Decentering Postmodernism: Indonesian Contemporary Art as Theory and Practiceå
DOI:
https://doi.org/10.61978/harmonia.v2i4.1041Keywords:
Postmodernism, Indonesian Art, Appropriation, Trauma, Relational Aesthetics, Archive, HybridityAbstract
This article explores how Indonesian contemporary art reconfigures postmodern aesthetic theory through culturally specific practices and socio political engagement. Drawing from theorists such as Lyotard, Jameson, Baudrillard, Foster, and Bourriaud, the study analyzes how key Indonesian artists including FX Harsono, Agus Suwage, Arahmaiani, Eko Nugroho, and the collective ruangrupa reinterpret postmodern concepts such as pastiche, simulacra, archive, and relational aesthetics. Methodologically, the study applies qualitative content analysis, thematic coding, and curatorial discourse review to examine visual strategies in artworks produced between 1990 and 2025.
The findings demonstrate that Indonesian artists do not simply adopt global postmodern aesthetics but transform them through local narratives, political memory, and community based models. Suwage’s ironic appropriations, Harsono’s archival trauma aesthetics, and ruangrupa’s lumbung model all exemplify how postmodernism in Indonesia is hybridized and decolonized. These practices challenge the dominance of Western centric theory by infusing postmodern strategies with Indonesian spiritual, historical, and communal dimensions. As such, the Indonesian context expands the definition of postmodern art, offering a model of aesthetic pluralism that bridges theory and practice.
This study contributes to global contemporary art discourse by positioning Indonesian postmodernism as a vital, dialogical, and situated framework. It underscores the need for geographically nuanced readings of aesthetic theory and highlights how artistic practices from the Global South reframe the terms of global engagement.
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