Noughties by Nature
The Noughties by Nature exhibition is an initiative from a long series of efforts to trace the origins of Indonesian art from the Generation 2000s. It presents various approaches, tendencies, and practices of artists from that era, then traces them back, or more precisely, conducts a comparative study with the Gerakan Seni Rupa Baru (GSRB or the New Art Movement), focusing particularly on two of its historical milestones in different periods: Pameran Seni Rupa Baru Indonesia initiated by the GSRB (1975 鈥� 1979), and of course, the Pasaraya Dunia Fantasi (1987).
The perspectives presented in this exhibition function as a tool of deconstruction, challenging the notion that the art world is an untouchable bubble unaffected by worldly events. By narrowing the focus from a global perspective to a specific regional context, this localised generational survey dissects how aesthetics adopted from popular culture have evolved significantly in various regions. This further proves that contemporary Indonesian art is no longer merely a replica of Western aesthetics or limited to 鈥楶op Art,鈥� let alone the 鈥榠sms鈥� of Western modern art.
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The Noughties by Nature exhibition is an initiative from a long series of efforts to trace the origins of Indonesian art from the Generation 2000s. It presents various approaches, tendencies, and practices of artists from that era, then traces them back, or more precisely, conducts a comparative study with the Gerakan Seni Rupa Baru (GSRB or the New Art Movement), focusing particularly on two of its historical milestones in different periods: Pameran Seni Rupa Baru Indonesia initiated by the GSRB (1975 鈥� 1979), and of course, the Pasaraya Dunia Fantasi (1987).
The perspectives presented in this exhibition function as a tool of deconstruction, challenging the notion that the art world is an untouchable bubble unaffected by worldly events. By narrowing the focus from a global perspective to a specific regional context, this localised generational survey dissects how aesthetics adopted from popular culture have evolved significantly in various regions. This further proves that contemporary Indonesian art is no longer merely a replica of Western aesthetics or limited to 鈥楶op Art,鈥� let alone the 鈥榠sms鈥� of Western modern art.
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