15.09.25 — 12.10.25

Menolak sekaligus Merengkuh

A group exhibition by Abdi Setiawan, Agung Santosa, Afdhal, Akmal Jaya, Alexis, Dodi Irwandi, Fika Ria S, Gusmen H, Handiwirman Saputra, Iabadiou Piko, Jumaldi Alfi, M.Irfan, Ridho Rizki, Ronal Efendi

At Once to Reject and Embrace

“Takuruang Nak di Lua, Taimpik Nak di Ateh Terkurung Ingin di Luar, Terimpit Ingin di Atas

Confined (one) wants out, Crushed (one) seeks to be on top” Anomalous Minangkabau proverb

In the repertoire of Minangkabau philosophy, the proverb above is irregularly constructed. In order to understand this proverb, one needs understanding of the lingual and extra-lingual contexts. The lingual context refers to words, phrases, sentences that come before or after. The extra-lingual context relates to the speaker and receiver, the context in which speech occurs, and the subject matter at hand. The words that constitute the proverb above can be seen to possess varied meaning, dependent on one’s own understanding. Such proverbs also function as societal recommendations that cannot be separated from certain rules or restrictions. For example, if a recommendation reads as such, the restriction results in its opposite. Put differently, a recommendation for how to achieve a long life, relates to a restriction that prevents a quick death.

Takuruang Nak di Lua, Taimpil Nak di AtehTakuruang Nak di Lua, Taimpil Nak di Ateh or Confined (one) wants out, crushed (one) seeks to be on top. I understand this proverb as reference to man’s desire to change in relation to previous conditions. A condition that is separate or incapable of being confined and squeezed, to change such a condition requires effort, because change only manifests itself if the individual himself is able to change. This essay is intended as an accompaniment for the exhibition, organized by Nadi Gallery in cooperation with the Sakato Art Community (SAC). It is not a curatorial introduction. SAC’s first experience working together with Nadi Gallery began in 2005 with the exhibition entitled “Re-Reading Landscap,” curated by Maman Noor. In this exhibition, the curator along with SAC set out to reread landscape painting and its history that has continued to develop in West Sumatra since the beginning of the 20th century thanks to the efforts of Wakidi who studied and then taught at the Kweek School in Bukittinggi. In contrast, the present collaboration with Nadi Gallery is done without the aid of a curator attempting to read the history of West Sumatran fine art. Though of course a curatorial process took place, carried out by both parties or organizers, namely Nadi Gallery and SAC. It is this process that I pay heed to here.

The desire to organize this exhibition emerged during the preparation for SAC’s exhibition, BAKABA #6, held only a few months ago in Yogyakarta. As such, it can be stated there was not enough time to prepare an exhibition like SAC’s first collaboration with Nadi Gallery. This exhibition follows 13 artists from SAC, chosen by both parties. However, the selection of works themselves was trusted to the artist to choose their best work.

When the artists, part of Sakato, enter the community’s social life, their position is based on a definite relationship, namely art. The relationship of an individual to this community is not entirely dependent on their own will, but rather on the relationship of their artistic method and social work. It is the variety of such method and style that result in the unity of this community.

Returning to the activities of the artists part of this exhibition, each day these individuals work in their respective studios, sometimes gathering at the Sakato Secretariat as well as other spaces to discuss art and life, or meeting at exhibitions in the various galleries throughout Yogyakarta. And of course, beyond their activities as artists, these individuals cherish their personal (family) lives inside and outside of the home, participating in the general development of human achievement through various media.

Looking at this way of life, particularly the way in which SAC artists gather, one observes a desire to live an egalitarian lifestyle, reminiscent of these artists’ ancestors. This is at least proof that SAC and its members continue to embrace Minangkabau values in their daily life outside of the Minangkabau heartland itself. So, one might ask, where is this egalitarianism located? If one takes only a cursory look at Minangkabau, they will only see a single culture. However, this culture is constituted by differences in each region, certain things are not uniform across Minangkabau culture, referring here to the character of specific nagari or regions that comprise the Minangkabau heartland. For example, if one looks at language, they will find that the language used in Padang is different than the language used in Bukittinggi or other nagari. Yet, despite these differences each local language is considered part of the Minangkabau language. While on one hand there is a resistance amongst regions to be one and the same, on the other hand there is an embrace of similarities.

Previous generations reveal how the Minangkabau upheld such difference, for example if one examines the contrast between Hatta, Syahrir and Tan Malaka. In terms of fine art, this is also seen through the example of Nashar, Oesman Effendi, and Zaini, although they are often seen to have had a similar orientation in their art. Finally, this can also be seen via the thirteen artists part of this exhibition. The differences in their work are not forced, but rather, are the result of the freedom to live their own lives.

Yet, if this is the case, if members of SAC exhibit together, is it possible to collectively discuss a particular issue or discourse? Of course, it is possible! The exhibition “Re-reading Landscap” in 2005 is just one example. In this exhibition, each artist explored the issue of landscape based on their individual mode of expression. The result was a variety of representations exploring landscape.

To discuss the artists part of Sakato Art Community is not possible without also discussing Minangkabau culture; a culture that in the midst of cultures globally, is quite unique. This uniqueness is derived from the Minangkabau’s matrilineal system of inheritance and matriarchal culture that at the same time, is also influenced by the Minangkabau embrace of Islam, a patriarchal religion. As such, Minangkabau must learn to marry so to speak these two different perspectives or streams of life. This is just one example that relates to this exhibitions title, “At Once to Reject and Embrace.” Even those artists who have chosen to live in Yogyakarta, in the midst of Javanese culture, cannot remove themselves from the rails of Minangkabau life.

In July 1976, Oesman Effendi delivered a speech at Taman Ismail Marzuki (TIM) in Jakarta regarding Minangkabau living in the rantau (any area outside of the Minangkabau heartland), in this case Java. In this speech, given in correlation with an exhibition of artists from Padang held at TIM, Effendi states, “It is crazy to think that any person who has achieved something in the rantau will want to return to his village, just let them help their homeland from afar.” He then added, “the height of Minangkabau achievement will be more fully visibly Minang, because Minangkabau people have proven that those who advance or establish a name for themselves in the rantau, in general, cannot free themselves from the influence of Minangkabau culture, even if that individual swore to death that they no longer wished to know Minangkabau society.”

Am I saying that the artists part of this exhibition: Abdi Setiawan, Afdhal, Akmal Jaya, Alexis, Dodi Irwandi, Fika Ria Santika, Gusmen Heriadi, Handiwirman Saputra, Iabadiou Piko, Jumaldi Alfi, M. Irfan, Ridho Rizki, Ronald Efendi are individuals that refuse to return home so to speak, but continue to embrace Minangkabau values in life and art? Of course, the one most capable of answering this question are the artists themselves. In his Night Letters, Nashar already answered this question, writing that every place he had already visited, he was able to love, after the exploration of its nature, making it his village! In fact, this is the mindset of Minangkabau, where there is sky above one’s head, there is land on which to live. In line with the proverb quoted at the beginning of this essay, there is a consistent conscious effort to move beyond a confined state and restricted mode of thought.

The most basic philosophies of Minangkabau society are to learn from nature and to resolve problems based on custom and religion. The development of this society is the result of modern education. Today, Minangkabau live in the context of the Republic of Indonesia, founded on the principles of Pancasila and the desire to develop the various regions of the archipelago according to the ideals of a unified nation. The successful development of a Minangkabau world, is the result of the successful development of Indonesia, referring again to Oesman Effendi. Hopefully each nation realizes that Indonesia is the result of such difference, still capable of resisting division and embracing unity. In order that this nation does not run from the rails of unity.

Anton Rais Makoginta
Yogyakarta, August 2017