Affirming the Crisis: signifying the impossible
Proyek GEM (Gagasan Estafet Mustahil)
Oktober 30th – November 30th 2021
Cemeti – Institute for Art and Society
Affirming the Crises exhibits the artworks from seven artists invited to respond to the theme “impossible”, offering diverse approaches, mediums, and techniques. The forms of artworks displayed include paintings, prints, collages, objects, audio recordings, photographs, videos, visual mapping, archives works, and performances.
The curatorial of “Affirming the Crises” tries to stimulate a Nietzschean sense to rethink various crises that humans encounter. It’s about how to say “Yes!” (Ja Sagen) to the things we face, in any circumstances, to affirm not only ourselves but all of existence. Affirmation is an acknowledgment that can be metaphorical, literal, or factual.
The concept of affirmation is also the basis for understanding the curated artworks. The artists in this exhibition have artistic attitudes that echo the joyous affirmation of their environment and social conditions. Their practice brings a perspective that sees the world without fault, truth, and origin. Their creative manner is not about negating but “celebrating” the crisis to offer a Derridean active interpretation and participation.
This exhibition is the final presentation of the Proyek Mustahil (‘Impossible Project’) that CEMETI has run since June 2020. Initiated as if it were a response to the pandemic, the perspective of this project expands and examines issues about the crisis more broadly and in various ways. In a time of crisis, some things are impossible to do. Framing that fact, Proyek Mustahil tries to understand, embrace, and use the “impossible” as a concept and mode of languaging and actuate artistic experimentations to talk it over.
Affirming the Crisis also exhibits objects that are part of the “Impossible Relay Ideas”, an experiment facilitated by CEMETI during the realization of the Proyek Mustahil. This experiment has involved many art activists and enthusiasts in the process of visual communication and collaboration mediated by notebooks.
Saturday, October 30th 2021 | 6:30 – 8 pm
*Limited to 35 person via registration.
November 2nd – 30th 2021
Tuesday – Saturday | 11 am – 4:30 pm
4 sessions per day | Limited to 10 person per session via registration.
*To be confirmed
Please read carefully our health protocols before registering a visit.
CEMETI – REOPENING VISIT INFORMATION & SAFETY MEASURES COVID-19
Cemeti – Institute for Art and Society will reopen on October 30th – November 30th 2021 for Affirming the Crisis: signifying the impossible Exhibition. The safety and well-being of our visitors, artists, partners, and Cemeti team is our highest priority. Cemeti will be following the local health authorities’ guidelines to minimize the effects of this Covid-19 pandemic. The following are health and safety measures we have taken and put in place for our Cemeti team, artists, partners, and visitors.
We want to let you know that Cemeti team who are experiencing any symptoms of COVID-19 are required to remain at home and must take a Rapid or PCR/Swab test. Those who have traveled to other cities will be required to self isolate and go through a Rapid /Swab test to ensure no infection before returning to work.
HOURS & REGISTRATION
Tuesday – Saturday
11 am – 4:30 pm
Registration is required for entry, and all visitors must diligently adhere to health precautions. Please register at least 1 day in advance.
TIME TO VISIT
To manage the number of visitors inside the gallery, we have divided the time of visit into 4 sessions scheduled every open day, with access limited to 10 persons at a time as bellow:
11 am – 12am | 12:30 pm – 1:30 pm | 2 pm – 3 pm | 3:30 pm – 4:30 pm
November 2nd – 30th 2021 | Tuesday – Saturday
If you are experiencing any symptoms of COVID-19 or are not feeling well, please postpone your visit until you are feeling better or until you are symptom-free.
- Parking Area: Motorbike at Cemeti’s parking area, Car at the roadside around Cemeti.
- Cemeti’s front door will remain closed. The entrance will be on the left side of a building.
- Please follow directions from the Cemeti team.
- Temperature checks with a forehead scanner prior to entering the building. If you receive a reading of 100.4 °F / 38 °C or higher, we will regrettably have to deny entry into the Gallery to avoid risk of transmission.
- Wash hands and use hand sanitizer before entering the gallery. A handwashing station and hand sanitizer are available at entrances.
- Face coverings are required for all visitors over the age of two, and must be worn for the duration of your visit.
- Maintain physical distancing. Keep at least six feet from others.
- We have significantly increased the frequency and extent of cleaning at the gallery. All surfaces, handles, and other areas that may be touched by visitors and staff are cleaned daily during exhibitions.
- No direct physical contact with the artworks to prevent transmission of the COVID-19.
All visitor’s ID/Passport will be stored securely for no less than 1 month after the exhibition closes and in accordance with the requirements of Yogyakarta Governor Regulation No.77 of 2020. ID/Passport that is not required anymore will be disposed of securely.
Please click the blue button below to register:
Bawah Skor Mandala (commonly known as Bawahskor; fronted by Benardi Iriawan and Dimaz Maulana) is a collective of football fans in Yogyakarta founded in 2010. As a literacy-based group of PSIM fans, since 2013, this collective has been conducting historical studies on football in general, regionally in Yogyakarta, and nationally. They collect archives through digital clipping activities and interviews with former PSIM players. Unlike other football-fans groups, which are usually identical with location bases, Bawahskor has a more fluid form. They encompass various groups into a solidity that eliminates boundaries between groups and generations.
Prioritizing an educational vision and utilizing social media as a tool for content production and distribution, this collective cultivates knowledge about football from a vernacular point of view by elaborating “nongkrong” (hangout) approach into creative work in the online and offline realm. They also adopt various artistic strategies in presenting information to the public, such as organizing an exhibition about football history.
Frequently encountering mass-based events, Bawahskor has conducted several experiments to realize their program activities, especially during this pandemic when social distancing is one of the obstacles in holding crowd events. Indeed, their efforts were not always successful. A sports exhibition they had planned in early September 2021 has been canceled. In the framework of their participation in Proyek Mustahil, Bawahskor will present a speculative scheme on how the exhibition would be if they organized it successfully.
Extended.Asia is a platform run by four artists (Andang Kelana, Aditya F.H., Theo Nugraha, and Nissal Nur Afryansah) who work remotely via internet connection. In the form of an online terminal that can be accessed on the website https://extended.asia/, this platform brings together audio-visual artists and art connoisseurs from various regions in Asia to expand collaboration across genres. To respond to the current digital-internet era, especially during the pandemic that requires us to minimize physical encounters, the Extended.Asia platform is organized to become a discursive site, artistic channel, and practicable space relevant for the sustainability of art productions and exhibitions. It offers the experience of watching on computer screens and gadgets as the ritual in enjoying artwork presentations.
Extended.Asia positions digital-internet technology as a vehicle to celebrate limitations instead of solutions to overcome the crisis in the new social interaction phenomenon that is increasingly widespread in the 4.0 era. Redefining the concept of liveness by blending physical orientation with the technological way of thinking and prosumer logic, this platform organizes and curates the content of the works of collaborating artists to discuss current issues related to technological prejudices. These issues are also interpreted based on the actual social, economic and political context. It becomes a method for framing the poetic imaginations of the language phenomena raised by media technology. In affirmation of the chaotic character of the nowaday information flow, the platform echoes the logic of arbitrary language as a style of expression that is useful, not only for representing something but also for generating a new kind of presence.
In Proyek Mustahil, Extended.Asia will present a mapping of their aesthetic orientation, artistic ideas and work methods, complemented by curated footage from the archives of the collaborators they have worked with, and several interactive sessions that allow face-to-face encounters via computer screens between exhibition visitors and the people behind this platform.
Fajar Riyanto (born 1984) studied photography at the Indonesian Art Institute, Yogyakarta. His practice explores everyday life through the media of photography, video, and performing arts. Currently, he is an active member of Ruang Mes 56, a Yogyakarta-based artist collective specializing in photography and motion pictures. He received the Julius Bär Next Generation Art Prize, Singapore (2021). He had two solo exhibitions; “Re-Plating Mooi Indië” (2017), was held at Kedai Kebun Forum, Yogyakarta and “Dihadapan Harapan”, was held at the Mes Room 56 in 2020.
“Dihadapan Harapan” is part of his photography project exploring the routines and expectations of residents in the area “mepet” inside the fort of Yogyakarta royal palace, who live at risk of eviction planned by the Regional Government. Instead of sharpening the conflict through protest movements, Fajar recorded the facts and social situation in the location from the residents’ perspective to frame an affirmative behavior and attitude that became the inner sources of the local community to survive. The photographics record created by Fajar stimulates a critical reflection to look at the changing cities and the power relations that operate within them. This photography series also encourages us to look further into the metaphoric imagination of survival through people’s domestic spaces, personal objects, and everyday sounds. The point of view of this project is the process of citizens being able to exist and speak out amid the uncertainty of the social system that harms them.
In the Impossible Project, Fajar will carry out a new development of the photographic project that he has worked on for his second solo exhibition. At this moment, Fajar will elaborate the techniques and concepts of moving images (video) to present a subversive imagination and artistic speculation regarding the current situation inside the fort of Yogyakarta royal palace. This new exploration will not merely highlight the ongoing crisis at the site but also stimulate sensitivity to the factual risks that still haunt our days as city dwellers.
Jayu Juli (1988) was active in several art collectives in Jakarta when she was in college until she finally decided to be an artist. In the 2010s, she was active in activism and media literacy together with Djuanda Community, later became a member of Forum Lenteng, and once worked as one of the managers at Gudskul. Currently, she is a member of ‘Peretas’, a network platform for women artists in Indonesia that engaged in feminist solidarity politics.
Jayu’s art exploration covers various kinds of media. Together with Ricky Babay Janitra, she initiated the Plusminus+_ art project, a platform to explore performance art and multimedia practices. Yet Jayu’s main focus is painting with watercolor as the medium. The subject matter in her works is women and body representation. Jayu often experiments with watercolor characteristics to create layered spaces in color and surface composition. To some extent, her experiments represent the taxa figural construction of the body. The unpredictable shapes that often accompany her struggle with watercolors become Jayu’s starting point to think about the concepts of “fringe”, “liminal”, “mobility”, and “the process of becoming” in material and social discourse.
For the Impossible Project, Jayu interprets the theme of “impossible” based on her belief in the endless process of moving (whether it be from one location to another, from one identity to another, or from one state to another) as an affirmation of liminal motion that is absolutely experienced by humans throughout life. Without assuming a single goal as the final process, this perspective relies on the absurdity of an endless cycle of changes in the quality of circumstances. Jayu’s visual exploration then targets the materialization of the “liminal” concept through experimental compositions of watercolor itself. Like a constructivist, Jayu will present paintings and objects that evoke the way of seeing and expand the spatial potential of the spectator.
Kamartkost.CH is an alternative space in Padang, West Sumatra, organized by young artists, and aims to become a center for experimentation and appreciation of art that is close to the community. This space started from ‘kamar kos’ (English: boarding house) for students at the State University of Padang (UNP) and has been activating cultural activities since 2014, covering various artistic disciplines, ranging from street art, drawing, collage, performance art, and photography. They also organize many workshops and artist residency programs.
Fronted by Mardi Al Anhar, Anisa Nabilla Khairo, Mia Aulia, and Puja Ilahi the alternative space of Kamarkost.ch also conducts studies on tradition and culture of Minangkabau literature, especially oral traditions in the form of mantras. This study is elaborated with a visual art perspective. They also interpret the content of mantras by using written literature, including works of world literature, as a comparison to draw keywords that will be the basis for the construction of visual language. During the pandemic, Kamarkost.ch has organized collage workshops (with a limited number of participants and implementing health protocols) in their internal neighborhood. Departed from this workshop series; the collage technique became the focus of their artistic exploration. The interpretation of the mantra is then implemented into a process of creating visual works in the form of collages.
For the Impossible Project, Kamarkost.ch interprets bagak (Indonesia: ‘berani’, English: ‘brave’) mantra – consisting of three line mantras, namely “ilmu basi” (Indonesia: ‘ilmu klasik’, English: ‘classical knowledge’), “pidareh” (Indonesia:‘ilmu berlari kencang’, English: ‘run fast spell’), and “pacah batu” (Indonesia: ‘pecah batu’, English: stone breaking) – that comes from Aripan, X Koto Singkarak District, Solok Regency. The interpretation is carried out by drawing comparisons with Franz Kafka’s allegory writing entitled Die Verwandlung (or Metamorphosis, 1915) to explore the visual imagination in reviewing the psychosocial aspects of society who live in the absurdity that emerge in the time of crisis. They transform the results of the analysis of these literature elements into a collage series to speculate on “the impossible” as language.
Pasirputih (established in 2010) is the most progressive collective in North Lombok, West Nusa Tenggara. Located in Pemenang District, close to Bangsal Harbor, they organize various activities, such as media literacy movements, art workshops, artist residency programs, exhibitions, and festivals.
Pasirputih combines artwork production and curation activities in the routine of community organizing and collaborates with the residents. Their annual festival, Bangsal Menggawe (since 2016), involves almost all components in North Lombok, including stakeholders from the neighborhood association to the regent. Another program, Aksara Tani (since 2018), has pioneered the local agricultural literacy movement in Pemenang District.
Since 2016, Pasirputih has been collecting and curating the citizen’s audiovisual archives. It started with the “Saling Gitak” project (initiated by their artist collaborator, Gelar Soemantri); this project had evolved into “Kanal Pasirputih,” later became “Berugak TV.” Now it has its new face called “Bale Data: Museum Audio Visual Kebudayaan Lombok Utara.” This current program strives to collect, map, and study citizens’ audiovisual archives. It also documents and develops community strategies for archiving and documenting in North Lombok. They have also built digital archiving facilities and infrastructure, and activated these digital archives into various forms of projects involving the community.
For the Impossible Project, Pasirputih (represented by three members: Muhammad Sibawaihi, Muhammad Rusli Oka, and Hamdani) will present a film created from a community video archive and a collection of curated audiovisual archives that the audience can respond to. They collected these archives during the pandemic. Thus, we will be able to draw a context about the representation of society’s current situation who live their lives in a new normal.
Yahya Dwi Kurniawan (Magelang,1992), usually called Yayak, also well known by his instagram account @gengxenggol (taken from his first solo exhibition in 2016 “Geng Xenggol”, at Juara Dunia, Yogyakarta). He is a visual artist based in Yogyakarta.
His art exploration covers various kinds of media, such as drawing, prints, photography, videos, objects, music, literature, and art-based research with an ethnographic approach. He explores street subculture issues, club culture and the mixing music trends, and contemporary vernacular audiovisual archives. His creative outputs offer an empathetic perspective to understand the phenomenon of crime, social deviance, and juvenile delinquency.
@prontaxan_ is a platform that he has developed with his five colleagues (Uji Hanan H., Lana P., Rangga S. E., Bagas O. A., and Dito Satriawan ) since 2018. It is a spectacular project that utilizes digital-internet technology and maintains the content-sharing tradition. Agreeing on the practice of reusing, remixing, adapting, and developing original content into new, fresher, and more contextual outputs, PRONTAXAN applies a curatorial approach to hundreds of audiovisual content to frame the phenomenon of funkkot (abbreviation of Funky Kota, local-funk music) and its relation to social class construction. This platform also popularizes a style of social language (narrative and poetry) that deserves to be studied as the latest literature product.
In 2020-2021, he worked on “The Museum of Lost Space” project to frame the klitih (violent crime among youngsters) issue in Yogyakarta. Collaboratively, Yayak made mapping, dozens of etching prints, object works and photography, which were constructed as visual essays about the phenomenon. For the Impossible Project, Yayak will present the development of this project with an expanded focus and perspective, namely the street subculture, which is understood as a critical aspect that is impossible to dissolve from social life.