Indonesian Printmaking: In The Beginning was Unconsciousness By: Asep Topan Printmaking as we know it these days, had existed in Indonesia since before the Independence even occurred. On that time, European artists created printmaking works by using intaglio or lithograph which mostly illustrated their journey to Indische. Several examples of these works were documented in Le Français et l’Indonésie du XVIé au XXé siécle, written by Bernard Dorléans, translated to bahasa with title “Orang Indonesia dan orang Prancis Dari Abad XVI sampai dengan Abad XX”. A litograph print illustrating Dutch tradecrafts, or known as flutes, in Sumatera. W. Hollar made this work in 1647, taken from Von Stolk’s map. Four flutes were pictured with one small craft and the passengers stood on top of it. It is clear that this work captured the scene of a harbor in Sumatera, showing so many crafts come into sight, although most of the crafts were only seen its masts reaching to the sky. The years after, the printmaking works began to illustrate realities around the archipelago, from capturing beautiful landscape of Timor Island in 19th century, which was depicted through soft stroke of F.Meaulle's engraving work, to several maps of specific regions, potrayed with similar technique. The illustration of these works seemed so realistic. They were not only representing beautiful landscapes of Indonesia as it shown by Mooi Indie paintings, but every copy presented the portrait of important European and native figures, such as Sultan, including pictures of daily common people activities ‐hunting, traditional ceremony, market transaction and coffee harvest. Among the most powerful images were gentle engraving lines, which depicted gamelan (a set of traditional music instruments) scoring a ‘suti’ ceremony, a traditional ceremony of dowager who sacrificed herself through burn‐alive ritual. The illustration affirmed early stories about the local custom related with former situation, which were refused by colonial regime.3 However, these illustrations were made that way not by pure intention to create an artwork, thus they did not work as an artistic process. The European explorer might be using this way to record what they had discovered through images, which could be reproduced and distributed. Those works were there as a historical evidence and zeitgeist, representing certain age, before photography was invented. The existence of print works as described previously were not followed immediately by people awareness of an art work presence, since they did not directly involved in production process of those works‐ they might as well not see the result‐. Meanwhile, modern art had not commenced its coming in Indonesia which its first occurrence marked by Raden Saleh Syarif Bustaman in the mid of 18th century. Raden Saleh was known for hundreds lithograph of Indische colonial schoolbook illustrations. Regardless of how Raden Saleh represented the birth of modern art era in Indonesia, and western modern art appeared as its major influence in Dutch Indische – inspiration taken from underrated Dutch painters from French Barbizon genre, which later encouraged Mooi Indie trend in 20th Century‐ people awareness toward printmaking had not occurred yet. Even such awareness was not part of main concern of the artists that time, who were mostly trained by European artists. Therefore, the unconsciousness of the artists and masses explained obviously that Indonesian modern art at the very beginning was associated by hegemony of painting or portraiture. Meanwhile, based on Aminudin Siregar observation, Indonesian modern printmaking was initiated by Mochtar Apin, right while his series of linocut works consisting twelve titles on 16x21 cm papers created in 1948. Such techniques had been used previously as means of Indonesian Republic Independence Day commemoration in 1946. There were nineteen linocuts printed on 45x37 cm papers. Baharudin Marasutan initiated this printmaking project and he later involved Mochtar Apin –He was still in high school that time‐ in the project. The project produced nineteen linocuts, each was printed for 36 editions maximum.4 every edition was sent to countries that acknowledged Indonesia independence, as a letter of gratitude. As a mater of fact, printmaking was still considered based on its practical function. Furthermore, its artistic side was undervalued by its propaganda function. Nevertheless, the propaganda project inevitably marked as early emergence of graphic art or printmaking through awareness, encouraging new meaning of printmaking; which was previously classified as part of painting. Affirmation of printmaking as an autonomous part of Fine Art and distinguished from painting was clearly justified by an article written by Rivai Apin in 1948, titled ‘Another Category has Fulfilled’ (Satu Cabang Lagi Dipenuhi). The article discussed a launching of Mochtar Apin (his brother) first linocut works. Despite of many vague terms inside the article, considering printmaking as part of painting for instance, and a statement by Mochtar Apin mentioning that the linocuts were actually a characteristic called reproductive art, not as printmaking or graphic art. Yet, Rivai Apin deemed “the publishing of linocut works as a matter of life and soul urging to show that this kind of art is alive and able to stay alive”. Regarding to prevalent political situation during the publication, Rivai Apin also implied that it was also an attempt to capture the reality not merely propaganda. 5 Next development of printmaking in Indonesia occurred, when printmaking works in Indonesia gained its recognition from people through pages of art and culture magazine, which published in 1946 to 1970s. On publications by Seniman, Mimbar Indonesia, Pembangoenan, Zenith, Budaya, Seni, and Zaman Baru, linocuts work by Suromo, Abdul Salam, Abdul Kadir, Widayat, Wim Nirauha, Ng. Sembiring, and Wen Peor appeared. As the end of these magazine publication and replaced by Horison, those artists were undetected; substituted with the new artists such as Srihadi, AD Pirous, Popo Iskandar, T. Sutanto, Harjadi Suadi, But Muchtar, Sriyani, and Sukamto. Complete study on printmaking published in art and culture magazine were made by Ugeng T. Mutidjo in “Printmaking on Culture Magazine 1947‐1972” (Seni Grafis dalam Majalah Kebudayaan 1947‐1972), printed on the catalogue in Bentara Budaya Jakarta dan Galeri Nasional Indonesia, 2007 titled “Printmaking, from Cuts to Stencil” (Seni Grafis Dari Cukil Sampai Stensil). Printmaking was further established by the time its encountered with higher art education institution. From its initiation in Art and Design Faculty in Institute Technology of Bandung (FSRD ITB) and Indonesian Institute of Art in Yogyakarta, they even provided comprehensive tools and facilities for printmaking. During the development, the printmaking department was also initiated in Jakarta and Solo. Thus, not only stimulate young printmakers but also produced printmaking experts. The printmaking exhibition also began to arise, whether promoted by the artist himself or the art education institution. For example, in 1987 there was 1st Indonesia Graphic Art Biennale, which conducted by FSRD ITB in Science Hall, Bandung. The latest exhibition initiatives come from the printmaking students such as Dialogue of Two Cities (Dialog Dua Kota) by Jakarta Institute of Arts and Indonesian Institute of Art, Printmaking Exhibitions from 5 Cities “Hi Grapher!” in Yogyakarta (2010), and Berseni Graphic Festival in Bandung (2011). The exhibitions were mostly also conducted a printmaking workshop for wider audience. Eventually, the attempts should be counted as more than just rising awareness of printmaking existence in Indonesia but also recording and capturing Indonesian printmaking progress, both in terms of its quality and quantity. As it has been done by Bentara Budaya through its Indonesian Pritmaking Triennale (Trienal Seni Grafis Indonesia) since 2003. The recognition of Indonesian printmaking is good news, long awaited by printmaking pioneers in the country. But, whether by conscience or not, this awareness were only spread among certain groups, only within art circle. Throughout the wider context, common people have not recognized printmaking as one of Art branch like painting or sculpture. However, it was admitted that the two branches, painting and sculpture are the most familiar Art form for common people. Since printmaking –with its democratic characteristic, can be reproduced‐ is the most noticeable form for people. Printmaking appeared on stickers with silkscreen, t‐shirt for daily dose, photocopies, and even on stencil technique used by police to mark tax‐paying deadline of motorcycles and cars (but now it has been replaced by digital print). Through such common techniques, printmaking practice goes more progressive with various possibilities in its medium and direct encounter with people, as stated by Hafiz. 6 Similar to the situation happened in 1946, when printmaking was considered for its pragmatic function (propaganda), Indonesian people still need to be introduced that print techniques applied in their surroundings cannot be separated with printmaking as an Art form. Furthermore to gain people understanding that the result of printmaking went through the same artistic process with other Art branches, not only for its ability to reproduce. Whether to be recognized or not, printmaking practices in Indonesia had influenced Indonesian Art trajectory, where print works were not appreciated through the same point of view to see painting and sculpture that made the artists work as single strong point. Thus the inclusive characteristic of printmaking has influenced latest evolution of Indonesian Art with the expansion of new media art branch. 7 The endeavor to rise wider awareness in society towards printmaking were not intended to disintegrate Indonesian Art, with a distinction on one technique or certain Art branch – in terms of printmaking. If there is a good intention from various groups to remain introducing, developing, recognition on printmaking through exhibitions and workshops to be presented for wider audience, then it should be well appreciated by all means. To sum up, as we can infer that since Mochtar Apin launched his linocuts in 1948 followed by Rivai Apin’s article “Satu Cabang Lagi Dipenuhi” until these days, the awareness of printmaking existence in Indonesia as one of Art branch had been prevailed. However, the recognition of printmaking is still limited to Art crowd while the wider crowds, who have more direct encounter with printmaking practices, are still unconscious. Footnotes: 1 Bernard Dorléans, Orang Indonesia dan Orang Prancis Dari Abad XVI sampai dengan abad XX, 2006. Jakarta: KPG, hal. 16. 2 Ibid. hal. 302. 3 Ibid. hal. 148. 4 Sanento Yuliman, Dua Seni Rupa, 2001, Jakarta: Kalam, hal. 123. 5 Aminudin Siregar, dalam katalog pameran Seni Grafis, Dari Cukil Sampai Stensil, Bentara Budaya Jakarta, 2007. 6 Catatan kuratorial Hafiz dalam pameran Seni Grafis Dari Cukil Sampai Stensil, Bentara Budaya Jakarta, 2007. 7 Ibid.