Interview with Ramadan Tatang Bouqie

T. Ramadan: “I Keep It To Romantik”
by Tim Indonesia Art News

NAME Tatang Ramadan Bouqie certainly spelled the name “new” in the map of fine arts (contemporary), Indonesia. So far, the public knew him as a reliable graphic designer and illustrator whose work is often made at the Tempo Weekly News Magazine. Then in the period 1999-2008 by an alumnus of the Faculty of Arts and Design (FSRD) ITB graduating in 1980, many adorned the Media Indonesia daily. Even his position as creative director oversees the daily Media Group, Media Indonesia and Metro TV.

Paintings titled “Theatre of the Channel 99″ sized 2 x 12 meters (four panels) as not “identical” with his age has got up at dusk. Yes, the man who was apparently still quite trendy born on May 11, 1953. Not a few visitors exhibitions Indonesian Art Award (IAA) 2010 in the National Gallery of Indonesia, 17 to 27 June 2010, is not expected that the work of “Theatre of the Channel 99″ dikreasi by a Tatang Ramadan which was no longer young. Spirit and energy-which can be traced from the artifacts of the work still suggests bubble-like style of young people who need a creative implementation of adequate space.

How creative Tatang now proceed until one of them to produce works of “Theatre of the Channel 99″ which won three Big Indonesian Art Award 2010 is? The following are extracts Indonesia Art News interview with the faculty of visual communication design at the Higher School of Communication Studies (STIKOM) and High School Design Interstudi (STDI), Jakarta.
“Theatre of the Channel 99″, panels 1, 2, 3, and 4. Courtesy of Tatang Bouqie Ramadan. Click to enlarge image.

• What kind of anxiety that makes you able to give birth by “Theatre of the Channel 99″ (TdS99)?

There are two areas there is restlessness in me. Anxiety first, very personal nature ie, the desire to perform action “painting” that arise from day to day, month, years, even decades to become a permanent sort of obsession. But “because the situation” I was not able and not able to do so, except to the extent “perfunctory action.”

As you know, for various reasons and causes me to spend lots of time to “other acts”, including working as an office employee, of course, with all the rules and consequences. However, I never had no qualm with that sort of thing, because for me there is never a zero value and non-sense from every second and travel. For me, every tread life’s journey, good-bad, bitter-sweet, it seems worth the same. Had the same price.

I never think to get upset and punish yourself. To me, joy is always more beneficial.

Area second anxiety, more social and it did not seem to be specific, because – my assumption – the nation’s social situation “like this” is not just my own perhaps made into “a nervous person”, but WE. How many people? Approximately 250 million people? This second, more and very disturbing. However, my fanaticism: Whirling in the vortex of “mystical” was, remained with and in the sense of joy.

• Conceptually, what underlies the birth of his “TdS99″ then?

I have always been interested in the human factor in all its aspects. Roles, level, behavior, strata. Top to bottom. However, the timing and pace of my course is limited. And, television has helped prolong my face and steps. Television presents all aspects of human beings with complete and perfect-sometimes-engineering.

There is a sense of amazement and bitterness in me. On television I see the behavior – human events become diffuse: Fiction and Non-Fiction, Real and Un-Real. There was chaos in there. Some say it is absurd. But I’d rather say it is purely mythical. I think very well if I can a lot of “record” it. I am very excited. In the near-permanent anxiety. I try to browse through other channels. I found the number 99. All in the name of God.

• Principal about what you are expressing it through the work TdS99? Is there a social concern (which depart from the personal problems) who are you fighting for?

Over the centuries, humans make up all aspects of its culture. Step by step for the sake of civilization, culture and more glory for human-beings and other life too.

Of it, there is full confidence in myself. Such idealization. Human history is running and I am reminded of the time. Trying to imagine, which appears the image of a clock with the clock that went backwards. Kok to resign? I ask myself, do I still believe in the glory of the man who is often initiated it? And, if the glory of human beings that still like the idea that once I believe, first? But the end I do not want to change my mind, that I will remain on the idealization: Man, just crap without the glory that is based on adab.

• You seem to be a rigorous but complex director for TdS99. Are there any studies or specific observations to help execute the work?

This question pleases me, because there is empathy and sympathy in it. Chaotic events happening almost every second, stacked like puzzle pieces that poured from the basket with a unique multi image display, on each chip. I like standing in a grove of yarn and tossed a wad of tangled yarn various types and colors. I saw it very complicated, but I must mengurainya. I need a map to be able to assess more clearly the quality of the facts in it tangling. I need to process, organize, arrange and display them into a presentation that is meaningful. Top answers like that, I would not refuse if assessed mendramatisisasi problem.

I did a special study and observation in order to execute the work TdS99. My interest in behavior and human actions had left no room or landscape. The main actors merely human. I feel there are challenges and pressures when to do it, but not massive in character because the source and flow facts and come bathes me in a tempo that is not instantaneous. For days, months and years.

• For you it’s more commonly known as an illustrator and designer. Well, how did you work on the painting process TdS99?

I am thankful for the opportunity to undergo practical professions that, because of problems, discipline, and praktikanya has taught me a variety of aesthetic and ethical. Shuttle in the world of illustration and design world has guided me in the tradition of “conscious balance” in managing emotion and rationality that always occur together at any time will do execution.

In the scale of quantity – themes, problems, technical and physical – work TdS99 seemed quite large. Well, beyond the idea, in practice, I begin by applying methods and governance – to formulate the problem, research, data collection, analysis, priority scale, productivity until the issue of efficiency and effectiveness – which is commonly performed in the tradition of working to design.

The tradition of illustrations – which are generally created in areas that are relatively small – apparently has guided me to the traditions and orientations to the problem in detail and detailed.

In conclusion, when I want to do the practical execution TdS99 paintings, such schemes are available and maps and even logistics. All of which became a kind of corridor that even in the running processes I am always open to the possibilities of the needs of the corridor above improvisatoris always prevent me from actions that deviate drastically.

• Are there fundamentally different creative modes of working as an illustrator or designer with a painter?

The fundamental difference mode, among others, will be on the coming of the initiative to work. In general, the illustrations and the work-first-design design, the initiative usually comes from outside myself, so that the factors and considerations, creative, aesthetic and technical almost no way to escape from the role and position of “outside parties” last- script writer, news writer or what is called a client.

Meanwhile, I, in a position as a painter, the whole initiative was born from within myself. While “outsiders”-natural, objects, humans in all its aspects-just as a source, just the idea or provocateurs.

In conclusion, when I stood as illustrators and designers, its practical role is the combination of: partnerships, services and compromise. Therefore, the target of “satisfaction” oriented to the priority order “outside parties”. Unlike when standing as a painter (artist) I was very authoritative practical role and targets “satisfaction” in a priority-oriented even to myself.

• In the process of TdS99 works, it is crucial what complicates the job?

As I have told over the previous few questions are about the obsession, the way, systematic and practical, especially when the pre and the process of making works TdS99, I am grateful, not finding things that are crucial complicated.

There was a technical problem, but small. Namely, that the work I am doing in space TdS99 relatively narrow, in the living room of my house which is only approximately 3 × 3 m only. Ha … ha … ha … It’s not a problem.

• One work titled TdS99 was composed of four panels up to 12 meters in length. It took how long to complete that work?

Work TdS99 I do at times early in the day I retire from office staff and fully regain all the time I have. Meanwhile, some relatively non-technical things ready there in the head, then, works TdS99 I could complete in a relatively short time. Approximately 30 days with an average working hours to 8 hours per day.

• As someone who was not young any more, it certainly works that consume time and energy. Or sort of solution to this sebenarya symptoms “post power syndrome” after not busy office?

This question is very sympathetic and humane. The age factor and the available power on a person like me – above the age of 55 years – is a reality that I can not ignore. I have to maintain self-awareness not to be romantic, emotionally especially ambitious. I just tried to relax and delight in every process of creation is melakoni.

• You are more or less like a “newcomer” in the wilderness of fine arts (contemporary), Indonesia today. What is your reading on the theme “Contemporaneity” posed by the IAA committee in 2010? What you do not actually try out the “trap” was the theme?

“Post Power Syndrome”? Ha … Ha … Ha … That condition is the least I want is in me. As is – frankly – I always had the feeling that it is difficult to be sympathetic to the syndrome sufferer who you mean.

The truth, I myself decided to retire from office work instead driven by the sole reason, I want to be able to return to the basic activities and my artistic roots. I do not want to be cruel and pemasung on existing natural desire on me.

In a work of art, I want to clear and unconditional. Therefore, I am not interested and not concerned with labels or classifications about: new-old, junior-senior, and others. However, I would respect if the label and classification (in) valid (a) within the community Appreciators arts.

About things related to reading problems, discussion of themes and discourses, I am more trusting, respected as a region of the observer, critic.

Regarding the theme of the trap or not? Caught theme or not? I think I’ll never know. Markanya signs and maybe there, but let me concentrate more on the “natural path” my art.

• Not a few parties are surprised by your accomplishment to reach the Big 3 IAA in 2010. It’s already got you imagine, or you never think of? Why?

Perhaps I will give answers to these questions will be felt and looked like a cliche or effort “humbling.” Certainly hope there are trajectories. Lying if did not. I consider it a human thing. Think about it? My answer: NO.

Why? My reasons: First, I include my work on the arena LAA-2010 with the intention of “mix up”, “bridge dialogs” and “communicate” my art works to the works of art from other artist friends. Second, related to “competition”, for maximum success of the problems I do not regard it as an impossibility. But instead I made sure that the IAA-2010 is a very tight competition. That then my work, TdS99, can achieve maximum performance at the IAA-2010′s, with gratitude, I accept it as a trust, responsibility and challenges. Again my answer seems really cliche.

• As an old man struggling in the world media, who are familiar with the matter of deadlines, a compromise with the owners of capital (advertisers) and the like, is there any specific things you do once hooked up with the creative process as an artist?

As I alluded to in my answer to previous question, the specifics of my work experience in the media that I apply in my artistic work process is, among other things, the tradition of systematic work, appreciate the process, effectiveness, good ethos and orientation on quality.

And the specific things you lost in the process of my artistic work is a tradition that is absolutely a compromise with the organization, the owners of capital, clients or customers / market.

• Art project is important what you are doing?

I’ve mentioned also in previous answers, for me, coming of appreciation and awards significant and substantively meaningful is the existence of “demand” and “challenge” to the sustainability of my creativity.

Therefore, at this point I’m thinking to be able to prepare a presentation of works of art to me. Hopefully, yes.
Source interview: Indonesian Art News

Tags: Ramadan Tatang Bouqie