Talk About Dada

Dear Agus Kama Loedin, I’ve heard you love Dadaism. I even heard you linked the Sawidji art collective project ‘Culmination’, displayed at the Santrian Art Gallery (Sanur) last May/June 2024 to something ‘very Dada’ in spirit. However, I apologise, Agus, as I don’t see any direct connection to it in your work for this exhibition. Anyone can verify this on this website, by the way. Could you explain?

“I’m sure you’re familiar with the Dadaist movement. Let me distil my interest in it into a few keywords: fine arts, poetry, and performance. These concepts immediately come to mind when I think of Dada. However, there’s another word that holds significant importance: ‘anti.’ Dada emerged as a response to authority, particularly during the tumultuous period leading to World War I. It was a rebellion against war, convention, and societal norms.
Additionally, the theme of ‘poorness’ resonates with Dada artists. Many of them lacked financial resources—sometimes even struggling to afford canvases and paint. As a result, they ingeniously reinvented art using unconventional materials and methods.”

OK, I understand better now…

“I named my advertising and event organizer company in Jakarta ‘Dada.’ So, circling back to those keywords I mentioned—fine art, poetry, and performance—it’s interesting how they all tie into this idea. Now, don’t get me wrong, I get that advertising is in the grey area of art because money is part of the equation. I might lean toward being ‘anti-capitalist’ and ‘anti-establishment,’ but I was also aiming to build a profitable business!” ^{~Agus Kama Loedin}

Were you into Dadaism since a young age?

“Not exactly—I was in my 30s, living in the Netherlands. I had some friends who claimed to be artists, surviving on government social allowances. They talked about Dadaism, their intentions, compositions, and colour choices… But when I looked at their artwork, it hit me—they didn’t know much! I suspected they were just coasting along, enjoying life on their social security money!” ^{~Agus Kama Loedin}

Are you saying that to be a true artist you need to be in danger?

“(Laughing) Not necessarily to that point… It reminds me of something. Here, in Indonesia, we have people working with metal: pande besi (blacksmiths), pande Perak (silversmiths), and pande emas (goldsmiths). These craftsmen engage with three essential elements: water, fire, and air. Remarkably, there are no formal schools for these crafts here. Instead, you learn by doing—by observing and practising. Often, this knowledge is passed down within the same family. However, if a son cannot continue the tradition for any reason, their family may no longer be accepted in the guild they’ve belonged to for generations. So, when you ask whether an artist needs to be in danger, my answer is no. True art springs from your inner self, regardless of external circumstances!” ^{~Agus Kama Loedin}

But your artist friends in the Netherlands living on social security money, they didn’t belong to a pande family!

“In Dada, you’re supposed to embrace anti-conformism. During my discussions with some of them, I once said, ‘You’re manipulating the social welfare system!’ And when I examined their artworks, I thought, ‘Come on, you can do better!’ Honestly, they weren’t genuine artists. Sure, they belonged to the artists’ community, but these few were not serious like the others, they were just playing around.” ^{~Agus Kama Loedin}

Your artworks feature metal wires as a medium. Is it a poor artist way of doing art as you can find rolls of wires in dumps?

“In Indonesia, you won’t stumble upon metal wires in dumps because almost everything is recycled here. Metal holds value here. I like recycled stuff though… —I even built a house using salvaged items. That’s where the spark ignited: the idea of creating art with metal wires. I was going around to find stuff in junkyards and other flea markets in Bogor when I saw these piles of wires for sale. So, I decided to etch the name of our house and its street number onto the front door using those very wires! That’s how it all started! I fell in love with it! And when the supply became scarce, I switched to dynamos to extract the wiring…” ^{~Agus Kama Loedin}

Is that a Dada way of being an artist?

“(Laughing) Hmmm… maybe… recycling may sometimes be associated with the word ‘poor.’ But isn’t recycling a positive thing, at least? However, when it comes to buying these cables, it’s not always cheap—even for second-hand ones. First, the metal rates are fixed worldwide by the World Trade Organization. Second, for private buyers seeking new cables, finding an obvious supply isn’t straightforward. The cable trade operates at high levels—companies and even governments are involved. So, yes, it’s far from easy!” ^{~Agus Kama Loedin}

For ‘Culmination’, you presented two styles of artworks based on the utilization of wires. One that is mask or statue, another that is mixed medias, between painting and weaving. Can you develop on these choices?

“The Sawidji concept for this exhibition revolved around ‘Culmination’ and its alliteration, ‘Calm in Nation,’ right? The dancer’s mask embodies the idea of ‘calm.’ Inside the exhibition room, there’s another item—a statue with an ‘eye’ positioned right in the centre. This eye observes every visitor and every artwork, ensuring that ‘calm’ remains intact under any circumstances. Now, did you notice that my other artworks were hung outside this room? They express distress and anger, symbolized by a hand tearing up the canvas. It represents the prevailing ‘chaos’ that our nation endured for many decades. But now, it remains outside our nation’s confines.” ^{~Agus Kama Loedin}

Talking about something more technical now… Are you more into canvas or into shapes? Does one precede the other in your career?

“As I mentioned earlier, I initially started using wires for functional purposes in my house. Working in my advertising company and organizing events, we often created 3D pieces. That’s when the idea struck me: why not integrate this wire art more deeply into my personal creative expression? In my younger days, I primarily focused on 2D art—painting, for instance. But then it hit me—I could make statuary using those very wires. Even when I work on canvas, I find ways to incorporate 3D wire shapes. So, both styles seamlessly coexist in my art.” ^{~Agus Kama Loedin}

How do you feel stimulated to create?

I define myself in opposition. When someone praises my abstract wire sculptures, I feel compelled to demonstrate my ability in figurative work. And if people appreciate my statuary, I want to prove that I can also integrate wires into my paintings. That’s how my personal story in arts developed, I’m like that!

It is your ‘anti’ side, isn’t it?

“(Laughing) Returning to ‘Culmination’ and my concept of Dadaism, I’d like to introduce another term alongside ‘fine art, poetry, and performance’: Music. Original Dada founders got together from various backgrounds and none of them were categorized according to their specialty. I appreciate this notion of total artistic expression. Music should be included here. Dadaists were even anti-culture. I like that too! As artists, we must continually seek novelty—it’s a must!”

Total and collective! Like Sawidji?

“Yes! It could be heavy! And expensive! If I need help, I don’t mind begging for funding here and there. I don’t care! In the end, we can put up a magnificent art show and that is what matters!”

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