‘Everyone here is willing to teach each other’: negotiations over hippie culture and resistance in Helsinki-based flow art community

The article deals with an encounter between Julie Hagen Schwarz, a Baltic German artist (1824–1902), and the Ausburg artist Moritz Rugendas (1802–1858), which was of great importance for the former, while she was studying in Munich around 1850. It also deals with the first presentation of her work in the Munich artist community, which resulted from cooperation with and promotion by Rugendas. Special attention is paid to the history of Hagen’s “Portrait of Moritz Rugendas in Brasilian Costume”, which originated from the artist’s close cooperation with the master Rugendas. Its presentation in the Munich and Augsburg Art Associations (Kunstverein) in October 1849 and May 1850 and the effect this had on the artistic career of Julie Hagen is examined. From this moment on, her works were discussed by colleagues and important personalities. She received many portrait commissions and her works were shown at several exhibitions in Munich and Augsburg. A discussion on the whereabouts of the still lost original painting and the provenance and authorship of a smaller copy in the collection of the Kadriorg Museum in Tallinn, which until now was identified as a “Self-Portrait” by Moritz Rugendas, follows. The attribution and the provenance of the preserved work from the Liphart collection are considered, along with the source texts, which suggest that Julie Hagen was the author and a correction of the attribution is in order.The collected findings published here were developed from the preserved letters of Julie Hagen, which, as rich and unique source material, show the artistic career of the painter. As a representative of her generation of female artists, it also provides an insight into the social context and educational situation of ambitious female painters around 1850. In connection with the correct attribution, the art-history investigation and positioning of the artist in the art community, it is hoped that the uncertainty that currently exists when evaluating the artistic performance of female painters and the low status assigned to them in exhibitions and the acquisition policy of museums will give way to growing interest, understanding and greater recognition.

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Counter-hegemony of the East Java Biennale art community against the domination of hoax content reproduction

Masyarakat Kebudayaan dan Politik ◽

10.20473/mkp.v33i12020.26-35 ◽

2020 ◽

Vol 33 (1) ◽

pp. 26

Author(s):

Jokhanan Kristiyono ◽

Rachmah Ida ◽

Musta'in Mashud

Keyword(s):

Social Movements ◽

Modern Society ◽

Digital Art ◽

Research Approach ◽

Media Industry ◽

Digital Counter ◽

Digital Format ◽

The Social ◽

The Media ◽

Art Community

This research analyses and describes in detail how the digital biennale activities that are a part of the Indonesian Digital art community has become a form of criticism and silent resistance to the social hegemony. It refers to the ideology, norms, rules, and myths that exist in modern society in Indonesia, especially the reproduction of hoax content. Hoax refers to the logic people who live in a world of cyber media with all of its social implications. This phenomenon is a problem, and it is at the heart of the exploration of the art community in East Java Biennale. The critical social theory perspective of Gramsci’s theory forms the basis of this research analysis. The qualitative research approach used a digital ethnomethodology research method focused on the online and offline social movements in the Biennale Art Community. The data collection techniques used were observation and non-active participation in the process of reproduction-related to the exhibition of Indonesian Biennale digital artworks. It was then analyzed using Gramsci’s hegemony theory. The purpose of this study was to describe the process of social movements in a digital format conducted by the Indonesian Biennale when reproducing works of art to counteract the dominance and hegemony of the Hoax phenomenon in Indonesia. The benefit of this research was that it obtained a preposition of Gramsci’s hegemony theory in the world of digital art as created by contemporary Indonesian Biennale artists. Digital technology has had a tremendous effect on the media industry, government, trade, informal industry sector, human resources, urban planning, services, disaster relief, health, education, religion, artistic and cultural expression, in addition to various other fields. The conclusion obtained from this research is that there is a formation of a new hegemony, a digital hegemony. This new hegemony is of particular concern for the digital artists in East Java Biennale. Through the digital format works, the artists also try to communicate their art as a form of silent resistance, protest, and criticism of the hegemony that occurs in society, referring to the ideology, norms, and myths. It can be called a digital counter-hegemony.s

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KEDAI KOPI DAN KOMUNITAS SENI SEBAGAI WUJUD RUANG PUBLIK MODERN

Jurnal Jurnalisa ◽

10.24252/jurnalisa.v5i1.9893 ◽

2019 ◽

Vol 5 (1) ◽

Author(s):

Eka Perwitasari Fauzi

Keyword(s):

Public Space ◽

Interior Design ◽

Freedom Of Expression ◽

Information Age ◽

The West ◽

Coffee Shop ◽

Social Communities ◽

New Business ◽

Art Community ◽

Coffee Shops

This paper is based on research on coffee shops as a modern public space in the information age. This study tries to examine the existence of modern public space in the form of social communities along with more coffee shop emerges as new business trends in Jakarta. One of many coffee shop business is Kedai Suguh Kopi in the West Jakarta Region. In contrast to the concept of a cafe, or a coffee shop which mostly serves only coffee and stunning interior design that might lurks customer for their so-called “instagramable”, one interesting thing about this shop is that coffee is not served to release the sleepy feeling but it witness and become a reason of the birth of an art community that contains freedom of expression without pressure.

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AKOMODASI PESANTREN PADA KESENIAN RAKYAT DI CANGKRINGAN, SLEMAN, YOGYAKARTA

IBDA Jurnal Kajian Islam dan Budaya ◽

10.24090/ibda.v15i2.1334 ◽

2018 ◽

Vol 15 (2) ◽

pp. 284-296

Author(s):

Kholid Mawardi

Keyword(s):

Historical Context ◽

Boarding School ◽

Folk Art ◽

Religious Community ◽

The Other ◽

The Past ◽

Diverse Society ◽

Art Community ◽

The One ◽

The Relationship

This study investigated the construction of thoughts by KH. Ahmad Masrur and al-Qodir Islamic Boarding School to accomodate folk art; to reveal the relationship among KH. Ahmad Masrur, al-Qodir Islamic Boarding School, and folk art communities in Wukirsari village; and to find out the approaches of accommodation implemented in the folk art Village. The findings of this study led to some conclusions. First, on the one hand, Mr. Masrur (an Islamic expert) wanted to send the goodness and the beauty of Islam not only to be achieved by Moslems but also by other religious community. On the other hand, the folk art community wanted to maintain their existence in the diverse society. Therefore, those two intentions are linked to each other in order to accomplish those goals. Second, the relationship among Mr. Masrur, al-Qodir Islamic Boarding School, and Wukirsari village folk art community; in terms of historical context, it was the repetition of the relationship pattern in the past time that occured during the Islamisation process in Java. It was carried out by placing the locality as the basis of Islam. Mr. Masrur, al-Qodir Islamic Boarding School put themselves as the exponents of folk art; Mr. Masrur had the role as the patron and the community folk art had the role as the clients, and the overall relationship was accomplished based on mutually beneficial relationship. Third, the forms of accommodation roposed by Mr. Masrur towards folk art in Wukirsari village were through compromise and tolerance. The form of the compromise was visible through the willingness of both parties to feel and understand the circumstances of one to each other party. As for the form of tolerance, it was implemented by Mr. Masrur and al-Qodir Islamic Boarding School deliberately to avoid various disputes and conflicts.

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