Author: Cemeti

Cemeti x Conflictorium

“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..

Cemeti x Conflictorium

English | Indonesia sebARSIP – Berkas #04 (special curation) sebARSIP – Berkas #04 (special curation) Cemeti x Conflictorium 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 …

Proyek Mustahil

Proyek Mustahil menempatkan “(yang) mustahil” dan “kemustahilan” sebagai subject matter, menjadikan keduanya sebagai fokus penerjemahan seni sesuai dengan konteks aktual dari keadaan-keadaan masyarakat kontemporer. Bukan hanya untuk mencapai antitesis dari “kemungkinan”, proyek ini bertujuan untuk mendekonstruksi “(yang) mustahil” sebagai gaya ungkap dan ekspresi potensial yang memberdayakan; memperlakukan “(yang) mustahil” lebih sebagai strategi estetik daripada sekadar taktik artistik, dalam rangka menciptakan karya seni kolektif yang di dalamnya dapat terjadi suatu olah-gagasan bersama yang menekankan keterlibatan semua pihak dengan setara.

sebARSIP

In this project, we utilize the most of our online media platforms. We will share a weekly review on materials of documentation from our archives related to artworks or projects of artists that had ever collaboratively worked with Cemeti, it can be one post or more.

sebARSIP

Dalam proyek ini, dengan sepenuhnya memanfaatkan platform media online, kami akan menerbitkan, setidaknya satu pos setiap minggu, ulasan tentang satu atau lebih materi dokumentasi yang tersimpan dalam koleksi arsip kami; arsip-arsip yang berkaitan dengan karya seni atau proyek seniman yang pernah bekerja sama dengan Cemeti.

Waspada Covid-19!

Merespon situasi Covid-19 di Yogyakarta, maka Cemeti memutuskan untuk tutup sementara sampai situasi lebih kondusif. Kalian tetap bisa berkomunikasi dengan kami melalui email di info@cemeti.org, dan untuk kabar selanjutnya kalian bisa ikuti di media sosial kami.

Ambangan

In this “Ambangan” project, MILSIFILEM Collective tries to sort out and critique several aspects of the art field through a small simulation which, this time, is framed into 72-hour performance art. Citing the routine activities of the artist-participants (members of the MILISIFILEM Collective) as the main element and factor of their performance content, the “Ambangan” project is experimenting with a threshold of endurance between common and uncommon time; with a threshold of understanding between the realm of production and the realm of the exhibition; and with a threshold of experience between presentational zone and representational zone.

Ambangan

THE DIALECTICS OF SYSTEMS AND DISCOURSES do not stop within dichotomous divisions (e.g. “central vs. peripheral”), because everything that is lying — or mediating — between the two different types of zone, presumably, invites speculation about knowledge, noetic, or other mental activities that have not been — or even they seem almost impossible to be — formulated through frameworks that so far relied on the rationality and logic typical of modern knowledge. This kind of criticism shifts our focus to things that are rarely, not yet, or may not be seen. These things seem to be in the “intermediate” area or some kind of “crossing zone” —like a doorway that intersects two spaces. In other words: threshold zone. Things that in this context we call “ambangan” (“threshold-ness”).