Bhayangkara

Sigit’s deep curiosity about the police identity encourages him to go deeper through their historical path. He is concerned about the term Bhayangkara, also the other name of the Indonesian National Police Force. Bhayangkara is a recommendation from one of Indonesia’s founders, Soekarno; in one of his speeches, he mentioned that the National Police Force must take the spirit of Bhayangkara, a loyal guardian army of the king in the Majapahit Empire era (13th century). He also suggests that the National Police Force must refer to Bhayangkara as the ‘way of life’ when they are on duty.

Bhayangkara in Majapahit Empire was a special force that guarded the king with all his interests. While Bhayangkara in Indonesia today were the law enforcement unit responsible for maintaining public order and security. According to fundamental differences in task orientation and authority within the past and nowadays, the relevances of the Bhayangkara concept need to be reviewed. So why is it still used?

Sigit tried to trace back the identity of Bhayangkara through the subjective interpretation of an artist. Based on society’s perspective, which has become a phenomenon in several parts of the world towards the institution that is now being highlighted. Not only in Indonesia, it has become a critical issue that is also happening in several countries, especially in Asia. In this late situation, repressive actions often come up when they escort society to express their aspirations; there is a tendency from this institution to become a tool to secure the ruling authority.

Sigit’s works can represent one of the sociopolitical problems that are happening now, to be a critic of the tension between law enforcement institutions and society. To accommodate his ideas, Sigit primarily uses woodcut printmaking techniques, and historically, it was used as a propaganda medium to influence the audience’s perception of social and political issues. With a distinctive visual character, he made printmaking as an art medium to communicate simultaneously with a large number of people.

The Man on Duty

Reduction hardboardcut print on paper
47 x 82 cm
7 edition + 2 artist proof
2012

Supreme Control

Reduction hardboardcut print on paper
60 x 80 cm
5 edition + 2 artist proof
2013

Role Playing Supremacy

Reduction hardboardcut print on paper
60 x 18 cm
5 edition + 2 artist proof
2013

1.3.1.2.

Reduction hardboardcut print on paper
30 x 40 cm
3 edition + 2 artist proof
2015

Power Tends to Bring Happiness

Reduction hardboardcut print on paper
40 x 60 cm
5 edition + 2 artist proof
2014

Polisi Istimewa, Pernah Merdeka

Reduction hardboardcut print and xerox transfer on paper
16 x 96 cm (3 panels)
3 edition + 2 artist proof
2015

Bhayangkara, Merah dan Biru

Reduction hardboardcut print on paper
30 x 40 cm
3 edition + 2 artist proof
2015

Bhayangkara After The Battle of Bubat

Reduction hardboardcut print on paper
90 x 70 cm (15 panels)
3 edition + 2 artist proof
2015

Bhayangkara, a Delusion

Reduction hardboardcut print on paper
30 x 30 cm (5 panels)
3 edition + 2 artist proof
2016

Act of Terror

Reduction hardboardcut print on paper
19 x 19 cm (3 panels)
3 edition + 2 artist proof
2017

Bhayangkara, the Premise

Reduction hardboardcut print on paper
19 x 19 cm (25 panels)
3 edition + 2 artist proof
2019

Bhayangkara, Identify the Dark Side

Hardboardcut print matrix, base
95 x 95 x 85 cm
2019

No Man's Land

Reduction hardboardcut print on paper
90 x 70 cm (9 panels)
3 edition + 2 artist proof
2019

Life Cycle

Reduction hardboardcut print on paper
90 x 70 cm
3 edition + 2 artist proof
2020

Hand of the Übermensch

Reduction hardboardcut print on paper
50 x 40 cm (3 panels)
3 edition + 2 artist proof
2020

Oversee

Reduction hardboardcut print on paper
82 x 62 cm (3 panels)
3 edition + 2 artist proof
2021

Collaboration project with Yukinaga Chibana

The Other

Reduction hardboardcut print on paper
90 x 70 cm (3 panels)
3 edition + 2 artist proof
2022