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Katalog Pameran Tunggal Hanafi, Id, Jogja Gallery (2007), Hal

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Katalog Pameran Tunggal Hanafi, Id, Jogja Gallery (2007), Hal hanafi pintu belakang | derau jawa Sambutan Kepala Galeri Nasional Indonesia Galeri Nasional Indonesia - Kementerian Pendi- dikan dan Kebudayaan - menyambut baik penye- lenggaraan Pameran Tunggal Hanafi ”Pintu Be- lakang | Derau Jawa” di Galeri Nasional Indonesia. Hanafi yang cukup lama berkecimpung di dunia kesenian, utamanya di bidang seni rupa relatif in- tens berkarya dan telah menggelar banyak pameran, baik pameran tunggal maupun pameran bersama, di dalam negeri ataupun mancanegara. Pada tahun 2016 ini, merupakan pameran tunggal Hanafi un- tuk yang ketiga kalinya digelar di Galeri Nasional Indonesia, setelah sebelumnya pernah diselenggara- kan pada 2006 dan 2010. Hanafi acapkali mengeksplorasi dan menerjemah- kan idea konseptualnya ke dalam berbagai me- dia ekpresi, seperti lukisan, patung, dan instalasi. Karya-karyanya telah memiliki karakter dan iden- titas tersendiri yang selalu menarik untuk diperbin- cangkan. Bahkan satu lukisannya telah menjadi koleksi Galeri Nasional Indonesia / Koleksi Negara. Lukisan tersebut berjudul Pukul 12 Siang Hari, akri- lik dan enamel pada kanvas, 230 x 250 cm, 2006. Pada karya yang lain pernah mendapatkan peng- hargaan seni, beberapa diantaranya adalah Top 10 Philip Morris Art Award (1997); Finalis Indofood Art Award (2002 dan 2003); Top 10 Golden Pal- ette, Ancol, Jakarta (2005); serta Anugerah Kebu- dayaan FIB Universitas Indonesia, Jakarta (2005). Selain melahirkan karya–karya seni lukis dan insta- lasi, Hanafi juga menekuni dunia artistik panggung dengan menggelar pertunjukan seni yang berkolab- orasi dengan seniman tari, teater, dan sastra. Melalui Pameran Tunggal Hanafi ”Pintu Belakang | Derau Jawa” ini, diharapkan dapat membuka kesempatan bagi masyarakat untuk mengapresi- asi karya-karya Hanafi, menambah wawasan dan mengenal lebih dekat tokoh-tokoh seni rupa Indo- nesia, serta membuka dialog publik yang memun- culkan inspirasi serta motivasi dari perjalanan kreat- if seorang Hanafi. Kami ucapkan selamat kepada Hanafi, serta terima kasih kepada kurator pameran ini Agung Hujatnikajennong, Studio Hanafi, dan seluruh pihak yang telah bekerja keras mewujudkan pameran ini. Selamat berpameran, selamat mengapresiasi! Jakarta, Maret 2016 Tubagus ‘Andre’ Sukmana Esai Kuratorial Opening Speech from the Head of Galeri Nasional Indonesia Galeri Nasional Indonesia--The ministry of Edu- cation and Culture--warmly welcome Hanafi’s Solo Exhibition “The Backdoor | Noise Java” at Galeri Nasional Indonesia. Hanafi has been involved in the arts for a long time, particularly in visual arts where he has been working relatively intensely and has held numerous exhibitions, both solo and col- laborative, national as well as international. In 2016, this will be his third time holding an exhibition at Galeri Nasional Indonesia, after having done so in 2006 and 2010. Hanafi often explores and translates his conceptual ideas into various media of expression, like paint- ings, sculptures, and installations. His works possess a unique character and identity that are always in- teresting to discuss. One of his paintings has even made it into the collection of Galeri Nasional In- donesia / the National Collection. The painting is titled Pukul 12 Siang Hari, acrylic and enamel on canvas, 230 x 250 cm, 2006. His other works have also won awards, some of those awards are; Top 10 Philip Morris Art Award (1997); Indofood Art Award Finalist (2002 and 2003); Top 10 Golden Palette, Ancol, Jakarta (2005); and a Cultural Award from Universitas Indonesia’s Cultural Studies Facul- ty, Jakarta (2005). Aside from producing visual arts work and installations, Hanafi has also delved into the performing arts by organizing an art show with dance, theatre, and literary artists. Through this solo exhibition, we hope to give the public a chance to appreciate Hanafi’s works, ex- pand their knowledge and familiarize themselves with Indonesia’s art figures, in addition to starting a public dialogue that births inspiration and motiva- tion from Hanafi’s creative journey. We would like to say congratulations to Hanafi, and thank you to the curator of this exhibition Agung Hujatnikajen- nong, Studio Hanafi, and all parties that have made this exhibition possible. Happy exhibiting, happy appreciating! Jakarta, Maret 2016 Tubagus ‘Andre’ Sukmana Isi Sambutan Kepala Galeri Nasional Indonesia Tubagus ‘Andre’ Sukmana Esai Kurator Udara Menjadi Bunyi: Keluar Masuk Jawa lewat Pintu Belakang Agung Hujatnikajennong Narasi-narasi dalam Pameran Hanafi Pintu Belakang | Derau Jawa Afrizal Malna Kelompok Karya Hanafi Program Pameran Musik Performance: Sa’Unine String Project Diskusi Pra Pameran: Apa Itu Jawa Lokakarya dan Pameran Lintas Media Lokakarya dan diskusi Pembacaan karya Hanafi Ucapan Terima kasih Tim Pameran Content Opening Speech from the Head of Galeri Nasional Indonesia Tubagus ‘Andre’ Sukmana Curatorial Essay Air Becomes Sound: In and Out of Java through the Backdoor Agung Hujatnikajennong Narratives in Hanafi’s Exhibition Back Door | Noise of Java Afrizal Malna Hanafi’s Artwork Group Exhibition Program Music Performance Sa’Unine String Project Pre-Exhibition Discussion: What is Java Exhibition and Intermedia Workshop Workshop and Hanafi’s Artwork Reading Discussion Biography Hanafi Agung Hujatnikajennong Acknowledgment Exhibition Team Esai Kurator Udara Menjadi Bunyi: Keluar Masuk Jawa lewat Pintu Belakang Agung Hujatnikajennong Di antara sekian banyak tikungan maupun lompa- tan yang pernah dilalui Hanafi Muhammad dalam rentang duapuluhlima tahun perjalanannya sebagai seniman, proyek Oksigen Jawa (2015) adalah salah satunya. Saya menyebutnya sebagai tikungan yang penting. Meski karya-karya dalam pameran terse- but tidak memperlihatkan penemuan dan peruba- han gaya, medium atau teknik baru, Oksigen Jawa menandai tikungan tematik yang memberi warna baru pada perhatian, cara kerja dan tabiat artistik Hanafi hari-hari ini. Dalam Oksigen Jawa, Hanafi menggarap segenap ruang pamer di Galeri Soemardja menjadi instalasi besar yang terbangun atas ingatan-ingatan tentang kisah hidupnya. Dari pintu depan galeri, Hanafi membangun labirin, menggiring penonton mema- suki narasi-narasi tentang objek-objek yang mesin jahit, peniti, ranjang rumah sakit, piring makan, padi, troli beras, sulaman, handuk, kap lampu dan gulungan benang. Semua itu tergambarkan pada kanvas, atau hadir sebagai bagian dari instalasi di ruang pamer. Oksigen Jawa adalah sebuah ‘biografi visual’, Hanafi menegaskan. Oksigen Jawa menampilkan lukisan-lukisan yang tak lagi sepenuhnya ‘abstrak’ seperti yang kita temui dalam pameran-pameran Hanafi sebelumn- ya.1 Nyaris pada semua lukisan Oksigen Jawa, ob- jek-objek hadir dan digambarkan dengan sedikit 1 Lihat lukisan-lukisan Hanafi, terutama dalam pamer- an-pameran tunggalnya: id (2006), Enigma (2007), Of Space and Shadows (2009) dan Migrasi Kolong Meja (2014). saja deformasi bentuk. Sebagian malah dipertegas dengan tulisan-tulisan yang terbaca. Bagian integral dari proyek Oksigen Jawa adalah buku tipis yang Hanafi tulis dalam bentuk fragmen-fragmen cerita tentang kehidupannya, serupa sketsa-sketsa untuk memoar yang lebih luas. Saya menengarai bahwa secara menyeluruh Oksigen Jawa dilatari oleh kebu- tuhan Hanafi untuk mengingat. Dan untuk mem- bekukan kisah-kisah yang semula samar-samar dan hanya berkelebat-kelebat dalam ranah ingatan itu, ia memerlukan tanda-tanda dan gambaran yang dapat terbaca secara lebih jelas. Objek-objek Oksi- gen Jawa hadir sebagai memento yang tidak sekadar mematok jalan masuk menuju kisah-kisah, namun harus dapat memancing keterlibatan penonton atau pembacanya secara lebih langsung. Publik telah mengenal dan terlanjur mengidentifi- kasi sosok Hanafi sebagai ‘pelukis abstrak’. Lansir- an itu tidak sepenuhnya salah, mengingat sebagian besar lukisan-lukisannya dihasilkan dari prinsip mengaburkan atau menyembunyikan bentuk-ben- tuk representasional. Namun harus difahami bah- wa prinsip abstraksi yang dianut Hanafi bukan- lah melulu soal gubah-menggubah bentuk atau bermain-main dengan bahasa formalistik. Kerja melukisnya mencerminkan suatu pendekatan re- flektif sekaligus refleksif dalam memecahkan per- soalan: Reflektif, karena keseniannya melibatkan pemikiran-pemikiran dan kontemplasi mendalam tentang sesuatu di balik fenomena empirik atau in- derawi belaka. Refleksif, karena Hanafi cenderung menempatkan dirinya sendiri sebagai subjek yang terkena dampak oleh, atau terlibat langsung dengan persoalan yang dipikirkannya. Bagi Hanafi abstraksi bukanlah suatu gaya, apalagi ideologi, yang harus dipatuhi secara buta. Lebih penting baginya adalah menempatkan kerja seninya sebagai manifestasi dari caranya memikirkan persoalan, yang bukan kebetu- lan banyak diwarnai oleh pendekatan retorik kalau bukan puitik. Hanafi adalah seorang seniman yang cenderung ter- buka, kalau bukan bebas, dalam bekerja. Sejumlah pengamat telah mengulas karya-karyanya sebagai manifestasi dari ‘keriangan dan kebebasan’ dalam mencipta.2 Dalam pameran tunggalnya, Of Spaces and Shadows (2009), misalnya, ia bisa dengan san- tainya menyandingkan lukisan-lukisan abstraknya dengan instalasi atau patung yang justru nampak ‘realistik’, figuratif. Namun Oksigen Jawa, menurut saya, bukan sekadar proyek yang menegaskan ker- iangan Hanafi dalam bekerja. Sebagaimana dite- gaskan dengan frasa ‘biografi visual’, tanda-tanda dalam Oksigen Jawa memang hadir untuk mene- gaskan memori dan narasi-narasi personal. Perso- alan yang disuguhkan dalam Oksigen Jawa lebih luas dari sekadar cerita seorang anak seorang ten- tara kelahiran Purworejo yang merantau ke Jakarta
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