Michael Schindhelm | ROOTS EXHIBITION IN BALI NEAR CLOSING DAY

Michael Schindhelm’s exhibition and docu-fiction film “ROOTS: One Hundred Years of Walter Spies in Bali” has been received with significant interest and critical engagement in Bali, particularly in Ubud where the exhibition was held at the ARMA Museum.

The project, which explores the enduring legacy of German-Russian artist Walter Spies in Bali and the broader implications of Western influence on the island, is seen as a “collective memory project” by Schindhelm himself. It delves into themes of colonialism, tourism, cultural resilience, mass tourism, environmental degradation, and the complex interplay of cultural identities.

Key aspects of its reception include:

• Critical and Nuanced Discussion: The exhibition and film have fostered a nuanced discussion about Spies’ role and the complex relationship between Western influence and Balinese culture. While Spies is revered in Bali as a pioneer of modernism, the project interrogates the “colonial logic” of decontextualizing spiritual practices for foreign consumption.
• Engagement with Balinese Artists and Perspectives: The inclusion of new commissions and contemporary works by Balinese artists like Made Bayak and Gus Dark, who critically engage with preserving cultural identity amidst global pressures, has been central to its reception. These artists’ perspectives, along with those of Balinese cultural figures like choreographer Wayan Dibia and ARMA Museum founder Agung Rai, have enriched the dialogue.
• Focus on “Shared Heritage” and “Shared Responsibility”: Schindhelm emphasizes that the project aims to position Spies’ legacy within the context of Bali’s transformation into a global tourism destination, framing it as a story of “shared heritage—and shared responsibility.”
• Generational Nuance: Discussions around “ROOTS” have highlighted generational differences in how Spies’ legacy and Western influence are viewed. While older generations might offer spiritual and integrative perspectives, younger artists and activists have been more insistent on the need for action to preserve cultural identity and address challenges like uncontrolled development.
• “Balinization” as a Concept: The idea of “balinization” – a process of cultural transformation rather than imitation, where Bali adapts without losing itself – has emerged as a key concept in the reception of the exhibition, particularly from figures like Prof. Wayan Dibia.
• Strong Local Interest: The exhibition at ARMA Museum in Ubud, along with various film screenings across Bali, has garnered significant local interest, with free admission making it accessible to a wide audience, including students.
• Recognition of Complexity: Reviewers and attendees have noted that the project does not shy away from complexity, presenting Spies’ “enigmatic legacy” and its after-effects on Bali’s development into a global tourism destination. The film, in particular, positions the ghost of Walter Spies as a spectral presence navigating contemporary Bali, juxtaposing historical narrative with present-day encounters.

Overall, “ROOTS” has been well-received as a thought-provoking and timely intervention that encourages a deeper understanding of Bali’s cultural history and its ongoing struggles in the face of globalization.