Opening Tumbuh Rimpang
November 29, 2024
Opening
REPURPOSING: PARADISE
Exhibition
Exhibition
Repurposing: Paradise
Written by
Krisna Sudharma
“Repurposing: Paradise” delves into a contemplative review of Bali’s “paradise,” a concept historically laden with contradictions due to its oscillation between global capitalist attractions and the island’s complex cultural tapestry
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“Repurposing: Paradise” is inspired by Michel Picard’s (2017) analysis, which argues for the recognition of local inhabitants not as passive objects under the touristic gaze but as active subjects who articulate their cultural presentations. These are intricately shaped by their self-referential systems and their interpretations of tourists’ desires, providing a nuanced counter-argument to perceptions that local engagement with the paradise narrative is purely dismissive or resistant. Picard’s assertion that “Balinese culture actively engages with and shapes the tourist gaze” underpins the complex interaction between maintaining authenticity and the commodification of culture.
Exhibition challenges the superficial acceptance of Bali merely as a commodity, leveraging theoretical frameworks from Dean MacCannell (1976), Erik Cohen (1998), and Edward M. Bruner (2005) to dissect staged authenticity and cultural commodification, urging a sophisticated understanding of local interactions with the idea of ‘Bali Paradise’, the ‘Island of the Gods’ concept as predominantly an invention of the tourism industry—a viewpoint that simplifies the complex dynamics between local cultures and global tourism narratives.
Drawing from Adrian Vickers’ historical analysis, the exhibition showcases Bali as “a paradise created” (Vickers, 1989), emphasizing the island’s transformation through colonization, exoticization, and commodification, and demonstrating Bali’s resilience in reshaping its own narrative. Furthermore, it integrates considerations of modernity and colonial history, encapsulating the narrative of adaptation and resilience, including the visionary regulations proposed by SCETO in 1970, advocating for sustainable development respectful of cultural heritage. An instance highlighting the clash between modern development and cultural preservation is the controversy sparked by the construction of the Bali Beach Hotel in Sanur in 1966. The ensuing debate over building heights and the emblematic policy mandating “no building taller than a coconut tree” highlights the tension between cultural identity and economic growth in Balinese society.
The focus on repurposing was evident in the exploration of language and metaphor in shaping tourist perceptions. Here, the insights of George Lakoff and Mark Turner were pivotal. They highlight how “our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature” (Lakoff & Turner, 1989, p. 3). In the context of “Repurposing: Paradise,” this meant unraveling how Bali has been linguistically cast as an Edenic, untouched paradise—a narrative both alluring and simplistic, which the Balinese have navigated and, at times, repurposed to their benefit. Material culture, especially the domain of souvenirs, provided a tangible lens into this repurposing. Drawing from Celia Lury, who articulates that objects are “complex events” (Lury, 1996), the exhibition displayed how souvenirs are not mere commodities but narrators of the Bali experience, serving as mediators between the ordinary and the extraordinary. These objects epitomize the repurposing of Balinese culture for external consumption, while simultaneously enabling a personal reconnection with the experience of the place.
Through the lens of Balinese visual art, the exhibition delves into visual culture and its ramifications on social understanding. It engages with the multifaceted question of visuality and culture, building on Martin Jay’s (1996) observation that anything that imprints upon the retina becomes part of a new paradigm, one that prides itself on democratic inclusivity. Raymond Williams (1976) highlights the complexity imbued in the notion of culture, a term knotted with intricate meanings and implications. This reveals an intellectual dichotomy, especially when locals seek to comprehend their art through foreign texts and languages.
By fostering a nuanced perspective that acknowledges the instrumentality of ‘paradise’ for both Western and local imaginaries, “Repurposing: Paradise” transcends simplistic duality, inviting visitors to appreciate the intricate dance between cultural self-expression and global economic forces.
This exhibition embodies a comprehensive reflection on the multifaceted realities of ‘paradise,’ offering a vista on the complexities and nuances shaping our understanding and engagement with culturally and touristically significant places. With intellectual rigor and a humanistic approach, this exhibition encourages an inclusive and reflective dialogue on the complex interplays at play, providing a scaffold to critically engage with the paradisiacal of Bali.
“We extend our deepest thanks to the dedicated Amandari team, whose hard work and commitment brought this exhibition to life. Our appreciation also goes to the immensely talented artists and their representatives, Roh Projects, Sarah Cottier Gallery and Yeo Workshop , for their invaluable contributions.”
