Abstract
<p align="center"><strong><em>ABSTRACT</em></strong></p><p><em>This article is the result of research examining how the development of public art, definitive public space sculpture and conventions that surround it, to see the extent to which the political dimension sees how to make the existence of public sculpture as a tool of legitimacy of power, development of image and power and contact with social discourse that develops in society.</em></p><p><em>From the qualitative method of the Slamet Riyadi Statue on Jalan Slamet Riyadi, the Major Achmadi Statue in the Banjarsari Lima Proximity (Proliman), 45 Banjarsari Monument Statue (Serangan 4 Hari Monument in Surakarta) is located in Banjarsari Park, and the Statue Soekarno at Manahan Sports Complex, Surakarta, found that the existence of the statue was a proof of how the symbolic system was carried out to legitimize power by government authorities.</em></p><p><em>Various forms of work that illustrate the dominance of militaristic icons compared to civilian icons, which shows how the quo vadis of military-civil relations are explicit and implied. Furthermore, this research found evidence that so far there have been a lot of public space sculptural works that do not idolize the public's need for living space.</em></p><p><em>Symbolic power practices are continuously echoed through a system of visual language and symbolization that shows how power sneaks under the conscious space of society. The community is not aware of how the power system stands and hides behind these sculptures of public space, whatever the reason for their establishment; inheritance of nationalism, development of moral values, even ideology.</em></p><p><em> </em></p><p><em>Keywords: history, public space sculpture, symbolic of power, Surakarta City</em></p>
Highlights
Karya patung landmark diwujudkan secara kongkrit melalui suatu upaya rekayasa simbolis agar dapat tercipta dialog atau komunikasi dengan khalayak luas atau publik
-ti yang diungkapkan olehnya: “Symbolic power – as a power of constituting the given through utterances, of making people see and believe, of confirming or transforming the vision of the world and, thereby, action on the world and the world itself, an almost magical power which enables one to obtain the equivalent of what is obtained through force, by virtue of the specific effect of mobilization – is power that can be exercised only if it is recognized, that is, misrecognized as arbitrary” (Bourdieu 1991, 170)
Hal ini tentu senada dengan apa yang disampaikan oleh Albert Elsen dalam tulisannya, „What We Have Learned about Modern Public Sculpture: Ten Propositions‟ (Elsen 1989), gagasan bahwa seni patung di ruang publik beririsan erat dengan bagaimana upaya mendekatkan seni ke publik tidak pernah bisa dilepaskan dari kepentingan politik dari penguasa pada masyarakat dan waktu tertentu
Summary
Louis G. et al Public Art, New Direction. (1981), secara khusus menulis tentang public art, yang di dalamnya termasuk monumen. Dengan merujuk pada pernyataan-pernyataan di atas, argumen utama penelitian ini adalah, patung di ruang publik di wilayah kota Surakarta merupakan bagian dari kuasa simbolik, sebagai sebuah mekanisme penggunaan kekuasaan yang dijalankan secara terus-menerus dan tersembunyi, yang beroperasi di alam bawah sadar masyarakat sehingga mereka menganggapnya sebagai satu hal yang terberi (taken for granted). Sculpture: Ten Propositions‟ (Elsen 1989), gagasan bahwa seni patung di ruang publik beririsan erat dengan bagaimana upaya mendekatkan seni ke publik tidak pernah bisa dilepaskan dari kepentingan politik dari penguasa pada masyarakat dan waktu tertentu, juga dilihat pada spirit bagaimana Pemerintah Kota Surakarta sangat getol untuk menjadikan Slamet Riyadi sebagai Pahlawan Nasional, yang tentunya hal ini berkorelasi dengan bagaimana citra dan identitas kota ini akan dibentuk. Merunut pada gagasan tentang seni publik, karya Monumen Mayor Achmadi merupakan satu wujud dari monument sebagaimana pandangan Redstone, Louis G. et al (1981) Public Art, New Direction. Secara kongkrit bangunan monument di lokasi ini telah memberikan ciri visual sudut kota Surakarta, sehingga memberikan mampu memberikan orientasi arah bagi publik yang melewati Simpang Lima Surakarta
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