Nindityo Adipurnomo: From solo to mass, spiritual to social (2003)
| 14 November 2011
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 The history, analysis and interpretation of the Euro-American traditions of performance, body and installation art (and their derivations and crossovers) is in its early phases, as testified to by every writer approaching the subject in the last two decades. While curators and art historians writing about contemporary Asian installation / performance art for the most part exhibit an “allergy” towards its ancestral roots and contemporary inspirations in indigenous community ritual, this history should not be eschewed where appropriate. The fear of “orientalising” is naturally with us who write about Asian art (or any art of any other), yet self-censorship or lack of allergenic awareness leads to the very kinds of orientalising silences we attempt to critique.
 See Gunungan (1990) and The Cyclical Return of the Commemoration of the Dead, (1990), in Astri Wright, Soul, Spirit and Mountain: Preoccupations of Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, colour plates 13 and 24.
 For reproductions of these, see Wright, op.cit., pp. 103-5.
 Artist’s statement from 1992 installations at the Japanese Cultural Centre, Exhibition Catalogue, p. 7.
 Tightly wrapped batik sarong and fancy, lacey or silky, tightly tailored long sleeved blouse.
 Catalogue accompanying the exhibition of Mella Jaarsma’s and Nindityo Adipurnomo’s work entitled Kopi-Susu (Coffee with Milk), at the Erasmus Huis, Jakarta, 1998, p. 5.
 From Nindityo Adipurnomo, “Compilation of Ideas,” personal writing sent as email to author in May 2003.
Nindityo Adipurnomo: 1 | Footnotes: 2