Beginning with Kompas Daily’s leaders, PK Ojong and Jakob Oetama, concern in Indonesian culture, especially fine arts in around 1970’s. Kompas had collected numerous paintings, ceramics, and other antiques objects which then managed by GM Sudarta, a Kompas caricaturist. Then, to provide a place for those collection, Gramedia Art Gallery was established in 1974 in Pintu Air. It was the gallery which actually a path of Bentara Budaya in the coming days.

In 1982, Gramedia book shop in Jl. Jendral Sudirman 56, Yogyakarta, moved to its next building (no. 54). The former building was empty, and planned to be a bakery. However, after the Kompas leaders noticed the empty building in Yogyakarta, the desire to establish a cultural institution was finally realized. Then the former bakery became Bentara Budaya, a cultural institution that owned by Kompas Gramedia Group.

On September 26, 1982, the history of Bentara Budaya began. The first event was the exhibition of traditional painting from Citra Waluyo (Solo) and Sastra Gambar from Muntilan.

As the culture representative, Bentara Budaya accommodates and represents national culture vehicle, from various realms, backgrounds, and vision that might be different. This institution strives to present the cultural form and works that might had been a tradition, or arts that had been popular and close to the people. Also the new fine arts which supposedly refused and improperly appear at respected building. As the meeting point of the existing aspiration and the evolving ones, Bentara Budaya willing to cooperate with anyone at all.

Bentara Budaya was thoroughly founded by Kompas Daily and sponsored by Kompas Gramedia Group.

Idea of Bentara Budaya Yogyakarta
In 1980’s, Yogyakarta as The Culture City had hundreds of artists, apparently only had less exhibition halls, which were Taman Budaya Yogyakarta and Karta Pustaka. Though, there was Seni Sono, but it had been left since it had been used by Gedung Negara. Hence, it’s natural if Yogyakarta had a new exhibition hall to place its artists’ works. Therefor, Bentara Budaya, the non-profit institution, was found.

Apparently, after 23 years dedication in art and culture, there are still many requirements to cooperate with Bentara Budaya. It shows that the exhibition hall in Yogyakarta is less compared with the number of its artists.
The last ten years, the new galleries emerged, but then they fade away. Indeed, it is not easy to manage a gallery if not supported with a strong fund and the right management.

It is proper that Yogyakarta has a big fine art gallery that similar with Galeri Nasional in Jakarta, where the masterpieces of Indonesia fine art are displayed. Therefore the city will be proud showing its artists’ works to tourists, domestics or international.

Each Bentara Budaya Yogyakarta and Jakarta has its own Coordinator and lead by an Executive Director located in Jakarta. There is also a Curator Board which determines events of Bentara Budaya. Therefor, all proposal will be discussed at Curator Board Meeting.