The curatorial basis of this exhibition is the artist’s desire to express his interludial moment of a long process of using the textual medium in exploring the potentiality of fiction as a technique for deconstructing the history. Simultaneously, Ghost Light shows the parallelity of the artist’s evolving artistic method; his text-based archival processing is substituted by exposing the production background to play with the liminality between fiction, history, imagination, memory, and reality, as well as the actual process to respond to these five things.
Gapura Buwana exhibits Gegerboyo’s visual artworks, most of which are drawn on the walls of the gallery. The rest of them are printed and drawn on transparent fabrics that are hung in different positions at a certain distance from the wall. In order to encourage new interpretations of Gegerboyo’s artistic practice, this exhibition highlights their method, which, according to them, is carried out in a “non-systemic” way. This refers to organically drawing, unrestrained by any rigid criterion in terms of visual composition or narrative systems.
Elia Nurvista and Youngho Lee’s artistic practices are marked by an enthusiasm for representing the global migration of resources. Their practices show a striking combination of “expository tendencies” and “poetic aspirations” in composing political statements about cross-geographical events and phenomena. They utilise the diverse content that is dispersed across the information wilderness, which is increasingly formed from arbitrary sources in today’s era of technology.
This public presentation will explain a variety of interpretations, beginning with at least seven key words that are explored personally by each participant when they discuss clothing and it’s connection to power: identity, image, function, ideology, uniform and symbols, along with meaning and memory.
Toko Buku Liong adalah proyek seni kolaboratif antara kurator Adelina Luft dan seniman Daniel Lie, difasilitasi oleh Cemeti – Institut untuk Seni dan Masyarakat dan dipresentasikan daring padang situs http://www.tokobukuliong.com secara resmi dari tanggal 4 Agustus hingga 4 September 2020.
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 …
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.
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 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 …