The physical preservation is to do a standard preservation in the utmost effort. The physical step includes a standard preservation in the utmost effort like keep document in particular temperature and periodic treatment and data back-up. The latter can be in the media of audio. It makes us possible to have the back-up in transcripts and minutes. For photo-prints and slides, we try to keep them in the digital media. Moreover, we facilitate public to access the data for instance by copying them. Suppose, we lose our own data, we still have the back-up in the person copying them.
The non-physical preservation is to modify passive document as active study-resource by providing programs to be accessible, active, and beneficial to many people. It shows that the documentation center of CAF is not only to hold a material preservation but also create some innovative steps to make those archives accessible to public in common. You may take a look on the programs including a glance description of each on my paper such as Reading Club, Movie on 10, Grant, Outreach on Documentation and Library, Library Project, Documentation Exhibition and so on.
Reading Club
The club is to advance the reading interest of public and give rise to visual art discussion groups. It discusses a certain book by representing the author accompanied by someone who allocates an introduction to it. The book to discuss is one of those which are in the library of CAF. Moreover, it is expected to fill up constructive critical dialogue spaces less accommodated in formal schools or institutions.
It is committed to activate the members of CAF and maximize the use of the books in the library collection. To this point, the participants of the program are limited to small groups. Positively, it is good as the topic is specific and as a result it becomes hard for those who do not acquire sufficient comprehension on visual art.
Movie on 10
At the beginning, it was designated to preserve video cassettes (VCD, DVD, and VHS). It is afterward, to publicize the collections and or video or film productions of the document center of CAF through a regular show on Tuesdays and Thursdays at 10 a.m. till end. It has been undertaken from June 2004. From November 2004, Movie on 10 has been specified in a series once a month. The response is assorted and appealing even if there are only three people join it.
Here are some goals to achieve relating to the program:
:: To make public familiar with the library of CAF, rooms, atmosphere, and equipment (television, DVD, VCD, and VHS player) which can be utilized by visitors of the library.
:: To raise the number of CAF library visitors.
:: To socialize the collection of visual audio media considering that it is not permitted to borrow them like books. They are not on display for maintenance and security reason so that many visitors do not acknowledge them well.
:: To generate conducive atmosphere for making videos with compact visual art contents.
:: To introduce CAF to film-maker communities, particularly in Yogyakarta of its concern so that it may build a network and develop synergic and positive cooperation.
The first theme of the movie was “Performance Art” (November 2004) and the second one was “Animation” (December 2004). The rest themes were “Creative Process of Artists” (January 2005), “Photography” (February 2005), “Public Art Action” (March 2005), and “Biennale and Triennale” (April 2005).
We frequently receive positive responses in each implementation since we have launched a series of themes on it. Many parties (individuals and institutions) give responses to the program; asking about the movie itself, cooperation offers, gathering information on how to get the copy of the movie and adapt the program for their own institutions. So far, the program runs satisfactory but unfortunately, we had just lost one DVD after playing it on yesterday. We were so relieved that we kept the master data to reproduce again.
In the coming time, we plan to hold a Visual Art Film Festival. It is about films or videos on visual art in August 2004. At the moment, we are still designing the format. Entering January we will set up the base of the festival and release it in February in order to make our film-maker companions get proper time to prepare their works.
Research Grant
The grant is given to the researchers through a proposal selection aiming at enriching the historical reference of visual art in Indonesia in the future. One of the aims of the programs is to enrich the research done by Indonesian artists. It has granted Antariksa with his research entitled “Revolutionary and Anti Imperialism in Shameless: An Early Thought in the Relation of LEKRA and Visual Art”, published in April, and the other one is to Primanto Nugroho with his research “A Story of Taste-Institutionalizing: The Collection of Visual Art in Indonesia in 1950 – 1980”. This year, CAF gives a priority to any research in the theme of art education and public space.
Documentation Outreach and LibraryRegarding that there are a large number of references in the library, the program is also to open the data and document center of CAF to public. In addition, it is intended for supporting teaching learning activities, socializing it to extensive stakeholder, initiating network and welcoming public to make it extensively known and familiar to the society.
CAF offers a particular topic to be presented and discussed with. The material is taken from the resource in the documentation center and library. As an advantage, it provides additional reference for the non-art students through presentation and art discussion. The target is to enhance multi-disciplinary researches. Technically, it may grow to be a partner of non-art college lecturers in Yogyakarta in the course of lectures with materials such as photos, slides, films, books, and lecture assistants.
Library Project
It is such a development project of library activities of CAF. The project is mainly to set up a network among alternative libraries, specifically in the area of Yogyakarta. It involves their managers and librarians of different background. Until now, there are 37 names (taken from the last profile); The Library of CAF, KUNCI, Dunia Tera, Etnoreplika, Pustaka Teater Garasi, ICBC, Karta Pustaka, LIP, LKIS, LSPPA, Music Library, YASANTI, Rumah Sinema, YPR, Deket Rumah, PKBI, MOC, Rumah Pelangi, Majalah GONG, Komunitas 1001 Buku, TeMBI, USC-Satunama, ARITA, Rumpun Tjoet Njak Dien, PLIP Mitra Wacana, KickOff! Library, Bulaksumur, Komunitas Hijau, Humana, ECCD-RC, Perpustakaan 45, MABULIR, Relung, and Damar.
The format of the project is forum appropriate for a place of sharing experience and discussion of any subject matter faced by those libraries. Such forum is rare to be hold in Yogyakarta. The enthusiasm of the participants can be easily seen from the early socialization of it. It is such a perfect moment to catch.
It runs from January until March 2005. Up to now, it has run for three rotations of four meetings planned.
:: The first meeting was at CAF. It was to introduce CAF and socialize the project. There were 27 alternative libraries (the early target was 25 libraries). Each library presented its profile.
:: The second meeting was at the Auditorium of LIP. The meeting had been formed as a joint discussion forum and focused group discussion. The topic was “Management System and the Identification of Alternative Library Needs”. The participants of LIP and Karta Pustaka gave presentation on it.
:: The third meeting was at ICBC. The topic to discuss was “Public Support and Alternative Library Donation Management”. KUNCI, the Library of CAF, Kafe dan Toko Buku Deket Rumah represented their point of views.
:: The fourth meeting was held at Karta Pustaka on March 7, 2005 at 10 a.m. with the topic “Promotion / Program Development of Alternative Library and Reading Interest of the Society”. Perpustakaan Rumah Pelangi, ECCD-RC, Rumah Sinema, and Pustaka Teater Garasi presented their visions. In March, as a final output (short-term target), there will be published a directory of alternative library in a simple way. It covers alternative library profile in the area of Yogyakarta. It is possible for other institutions (alternative library) to join it. Additionally, it will issue a resume of each meeting under the Library Project.
The outcomes of other participants:
1. The long target of the forum in order to keep it continuous and regular
2. To provide a mailing list to keep the participants in touch in any information
3. To conduct an event such as book bazaar and book discussion
Exhibition
Art Documentation DJOKDJA RETURNS TO DJOKDJA (Print Documentation & Visual Art Event Photo), 32 Years Life of Art in Yogyakarta, Port Vredeburg, Yogyakarta, September 29 – October 1999. “Anyone is reminded to remember!” is the core of this exhibition. It accumulates from the harm experiences in a nation life, 32 years long under the reign of Soeharto, “we are always reminded to forget”. It is generated by the movement of the art comprehension domain in Yogyakarta. There are about 300 documents in the media of posters, catalogues, tickets, clippings, photos, and leaflets.
Actually, it is not a fantastic number considering that there must be a large number of art events in Yogyakarta in the last 32 years. It is an early step taken to determine awareness on the importance of documentation. It is supposed to be more than nostalgia. It is an artifact to comprehend the historical track in Yogyakarta. Finally, when we cope with such a shock, we can learn from the past life of actual events and figure out the meaning of clear cultural movement at last without any despair. This year, CAF also arranges a documentation exhibition in cooperation with the Indonesian Art Institute, Yogyakarta.
The Technical State
CAF has not been capable of handling thousands of artists and art activities in Yogyakarta and Indonesia. It applies a priority scale. The limitation is supported by the network in order to enrich the documentation material of CAF and generate favorable circumstances to the growth of other documentation centers.
The problem of weather and limited temporary storage happen when the material increases steadily. Moreover, the unstable geographical state such as earthquake, tsunami, and erupted mountains is a hot topic in Indonesia which turns out to be our apprehension. The quality of documentation is a part of our concern as well.
The Non-Technical State
The Indonesian artists are not good in documenting their art works as they have expended much of time and energy to work. They do not even have enough time to make a documentation of their own. Besides, the cost of documentation is relatively high (films, videos and their instruments) instead of the problem of storage room. CAF is considered not providing or distributing their documentation properly. It does not maximize its capacity on it.
The other problem is of copyright and royalty. The procedure of documentation material borrowing is set but the mechanism on the using of artist properties has not been settled yet. To this point, we handle it at our best. As a self reflection media, documentation may be such a “gallery” while unraveling the development of ideas and thoughts, another form of artist biography and as significant material to promote artists.
The using of visual art by statesmen, politicians, and intellectuals to create history is actually refers to close relationship between visual art and the history of a nation. On the other side, it can be said that visual art retains a high price in the life of a nation. In this context, visual art documentation deserves to be talked about extensively. It cannot be denied that documentation is a key entrance to reveal the past. It is impossible to attain past documentation without proper documentation as what we could find is simply the shadows of the past. Regarding the visual art, firstly, the documentation will point out the track of the visual art movement. Secondly, its movement is not autonomous but transmits to the social movement. Having this sense, any information shares out through visual art documentation would be influential in the history-making of a nation.
Public may take much benefit from the documentation of CAF. Firstly, public is allowed to have direct access on the documentation collected by the institution. Secondly, by collecting documentation or information categorization of CAF, we can identify the position of an artist in the visual art movement mapping in Indonesia. The circumstance may prompt the dynamic movement of the visual art specifically and society generally.
INDIVIDUALSIwan Wijono, Performance Artist, YogyakartaCollection focus: performance art (the work of Iwan and the development of broad-spectrum performance art)
Documentation material: written document, photo-slides, negative photos, videos, art performance posters, invitations, and books on art performance
From 1996
As an art performance artist, Iwan agrees to the importance of documentation. Documentation functions for the past and future life. Through documentation, he sees what he has done and what he is going to do. Furthermore, by collecting complete documentation, he can promote himself to any art event abroad.
Sri Harjanto Sahid and Wara Anindyah, Artist Couple, YogyakartaCollection focus: paintings (of their own)
Documentation material: newspaper clippings, photos, and books on visual art
Obstacles: doing things on their own with a lot of documentation material
Sri Harjanto Sahid is married with four children; all of them are artists. They privately record such a family-work creation. Documentation is a self-reflection. They arrange them by classifying the years and names of the painters. Their principles are things should be in order and safe.
Bunga Jeruk, Woman Artist, Yogyakarta
Collection focus: private works
Documentation material: newspaper clippings, photos, exhibition catalogues, letters, and books
From 1984
Obstacles: space and management
The early documentation was done by her mother for the reason of romanticism or being proud of her daughter. It seemed to be precise proud for a mother who could accompany her child in achievements. The documentation covers all works both the ones have already exhibited and ones have not. In Bunga’s point of view, documentation is important relating to the professionalism of an artist. One of the benefits is that exhibition biodata registration to become complete and right instead of recognizing the development of the works and artists of their own.
Agus Suwage and Tita Rubi, Artist Couple, Yogyakarta
Collection focus: private works
Documentation material: work sketches, art works, books, exhibition catalogues, letters, photo-slides, negative photos, CDs of songs
From 1985
Obstacles: collection management; categorization
For this couple, documentation process is extremely important. One most important creation for them is documentation as it is as important as preserving art works. The documentation is categorized into the form of works; installations and drawings. There have been many artist colleagues and writers take the benefit of their collection. In addition, they even have taken special storage and preservation to keep them away from ruins.
Eko Prawoto, Architect, Yogyakarta
Collection focus: architecture (private designs)
Documentation material: digital photos, scale models, worksheets, sketches
Obstacles: preservation; scale models in particular
As an architect, worksheets and scale models are the primary resources of his documentation. Firstly, documentation deals with the technical things. Worksheets and scale models are needed when a building owner wishes for renovation. Secondly, document is a collection of thinking processes which assists an architect to trace the development of ideas and thoughts for the period of career.
INSTITUTIONSCenter of Literary Document H.B. Jassin, JakartaCollection focus: literary works
Documentation material: worksheets, private letters of literary writers, books, clippings, play manuscripts, photos, audio and video records
From 1976
Obstacles: fund and preservation
The Center of Literary Document H.B. Jassin is known as the most complete literary document institution. H.B. Jassin is “The Pope of Indonesian Literature” who pioneered the institution. Realizing that documentation was exceptionally important, he devoted his life to literary documentation formalized in the Center of Literary Document H.B. Jassin Foundation. The foundation is managed by Culture and Museum Department under the Special Capital District of Jakarta. The institution itself does not merely document the well-known literary writers but also of one who just publishes a single work.
KITLV (Koninklijk Instituut voor Taal – Land – en Volkenkunde), JakartaCollection focus: language, culture, and history of South East Asia, Pacific, and Caribbean Islands Documentation material: newspapers, books, audios, videos, archives, research reports, and photos From 1969
Obstacles: building up the library and having no clear standard documentation and library systems, and additionally, the original material is The Netherlands so that it is not accessible to Indonesian people.
KITLV established by the hand of LIPI (Indonesian Science Institution) by means of cultural agreement in 1968. KITLV Jakarta takes delivery of grant for the operation. It carries out daily tasks such as:
:: Expanding the KITLV library by supplying resources.
:: Cataloging and documenting any material (local mass media, tabloids, books, visual audio productions in television) published in Indonesia in the media of microfilms, microfiches, visual audios, and the unrefined material.
:: Assisting, simplifying, enhancing the public service to acquire data, released material of KITLV or other relevant ones.
:: Cooperating with other institutions in holding workshops, seminars, etc.
:: Cooperating with the local publishers in publishing books.
:: Distributing any KITLV publication in Indonesia and other resources necessitated by the members, college students, researchers, and other interested people.
Theater Garasi, Art Performance, Yogyakarta
Collection focus: art stage performance (theater)
Documentation material: discussion transcripts, clippings, staging videos, manuscripts, posters, catalogues, and photos
From 2003
Its documentation is grouped into two classes. Firstly, collecting documentation material relating to Theater Garasi. Secondly, collecting documentation material relating to the development of theaters in general; in both national and international levels. The documentation is mainly intended to researches and performances. It is believed to be important for the theater to unravel the art stage performance development.
Library of Hatta Foundation: A Site of Intellectuals, YogyakartaCollection focus: science and culture
Documentation material: books
From 1953
Obstacles: fund, collection management (like cataloging), and publication
Mohammad Hatta is the former Vice President of Indonesia. The Library of Hatta Foundation is a part of the Hatta Foundation taken place in Jakarta and established in August 25, 1950 by R.M. Margono Djojohadikusumo with some other personages. The aim was to back the National Library in providing data or books concerning science and culture. The filing system is in order basing on the scientific classification.
Document is something printed or recorded that can be applied as evidences or baseline data. Collecting document is collecting all printed and recorded material.
Documentation is the giving or collecting evidences and baseline data. It is the copy of document. In documentation, we do a classification or grouping of the existing document. Therefore, documentation correlates with the choice or position of an institution. What is essential to one can be insignificant to others.
Presented at Hong Kong, April 18, 2005
Published http://www.artsmanagement.net/modules.php?op=modload&name=News&file=article&sid=701
Please see also at www.cemetiartfoundation.org
No comments:
Post a Comment