The Dono Code

From 10 September the Tropenmuseum hosts a retrospective exhibition with works by Indonesian artist Heri Dono (Jakarta, 1960). Dono currently resides in Yogyakarta, and is Indonesia’s internationally best known artist. In his paintings, images, and installations, Dono gives critical and often humoristic commentary on the current political and social issues of his own country. Never before has there been a retrospective of his works in the Netherlands. The exhibition ‘The Dono Code’ will run through 28 February 2010. Heri Dono uses elements from folk traditions known to everyone in Indonesia: wayang plays, the life of the common man, a beca rider, and tau tau images of the Toradja in Sulawesi. Dono combines these elements with images from the collective consciousness. He is inspired by universally famous cartoon heroes such as Flash Gordon. Through collecting material from different worlds, he creates a personal idiom in which image, sound, shadow, and movement enter into direct dialogue with the audience and explore the role of the individual in society. Dono’s universe An important feature of Heri Dono’s work is the fact that what is shown never represents a one-dimensional reality. He likes to play with words (a part of Javanese culture), images and ‘fixed truths’. For this reason, people are often represented as puppets, angels, monsters, clowns, and kings. So-called ‘fixed’ constants such as up and down, left and right, man and woman are in constant flux, leading to new relationships. Common subjects in his work are: the educational system in Indonesia, corruption, the influence of mass media, power, and political figures. Aside from paintings and installations, Dono also makes multi-media performances in which current affairs are explored. He, however, stresses that politics is not the most important element in his work. A personal code The way in which Dono uses local art forms and folk traditions in his work is far from traditional. By referring to images familiar to everyone, he reaches his audience in a way that is very direct. An example is the satirical work Political Clowns (see photo), that travelled the world in 1999. In this installation fifteen enormous clown’s heads are shown, dependant on an infusion. The grotesque heads are a direct reference to local art. The image of the clown, a recurring element in Dono’s art, refers to the role of the three clowns Semar, Gareng, and Petruk from the traditional wayang plays. In these plays, these three clowns are often used to express criticism on social and political problems. Glocal artist Dono can truly be called a glocal artist: a term which contracts the words local and global. The story of his images is about the changing face of Indonesian society that is not separate from developments in the rest of the world. This story is meant for a broad audience; though it is coded (criticizing politicians has long been a dangerous activity), it recognizable and accessible. Glocal art shows how local sources can still nourish artists in a time of globalization to say something about the world around them. Dono dislikes the distinction between high art and low art. He never literally copies traditional art; he plays with the image material in a personal style influenced by various European artists such as Matisse and Picasso, and artistic trends such as Cobra, nouveau réalisme and fluxus. Publication A catalogue of the exhibition will be available; the first copy will presented to the artist at the opening of the exhibition. Authors are Helena Spanjaar and Wouter Welling. About The Tropenmuseum The Tropenmuseum presents, researches, and promotes knowledge of, and interaction between cultures. It offers perceptions and experiences for a broad and diverse public whereby all means at the disposal of the museum are employed: exhibitions, collections and expertise, publications, the historic building, educational and other activities. The museum of the Royal institute for t