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"The Indonesian visual art movement are through hard time, struggling in response to the ever happen complexity of art in the world around: as experience by Yogyakarta's print making...."

"Skripsi ini membahas tentang gagasan dan karya perupa FX. Harsono 1975-1998. Fokus dalam penulisan ini adalah kritik sosial-politik seniman Harsono sebagai reaksi terhadap Pemerintahan Orde Baru. Pada tahun 1975, terjadi peristiwa Gerakan Seni Rupa Baru Indonesia yang mencoba mendobrak seni konvensional yang terbatas pada seni lukis, patung, dan grafis. Harsono merupakan salah satu seniman yang ikut melahirkan Gerakan Seni Rupa Baru 1975. Rakyat, berita aktual, dan masalah-masalah yang terjadi di Indonesia menjadi perhatiannya ketika itu. Peristiwa yang terjadi ditampilkan Harsono melalui karya instalasi yang masih sangat baru di Indonesia. Penelitian ini menggunakan metode sejarah, yaitu heuristik, kritik, interpretasi, dan historiografi. Pengumpulan data dilakukan pada daerah Jakarta dan Yogyakarta. Berdasarkan data yang diperoleh, penelitian ini menunjukkan eksistensi Harsono dalam perkembangan Seni Rupa Kontemporer Indonesia.

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This thesis discusses about artist F. X. Harsono: Ideas and Work (1975-1998). Focus in this writing is the political and social criticism of Harsono as a reaction towards New Order Government. In 1975, there was Indonesia new art movement which tested to break conventional art limited to painting, sculpture, and graphic. Harsono was one of founding fathers to deliver New Art Movement 1975. People, actual news, and problem happened in Indonesia became the focus attention at that time. The events occurred were showed by Harsono through his installation works which were quite new in Indonesia. this research used historical methods, which are heuristics, critical, interpretation, and historiography. Data collection was conducted in Jakarta and Yogyakarta. Based on data collected, this research supports Harsono existence in the development of Indonesia New Contemporary Art."

"Contemporary art practices have developed expansively over the global stage with the development of big international exhibitions, including those held in museums or biennales and festivals. In the last decade, the global art world has witnessed the contestation of powers among institutions and art practitioners generated by massive movements such as Occupy Movements, Arab Springs, Black Lives Matter, which has shifted the positionalities of artists and arts in the Global South. This shift also encourages discussions on decoloniality in the art system and art history, including how to centralize the issue of gender equality. Southeast Asian women artists have expanded their practices to show their individual world views, and touch upon political and ideological contexts revealing common urgencies on such issues as ecology, history, spirituality, and humility. This essay discusses art works created by women artists in Southeast Asia presented as part of the Biennale Jogja Equator (BJE) series in the period 2011 to 2021. This has provided artists with possibilities to engage in critical conversations and experiences, usually the preserve of the male-dominated sphere. By looking into these projects, the wide range of the shared trauma of violence, war, and colonialism, ecological damage, and lost livelihoods, to the pilgrimage towards the inner-self, have been juxtaposed and interwoven to create an imagination of collective futurism."