Looking at the explicit and implicit criticisms of conflict through the Cemeti’s art archive collection.
Archive curated by Linda Mayasari & Muhammad Dzulqornain
For three days, from 10 to 12 July 2020, Cemeti – Institute for Art and Society parallelly ran another curatorial version of the sebARSIP Project in the framework of Instagram Takeover, a social-media-based project organized by Conflictorium – Museum of Conflict.
CEMETI – Institute for Art and Society (formerly ‘Cemeti Gallery’, then ‘Cemeti Art House’) is Indonesia’s oldest platform for contemporary art, founded in Yogyakarta in 1988 by artists Mella Jaarsma and Nindityo Adipurnomo. Cemeti offers a platform for artists and cultural practitioners to develop, present and practice their work in close collaboration with curators, researchers, activists, writers and performers, as well as local communities across Yogyakarta. The programme takes shape through exhibitions, workshops, talks, assemblies, publications, long-term research threads and a three-month artist-in-residence programme (held twice annually). The subtitle ‘Institute for Art and Society’ was added in 2017 by a new team to express the organisation’s commitment to socially and politically engaged artistic practices, exploring the possibility for a gallery to act as a site for civic action.
Taking over Conflictorium’s Instagram, Cemeti linked it with an ongoing archival project called ‘sebARSIP’, a casual project which was firstly initiated by Cemeti during the period of social distancing due to the Covid-19 pandemic. This project is taken seriously as a developed distribution platform that consists of the curated reviews over Cemeti’s selected archives.
The sebARSIP is run to intervene the archive into curatorial practice through producing content for online digital media. This project aims to stimulate metaphysics potential from the archives and also becomes an experimental approach in response to the archives and online media as a performative “platform” which tries to elaborate the possibilities of “meta-archives”. Rather than merely present with “editorial” technique, articulating the re-reading of Cemeti’s archival collection through a curatorial approach—as well as to regenerate curator’s intervention in the archives to be spread—is expected to represent the progressivity in evoking archive’s speculative segments that are open to anyone who wants to pick some fragments of the small historiography of arts in our society.
We chose this project to be directly linked to Conflictorium as a virtual loop that would allow us to look and learn from each other about the context of each other’s practices, and collaboratively contribute to the dynamics of production and distribution of cultural knowledge. In terms of its curatorial, sebARSIP in the framework of this Instagram Takeover shared several review of the selected artworks/projects archives from 1988 until 2020 to see a sort of landscape of art criticism on the issue of conflict, whether expressed implicitly or explicitly.
In addition, through this Instagram Takeover platform, Cemeti expanded the scope of its distribution not only in terms of reaching the broader audiences but also in the aspect of the potentiality of cooperation and sharing archival experiences in the relation between the two institutions. ***
The images embed below are Cemeti’s selected archives which were exhibited on the Conflictorium’s Instagram, in the framework of their Instagram Takeover project, and then reposted on the Cemeti’s Instagram.
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