Interlocking the Memorabilia of Subject: a Working Notes for the Show of Reciprocities
Nov 30, 2019 - Jan 12, 2020
Meeting the artists who are showing in Reciprocities has encouraged me to re-question the aesthetic nature of art. If aesthetics are often associated with something nice and beautiful, how to categorize the connection built between the darker-themed works and the audience? For me, it is not merely a matter of taste. There are basic things that support such connection.
In general, fine arts and aesthetic studies have developed far beyond what Kantian thinkers have predicted. The modality of art continues to change: from its attachment to the medium (medium-based specific), to become dependent on the discussion (discourse-based specific), and now seems to be largely determined by concrete socio-cultural issues (context-based specific). The focus of the value also changes. Quoting from Bambang Sugiharto (2013) –the focus of value on art has changed from a matter of beauty, to a technical problem, then to a matter of meaning, and then again to the impact of sensation, and finally, to the process of mutual significance between the artist, the work, and the appreciators.
Confluence: In Pursuit of Going Beyond the Romanticized Encounter
Sep 11 - Oct 11, 2020
The search for the meaning of an encounter will very likely be romantic. I used to wonder if it is possible to discuss an encounter by going beyond the mere romanticization thereof while preserving the emotions and beauty within. Will it be possible to perceive an encounter as beautiful if the two entities meeting each other come from different origins? If yes, how do we recognize such an encounter not as a mere celebration? It was the latter that actuated my thought to look beyond the romanticized feelings brought forward by an encounter.
To write for this exhibition, I started with finding the meaning of the word ‘Confluence’, after which this exhibition is named. This is when the thought sparked. In different online references, confluence is a term used to describe the coming together of two streams. Said definition implies that the two streams come from different upstreams, but they head to a single destination. Therefore, they finally meet somewhere.
The Wanderlust - The Wanderer Vessel: An Intermediate Space in Infinite Seeking
Feb 15 - Mar 28, 2021
An Opener: A Little Faith in an Uncertain Journey
The year 2020 saw many surprising things for mankind, ranging from various natural disasters, political turmoil in various countries, large mass movements in response to various world issues, to the death of legendary figures who were influential in the world. Every year, there are always recurring disasters and new political upheavals. All of these events seem normal and normal like the previous years, it's just that 2020 is not covered with the devastating waves of the global COVID-19 pandemic which affect all aspects of human life.
Discussion about the impact and handling of the COVID-19 pandemic is a topic of concern throughout 2020, but apart from that, there are many new and good things to be done by the community during the pandemic. Both in the virtual world and in the real world, kindness continues to be shared and broadcasted. Apart from all the suffering humanity has experienced as a result of the pandemic, it must be admitted that affection, kindness and solidarity also continue to be seen, read, heard and felt.
What would art mean,
If it is detached from the suffering of the surrounding.
What would thinking mean,
If it is detached from the matter of life."
- W.S Rendra. Sajak Sebatang Lisong (19 August 1977)
In a scene from Yang Muda Yang Bercinta (1977), a movie directed by Sumanjaya and is starred by W.S. Rendra himself, the poem above was read out in front of students of Institut Teknologi Bandung–two days after the celebration commemorating the Independence Day of Indonesia. It was a precarious situation: the political situation was chaotic, the economic situation was deteriorating, and the people were affected by such circumstances. As we all know, W.S. Rendra used Sajak Sebatas Lisong as a mean to encourage fellow artists to voice out the issues which surround them, and also as a reminder that they should not be afraid of the oppression from the regime which they criticize through their works of art.