Metaphorical Site 01: “LAND”

English | Indonesia

Metaphorical Site 01: “LAND”

Curatorial | Artworks | Artists | Documentation | Essay

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Rotten TV – Yogyakarta Satellite puts the theme of “rotting” as a perspective and tool for philosophical analysis in order to decode everyday problems, to understand the cosmological circulation of human life. Instead of questioning “What is Rotting?”, this curatorial takes a standpoint by asking: “How do we see and understand the world based on the perspective of rotting?” This question is a foundation from which to review current global issues, such as gender justice, climate crises, health crises, and “media society” (referencing to  M. Adolf, K. Baumann, and M. Rhomberg. (2011). Knowledge Society, Media Society and Democratic Action: The Case of Responsiveness. In a conference paper of the IAMCR 2011-Istanbul).

To explore these problems through artistic practice, the curatorial framework of Rotten TV – Yogyakarta Satellite were divided into three artwork production groups which were thereafter metaphorically referred to as “LAND”, “BODIES”, and “CYBER”. In each group, artist participants created individual and collaborative research and artistic expressions which tried to break down the above-mentioned problems using “rotting” as the main lens.

In the first group, Metaphorical Site 01: “LAND”, three artists who were invited to respond to this curatorial brief were Jessica Ayudya Lesmana (Yogyakarta), Dini Adanuraini (69 Performance Club, Jakarta), and Prashasti Wilujeng Putri (69 Performance Club, Jakarta). The focus of the sub-curatorial group in this metaphorical site encouraged conceptual exploration of the relationship between gender and land. By looking at the social and political aspects of the land, both in their physically manifestations and in their conceptual positioning, artists try to achieve some kind of poetic reflection of the factors of vulnerability in space, humans, and time. At the same time, they attempt to understand those three phenomena through a narrative presentation that utilizes method and formats from performance art. To put it another way, the intended interpretation is an examination of performative language, to express various possibilities in subtly vocalizing the root causes of—and the relationship between—gender justice, civic space crises, and the natural and artificial pressures surrounding them. Their works also offer expressions in the “rotting” framework that echo with social narration and efforts to experiment idiosyncratic forms that visualise how “rotting” is understood by common consensus in society.

Manshur Zikri
Curator

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Another Land to the Utmost Happiness

Jessica Ayudya Lesmana, 2021

In The Pines

Prashasti Wilujeng Putri, 2021

Best Before

Dini Adanurani, 2021

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Jessica Ayudya Lesmana (1993) began their arts practice in 2017 through Amuba, Indonesia’s first transgender band. They developed their artistic practice as an activism to record and narrate the life of marginalized suburban people. Jessica is a contributor for Konde.co – media for women and minorities; and was a transgender actor in the Deleted Scene In SEA program at the 2021 Bangkok International Performing Art Meeting. Currently, Jessica is running the “Mother Project”, a lifelong activity that began while participating in learning activities at Cemeti – Institute for Arts and Society. This project seeks to explore various possible mediums -starting from studying written texts, then combining the ideas of montage and performance into an artistic style of expression. Jessica’s works highlight the lives of transgender and sex workers who’ve experienced discrimination and stigmatism, as subject matter.

Prashasti Wilujeng Putri (Jakarta, December 5, 1991) is an artist and arts manager. She holds a bachelor’s degree from the Department of Criminology, University of Indonesia. She was a dancer with Radha Sarisha Dance Community and the Central Java Pavilion at Taman Mini Indonesia Indah. Currently, she is studying for a master’s degree in Cultural and Media Studies at Gadjah Mada University.

Her artistic practice began when she joined the 69 Performance Club in 2016. She then participated in an artist residency program at the Silek Art Festival, Solok, West Sumatra, in 2018. At that time, she was researching silek (or silat, Indonesian martial arts) in the life of contemporary bodies. In March 2020, together with the 69 Performance Club and MILISIFILEM Collective, she presented the AMBANGAN art project at Cemeti – Institute for Art and Society, Yogyakarta. Asti’s artworks often talk about the deformation of the human body and relationships between people. She is also an active writer. Her written work can be accessed on the website www.performanceart.id.

Dini Adanurani (Jakarta, September 6, 1998) graduated from Philosophy Studies program at the University of Indonesia. She is a writer, filmmaker, and freelance translator. Her first film, “Aksi-Reaksi” (2018, in collaboration with Wahyi Budiman Dasta and Mia Aulia) was produced by MILISIFILEM Collective, Forum Lenteng. While in college, she was the Festival Director for the UI Film Festival. Currently, Dini is active as a film critic for Jurnal Footage (www.jurnalfootage.net).  One of her articles entitled “Kisah yang Politis dalam You and I”, was one of 15 candidates nominated for the 2021 Citra Cup Film Criticism.

In March 2020, together with members of the 69 Performance Club and MILISIFILEM Collective, she presented the AMBANGANGAN art project at Cemeti – Institute for Art and Society, Yogyakarta. In 2021, again with 69 Performance Club, she created a performance art piece entitled “Mutual Disruption”. Dini also writes about performance art. Her written work can be accessed on the website www.performanceart.id. She also maintains a personal website www.adanurani.com.

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Artists Interview Methaporical Site 01: “LAND”
Documentary of Methaporical Site 01: “LAND”

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We fail to smell the rotten stench on the screen and can we smell it in social realities

The short story entitled “Rotten Stench” by Eka Kurniawan presents an interesting bodily experience as there is only one full stop at the end of the two-thousand-word story, forcing us…

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