At that time, a colleague questioned whether artists like Nasirun and Pupuk could join this exhibition with their style. It seems that he couldn't imagine Nasirun's and Pupuk's style being applied to "pop-art", since the most suitable style for ArtVertising is "Pop Art". (derived from popular art - an art that is related to consumer products; integrated into our culture by icons such as Andy Warhol.)

Lately, there has been a new expansion in the world of art, especially in the visual art field. The most striking change is a rapid market expansion for Indonesian contemporary art, which was triggered by Sotheby's and Chrisie's International auction halls. The role these two auction halls play in order to penetrate regional and international markets is not to be taken lightly.

Among the artists that are invited to join the "ArtVertising" exhibition, some have had their artwork command record-breaking prices. In fact, there are some that exceed the creations by maestros' like Affandi, Hendra, Sudjojono, Lee Man Fong and Widayat. A fantastic success that no one could have imagined before. The onrush of instant celebrity is followed by offers by both local and international collectors, salesmen, galleries, and public auction halls.

Ultimately they were unable to join the "ArtVertising" exhibition because of the "more important" agendas, such as preparing for exhibitions abroad, since after the spectacular success in Sotheby's and Christine's auctions, international art authorities have taken a sudden interest in these artists, and art galleries are clamoring to display their work.

How did it all lead to this? Because times are already changing and as a result of the boom of Chinese contemporary visual art which still continues until today. The price of Chinese contemporary art has risen so dramatically in such a short time, to the point where prices of comparable quality Indonesian (as well as other Asian regions) contemporary art have become relatively cheap. And so international art buyers are turning their heads toward other Asian regions for new contemporary paintings.

What drives the demand for contemporary paintings? It seems contemporary artwork draws more towards the younger generation of today. This is the age of Pop. Take a look at any pop music concert and you'll see that the majority of the audience contains the explosive enthusiasm of young people. Something you'll never see at a classical music concert.

The most sought-after items are paintings with a similar style to Chinese contemporary art; photo-realistic interpretations of figures. The subject of these paintings are more often than not self portraits, celebrities, commercial products, or even fictitious items. The power of a brush stroke can no longer be counted on. Nowadays, Ideas are idolized above taste. And so the Indonesian artists that are gaining demand are those who generally have such styles, such as Masriadi, Agus Suwage, Handiwirman, and Rudi Mantofani, aside from Putu Sutawijaya and Yunizar who still depend on lines and brush strokes. Rudi Mantofani also possesses a different, abstract style. And thus are the young Indonesian artists spurred to switch styles to conform their styles to the trend which is selling extremely well. Then again, suggestions from art galleries might also have had a hand in this recent development.

Doubt creeps in the minds of some artists about Nasirun and Pupuk, who maintain their expressionist style. Would they be able to work within "ArtVertising" theme? Apparently so, as Nasirun and Pupuk have claimed great success with their work. Nasirun's "Program Langit Biru", "Bukan Basa Basi", "Gudangnya Ide", and "Yang Penting Rasanya Bung" are all considered successful and meaningful creations.

Moreover, Pupuk's "No Bullshit" has become his masterpiece. Here Pupuk has created a negative advertising in the form of a public service announcement: 92% cases of mouth cancer are caused by smoking. This is no bullshit. Pupuk's "Warning" is interesting as well. This painting visualizes the consequences of smoking such as cancer, heart attacks, impotency, as well as pregnancy and birth defects.

S. Teddy's art installation entitled "Land" uses an AK-47 rifle as a visual essay. He speaks about the damage to our earth caused mainly by war. It is interesting how the rifles are bent into circles and arranged to form the Olympic symbol. The AK-47 is the most successful weapon and holds the reputation of claiming the most lives, more than any other weapon ever created. But if the rifle is bent in such a way, it no longer functions as a killing tool, and hope for international peace can be a reality. In his other work, "Stars and Stripes", Teddy gets mischievous. He reverses USA into ASU (Javanese for "dog")

Bayu Yulianshah, with two art panels entitled "The East - The West" not only advertises cigarettes, but also exhibits the age-old feud between kretek and white cigarettes. The two powers are shown by cannons in the shape of cigarettes, ready to face of in battle. The kretek cannon extrudes smoke in the shape of Gatot Kaca, and the white cigarette of Superman. We all know that kretek cigarettes are a characteristically Indonesian product, and white cigarettes are a western product. Who wins in a fight between Gatot Kaca and Superman? In Indonesia Gatot Kaca clearly takes the title.

Dipo Andi's "Mendadak Ngepop" is a two-dimensional artwork, consisting of multiple panels about everything instantaneous. Is he promoting such instant products or is he being cynical? The instant-everything syndrome is infecting not only consumer goods, but also the world of visual art. There are artists who have suddenly (instantaneously) switched to the pop-art style, and collectors who instantaneously demand pop-art after the sudden boom of the trend, even though they never paid attention to it before.

A very interesting creation comes from Miko Bawono and Santi Ariestyowanti, a collaboration between husband and wife from the Indieguerillas team in the form of a digital print, entitled "Banyan Tree Lounge". Mention the word "lounge" and our imagination takes us to a comfortable air-conditioned room, plenty of finger food and drinks (alcoholic or other-wise), a flat screen plasma screen, a computer, and a variety of newspapers or magazines. This couple, however, visualizes the traditional lounge. A seat under a banyan tree where a mix of people gather. A satay vendor, a barber, a witch-doctor consulting the spirits, Garong, Petruk, and other characters. The atmosphere is one abundant with freedom and society.

In general, the exhibited artwork are those with success ranging from moderate to overwhelming, and I am confident that with the current market situation, interest will be very high.

However, we must sill be vigilant and not be bathing in euphoria with the instant boom of the contemporary art market. In the past, artwork by famous names were in demand without regard of quality, and now the search is for Chinese-style contemporary art. Local auction houses are spurring the sales of these kinds of art, both those created by well-known artists as well as those created by unknowns. Incredible, inconceivable prices are reached. For the young, untempered artists, this can be a double-edged sword. Newly-initiated art collectors who joined the game without the necessary knowledge have the risk of falling victim to great financial loss. Ultimately, the one who suffers the most is the Indonesian visual art world. Let us learn from past experience. For experienced artists, seize the momentum to aim higher by maintaining quality.

September 30, 2007
Oei Hong Djien