Preserving the History of Indonesian Graphic Design Together at the DGI Museum

Amid the bustling celebration of ADGI Design Week 2024, a special exhibition space stood out by offering what is often missing from daily graphic design practices: a visual timeline reminding us that graphic design in Indonesia is deeply rooted in history and continues to thrive today. The Indonesian Graphic Design Museum (Museum Desain Grafis Indonesia, or Museum DGI) Under Construction emerged from the dedicated and collaborative efforts of graphic design practitioners to preserve design archives, especially for younger generations who may struggle to access them. Beyond showcasing the journey of Indonesian graphic design, the DGI Museum invites contributions—artifacts, archives, knowledge, and insights from anyone—to fill in the gaps of Indonesia's graphic design history. During this design week, held from December 11–15 in Urban Forest, South Jakarta, Grafis Masa Kini had the opportunity to speak with Ismiaji Cahyono and Aulia Akbar, two members of the team behind the museum's exhibition design.

Set against a backdrop of historical posters from the Pujangga Baru Generation to the Revolutionary ’45 era, such as Affandi's iconic “Boeng Ajo Boeng,” Ismiaji Cahyono shared the story of the museum’s origins. It began as a mailing list in the early 2000s, where Ismiaji, Priyanto Sunarto, and Henricus "Icus" Kusbiantoro exchanged thoughts on the legacy of Indonesian graphic designers. Their discussions revealed an alarming lack of records on Indonesia’s graphic design history. In 2010, the mailing list evolved into a blog, drawing contributions from various writers who documented and reflected on the evolution of Indonesian graphic design. Today, Desain Grafis Indonesia (DGI) serves as a valuable archive of this creative heritage.

The ADGI's invitation to present a physical version of the DGI Museum was a golden opportunity for Ismiaji and his colleagues to introduce the timeline of Indonesian graphic design to younger audiences. However, curating this exhibition posed unique challenges: the content had to align with the industry-focused theme of ADGI Design Week while adhering to DGI's mission of preserving historical and cultural narratives. “Considering the context of the Grafis ‘24 exhibition, we decided to highlight the 1980s, a pivotal decade when the graphic design profession experienced a boom, marked by the Grafis ’80 exhibition. More importantly, we aimed to translate archival data and history into relevant experiences for today’s younger generation. There is an undeniable generation gap that we need to bridge,” Ismiaji explained. “This exhibition features not only archival works but also wisdom from past masters, offering lessons that resonate deeply with today’s audiences.”

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As visitors explored the expansive exhibition space, Ismiaji described its layout. Divided into three sections—Pre-1980s, Focus on the 1980s, and Post-1980s—the timeline was derived from DGI’s archives and Hanny Kardinata’s book, Desain Grafis Indonesia dalam Pusaran Desain Grafis Dunia. Empty boxes punctuated the timeline, inviting curiosity. “We are not claiming this timeline to be exhaustive,” Ismiaji emphasized. “These empty spaces signify the need for further discussion, information, and collaboration. They remind us that the history of Indonesian graphic design remains a work in progress.” The exhibition design incorporated printed fabric panels showcasing graphic works from various eras, harmonized to illustrate design continuity over time. Historical posters were enlarged, while original archives were securely displayed in transparent cases. Visitors were encouraged to touch and read restored reproductions. Each section of the exhibit offered a unique way to engage with history, breaking the stereotype of static archival displays and creating a dynamic, immersive experience.

The process of assembling the exhibition was monumental—collecting archives, structuring the timeline, and restoring works. Restoration efforts included hand-drawn and handwritten pieces, such as catalogs from Indonesia’s first graphic design exhibition, Grafis ’80, and exhibits by maestro Slamet Abdul Sjukur. These works, Ismiaji noted, demonstrate the technical prowess of manual design in the pre-digital era. “In the 1980s, without printers or computers, designers created catalogs with gold, black, and red colors that seem digitally produced,” he marveled. “This raises a profound question: Can digital tools replicate such results? The answer is yes, but this goes beyond technique—it’s about a design mindset that transcends time. Designers of that era worked with remarkable foresight and innovation, something we can all learn from today.”

Some works featured in the DGI Museum have gained international recognition, displayed in institutions like the M+ Museum in Hong Kong. “Ironically, many of Indonesia’s greatest design works are better known abroad than at home. The DGI Museum aims to foster an appreciation for the work of earlier designers, reminding us that understanding our past is crucial to shaping our identity as graphic designers,” Ismiaji reflected. The 1980s also marked a turning point in Indonesia’s design ecosystem, paralleling the themes of Grafis ’24. “Without the design boom of 1980, the profession wouldn’t be what it is today,” Ismiaji observed. In 1988, a Japanese design magazine even profiled Indonesian design studios. Aulia Akbar added that the era was rich in design discourse, fueled by the burgeoning industry’s demands.

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Post-1980s, the exhibition highlighted works closely tied to government projects, reflecting the growing recognition of graphic design’s importance. Universities began offering graphic design programs, coinciding with the transition from the Ikatan Perancang Desain Grafis Indonesia to the ADGI. Milestone works like the logo for Indonesia’s 50th Independence Anniversary in 1995 underscored the profession’s growing significance, despite a long hiatus until the logo for the 72nd Independence Anniversary reignited interest. The Covid-19 pandemic brought the industry to a temporary standstill, but designers used this period to research and explore new possibilities, resulting in a post-pandemic resurgence.

The DGI Museum aspires to be more than a temporary exhibit—it envisions itself as a lasting institution in Indonesia’s graphic design ecosystem. Its mission includes three core focuses: building archives, completing the historical timeline, and developing a sustainable business model. Ismiaji highlighted the challenges of acquiring archives, many of which are overseas, and the need for collaboration with researchers and restorers. The museum’s future is boundless, sustained by contributions from Indonesia’s graphic design community and enthusiasts. With collective effort and enduring passion, the DGI Museum can preserve the roots of graphic design for today and tomorrow, ensuring no generation forgets the legacy of its predecessors. The history it preserves will undoubtedly guide the future of Indonesian graphic design.

Exhibition Team: Ismiaji Cahyono, Andriew Budiman, Aulia Akbar, Januar Rianto, Vincent Wong, Tya Amelia, Akhmad Taufiq, Algis Alifian Fasya, Akmal Ahzami, Rifqy Abdillah, Ihsan Hanif, Dyah Aliefia, Yoel K. Moeljono, Dimas Aditjondro, Naftalia Intan P., Albert Joseph.  

Archive Sources: Individu, Hanny Kardinata, Priyanto Sunarto, Wagiono Sunarto, Tjahjono Abdi, Hermawan Tanzil, Arief Adityawan S., Henricus Kusbiantoro, Hastjarjo B. Wibowo. Ismiaji Cahyono, Aulia Akbar, Muhammad Yahya H., ADGI, AIDIA, Matari Advertising, Irama Nusantara, Universiteit Leiden, Rijk Museum, The Memory, Koleksi Internationaal Instituut voor Sociale Geschiedenis, NIOD Instituut voor Oorlogs-, Holocaust- en Genocidestudies Kamptekeningen uit bezet Nederlands-Indië (1942-1945), NIOD.

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About the Author

Alessandra Langit

Alessandra Langit is a writer with seven years of diverse media experience. She loves exploring the quirks of girlhood through her visual art and reposting Kafka’s diary entries at night.