– Arin Dwihartanto
“My canvas is like a pedestal,” Arin says. The painting that we see created on the canvas is envisioned as having the status as an object, resting on a pedestal. That is how Arin uses his imaginations, and even metaphors, of how he wants his works stir our emotions. Arin shrewdly defines the modes of being and the approaches he takes toward the two-dimensional planes through allusions of objects or three-dimensional allusions.
07 April 2010 jam 19:00
25 April 2010 jam 20:00
We are used to imagining (modern) sculptures on pedestals—and, naturally, paintings in frames—as aliens from outer space. Our understanding about a variety of works of art happens in such a way that it gives rise to the view that the presence of the observer vis-à-vis the observed object constitutes the margin between two different worlds. Arin, however, does not intend to signify such conflict of understandings as he tries to transform the canvas into a pedestal; rather, he wishes to convey the discord in the creative arena or chronicle. This is understandable, as all artists in the contemporary era always seem impatient to be included in the long line of artists who advertise a kind of “de-differentiation politics”. They surreptitiously keep in their pockets a special agenda to disassemble and re-assemble the differentiating layers and identities: the self, the medium, the subject matter, meanings or messages, and signs.