All posts filed under: PROJECT

Mediated Resource Migration; Constructed Cultural Biotope

The issue that forms the basis of the artistic practices of Elia Nurvista and Youngho Lee, through which they attempt to draw connecting threads in this exhibition, is an enthusiasm for representing the phenomena of global migration of resources. They have investigated a number of these sources as historical issues, while others have been collected from contemporary encounters.

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 …

sebARSIP

In this project, we utilize the most of our online media platforms. We will share a weekly review on materials of documentation from our archives related to artworks or projects of artists that had ever collaboratively worked with Cemeti, it can be one post or more.

Retracing The Journey, Interweaving The Possibilities

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.

Ambangan

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”).