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Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan/boundaries: Lucia Hartini, paintings from a life
Full text linkThe repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian "Surealis" painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. Art historically, this thesis informs us of a wider journey, that of selected twentieth century Indonesian contemporary artists exploring concepts of simulacra, hyper-reality, the meta-real and the surreal through the stylistic use of photo-realism.
Lucia Hartini is known for her "Beautiful Surrealism". A founding member of the "Surealis Yogya", formed in 1985, she was the only woman from the original group to continue painting professionally from the late 1970s, throughout the New Order, and into the era of Reform. The consideration of Lucia Hartini's work in this thesis acknowledges the gradual shift in her concerns. Lucia's paintings respond to her natural and social environment, as well as to the challenges and dramatic changes in her life. This thesis charts the journey of her artistic maturation, so richly embodied in her third solo exhibition, "Irama Kehidupan / The Spirit of Life", in January 2002. Through a critical commentary on paintings selected from her oeuvre and the textual analysis of Perbatasan / Boundaries, I discuss Lucia Hartini’s subject matter, unique systems of image formation and use of detail, her particular contribution to the characteristic qualities of Indonesian "Surealisme". I regard the techniques, conceptual approaches and processes of filmmaking as intrinsic to this exploration, a methodological perspective arising from Hendro Wiyanto (2001) observation that Indonesia's "Surealis" artists present us with "reality bundled as a dream".
Lucia Hartini’s work raises questions of gender and personal transformation. This thesis argues that, for many years, the tensions created by the contrary forces of political repression and social transformation characterising much of New Order Indonesia, were reflected in her art. In a microcosmic-macrocosmic sense, Lucia and her art quietly contributed to attitudinal and social change in Indonesia. Works painted between 1986 and 1996 autobiographically chart a shift from personal distress to a growing sense of empowerment, followed by life-changing spiritual growth. I contextualize these paintings socially by studying the changing interstices between Lucia Hartini’s private life, her professional creative practice and the public persona she adopted in Indonesia’s emergent civilian society. My approach is informed by a conceptual framework based on difference, hybridity and its transformations, on the psychology of borderlands, negotiation and the transcendence of boundaries, witnessed through a study of the spiritual practice and quest for religious tolerance important to Lucia and evident in her art. This thesis reveals those boundaries which were transcended and those which remain negotiable.
Twice filming Lucia Hartini’s art, I was also affected by the dramatically different conditions of production prevailing in 1992 in New Order Indonesia and those possible between 1999 and 2001 during Reformasi. These differences are highlighted in the textual analysis of Perbatasan / Boundaries. Engaging comparisons between contemporary Indonesian art and Indonesian documentary and feature films, I discuss important attempts to solve the problems associated with restrictions on freedom of expression in paintings made prior to Reformasi. I consider the different uses of figurative realism to depict subjects deemed controversial by the state, and the creation of credible representations in art and convincing characterisations in filmmaking. The dramatically real yet poetic work of the Indonesian Neo-realist filmmakers of the 1950s exemplified one such solution. Their films and ideas prompted comparisons with the photo-realism, poetic intent and dramatic juxtapositional image making of the "Surealis Yogya". The relationship I perceive between Neo-realist cinematic practice and contemporary international documentary filmmaking encouraged me to make a documentary about Lucia rather than a purely creative or experimentally surreal work. Because of Reformasi and the changes wrought by Lucia’s personal development, Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) is the documentary which my first short experimental video, Pusaran / Vortex: From the Kitchen to Outer Space (1992 - 1993), made during the New Order, could not be
L'arte di prender moglie, L'arte di prender marito di Paolo Mantegazza
No full textL'antropologo e igienista Paolo Mantegazza scrive due piacevoli trattati per facilitare la scelta del partner, molto apprezzati in Europa. L'introduzione e le note al testo di Lucia Rodler ricostruiscono la storia del testo, il genere, gli stereotipi tra letteratura e scienza
Bhajan Hunjan Connecting With Maria Lucia Cattani
No full textExhibition catalogue for Bhajan Hunjan Connecting With Maria Lucia CattaniExhibition shown at: Winchester School of Art Library January-March 2023Special Collections and Archives space at Women Artists Slide Library, Goldsmiths College London April-June 2023Bhajan Hunjan (b. 1956) was the 2020 Artist in Residence at Projecto Maria Lucia Cattani, Brazil. https://marialuciacattani.wordpress.com/This initiative celebrates the life and work of the highly respected Brazilian artist, Maria Lucia Cattani, (1958-2015). Artist Nick Rands has invited a succession of artists and curators to respond to his late wife’s work, to use her Porto Alegre studio and to mount joint exhibitions of their own work and hers, selected from the archive of her work.<br/
Letter from Joel H. Lucia to the Adjutant General, U.S. Army, 21 August 1865
No full textLetter from Joel H. Lucia in Bridport, Vermont, to the Adjutant General of the U.S. Army, with note added from Major T. A. Dodge of the Veterans Reserve Corps; Lucia describes his Civil War service and inquires about appointments into the Veteran Reserve Corps; dated 21 August 1865 and received on 24 August 1865
Boccaccio letterato, umanista e narratore Intervista di Elisabetta Menetti a Lucia Battaglia Ricci
Full text linkUn dialogo che ripercorre le questioni critiche che hanno mosso gli studi di Lucia Battaglia Ricci sul capolavoro di Giovanni Boccaccio
Lucia Cavero
No full textLucia Cavero, DO 2020https://digitalcommons.pcom.edu/pa_2020_photos/1016/thumbnail.jp
Conférence de Mme Lucia Bergamasco
No full textBergamasco Lucia. Conférence de Mme Lucia Bergamasco. In: École pratique des hautes études, Section des sciences religieuses. Annuaire. Tome 102, 1993-1994. 1993. pp. 353-356
Letter from Peter T. Washburn to Joel H. Lucia, 17 August 1865
No full textLetter from Peter T. Washburn at the Adjutant and Inspector General's Office for the State of Vermont to Joel H. Lucia in Bridport, Vermont, regarding appointments in the Veteran Reserve Corps
Lucia Pieraccioni
No full textVideo interview with Lucia Pieraccioni as part of the Italian Cinema Audiences projec
Lucia Frongia
No full textVideo interview with Lucia Frongia as part of the Italian Cinema Audiences projec
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