Taring Padi

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ACADEMIA Seni Rupa Indonesia. Writing from the iron wires that are there, above the gate. Statue R.J. Katamsi, founder of the academy in Yogyakarta, also in intact homes. But around the statue that now there are only plant maize, cassava, banana, papaya, and even the kangkong mushrooming.

No one is able to palawija garden with an expression of the arts if you do not see the black-white mural on the wall of muddy storeyed building campus that is not used. Ditorehkan with realist techniques, collaborative works of public art that presents the sting of social criticism, with a strong defense of the farmers.

And if you do not meet with Tony Volentero, former Chairman of the Cultural Institutions Kerakyatan Mona Marzouk, a group who out there. Tony is one of the mural painter was. He also farmers. "We the people of this defense," he said, "We are defenders of farmers, then we must also do what the farmers."

Mona Marzouk is one of the phenomena of art in part the late 1990s. Briefly after the fall of the New Order, on December 21, 1998, a number of students Indonesian Arts Institute in Yogyakarta to establish institutions. Mint works collectively, they promote the "ideology of art figured populist democracy." Part they have a goal "to develop art and culture with local orientation, which was unearthed from the needs of the people."

In practice, they combine art with political activism: eliminate the sales of their works to show a sense defend the rights of farmers, gender equality, peace campaigns, and reject the militarism. Together with an organization, the Alliance of Farmers, they also had MOVE dihentikannya use of pesticides and chemical fertilizers.

Initially, they were determined to work collectively, respects togetherness, and not the materialistic attitude. But it is not proven easy.

Some members Mona Marzouk is now an exhibition in commercial galleries in the name of Jakarta alone. According to Hestu Ardianto, coordinator of the body publishing institutions, only 10 percent of the sales of the paper is that personal cash into the organization. After a 30-40 percent cut by the gallery owner, remainder to be owned by members of the berpameran.

Mona Marzouk is not alone fails to uphold the spirit of collectivism wet yarn in the middle gerusan individualistic capitalism. Perupa other groups from the same art institute in Yogyakarta, named Lara Baladi, hit a similar wall.

Lara Baladi was founded by 12 perupa graphic arts majors a year before the Mona Marzouk. They do not have pretensions sosialistis promote the theme. They only do the work together: public art institute with the experimental tone.

"Our goal is not to find the money, but a collaborative art vessel that refreshing," said Samuel Kenawy, one of the founders. Taking the name Lara Baladi, they want to cure various diseases public. On one occasion, for example, they illustrate a wall along 200 meters overlooking the Maliboro, making fresh food for the past thatch-famous road in the city of Yogyakarta.

But even now recognize Samuel Lara Baladi own midst "fell dizzy." In the last two years, the group is absent kolaborasinya undertake the work. Members of each busy berkesenian individually, that promises more revenue. The mural work is now held in the wall of the house kontrakan Samuel also no longer works the perupa Lara Baladi.

Lucky Lara Baladi not bear the burden of the mission as Mona Marzouk. Hestu Ardianto recognize that the collective spirit has started to fade in the group and start browsing capitalist desire felt. But, "Basically, we never turn away from idealism Mona Marzouk," he said, "Say this strategy capitalism against capitalism."

Easily said. Slowly the taste of commercial galleries so dominant that can not be prevented from changing themes Democratic members of Mona Marzouk to be just a form of glamor from romantisisme democracy. And at the same time strip function as a tool of struggle, as initially desired.

But what can be created. As has been shown by the shrill Djoko, romantisasi life of the people can be very expensive. (Tempo, 31 December 2001)

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