June 10, 2023, Bali, Indonesia

FX Harsono studio, Yogyakarta, Indonesia

Born in Blitar, East Java in 1949, FX Harsono is a pivotal figure in the Indonesian contemporary art scene. Emerging during the politically charged era of the New Order regime, his works often critique social and political issues, particularly focusing on the identity and historical challenges of the Chinese-Indonesian community. His career spans across decades of tumultuous changes in Indonesia, making him not only a witness to history but also an active participant in the shaping of Indonesian contemporary art.

NATASHA DOROSHENKO MURRAY (NDM): FX, you’ve been profoundly involved in researching the Chinese-Indonesian massacres. What initially sparked this focus in your work?

FX HARSONO: It all began with a photograph taken by my father, a photographer, who documented the exhumation of massacred Chinese-Indonesians. This photograph had a caption, which was my initial guidepost into researching these atrocities. Interestingly, I came across many historical document on social media, where people sell them. One of them is entry permit made in 1939, during the Dutch colonial period in Indonesia. For instance, Land Passes, which were crucial documents at the time. They reflected the control and restrictions placed on Chinese people in Indonesia. This discovery spurred me further to delve into how these historical artifacts connect with my own family's past and the broader narrative of Chinese-Indonesians.

NDM: In uncovering these past atrocities, how many mass graves have you found so far?

FX HARSONO: I’ve located 13 mass graves so far. Unfortunately, three have been destroyed. My approach includes photography, video documentation, and interviews with survivors to piece together the narrative that official history often ignores.

NDM: How has the Indonesian public reacted to your exhibitions and screenings?

FX HARSONO: The response is quite introspective, largely because my exhibitions are confined to art spaces and not public areas. They attract people who are already somewhat engaged with or interested in art and history. I’ve also been invited to speak at seminars on history and social-political issues, which helps broaden the impact.

NDM: You mentioned a collaborative project on a book. Could you tell us more about that?

FX HARSONO: Yes, I'm collaborating with a historian friend who is studying for his PhD in Melbourne. We're working on a book about the massacres—a subject sorely missing from Indonesian literature. Our goal is to provide a documented history that acknowledges the struggles and contributions of Chinese-Indonesians during the independence era.

NDM: It seems you’re not just an artist but also a historian of sorts.

FX HARSONO: That's correct. I see my role as an artist to also serve as a medium for forgotten histories. History is complex and layered, and it's crucial that the untold stories are brought to light.

NDM: Shifting to another significant theme in your work, could you explain the significance of the name change you underwent and its impact on your identity?

FX HARSONO: During the New Order regime, Chinese-Indonesians were forced to adopt Indonesian names as a way to suppress our cultural identity. I chose 'Harsono' in 1967, which means 'happy man'. This name change was not just administrative but symbolically represented a redefined identity imposed by political circumstances.

NDM: Your piece ‘Writing in the Ring’ was particularly striking. Is this ehat inspired it?

FX HARSONO: In ‘Writing in the Rain’, I wrote my Chinese name on a glass with water gradually obscuring it, symbolising the erasure of personal and cultural identities under systemic pressure. This performance, later displayed in Times Square, was a public reclaiming of my history and identity.

NDM: You've  been recognised for being a pioneer of conceptual art in Indonesia.

FX HARSONO: Yes. In 1977, I created a piece called 'Pistol Crackers,' which were crackers shaped like pistols. This was one of the first conceptual art pieces in Southeast Asia, presented at a time when Indonesia was under a repressive military regime. The work challenged viewers by asking, "What would you do if all these pistol crackers became real pistols?" The reaction was incredibly impactful. More than 90% of the people engaged with the piece voted against the government.

NDM: Was this work ever exhibited internationally?

FX HARSONO: Yes, the interest in 'Pistol Crackers' extended to the Bangkok Art and Cultural Center, where they faced a unique challenge due to the fragile nature of the materials used in the artwork. Given the importance of preserving both the physical and conceptual elements, they decided to acquire not only the artwork itself but also the detailed instructions on how to make it. This was essential for them because it allowed for the potential recreation of the crackers for future exhibitions.

NDM: Lastly, how do you view the art scene in Indonesia today, especially in terms of artistic freedom and collaboration?

FX HARSONO: It’s vibrant, especially among younger artists who are keen to explore and push boundaries. However, I believe there's still a significant need for better art education that balances practical skills with theoretical knowledge. Since 2011, I’ve been conducting workshops to address this gap, providing young artists with tools to research and engage critically with their subjects. The collaboration and community in places like Yogyakarta are especially inspiring. It’s a dynamic environment where ideas and support flow freely among artists, which is quite different from the more isolated practices often seen in Western contexts.

NDM: Observing the art community in Jogja, I'm struck by the level of collaboration among artists. They actively engage and exchange ideas, which seems quite different from the more solitary practices prevalent in the Western art scene.

FX HARSONO: Yes, there's a distinct contrast among the art communities in Jakarta, Bandung, and Jogja. Jakarta, with its vast size and dense population, tends to cultivate a more exclusive atmosphere. Artists there often form tight-knit groups, limiting their interactions to familiar faces and close associates.

In Bandung, the art scene is more isolated. Many young artists focus on developing their work independently within their studios, which diminishes opportunities for collaboration. On the other hand, Jogja fosters a vibrant community spirit. The collectives here are not only close-knit but also actively support and collaborate with each other, which is why I find it so fulfilling to live here.

NDM: Thank you, FX, for sharing your insights and experiences with us.

FX HARSONO: Thank you for visiting my studio. It's important that these conversations continue.

— Natasha Doroshenko Murray