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.
From September to November 2019, Cemeti hosted three artists-in-residence, Chu Hao Pei (Singapore), Dhanny Sanjaya (Indonesia), and Sophie Innmann (Germany) for a three months period. Cemeti’s Artist-in-Residence Program Period #2 2019 (September-November) is a cooperation with Goethe-Institut Indonesia and National Art Council, Singapore.
The exhibition tries to deconstruct and re-examine Madura as a psycho-geographical and cultural region within a broader spectrum. The commissioned artists will at least represent the diversity: some of them are the residents of Madura, some others are Madurese diaspora, representatives of Pandalungan, and non-Madurese visual artist who can provide a more objective view. The works on exhibited speak for four groups of narratives, namely history, coast, ground, and gender.
Restu Ratnaningtyas in “Domain/Terrain” has delved through her personal experiences of moving in and out of old and new places. They are simple episodic memories which were initially perceived psychologically as social phenomena; yet when reflected from a certain distance, this allowed her to respond to these memories from a different perspective.
Mulai bulan Maret hingga Mei 2019, Cemeti mendampingi dua seniman residensi, yaitu Mirjam Linschooten (Belanda) dan Ragil Dwi Putra (Indonesia). Program Residensi Seniman Cemeti, periode #1 2019 ini diselenggarakan oleh Cemeti – Institut untuk Seni dan Masyarakat dan partisipasi seniman Mirjam Linschooten didukung oleh Mondriaan Fund, Belanda.
Choreographed Knowledges is a project by artist Julia Sarisetiati, curated by Grace Samboh, building on the artist’s long-term research and engagement with Indonesian migrant workers. Choreographed Knowledges aims to explore how bodies of power such as state and corporations, “choreograph” bodies across the globe as a migrant workforce, focussing particularly on what comes before: education and training.
Togar explores sound as a lens through which to critique dominant social and political systems, understand the myriad powers that occupy public space, how we can speak to (bodies of) power, and how we might possibly resist the current tolerance of intolerance by understanding the power of sound, both as a medium and an issue.