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about collaborative activism and practices since the there is a push to dismantle the subject of artists
1990s, proposes a view that puts collaboration as an as ‘center’, and to place ‘public’, ‘community’, or
artist’s maneuver in the neo-liberal art scene to create ‘viewers’ as an active part in the process of creating
‘collective autonomy.’ 4 artistic, in the collaboration of Hanafi and GM we
are still focusing on the process of creation between
In general, collaboration is always a manifestation the two artists. However, when compared with
of the spirit of openness and the fluidity of the spontaneous / impromptu collaboration between
subjectivity of artists. Here I am referring to the artists (for example, in ‘joint painting’ activities, where
notion of the artist as author: a single individual two or more artists paint together on one canvas
with a particular genius. Since the Renaissance, and are watched by many as a kind of ‘demo’ or
Western modernity has believed that ‘progress’ can performance), 57 x 76 has a number of specific
5
be achieved when individuals are able to escape singularities. And before identifying them, I want to
from the confines of collectivity, religious dogma and look first take a glimpse at history.
dependence on other individuals. Art historians since
Vasari then set the discussion about style, technique Although in-depth and definitive writings on artistic
and the birth of the aesthetic languages of modern collaboration in Indonesia are still very minimal,
art as individual achievements: artists are self-aware it is certain that ‘collaboration’ between artists is
and independent individuals in their various efforts to not a new practice at all. The idea of collaboration
produce aesthetic innovations. developed inseparably with the ebb and flow of
collectivism as a central idea to discuss the social life
57 x 76 is indeed not a project that follows the latest of the Indonesian people to this day. Collectivism—
trends in contemporary collaboration practices. If which I define here simply as values or principles that
in ‘community based art’ projects—just call it that— place individuals as subordinates of groups—can be
carried out by the Art & Language group, the duo’s Gilbert and 5 One of the many Indonesian artists who most often does this kind
George, Abramovic–Ulay, and Jean Claude–Christo, demonstrate the of activity is Nasirun. In 2012, accompanying the launch of the book
awareness and efforts of artists to project authorship models as well Stories of Affandi, he painted together with Kartika Affandi on one
as new artistic identities. See Green, ibid., p. xi-xiii. canvas, then did it again with fifty other painters in Yogyakarta in
4 Lind, op.cit., p. 67 2013.
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