Daftar Isi
TABLE OF CONTENT
Introduction | Artwork Images | Opening Documentation | Artist’s Biography
Teks Pengantar
Exhibition and Presentation
Artists-in-Residence Period #1 2019
Mirjam Linschooten
Ragil Dwi Putra
23 – 31 May 2019
Cemeti – Institute for Art and Society, Yogyakarta
Cemeti – Institute for Art and Society’s residency programme brings artists from both Indonesia and abroad to connect with local issues and communities in Yogyakarta. The aim is to create connectivity between artistic and civic action through an open process of research and knowledge exchange, supporting artists to explore the social landscape of the city over three months. By directly connecting residents to its networks, Cemeti’s residency programme encourages collaborative working with local individuals, cultural groups and citizen initiatives.
From March to May 2019, Cemeti hosted two artists-in-residence: Mirjam Linschooten (the Netherlands) and Ragil Dwi Putra (Indonesia) for a period of three months. Cemeti’s Artist-in-Residency Program Period #1 2019 is organized by Cemeti – Institute for Art and Society, and artist Mirjam Linschooten’s participation is kindly supported by the Mondriaan Fund, the Netherlands.
During her residency period, Mirjam Linschooten researched notions of heritage. She first explored the various heritage sites and museums in Yogyakarta, and joined walking tours by the community Malam Museum. Following her experience of these established models and narratives, Mirjam developed a workshop entitled Imagining the Museum, for which she invited a group of students to Museum Sonobudoyo, asking them: “What is missing in the museum?” After sharing their ideas, the imagined items, which included everyday objects and music, were transformed into drawings.
Mirjam also convened a group of local cultural practitioners to collectively explore the possibility for alternative heritage locations, asking: can we activate ourselves as walking archives of images and memories? For each gathering a participant proposed a location to discuss and share personal memories. Each meeting was documented and shared on an online platform, as a growing inventory of locations, personal memories, and random associations. These were then connected to a Yogyakarta map from the Dutch Indies era, conceptually updating the historical map with these present-day locations and stories. Unable to find the map in local archives or libraries, Mirjam acquired a copy of the map from the KITLV/Royal Netherlands Institute of Southeast Asian and Caribbean Studies. Reconnecting this heritage to the site of the history it represents, Mirjam has donated the map to the Kraton Ngayogyakarta Hadiningrat (Palace of Yogyakarta).
Further relating to current debates around the repatriation of cultural objects, Mirjam mapped the trajectory of an object in the Tropenmuseum Amsterdam collection. Considered as ‘Dutch national heritage,’ Mirjam wondered what the “Dutch heritage” of an object, originally from Raja Ampat, West Papua, consists of? Through a series of reproductions she deconstructed the layers of European interpretation, starting from the questions: with a changing perspective on material culture, how can we update the memory of ourselves? And what is the role of such objects of re-collection in this process?
Departing from his recent experience of living in Yogyakarta, Ragil Dwi Putra became interested in the relationship between newcomers and residents of Yogyakarta as analogous of the guest and host relationship. Ragil started to imagine the city as one big living room that he explored through his residency research.
In Indonesia, the living room is the most important part of a home and is therefore the first space you enter at the front of the house. It is used to welcome guests formally. It is also designed to build impressions about the identity of the host, for instance by displaying achievements such as trophies. Taking this a starting point, Ragil’s research centered on the presence of educational institutions, which contribute to Yogyakarta’s status as a city of education, encouraging newcomers from across Indonesia to temporarily or permanently relocate to Jogja.
During his residency period, Ragil visited several boarding houses and student dormitories here he explored key questions, such as: What kind of boundaries exist in the relationship between guest and host and how are these boundaries constructed? What values are shared and negotiated between guest and host and how are those values accepted? To deepen the discussion, Ragil invited several newcomers whom he met during his research process to share their experience of living in Yogyakarta. For his final presentation, Ragil will present a performative installation that includes conversations with newcomers that he collected.
Foto Karya
Artwork Images
Mirjam Linschooten
Ragil Dwi Putra
Dokumentasi Pembukaan
Opening Documentation
Photo documentation Opening of Exhibition & Presentation by Artists-in-Residence Period # 1 2019, May 23, 2019, Cemeti – Institute for Art and Society. (Photo: Muhammad Dzulqornain & Ika Nurcahyani)
Biografi Seniman
Artist’s Biography (in alphabetical order)
Mirjam Linschooten (Belanda)
Mirjam Linschooten (b. 1976, Leiden, Netherlands) completed an MA at the Dutch Art Institute (NL) and a BFA at the Gerrit Rietveld Academy (NL). Her multidisciplinary practice is concerned with how cultural heritage institutions represent history, exploring tactics of representation and the way memory is constructed, forms of collecting and aesthetics of display. Her work includes installation, film, publications and performance. Her work has been presented at various institutions, including at Neverneverland, Amsterdam (2018); Contemporary Art Gallery, Vancouver, (2016); The Blackwood Gallery, Toronto (2015); Musée d’Art Moderne, Tétouan (2014), Art Gallery of Ontario, Toronto (2011) and Sanat Limani, Istanbul (2010).
Ragil Dwi Putra (Indonesia)
Ragil Dwi Putra (b. 1992, Salatiga, Indonesia) completed his Bachelor degree in Fine Arts from the Jakarta Art Institute in 2016 with a major in Printmaking Arts. In his practice, he reinterprets objects that he encounters in daily life through the medium of performance art. The work’s shape, color, composition, character, and its relationship with the resilience of the body are played out within a particular time frame. Ragil participated in workshops in art events such as Jakarta 32 C (2014), OK. Video (2015) and Art Summit (2016). He was actively involved as a participating artist in various performance art festivals like Undisclosed Territory in 2016 and 2018.
CEMETI 