Patriot Mukmin
Twenty years after the turn of the 20th century, we have witnessed a variety of global phenomena that bring significant impacts to art and cultural practices. The century opened with a frenzy of the rumoured Y2K virus – the biggest fear of viral infection we had seen. The 11th September attack in 2001 gave rise to changes in the global political landscape whose effects linger on until today. The emergence of China as the new economic giant has stirred the global economic into a different trajectory. Additionally, the disruptions created by the Industrial Revolution 4.0 has been and will continually be impactful to human daily life. The reflection of these global changes have been obvious in different areas of creative practice including art, design, architecture, film and photography. In the context of contemporary art, for example, the end of the Cold War and turn to the new century has been marked by the increasing engagement of Indonesian artists in the global scene. Indeed, they have benefitted from the new patronage in ‘biennalization’ that happened since the 1990’s. But the rise of Chinese contemporary art scene and market in the early 2000s has interestingly brought influence to Indonesian art scene. Triggered by a new trend of investment in contemporary art, the rise of art fairs and auction houses in Asia, especially China, has given birth to a new generation of Indonesian collectors and thus a new positive sentiment in local art market. This community service is carried out by initiating a discussion forum that critically discusses the above problems. In doing so, we invited several important thinkers with experts related to the latest Indonesian art and visual culture. Also, the results of the discussion will be recorded in one proceeding book. In addition to containing the writings of invited speakers, this book contains writings from academics who were accepted in the open submission process.
Penerapan Karya Tulis
In the field of art production, appropriation has been a common practice among artists. Self- managed websites or social media accounts have made it possible even for amateur artists to get 55ublicized and gain access to the art market. The practice of art consumption has also changed greatly as museum and gallery ‘millenial’ visitors are more inclined to take ‘selfies’ in front of the artworks than discussing about the works. It is difficult to claim that this phenomenon has given purely positive or negative effects, but it has definitely turned the art world sideways and under. The evolution of digital technology over the past decades demands new ways of thinking about the production, distribution, and consumption of art in Indonesia. The changes driven by Industrial Revolution 4.0 have been the fastest ever since the invention of computers. Big Data, Artificial Intelligence (AI), and Internet of Things (IoT) are the most prominent manifestations of the new technology. For example, it is obvious how YouTube has generated celebrities all over the world in an unprecedented speed. The digital platform has also shaped the current economic landscape where aspiring designers seek to become entrepreneurs to be self-sufficient and able to create work opportunities for others. Cultural phenomena that have colored the first two decades of this century are, of course, not limited to the changes in contemporary art and effects of digital revolution. Paradigms, practices, and objects emerged and created within this time show a more nuanced spectrum in all aspects of life, from politics to religion to freedom of expression and identity.