Apa yang akan kawan jumpai di dalam presentasi ini adalah jejak proses belajar kami berupa pethilan dari 13 proyek Akar Rimpang yang telah kami selenggarakan secara simultan mulai April 2022 di kampung halaman kami masing-masing.
Anang and Pari often connect the disconnected -at least for things generally considered disconnected in our art scene today- such as contemporary art and agriculture. This time, Anang connects many things, including farmer groups from Yogyakarta and Fukuda, food source maps of Yogyakarta and Fukuda, artist-style photography and Fukuda citizen photography, Cemeti’s gallery in Yogyakarta and Matsumoto House in Fukuda, Shodoshima.
The Body Journey workshop included 11 participants of various professions and backgrounds—graphic design, video/film, dance, digital art, anthropology, curation, performing arts, art management, and cross-discipline.
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.
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.
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”).
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.
CEMETI 