In the past three years, there has been more activity in the Bandung art scene. Young artists have emerged and new names adorn the established configuration.They are the generation born in the 1980s: Some graduated from an art school last year or two years ago, others are still students. Not only do they use various kinds of media, content wise, but they also take on new issues. Unlike five or six years ago when Bandung's art scene was too laid back, today it is vibrant. The Bandung art scene for some time had a lost generation, if we measure this by the quantity of art school graduates. Every year, for one decade (1993-2003), most art graduates preferred not to build a career as an artist. And this was enough to create headaches for art school staff, who felt they had failed to produce real artists.

Not only the academy but other parties also wondered why such an attitude prevailed in the Bandung art scene. Some people supposed the weak market in Bandung had contributed to this feeling.Therefore, efforts were made to promote a conducive environment in the Bandung art scene through the organization of exhibitions in Bandung and other cities. The result, at least, can be felt today. Besides the emergence of young artists, market enthusiasm has positively determined the development of artistic practices in the flower city. I confirm here that the current conducive situation in Bandung is the accumulation of the efforts made in the past three days. One of the issues discussed was the use of the Bandung label in every exhibition. This Bandung label serves as a promotion means and also to differentiate their characteristics from the artistic practices of other cities. One thing that makes me wonder is the fact that the Bandung label in Bandung artists' exhibitions was first used in the exhibition in 1954 in Balai Budaya Jakarta, followed by the large-scale exhibition in 1955 in conjunction with the Asia-Africa Conference in Bandung. "Bandungers" and the "Bandung Way" then came into being. From history we also found exhibitions with the Bandung label, such as "Exhibition of 12 Bandung Artists" (1958) and "Exhibition of 11 Bandung Artists" (1966). And then in the 1980s, for example, we could also find exhibitions with such a label as "Exhibition of Young Bandung Artists". My question is, why does every exhibition that features the works of Bandung artists always uses the Bandung label? Compared to artists from other cities, Bandung artists use the label more often. If the Bandung label in 1954 was meant as a form of promotion, why it is still used today, more than half a century later? Aren't the Bandung arts and artists widely known? What's the use of the Bandung labeling? I know this is a historical question and we will get the answer if we look at history.

I hoped to find an answer in the exhibition "Bandung New Emergence Volume.2" (BNE-V.2), which is showing through to June 29 at the Selasar Sunaryo Art Space, Bandung. In its debut (BNE-V.1) in 2006, the exhibition was held in the same place. The purpose, as stated in the catalogue, was to map the Bandung art scene. This event involves 15 individuals and three groups of young artists. Their works include video art, installation art and the most conventional art form: painting. Among the works on display, the digital photographs of Fajar Abadi RDP titled Pij?t (2008) are among the most interesting. Fajar, who still studies at the Sculpture Studio of the Arts School, Bandung Institute of Technology, presents scenes of prominent local artists, like Heri Dono, A.D. Pirous, Arahmaiani and Tisna Sanjaya, being massaged. There is also a group called Ghost (Agra Satria and Yasmina Yustiviani), which presents Lullaby of a Long Lost Paradise, mixed media (2008), a semi-kinetic installation made from the weaving of wool, pieces of clothing etc.

I think their work represents the issues of identity and contemporary culture in an interesting way. The same issues are also brought up by Dina Dellyana, a young composer and song writer who is popular among Bandung youngsters. Dina's composition attracted the audience at the opening of the exhibition. In the gallery hall we found her installation work, Digital Love. The works of Cecilia Patricia Untario and the Capo Project group in this exhibition were also enjoyable. A regular program of Selasar Sunaryo Art Space, the BNE does not seem to have an out-of-reach purpose. It shows the public the diversity of interests among young artists, as seen from their choice of media and the themes of their works. Therefore, if the works on display at BNE-V.2 are not well done, from the idea or artistic aspects, it is quite understandable. But I notice that the problem is no longer simple. The market's interest in absorbing the works of Bandung artists recently has been a hot issue and even became the topic of discussion the night the exhibition was opened. Obviously, it was difficult for BNE to release itself from the market trap. Since BNE-V.1 the market has shown its teeth. And that also happens in this BNE-V.2 and it is likely that the market will become a variable in the next BNE. If this happens, I am afraid the BNE will only be seen as an arena to "fry" artworks, an arena of speculators within the high temperature of today's Indonesian art market. The future Bandung New Emergence should not become the Bandung New Market. From what I heard during the exhibition opening, I have every reason to be concerned.

Instead of considering historical aspects -- about the use of Bandung label, for instance -- the Bandung art scene, I am sure, later will only be considered as the new playground of art market players, after other cities experience saturation. I don't want to be misunderstood here. It is good to have an art market in Bandung. But a proportional market would be much better: a market that does not buy an artwork without observing the values presented by the exhibition and the work itself. The problem is, will the market be patient and is it willing to learn?
-- The writer is a lecturer at the Bandung Institute of Technology's School of Arts