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 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”).
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 …
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.
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.
order to support the creation process of Suvi Wahyudianto’s work for his solo exhibition project at Cemeti – Institute for the Arts and Society in the next December 2019, the Cemeti Team held a series of meetings called “Reading Circles”