Budi Kustarto

Yogyakarta, Di Sini dan Kini, Biennale Jogja VIII , Taman Budaya, Yogyakarta, Indonesia, December 2 - 20, 2005

The painting is in good condition, as is the canvas, which is clear and taut. The paint layers are intact.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Adalah Sesuatu (Definition), with the green self-portrait and a warped sense of scale, is quintessentially Budi Kustarto. Presenting himself standing gracefully with hands folded at his abdomen, he takes the place of a Doric pillar of Fort Vredeburg in Yogyakarta, also known as the "fortress of peace".  A historical monument whose roles have changed over the ages, it was first built in 1760 at the request of the Dutch. Even though the land was owned by the Sultanate of Yogyakarta, the fort was under Dutch jurisdiction. It was supposed to be used for the Sultan's security but the Dutch's actual intention was to monitor the  Sultan's military activity. For decades, it stood for the power and mischievousness of colonial domination. The fort was named "Fort Vredeburg" after a devastating earthquake in 1867 destroyed the original fort, after the cease fire was reached between the Sultanate and the Dutch to rebuild the ruins. Since 1987, "Fort Vredeburg" has become a museum chronicling the Indonesian national struggle.

 

Fort Vredeburg's changing role pushes the boundaries of its existence and even its very form. In this context, its character is defined by its initiator, its occupant and the passage of time. Whether these elements are limitations or liberations is subjective. Perhaps Budi's position as the building's structural support is symbolic. Even though peace and independence was achieved, the struggle has not ceased. His struggle to hold up the Fort of Peace parallels the present generation's efforts to remember the history on which the nation was established upon, to maintain peace, and to build a legacy for the generations to come.