Footnotes

Provenance:
Collection of Raka Sumichan
Acquired from the above by the present owner in 1991

Published:
Sardjana Sumichan, Affandi, Vol III, Bina Lestari Budaya Foundation, Jakarta and Singapore Art Museum, Singapore, 2007, p. 48, pl. 12

阿凡迪　雲霄飛車，大阪萬博EXPO'70　壓克力畫布　木框　 一九七〇年作

簽名：A '1970

來源：
拉卡 · 蘇彌禪收藏
現藏家於1991年得自上述

出版：
薩迦納 · 蘇彌禪，《阿凡迪，第三冊》，比娜 · 萊達利 · 布達亞基金會，雅加達和新加坡美術館，新加坡，2007年，頁48，圖版12

Affandi, Indonesia's most renowned artist of the modern era, went to Japan in 1970, having been invited by Raka Sumichan, one of his closest patron and collector, to the Expo 1970 in Osaka, Japan. Roller Coaster, EXPO '70, Osaka depicts an entirely unique subject in his oeurve, and one of the very rare 'modern' subjects Affandi has ever deviated to paint, outside of his lifelong affinity for depicting scenes, objects and portraits of commoners.

Influenced by the bright lights and highly urbanised environment of a modern Japan at the fair, Affandi was placed miles away from the rural agrarian Indonesia he knew so well. Affandi's art is rooted in the direct observation of the world around him, which he transforms to express his personal inner vision. The works created overseas are some of the more personal pieces from the artist's oeuvre. They provide an intimate look of his time away from Indonesia, the embodiment of a foreigner in an even stranger land. As an artist Affandi took on the role of cultural ambassador whilst overseas, however as a tourist, he continued to experience changes in perspective.

In Roller Coaster, EXPO '70, Osaka, the dynamic and vivid energy of his strokes seem to capture the very essence of the life-force and electrifying energy of the 1970 Expo in Osaka - a perfect recording of the social emotions of the period in tune with the painter's own feelings and sentiments. The interwoven yellow lines stand out from the dark background, reminiscent of Vincent van Gogh's The Starry Night painted 80 years earlier.

Affandi's picture expresses the same expressionistic tendency as van Gogh's but given over to expressing emotion more than an analytical approach to picture making. Hence where The Starry Night appears to have been the outcome of a careful and measured mode of painting, though ultimately an emphatic rendering of the night sky, Affandi's picture is given over to a greater sense of abandon – in the deftly applied swathes of paint, and gesticulatory rendering of figures and forms of things.

Emotion is the essential element in the artist's work, as Astri Wright wrote, 'Affandi's style has been called expressionistic but to him his works were more true to the subject than any degree of photorealism could have been - an honesty which had more to do with emotional experience than with intellectual analysis. As he said in the 1992 film by Yasir Marzuki, Hungry to Paint, Affandi did not see himself as a clever man, 'not like Picasso'. He was more like van Gogh - a man of strong emotion, which in turn gave rise to works of art, the stylistic similarity between himself and van Gogh that people always point to was a matter of emotional affinity.

阿凡迪，印尼現代藝術巨匠，1970年造訪日本時受與他私交甚篤的贊助人及藏家 Raka Sumichan 邀請至日本大阪萬博 EXPO'70。《雲霄飛車，大阪萬博EXPO'70》為阿凡迪生平創作中既獨特又罕見的現代主題，跳脫藝術家常見的風景、物件及日常生活人物的刻劃。

在日本，阿凡迪浸淫在博覽會的五光十色及高度都市化的環境中，完全脫離他所熟悉的印尼鄉村景緻。阿凡迪的藝術根植於他對周遭環境的直接觀察，並由此傳達自己豐富的情感世界。其海外創作，屬藝術生涯中較個人的作品，讓觀者一窺他離開祖國印尼的時光，也體現外國人在異地的面貌。身為藝術家，阿凡迪在外國時期擔任文化大使一角，但身為旅客，他的觀點持續發生變化。

《雲霄飛車，大阪萬博 EXPO'70》中動感十足、絢麗活潑的筆觸似乎捕捉了大阪1970年萬國博覽會的頑強生命力和激動人心的盛典時刻，完美紀錄了那個時期的社會情感，與藝術家自身的心情寫照一致。縱
橫交織的黃色線條在灰暗背景中格外醒目，使人憶起梵高80年前的代表作《星夜》。

阿凡迪的畫作如梵高作品般呈現極高的表現性，但他著重情感的表達更勝於在創作中的理性分析。也因此《星夜》是一幅經由長期思考及策劃後而生的創作，縱然梵高筆下夜半的星空充滿張力，然而阿凡迪
的畫作更加隨心所欲，快速塗抹在畫布上的大片油彩，充滿各式象徵意義之事物的形狀。

情感為阿凡迪作品中的重要元素。就如阿斯迪 · 萊特所考，「阿凡迪的風格被稱為表現主義，但對畫家而言，其作品比任何程度的照相寫實主義，更忠於題材的原貌──這份真誠與情感經歷較有關聯，而非
知識分析。就如他在 Yasir Marzuki 1992年所導的電影《渴望描繪》的陳述，阿凡迪自認不聰穎，也不像畢卡索。與他較相近的藝術家是梵高──其濃烈的情感造就了不凡的作品。阿凡迪和梵高受人津津樂道的藝術風格具異曲同工之妙，因來自於情感的連結。」