All posts filed under: EVENT

Rotting Indomie Working Paper No 1

What do we know about Indomie, apart from its established existence as ubiquitous instant noodle? For many, Indomie performs as a fast track to obtain a budget decent meal. The decency value of Indomie can be adjusted according to various needs and a particular health ambition. The preference for Indomie is usually taken in favour of instantaneous, efficiency and economical values over the actual nutritional values contained in each noodle package. Eating is never not just about a matter of filling the fuel for our body-machines.

Afirming the Crisis

The curatorial of “Affirming the Crises” tries to stimulate Nietzschean reason to rethink various crises humans encounter. It’s about how to say “Yes!” (Ja Sagen) to the things we encounter, in any circumstances, to affirm not only ourselves but all existence. Affirmation is an acknowledgment that can be metaphorical, chronic, or factual.

Ghost Light

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

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.

Reconstructed Biotope

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.

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 …