Picnic

¿La ciudad nos despoja o nosotros nos despojamos de ella? Si de pensar en sentirse excluido de la sociedad, motivos pueden haber varios, más si hablamos de un espacio que está en constrante transformación y que en su crecimiento se despoja de sus habitantes, pero quienes no dejan de lado su protagonismo, transitando y sintiendo lo que se ve y se vive como la ciudad.
Al momento de abordar respecto a qué temática se iba a trabajar en un espacio público, el equipo avocó a lo mismo, al volver al centro o el punto de origen de donde todos provenimos a través de una acción directa y objetiva: el picnic. Y es que las acciones directas  son una estrategia de resistencia creativa, enfocándose en la intuición e imaginación de los sujetos, los cuales de espectadores pueden volverse parte protagonista de la misma acción. De esta manera, buscando el nexo común de la intervención, la mayor parte del equipo descubrió de que no todos provienen de Santiago y en el no provenir, converge en que se entrelazen imaginarios urbanos diferentes, en el culmine de una acción sorpresiva, en donde la atención de las personas puedan volcarse a la intervención de una forma desprevenida e insospechada, generando desafíos en la performatividad al equipo, a sus funciones y a su rol más allá de ciudadano, sino como personas.

PICNIC PAINTING EXHIBITION


A picnic is an enjoyable trip. This excursion, in which usually the participants carry food with them and share meals, takes place in an interesting landscape or urbanscape, such as a park or a lake. In the Picnic Painting Exhibition context, depictions of picnics in the paintings are further and broader than picnics in the reality. These artworks can represent real as well as imaginative places, also depict scenes in the world or in dreams. Three Indonesian artists in this exhibition – Januri, Nanang Warsito, and Deni Je – take a different approach to that issue.

Besides creating some real picnic destinations like archaeological sites, Januri (1977) paints illusion picnic journeys. Although showing the real ones, his approach is not just realistic style, but a combination among realistic, impressionistic, even abstract. By using acrylic and collages on canvas, this artist is able to mix between flat and spatial depictions.

On the other hand, Nanang Warsito (1970) creates unique forms, such as flying lands or lands like love sign. Spectators of his paintings can evoke perception as if they picnic at those places. Bright acrylic colours he used give enjoyable aesthetic experiences. Viewers can roam on his lovely space.

Meanwhile, Deni Je (1973) explores watercolour to portray dreamy areas. Spontaneity shapes, especially formed by wet on wet techniques, form trees, hills, or water. Deni calls this series as "waterdreamcolour", i.e. watercolour painting depicted dream outlooks. Trips into these paintings are interesting experiences.

Although these artists have different approaches to catch a picnic theme, all have a same way to represent it. They tend to show picnic areas, not people come there. These alumni of the Arts Institute of Indonesia Yogyakarta have actively exhibited their paintings in some cities in the world.