In the early 1990s, the reaction to the search for national identity was related to a difference in viewing identity.
The concept of national identity, and criticism of it, follows what I will term ‘logocentric’ thinking, in that it tends to look for absolute meaning.
The concept of identity within both schools of thought displays heroic nationalism.
In contemporary art, this kind of belief resulted in art works that worshipped democracy. Through a classbased approach, such works criticised the Government as an oppressive, corrupt and powerful group of people who deceived the poor.
This is seen in the works of artists such as Moelyono, Tisna Sanjaya, Dadang Christanto and Semsar Siahaan.
In the early 1990s, the reaction to the search for national identity was related to a difference in viewing identity. The concept of national identity, and criticism of it, follows what I will term ‘logocentric’ thinking, in that it tends to look for absolute meaning. The concept of identity within both schools of thought displays heroic nationalism. In contemporary art, this kind of belief resulted in art works that worshipped democracy. Through a classbased approach, such works criticised the Government as an oppressive, corrupt and powerful group of people who deceived the poor. This is seen in the works of artists such as Moelyono, Tisna Sanjaya, Dadang Christanto and Semsar Siahaan.
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