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 …
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.
On April 22-26, 2019, Cemeti – the Institute for Arts and Society in collaboration with the Biennale Jogja Equator 5 held a meeting and discussion to increase the wealth of perspectives in translating the 2019 Biennale Jogja theme.
That was in the afternoon in Cemeti, right after the Ambangan Art Project Presentation was end and it was exactly fourteen days of my WfH end too. Those two events turned to lenses on my glasses that I used to flashback the events that happened around me, especially since this pandemic got worse.
ENCOUNTERS BETWEEN VARIOUS LIVING SYSTEMS, including the system of knowledge, often do not merely result in a dichotomy. Perpetual interactions between these systems that make life possible have developed a dialogue so that the process of negotiation becomes a necessity. There are times when such things lead us to a situation of in-between, similar to how a doorstep threshold adjoins one room with another, an indefinite zone that leaves the door open to opportunities for possible transformation.
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”).
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.
In the process of preparing Biennale Equator #5, 2019 and Rimpang Nusantara / Rhizomatic Archipelago 2019 – 2021, the latest program of Cemeti- the Institut for Arts and Society, we met at one point of ideas to talk about “periphery” narration. We agreed to design a series of joint projects that contained a series of discussions (closed & open), research, publications, and presentations in various formats throughout 2019.
English | Indonesia How should we see art today? How does a young artist especially Indonesian young artist interprets two terms that are often used interchangeably- even inapproriately contradicted within a context; “a modern art and a contemporary art”?Can we see these two terms as a way of thinking that integrates each other rather than a method, medium, or a different approach as an attempt to expand a framework of art in depicting various social problems? Taking a symposium format that consists of two speeches and three panels, this program, as part of The Memories Hurying Home project, features a number several prominent speakers of fine art and social science. This discussion aims to expose us to the artistic pursuit of today’s young artists. Based on the works of Suvi Wahyudianto exhibited in his solo exhibition entiled the Memories Hurrying Home, this symposium aims to map out the preferences, knowledge, concerns, expressions, orientation, style of exposition, and models that are engrained in the new works of contemporary artists. By engaging speakers from different background such …
Suvi’s visual works in this series are the result of visualization of various objects which he considers represent real experiences, self-identities, and models of social relations that exist outside. These objects are performative in the context of how they accommodate bitterness in the family environment, as well as perceiving (directly and indirectly) the phenomenon of social conflict in Indonesia. All of them imagine a quiet nuance but it also implies a very strong noise.