TABLE OF CONTENTS
Introduction | Artwork Images | Opening Documentation | Artist’s Biography
Exhibition and Presentation
Artists-in-Residence Period #2 2019
Chu Hao Pei, Dhanny Sanjaya, Sophie Innmann
22 – 30 November 2019
Cemeti – Institute for Art and Society, Yogyakarta
Cemeti – Institute for Art and Society’s residency program 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 program encourages collaborative working with local individuals, cultural groups and citizen initiatives.
From September to November 2019, Cemeti hosted three artists-in-residence, Chu Hao Pei (Singapore), Dhanny Sanjaya (Indonesia), and Sophie Innmann (Germany) for a three months period. Cemeti’s Artist-in-Residence Program Period #2 2019 (September-November) is a cooperation with Goethe-Institut Indonesia and National Art Council, Singapore.
Using the connection between religion/faith and environmentalism as a starting point for Chu Hao Pei’s research series, his current research explores the connection between faith and farming under the context of the Javanese belief system "Kejawen”. However, during the research process, he discovered that many of the traditional rituals and worship of the local rice goddesses – Dewi Sri & Mbok Sri Mulih – are diminishing, or in some cases reintroduced recently in the form of celebratory festivals in rice farms within the Yogyakarta vicinity. This disconnection is closely related to the shift of Indonesian state policy towards centralized distribution of agricultural harvest, which coincidentally began during the rise of the Green Revolution in the 60s, with the introduction of genetically modified rice seeds in Indonesia. The shift in religious dynamics and introduction of modern technology in Indonesian society today also resulted in the connection between local farmers and the indigenous belief system, which was once closely embedded in their farming lifestyle, to grow further apart.
Departing from his thematic interest related to the desolation of the sea in the future, Dhanny “Danot” Sanjaya sought new possibilities by looking at this issue within the framework of the local situation in Yogyakarta. Danot continued his investigation on fish and its cultivation and eventually met with Irwanjasmoro, an independent river activist, who took him on several river explorations to see a different reality. With Irwan, Danot saw other problems related to local fishing conditions that were closely tied to unhealthy practices implemented in the river. One thing that interested him personally were the competitive nature between species of fish in the river’s ecosystem. Danot uses various stories and data as a base in building the narrative of his work, where he draws out the subject of the lost fish population in the ocean to the story of the river and consumption pattern of the local community. He then stitches these two problems into a fiction of the latest food technology discovery known as “cultured meat” that offers lab grown, cell based-flesh and slaughter- free meat.
During her stay in Jogja, Sophie Innmann developed the participatory intervention in which she displayed herself in very frequented spots in and around the city, and provoked people watching her while watching them. The concept is based on her personal experience of moving in public space, about activity and passivity, more precisely, the idea of observation. When moving in public space we observe and are being observed at the same time. Furthermore, Sophie created concepts derived from the strongly felt dependence on smartphones and especially the Internet in daily life, by putting focus on different aspects like the huge amount of energy Internet consumes today, data mining and abuse of data, the loss of personal and social abilities and the exploitation of the workforce. She also continued a previous work process that explores different methods of creating automatic paintings, establishing different conditions that influence the outcome of the paintings. In her first week here in Jogja, she installed a durational painting setup on the rooftop, using direct sunlight as an agent for an inverse colouring process.
Chu Hao Pei
Rice plants in used plastic cups, bamboo cages, ropes, paper strips, pasrean, bamboo structures, sickles, braids, video on cloth
Mixed media installation
Paper, dust, photos
Fabrics, old tires, bricks, sun exposure for 36 days
ponsel, sepeda motor, helm, jaket, lencana, meja pendaftaran, poster, foto, peta, kartu nama, stiker, unggahan di Instagram
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Walls, tables, chairs, stains, washcloths, photos
“kepala kelapa coconut head”
Iron chains, bamboo midribs, branded Wifi codes, coconuts, candles, performance, motorcycle helmets
The internet consumes our souls. The internet is burning our forests. The internet keeps us safe from growing up. The internet makes us happy. The internet is the best thing in the world.
Our spirit moves from coconuts to heterotopia Internet, a liar friend who makes us believe that he exists solely for our benefit, for our entertainment, for our temptation, the best for us. We feed it and we are abused instead. We do not consume the Internet, the Internet consumes us. The algorithm manipulates our behavior, choosing for us what we will see or not see. Is your role still determined by motivation in the research or is it planted by the machine, algorithm or company behind it?
Do you control yourself?
Plastic chairs, tent umbrellas, postcards, T-shirts, uploads on Instagram
Who pays attention to who?
Location 1: Alun-alun
Location 2: 0km
Location 3: Alun-alun
Location 4: Pasty
Location 5: Sambisari
Location 6: Prambanan
Video, fan, banana leaf, wood, metal rod, plastic tape
Fabric, ropes, raffia, sun exposure for 16 days
“why so serious”
Clay thrown on the wall, video
Photo documentation Opening of Exhibition & Presentation by Artists-in-Residence Period # 2 2019, November 22, 2019, Cemeti – Institute for Art and Society. (Photo: Muhammad Dzulqornain & Ika Nurcahyani)
Artist’s Biography (in alphabetical order)
Chu Hao Pei (Singapore)
Chu Hao Pei (b.1990) is a visual artist born and based in Singapore. Formally trained in Interactive Media, Hao Pei began his practice under the School of Art, Design & Media (ADM) in Nanyang Technological University, Singapore. His artistic practice is informed by the shifting ecological, social and urban landscapes. By interweaving documentation and intervention as a strategy, he explores conflicts and tensions arising from state’s interventions on nature and culture. More critically, Hao Pei’s works examine loss, or potential loss, of nature and cultural heritage as a tactic to draw our attention to wider issues of environmental and cultural loss.
Dhanny Sanjaya (Indonesia)
Dhanny “Danot” Sanjaya (born in Banjarmasin) completed his study of Visual Communication Design at Pelita Harapan University, Tangerang, Indonesia. His long-term art project, Ichthyhumanology Institute, is a fictional institution that presents studies on the natural relationship between humans, fish and the sea; and offers research methods as a medium to re-examine how we position ourselves within the environment and with other organisms. Danot also initiated Studio 75, a design workspace and platform for independent art projects in Tangerang. Danot lives and works in Tangerang.
Sophie Innmann (German)
Born from a Czech and Sudeten German background family, Sophie Innmann grew up next to the West-/East-German and Czech border in the middle of a mountain region that has the highest density of beer breweries worldwide. She moved to the French/Swiss/German border to study Fine Arts. Currently, she is living as a nomad, organizing her life from project to residency to exhibition, while sustaining a network of friends and family mostly in the areas mentioned above.