terbatas pada apa yang mereka lihat secara langsung halaman mereka," kata Dian.

    Semangatnya mengubah konteks seni konvensional dan mendorongnya untuk memiliki peran berbeda dalam komunitas. Menurut Dian, semangat komunitas mereka selain berbagi ilmu dan kolaborasi, juga menitikberatkan pada kesadaran digital dan penerapannya dalam karir seseorang. Menurutnya, lintas disiplin dalam medium seni sangat efektif untuk memperluas kosa kata dan bahasa kreatif seseorang.

    “Berkolaborasi dan bekerja sama untuk memicu dan menantang konsep seni konvensional. Dan kembali ke progresivitas dan tidak terjebak dalam siklus berulang yang sama,” harapnya.

    Perempuan yang sejak 2008 aktif bekerja di Digital Development, CRM dan Business Solutions, termasuk Lean Methodology and practice ini menilai seni budaya Bali sudah lama menikmati puncak popularitas, namun menurutnya jika ingin tetap berkembang Bali harus memahami dan berperilaku. sebagai bagian dari platform global yang lebih luas. .

    “Berbagi pengetahuan sekarang bukan hanya tentang aktif dalam komunitas lokal. Kita harus berpikir lebih besar dan lebih luas. Ini tentang dialog global dan membangun hubungan lintas budaya sambil mempertahankan identitas unik kita. Jaringan digital adalah alat yang perlu dipahami dan perlu diintegrasikan ke dalam wajah publik seniman, dan galeri. Jaringan ini tidak terbatas pada platform media sosial. Platform digital memiliki jangkauan yang luas dan dapat menjadi alat untuk mengintegrasikan sinkronisasi yang lebih baik dalam proyek pribadi dan organisasi. Setelah tingkat keterampilan seimbang dengan organisasi dan komunitas internasional lainnya, kami dapat melintasi jarak dan mengakses jaringan yang sulit diakses sebelumnya. Diperlukan revitalisasi nilai intelektual seni. Memahami seni melalui kebebasan kita

    perspektif pribadi dengan tidak mengabaikan konteks global dan akar sejarah yang relevan," pungkasnya.