Samsul Arifin

The work is in good condition overall, as is the canvas, which is clear and taut. There is light wear and handling around the edges of the painting, but only visible upon close observation. Examination under ultraviolet shows no evidence of restoration. Framed.
"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."

Samsul Arifin’s oeuvre sets him a part from other Indonesian contemporary artists, for his subject matter and themes ground the works within a context that may be seen as foreign to some in that art scene. Many of his peers found inspiration in the country’s political and economical issues, and wished to dissect and analyse them in the artworks. Arifin’s chosen motifs and themes, however, revolve around the local education system, and actively seek a discourse about the country’s social values and commercial interests within a modern construct.

The present painting titled Rivalitas #2 continues on this theme. Shown in the work is the artist’s avatar named Goni, a ragdoll who the artist has embraced to become his alter ego, and exists throughout the collection of works as a silent witness to the artist’s vision. Part guide who leads the audience throughout the narratives, Goni may also be perceived as a spectator, critic, or even the artist’s advocate who seeks to confuse the watchful public, keen to decipher the riddle of the doll’s role in the paintings.

Playing with symbols that define academia, the artist has placed within the painting a paint tube on which Goni sits upon as if it were a boat sailing off to the unknown. It is the latter that provides a sense of mystery within the narrative, for the onlooker questions if the doll is actually traveling, or if it is merely resting, his expression puzzled about why he remains stationary in an otherwise desolate scene. Though the artist is absent from the actual narrative, Arifin’s presence is strongly felt through the solitary doll that is vulnerable to the future, not knowing where it, or the artist might take him.

Much of Arifin’s choice themes may be seen as conceptual, for the paintings are largely defined by Goni and his reaction to the external world. Rivalitas #2 is also influenced by the doll’s interaction with the environment, and this voyeuristic view from the artist, further instils in the audience a sense of displacement and confusion. However this is the artist’s intention, for as per his want to establish a dialogue about educational reform in Indonesia, the painting may be perceived as a question that the artist is asking viewers to come up with their own resolutions on the matter.

Therefore in this context, the present piece is a continuation of the artist’s analysis of how artistic expression may inspire the Indonesian government to take action of the problem at hand, and provide a stable future for their youth. If education instils confidence, and the tools for self-efficiency that will aid younger generations, then Goni with his blank expression becomes a metaphor of this academic isolation.