Berkas #04: Cemeti x Conflictorium, sebARSIP
Published on 10 July 2020
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Cemeti x Conflictorium

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English | Indonesia

Pengantar Kuratorial | Berkas Instagram

Yustoni Volunteero, Open your freezer- find the fresh president, 1997, pameran Slot in The Box exhibition di CEMETI Contemporary Art Gallery, Yogyakarta. (Sumber foto: Cemeti Art Foundation, 1997).

sebARSIP – Berkas #04 (special curation)

sebARSIP – Berkas #04 (kurasi khusus)

Cemeti x Conflictorium

Melihat kritisisme eksplisit dan implisit tentang konflik melalui koleksi arsip Cemeti.

Kurasi arsip oleh Linda Mayasari & Muhammad Dzulqornain

Selama tiga hari ke depan (10-12 Juli 2020), Cemeti – Institut untuk Seni dan Masyarakat akan menjalankan kuratorial khusus sebARSIP dalam rangka kegiatan Instagram Takeover yang diselenggarakan oleh Conflictorium – Museum of Conflict.

CEMETI – Institut untuk Seni dan Masyarakat (sebelumnya ‘Galeri Cemeti’, kemudian ‘Rumah Seni Cemeti’) adalah platform tertua untuk seni kontemporer Indonesia, didirikan di Yogyakarta pada tahun 1988 oleh seniman Mella Jaarsma dan Nindityo Adipurnomo. Cemeti menawarkan platform bagi seniman dan praktisi budaya untuk mengembangkan, menyajikan, dan mempraktikkan karya mereka dalam kolaborasi erat dengan kurator, peneliti, aktivis, penulis dan performer, serta masyarakat lokal di Yogyakarta. Program-programnya megambil bentuk pameran, lokakarya, diskusi, pertemuan, publikasi, penelitian jangka panjang dan program residensi seniman selama tiga bulan (diadakan dua kali setahun). Slogan ‘Institut untuk Seni dan Masyarakat’ digunakan pada tahun 2017 oleh tim baru untuk mengekspresikan komitmen organisasi terhadap praktik artistik yang terlibat secara sosial dan politik, mengeksplorasi kemungkinan galeri untuk bertindak sebagai situs untuk aksi sipil.

“Mengambil alih” Instagram Conflictorium, Cemeti mengaitkan platform Instagram Takeover dengan proyek pengarsipan yang sedang berlangsung di Cemeti, yaitu ‘sebARSIP’, sebuah proyek kasual yang awalnya diinisiasi oleh Cemeti selama periode pembatasan sosial akibat pandemi COVID-19, yang diniatkan akan terus berkembang sebagai platform distribusi hasil ulasan terkurasi atas materi arsip-arsip pilihan Cemeti..

sebARSIP dijalankan dalam rangka mengintervensi arsip ke dalam praktik kuratorial di ranah produksi konten pada media digital daring, bertujuan untuk memicu potensi metafisis dari arsip, serta menjadi modus eksperimental Cemeti dalam menyikapi arsip dan media daring sebagai “medium” pengungkapan yang mencoba mengurai kemungkinan-kemungkinan dari “meta-arsip”. Daripada sekadar berbentuk “editorial”, mengartikulasikan pembacaan ulang arsip Cemeti lewat pendekatan kuratorial—sekaligus mengadakan intervensi kurator di dalam arsip-arsip yang disebar—diharapkan dapat mewakili progresivitas dalam membangkitkan ruas-ruas spekulasi dari arsip yang ada, yang terbuka bagi siapa saja yang ingin memetik fragmen-fragmen historiografi kecil kesenian di masyarakat kita.

Kami memilih proyek ini untuk dihubungkan langsung ke Conflictorium sebagai lingkaran virtual yang memungkinkan kami untuk saling melihat dan belajar tentang konteks praktik masing-masing, dan secara kolaboratif berkontribusi pada dinamika produksi dan distribusi pengetahuan budaya. Dalam hal kuratorialnya, sebARSIP dalam kerangka Instagram Takeover ini membagikan beberapa ulasan arsip karya/proyek seni terpilih dari tahun 1988 hingga 2020 untuk melihat semacam lansekap kritik seni pada masalah konflik, baik yang tersurat maupun tersirat.

Selain itu, melalui platform Instagram Takeover ini, Cemeti meluaskan cakupan distribusi konten sebARSIP bukan hanya dalam hal ruang lingkup audiensnya, tetapi juga dari segi potensi kerja sama dan berbagi pengalaman kearsipan dalam relasi antar lembaga.

Instagram Folder

Berkas-berkas pada Instagram

Gambar-gambar yang disematkan di bawah ini adalah arsip pilihan Cemeti yang dipamerkan di Instagram Conflictorium, dalam kerangka proyek Instagram Takeover mereka, dan kemudian di-posting ulang di Instagram Cemeti.

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Repost from @conflictorium – Cemeti – Institute for Arts and Society (formerly 'Cemeti Gallery', then 'Cemeti Art House') is the oldest platform of contemporary art in Indonesia, founded in Yogyakarta in 1988 by Mella Jaarsma and Nindityo Adipurnomo. – Programs on this platform take the form of exhibitions, workshops, discussions, meetings, publications, long-term research projects, and artist residency programs for three months (held twice a year). – The slogan 'The Institute for Art and Society' came into use in 2017 in order to express organizational commitment to artistic practices that are socially and politically involved, exploring the possibility of galleries to act as important sites for civic actions. – #instatakeover #conflictorium #museumofconflict #keeptalking #princeclausfund #cemeti #ycreate #museumsofahmedabad #ahmedabad #keepseeing #keeplistening #contemporaryart — Taking over Conflictorium's Instagram (starting tomorrow), Cemeti will link it with an ongoing archival project called 'sebARSIP', in which the review of the selected artworks/projects archives from 1988 until 2020 will be shared. Cemeti team chooses the 'sebARSIP' 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. – #cemeti #sebarsip #archive

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Repost from @conflictorium – Mella Jaarsma (@mellajaarsma) often uses artistic forms such as animals, food, clothes and the human body to discuss the context of identity and ethnicity. Departing from her anxiety to see racial riots in May 1998 in Indonesia, Mella sought to establish a public dialogue through her performance artwork "Pribumi-Pribumi" (3 July 1998); such dialogue, in this case, was the context of the Chinese ethnic issue, at which the minority group was the victim of New Order political contestation. – Mella Jaarsma wrote on her website: ‘During the 1998 riots, Chinese-owned shops were destroyed by fires, and in the cities of Jakarta and Surakarta, Chinese people were killed and raped. In Yogyakarta, the city where I live, Chinese shop owners started to protect their shops from fire and demolishment, putting signs on their closed doors that read: ‘Pribumi’ (Native shop owner”), or ‘Pribumi Muslim' (Native Muslim shop owner). – Mella, along with 6 ‘londos' (white foreigners) as performers, fried frogs on the edge of Jalan Malioboro. The frogs—which are identical to typical Chinese food—were served with wrapping paper that says “Pribumi-Pribumi” (natives) and covered in banana leaves. In this performance, Mella assembled a dialogical concept between several identity attributes inherent in her artistic material. In this case, food, framed as part of a culture that was contradictory between groups: frog labelled ‘haram’ for Muslims, but a delicacy for ethnic Chinese. – During the New Order regime, it was impossible to discuss the conflict of ethnic identity through open dialogue or confrontational actions that were straightforward—given the complexities of terror, violence and riots. Mella, as an artist with a multi-layered identity within the context of Indonesia, was able to read those political opportunities and work beyond that impossibility. By understanding social fragmentation and conflicts of ethnic identity in the setting of the time the performance was carried out, Mella's expression in the Pribumi-Pribumi consequently appeared as a satire and left a straightforward red thread. – #conflictoriumtakeovers by @cemeti.institute #cemeti #sebARSIP

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— Reopening the Rhizomatic Archipelago Whatsapp group and the artists' social media pages during their residency/temporary migration, we can find expressions that showed the connection they made through social media is a 'Home' for them. This is called ‘Home’ because they keep going there! To this 'Home' they can go home (at any time) for a moment to get some peace when they experience fear/stress over the disturbing and or traumatic narratives they faced along the way. In this ‘Home’, they can meet people from other parts of the island who are guarding them remotely, or at least accompany and or care about what they upload. From this 'Home', they can find various challenges as well as tools (network, references and perspective) – at the same time – to overcome them. I am sure that they never forget to go back to this 'Home' when they are at home in their original region. This 'Home' is a site where they are baptized into digital natives and are nurtured by the reality of the media. – The post generation of '98 in the context of the Rhizomatic Archipelago project is living within a system that involves direct and mediated experience. On the one hand, the direct experience mediated by family, stakeholders, and religion, still has a role in providing social identity, choreographing behavior, and determining morality. While on the other hand, advances in communication technology in Indonesia, which began with the entry of the internet in Indonesia since the 90s, provided a variety of new imaginations that were previously unimaginable. We realize that the development of communication technology that is supported by modern capitalism has two sharp blades. On the one hand individuals become vulnerable to the manipulation and exploitation of markets, the mass media, and the culture industry; but on the other hand it has a democratic and participatory nature which is able to break the patriarchal hierarchical power of the traditional social intermediary system. The shaded area between the real life reality and media reality has become a new battlefield that is urgently to be criticized in our context. — #conflictoriumtakeovers by @cemeti.institute #cemeti #sebarsip

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– Repost from @conflictorium — The experience of re-reading the archive of ‘Slot in The Box’ can be considered as ‘the memories conservation’ about the social-political dynamic of the New Order regime in Indonesia. ‘The conservation’ in this context doesn’t attempt to remember wounds and conflicts in an artificial way but to perpetuate awareness and criticality to re-examine the context of the conflict and what is left after. – The opening of Slot in The Box was held on 6th April 1997 within the pre-election silence and the exhibition had run over until 31st May 1997, two days after the election day. The people burst out their voice after the free speech was suppressed by the New Order regime during its 30 years in power. Riot in the capital city of Jakarta had extended to several other cities, various terrors, the feeling of being vulnerable, fear, anger, and even death covered the election atmosphere. – Within that tense situation that was described by FX Harsono as a 'culture of fear', Slot in the Box sketched the political contestation through creating a space for artists to voice their thoughts and against the taboo that was constructed by the regime. Indeed, this exhibition was not only engaged with the political climate, but also the artist's agency in taking part in participatory democracy. – This exhibition was participated by 23 artists. FX Harsono’s (@ini_fx_harsono) performance titled ‘Victim/Destruction 1’ in Southern Square of the Yogyakarta palace was taken as the first repertoire that opened this exhibition. Followed by a performative work of football tournament initiated by Tisna Sanjaya (@tisnasanjaya). – The texts about Slot in The Box are also playing a role as the rolling criticism. More than just zeitgeist, this exhibition also has an opportunity to be interpreted as a ‘treasure’ which would allow us to re-examine the history, memories, and identity that has been inherited to us. Thus, to re-read the history of the New Order regime through art practices and other critical lenses will lead us to the never-ending conclusion and….“to be continued…” — #conflictoriumtakeovers by @cemeti.institute #cemeti #sebarsip

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