Sex and the human body in its naked form have become major concerns among Indonesia's predominantly Muslim population in the post-Soeharto era that is often hailed as an era of freedom.
In recent years, there has been an urge to control "unbridled" sexuality at all cost, even though this means traversing the limits of the public and the private, the secular and the religious.
Through his artworks which are on display at Taman Ismail Marzuki arts center's Galeri Cipta II, from Nov. 12 to 20, sculptor Ibnu Nurwanto aims to break the politico-religious discourse on sexuality by disturbingly exposing a center of sexuality: the phallus.
Yang Mulia (Your Highness) by Ibnu Nurwanto, jackfruit wood, width 26 cm X 23 cm, thickness 44 cm (2006). (JP/Ary Hermawan)Yang Mulia (Your Highness) by Ibnu Nurwanto, jackfruit wood, width 26 cm X 23 cm, thickness 44 cm (2006). (JP/Ary Hermawan)
Yang Mulia (Your Highness) -- a wooden sculpture of a phallus -- is his critique of Indonesian politics.
"Whatever they (politicians) do, whatever they say," he remarks bluntly, "it all, eventually, is a matter of gratifying their penises."
His work is perhaps proof that you do not have to be a Freudian to regard the phallus as the unconscious actor that forms human behavior.
As a virtual anti-intellectual artist, his Freudian remark did not come from subtle discussions with Lacanian academics, nor was it a result of an extensive reading of psychoanalytical literature.
It came from his silent confrontation with Indonesian realities -- the sex scandals involving parliamentarians and their supposedly angelic determination to pass the controversial pornography bill into law.
Yang Mulia, a figure of a male waist with an erect penis, emblematically poses a ticklish question to those who support the pornography bill: Are we controlling sexuality, or being controlled by it?
Many artists have long been infatuated by human bodies and the idea of making phallic sculptures is, of course, far from a novelty.
Ancient societies, which regarded the male genitalia as a symbol of procreative power, also used phallic sculpture in sacred ceremonies and rites.
But the presence of a phallic figure in public display in Indonesia today is indeed worth special attention.
The exhibition is among the first art events that esthetically, and in a challenging manner, showcase sculptures of naked female bodies and genitals after the House approval of the pornography bill last month.
Yang Terindah (The Most Beautiful) by Ibnu Nurwanto, jackfruit wood, width 34 cm X 11 cm, thickness 48 cm (2006). (JP/Ary Hermawan)Yang Terindah (The Most Beautiful) by Ibnu Nurwanto, jackfruit wood, width 34 cm X 11 cm, thickness 48 cm (2006). (JP/Ary Hermawan)
As if pairing the brown phallus, Yang Terindah (The Most Beautiful), made from a yellowish wood from the jackfruit tree and resembling female thighs and a vagina, is also displayed in the exhibition. The figure is more simple than Yang Mulia, but is equally striking.
Asked whether he was afraid of being criminally charged by displaying "pornographic" art, Ibnu said he would never, not even slightly, be deterred by the law.
Born in Yogyakarta in 1957, the eccentric artist is one of only a handful of Indonesian artists who have the talent and willingness to labor with three dimensional artwork -- arguably the most difficult artform, combining resourceful artistic imagination and prodigious craftsmanship.
"He is still consistent with three-dimensional art, while many contemporary artists have been drawn to combining different media in their work," said art critic Sri Wahyu Wahono who has known Ibnu since they were students at Jakarta Art Institute (formerly LPKJ).
Most of Ibnu's works are figurative and abstract sculptures, and touch social issues, especially poverty and the subjugation of women.
His sculptures resembling naked female bodies are mostly incomplete, mutilated or deformed, such as Si Narsis (The Narcissist) and Wanita Tangerang (Tangerang Woman), which is his critique of sharia-inspired bylaws in the regions.
He has also crafted complete female bodies, one of which is Perempuan dengan Topeng Babi (A Woman in a Pig Mask). To Indonesian Muslims, a pig is the symbol of the haram (forbidden).
Ibnu uses male figures to represent the cruelty of urban society, depicted as indifferent to the presence of the poor. His works, Urban and Buruh Tua (Old Laborer), resemble malnourished men in rags.
Ibnu's abstract works, such as Ruang Waktu (Space and Time) and Menari (Dancing), are philosophically more subtle both in form and meaning, revealing his exceptional mastery of his material.
Having been exposed to continual bad news in the media, ranging from sex and graft scandals to the global financial downturn, Ibnu says he is more than anxious and pessimistic about the future of Indonesia.
"I am scared because I know the predicament is real."
He thus decided to title the exhibition "Black Dream", which may refer to different kinds of dreams; his own dreams as an artist, the dreams of the poor or the dreams of corrupt leaders who will do anything to materialize their worldly dreams.
Art, indeed, has its own language in depicting such a complex nation as Indonesia
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