Djoko pekik biography

Djoko Pekik (2 January 1937 – 12 August 2023) was an.
Djoko Pekik was an Indonesian artist known for his achievements in painting and sculpture.
DJOKO PEKIK (b.1938, Indonesian) Djoko Pekik is a renowned painter who rose to prominence during the tumultuous period of rebellion in Indonesia.

•

TheJakartaPost

Djoko Pekik is working at his studio in Yogyakarta.

'We hunted a celeng [wild boar] in 1998; we cornered it then captured it. It should've ended there and then,' Pekik told a group of young journalists earlier this week.

The painter was referring to his famous painting 'Indonesia 1998 Berburu Celeng' (Indonesia 1998 Hunts Wild Boar), which was unexpectedly sold for Rp 1 billion (US$879,900).

Berburu Celeng depicts a captured fat wild boar hoisted upside down with its feet tied to a large bamboo stick. Around the boar are various characters performing traditional folk dances while celebrating the capture in front of thousands of onlookers.

Pekik made the painting during the weeks around May 21, 1998, when then president Soeharto stepped down and ended his 32 year dictatorship of the New Order era.

The painting was the second in the 'Trilogy Celeng' (Boar's Trilogy). Tanpa Bunga dan Telegram Duka (Without Flowers or Condolence Telegram) was the final installment of the trilogy.

Tanpa Bunga shows the captured boar lying on an arid ground in the

•

TheJakartaPost

JP/Simon Sudarman

The 'Rp 1 billion [US$101,297] painter' was the nickname given to Djoko Pekik when his painting Berburu Celeng (Boar Hunting) sold for that price at an exhibition in Yogyakarta in 1999.

The nation's declining morality remains the primary concern of the painter who was born in Grobogan, Purwodadi, Central Java, 75 years ago.

'In Pawang pun Kesurupan [The Possessed Tamers] I describe the situation of the Indonesian nation, especially its leaders,' explained the father of eight.

The painting, measuring 2 meters by 2.5 meters, reveals Djoko's bitterness of the conduct of the country's leaders. This most recent artwork, not yet on display, was finished in two weeks.

'That is how I portray the nation's situation on the canvas. It is open to interpretation. People can perceive it in other ways. I'm not supposed to understand everything ' even as the painter. Just enjoy and judge it by yourselves,' he said at his gallery in Sembungan, Tamantirto Kasihan, Bantul, Yogyakarta.

Pawang pun Kesurupan depicts jatilan (bamboo horse d

•

Djoko Pekik: A painter of expressive empathy (1989)

Djoko Pekik’s work is unique in the painting world of Indonesia in the 1980s, both in regards to subject matter as well as to style.

Djoko Pekik paints what moves him, he says, and what moves him is the plight of those millions of Indonesians who are living under difficult circumstances, in regions infertile from century-old deforestation, erosion and overpopulation, where work other than farming is scarce and the livelihood the land can offer more than meager. People and landscapes are Djoko Pekik’s major themes— depicted in bleak tones dominated by moss-green, black, ocher and cream, enlivened here and there by a deep red or blue.

Here, in other words, is a painter who is neither painting pleasant, decorative landscapes and still lifes nor harmonious, bright-colored abstracts, who is not copying old mythological symbols or signs in paint without integrating into anything new, appropriate to new times and a new media, nor is he painting Balinese fishing boats, dancers, ceremonies or cock fights, which only the very grea