community groups later became
In 1962, he was one of the first
ART HISTORY AND THE ARTIST:
What modern artists do you like?
AFFANDI: There are some critics who write that I am too influenced by Van Gogh.
Others say that Affandi and Van Gogh travel on the same boat; the boat of
expressionism. These writers say that there is an intersection point between the two artists.
My thinking on the whole
is that Affandi is Affandi, and Van Gogh
is Van Gogh. One leaves it for the people to choose.
Among the expressionists
whom I like very much, is Edvard Munch.
Another artist I like is Toulouse Lautrec. I don't much like the paintings
of Renoir. I feel that Renoir's art is too soft. I do not have an idealistic
quarrel with Renoir as an artist. You see, just because I don't like the art,
it does not mean that it is bad.
How does the individual artist deal with art history?
AFFANDI: Regardless of the answers to the questions asked about
Indonesian art history, it still depends on the painter himself- on
what the painter really wants. It is difficult to know the truth or
motivations about art or about other painters in art history:
but if it is about me, of course, I know. Whatever ‘Modern Art’ is in
Indonesia, or in Europe, it still depends on people- the artists themselves
as individuals. That is the truth.
In this more modern
world, some artists in Indonesia do not want to be left behind;
they do not want to fail and do not want to miss out in expanding their artistic ideals.
Furthermore, remember that some clever individual artists (before scientists had
been into space) had already travelled to space within their imagination. Ha! Ya!
(laughs at the thought).
Also, there is much
rivalry, argument, wars, suffering and people
who really need basic things. I think that rather than going to do the
modern thing and go into space, one might consider what the artist
can do here on earth, where the needs of the people are so self-evident.
Yes. Don't you agree?
Sure. Are you suggesting that modern and more traditional art are
an answer to poverty?
AFFANDI: No. For example, I do the art, not because I like to be rich,
not because I like to be famous, but because I have to. It is, I don't know
how you call it in English, but we call it “Panggilan Jiwa - the calling of the soul.”
Whether I get a name or not, whether my painting is sold or not, really does
not matter. To do the painting is the thing. I have to do it.
My suggestion to my
parents was that
So I left the school to
look for a job to
All the 'isms' like Expressionism, Surrealism, Realism,
Modernism and Post Modernism really worry me, because they label an
artist, who then enters a cage.
AFFANDI: Yes. The art historians just want to talk about something,
but what is in a name actually? Not much.
Top Back Next