The issue that forms the basis of the artistic practices of Elia Nurvista and Youngho Lee, through which they attempt to draw connecting threads in this exhibition, is an enthusiasm for representing the phenomena of global migration of resources. They have investigated a number of these sources as historical issues, while others have been collected from contemporary encounters.
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 MEMORIES HURRYING HOME begins with a framework of awareness of the body as a subject (as well as an object); a body to which so many narratives are attached. The body seems to be a medium for the recording of events, which events are often projected into the realm of mental images through memories.
Through his solo exhibition Suvi has the opportunity to “return” to memories from his past. The memories that have been “haunting,” as if there are things that have never been discussed. If art today tries to fill a canvas with colorful aesthetic values, Suvi chooses to tell stories in the simplest way, through images that are extensions of his body’s experiences.