Discussion: “Contemporary Australian Printmaking” with Carolyn Craig McKenzie

Discussion: “Contemporary Australian Printmaking”
with Carolyn Craig McKenzie

Saturday, 7 June 2014, 12.00 – 3.00 pm
at RumahIVAA (Indonesian Visual Art Archive)
Jl. Ireda, Gg. Hiperkes, Dipowinatan, MG1/ 188 A-B,
Keparakan, Yogyakarta

 

Pengantar penyelenggara

Dengan segala keterbatasannya kami hadirkan Jogja Miniprint Biennale (JMB) yang pertama ini ke tengah publik pencinta seni di Yogyakarta secara sederhana. Sudah menjadi komitmen kami untuk terus melakukan kegiatan dalam  menyebar luaskan seni cetak grafis ke tengah masyarakat dan upaya meningkatkan mutu sajiannya. Even JMB ini adalah salah satu dari beberapa program yang telah, sedang dan akan kami jalankan disamping kegiatan lain seperti workshop, program ‘mini residensi’ yang baru dimulai awal tahun ini dan berbagai kegiatan propaganda dan rencana pameran. Pada tahun 2013 lalu kami menyelenggarakan Jogja International Mini Print Festival (JIMPF) yang diikuti 167 peserta dan 460 karya yang merupakan even pendahuluan bienal ini.

Hasrat yang disimpan sejak lama agar Yogyakarta memiliki sebuah even seni cetak grafis berkala setiap 2 atau 3 tahun sekali -dimana even tersebut selain berfungsi sebagai pertemuan karya-karya bermutu sekaligus juga sebagai ajang pergaulan  para pegrafis dari berbagai belahan dunia- tengah terbentang saat ini.  Minimnya infrastruktur, seretnya dukungan di dalam negeri sebagaimana banyak dikeluhkan oleh pegrafis membuat even semacam JMB menjadi sebuah keharusan untuk diselenggarakan secara rutin agar para pegrafis tumbuh rasa percaya dirinya dan tetap bergairah berkarya. Format miniprint yang diusung adalah alternatif, tantangan dan jembatan untuk mewujudkan ide-ide tersebut baik bagi seniman maupun bagi penyelenggara. Hal ini antara lain dikarenakan format miniprint memiliki beberapa kepraktisan dalam pendistribusian dan penangannya disamping dengan tetap mengutamakan  muatan pesan dan kualitas dari karya-karya yang  dihasilkan.

Peserta pameran ini dijaring lewat pendaftaran terbuka kepada seniman Indonesia dan luar negeri yang dilakukan dari tanggal 1 Januari  sampai 20 April 2014. Awalnya tercatat ada 169 calon peserta dari 27 negara yang mencatatkan namanya mengikuti seleksi, namun dalam perjalanannya ada peserta yang mundur, tidak siap, tidak memberi kabar dan  terlambat mengirim karya. Pendaftar  yang datang tepat waktu sesuai deadline yang ditetapkan panitia dan berhak mengikuti seleksi ada 142 seniman dengan jumlah sebanyak 465 karya. Pada tanggal 26 April 2014 bertempat di Kedai Kebun Forum, Jalan Tirtodipuran 3 Yogyakarta, Indonesia, dewan juri yang terdiri dari Hendro Wiyanto (ketua), Devy Ferdianto (anggota) dan Agung Kurniawan (anggota) telah menyeleksi 140 karya dari 72 seniman berasal dari 23 negara untuk mengikuti pameran JMB 2014. Pameran akan diadakan di dua tempat, pertama dilaksanakan di gedung heritage Museum Bank Indonesia, Jl. Panembahan Senopati 2, Yogyakarta dari  6 – 13 Juni 2014, dan pameran kedua dilanjutkan di Mien Gallery, Jl Cendana 13, Yogyakarta dari 17 – 23 Juni 2014. Rencananya pameran ini masih akan dibawa ke berbagai tempat baik di Yogyakarta maupun luar kota sampai bulan Desember 2014.

Dalam JMB yang pertama ini kami sengaja memasang 3 juri  yang merupakan kombinasi  dari 3 karakter berbeda: “pengusung tema”, “penjaga teknik” dan “ pengawal teknik & tema”. Dalam hemat kami seni cetak grafis sebagaimana seni-seni lainnya memerlukan unsur-unsur tersebut untuk menjadi menarik, mampu bersaing dan diminati penonton. Teknik saja tidak cukup, harus diperkuat oleh tema. Tema saja akan terlepas dari bangunan karya jika tidak didukung teknik yang baik. Mengabaikan teknik atau tema atau keduanya akan celaka karena  membuat seni ini ditinggalkan. Kita tidak tahu apa yang akan terjadi dua tahun ke depan dimana JMB direncanakan diadakan kembali, namun penting buat kami selaku penyelenggara  memberi pondasi yang kokoh sejak dari JMB yang pertama ini agar lebih mudah melangkah selanjutnya. Independensi dewan juri sangat kami jaga sehingga apa yang disajikan dapat dipertanggung jawabkan. Adalah sebuah konsekuensi tersendiri buat kami penyelenggara dimana di satu sisi kami perlu merangkul dan menjaga hubungan  dengan sebanyak mungkin seniman agar JMB kian hari bertambah peminat dan pendukungnya dan di sisi lainnya  profesionalisme dan independensi juri harus kami hargai. Kami perlu mengatakan hal ini sehubungan adanya pertanyaan dan keberatan yang ditujukan kepada kami oleh beberapa peserta yang kebetulan tidak berhasil lolos dalam seleksi. Dengan kerendahan hati, melalui perhelatan JMB pertama ini kami ingin membangun sebuah bienal yang profesional dan kuat serta dapat bersanding dengan bienal-bienal miniprint yang telah lebih dahulu hadir di berbagai belahan dunia.

Lewat pengantar ini perlu kami informasikan bahwa logo JMB 2014 dibuat oleh Fakri Syahrani, pegrafis muda Yogyakarta.  Logo ini terpilih dari 20 disain logo hasil lomba terbatas yang diikuti beberapa perupa Yogyakarta beberapa waktu sebelumnya. Pengadaan hadiah uang untuk 3 karya terbaik JMB yang pertama  ini  dikumpulkan dari sumbangan oleh Studio Biru,  perupa Ronald Manullang dan patungan  donasi perupa Agung Kurniawan-istrinya Yustina Neni-pengusaha Tom Tandio. Untuk trofi JMB 2014 bagi 3 pemenang karya terbaik adalah hasil  tangan kreatif seniman muda Yoel Fenin Lambert yang kami percayakan membuatnya.  Semoga untuk ke depannya akan ada “commission artists trophy’ dari seniman-seniman lainnya.

Kami berharap apa yang dilakukan ini dapat bermanfaat baik bagi pelaku seni cetak grafis itu sendiri maupun pelaku seni dari disiplin yang berbeda, para pencinta seni dan masyarakat pada umumnya. Adanya berbagai kendala dalam mempersiapkan even JMB ini kami jadikan pelajaran berharga dan penyemangat untuk bisa mempersiapkan lebih baik lagi ke depannya. Akhir kata, kami dari TERAS Print Studio mengucapkan selamat bekerja pada panitia, selamat berpameran para peserta, selamat datang tamu/undangan dalam dan luar negeri yang secara khusus datang di acara ini. Kami mengucapkan terima kasih kepada patner kerja kami HPAM dan Tirana Art Management, pendukung tempat Museum Bank Indonesia dan Mien Gallery, dewan juri, dewan pesehat, donatur, sponsor, pemasang iklan, simpatisan dan juga kepada  para peserta baik yang lolos seleksi maupun yang kali ini belum beruntung lolos seleksi.   Bantuan dan peran anda semua telah membuat acara ini terwujud.

Salam hangat kami,

TERAS Print Studio.

 

A Few Words from the Organizers 

Despite the challenges and limitations the first Jogja  Miniprint Biennale (JMB) 2014 is being presented to the art loving public in Yogyakarta. It is our commitment to improve and widen the scope of our activities for the general public. An event like JMB 2014 is one of several activities which we have already carried out or are planning, including workshops, ‘mini-residencies” which began in 2014, as well as other exhibitions. In 2013 we presented the Jogja International Mini Print Festival (JIMPF) which exhibited 460 works by 167 printmakers and was a pre-event to the Jogja Miniprint Biennale (JMB 2014).

The long-held desire for Yogyakarta to host a periodic printmaking event which would not only exhibit high quality print work but would also serve as a forum for printmakers from all over the world is finally being realized. Minimal infrastructure and low levels of in-country support, as frequently expressed by printmakers, makes it important to hold regular events like JMB 2014 which will increase the confidence and spirit of Indonesian printmakers. The miniprint format is an alternative, a challenge, and a bridge to realize these ideas, both from the artist’s as well as the organizer’s perspective. The reason is that the miniprint format has a number of practical aspects related to distribution and handling although the meaning and quality of the works produced are always paramount.       

Artists exhibiting at JMB 2014 were chosen through an open call to Indonesian and international artists from 1 January to 20 April 2014. Initially, 169 artists from 27 countries responded to the call although a number of artists did not submit promised works and ultimately, by the 26 April 2014 deadline, 465 works had been submitted by 142 artists. The jury, chaired by Hendro Wiyanto, together with Devy Ferdianto and Agung Kurniawan chose 140 works by 72 artists from 23 countries to be shown at JMB 2014. The opening and the first exhibition will be held at the Museum Bank Indonesia, a heritage building located at Jl. Panembahan Senopati 2, Yogyakarta from 6 – 13 June 2014. The second exhibition will held at Mien Gallery, Jl Cendana 13, Yogyakarta from 17 to 23 June 2014. It is also planned that the exhibition will travel to other galleries in Yogyakarta as well as to locations outside Yogyakarta through December 2014 

For this first Jogja Miniprint Biennale (JMB) a three member jury was chosen representing three different areas of interest and expertise: theme, technique, and the interplay between technique and theme. According to our observation, printmaking, like other types of art, needs these elements to be engaging, to be competitive, and to be interesting to observers. Technique alone is insufficient; it must be strengthened by a theme, although the theme will be lost in the structure of the work if it is not supported by good technique. To ignore technique or theme or both would be disastrous because the content, the art itself, would be utterly abandoned. We do not know what will happen two years from now, when the next JMB is planned, though it is important for us, the organizers, to provide a strong foundation, beginning with the first JMB so that future Biennales will proceed smoothly. The independence of the jury is vital so that the decision making process is fully accountable. An additional concern from the point of view of the organizers is the need to foster relationships with as many artists as possible so that future Biennales will attract more participants and supporters, while at the same time never allowing the professionalism and independence of the jury to be compromised. It is necessary to mention this matter in relation to the questions and objections which were directed to the organizers by artists whose work was not selected for inclusion in JMB 2014. It is our hope that following the first JMB a strong, professional biennale tradition will develop which will be competitive with miniprint biennales in other parts of the world.  

The JMB 2014 logo was designed by Fakri Syahrani, a young artist working in Yogyakarta. The logo was chosen from 20 designs submitted in a competition to determine the best logo for the Biennale. Trophies for the three prizewinners were designed by another young Yogyakarta artist, Yoel Fenin Lambert. We hope that in future their design skills will be utilized by other curators and artists. A number of supporters and art lovers contributed to the prizes for the three best works submitted to JMB 2014 including Studio Biru, Ronald Manullang, Agung Kurniawan and Yustina Neni, and Tom Tandio. We are grateful for their support. 

We hope that our efforts will be useful to printmakers, artists working in other mediums, art lovers, and the general public. There were a number of constraints in preparing JMB 2014 which we consider as lessons learnt and which will encourage us to better prepare for the next Biennale. Finally, TERAS Print Studio would like to express its best wishes to the committee and the artists. We would like to express our thanks to our partners, Heri Permad Art Management and Tirana Art Management, Museum Bank Indonesia and Mein Gallery, members of the jury, our advisors, donors, sponsors, advertisers, supporters, and finally to the artists, both those whose work was selected for JMB 2014 and to those whom we hope will submit their work for the next Jogja  Miniprint Biennale. It through the help of everyone that JMB 2014 has been successfully organized.      

Warm regards and a warm welcome to JMB 2014 to our guests from Indonesia and abroad. 

TERAS Print Studio

 

Miniprint Biennale: Potensi Maksi Di Balik Format Mini

Oleh Suwarno Wisetrotomo

Ide penyelenggaraan peristiwa seni rupa Miniprint Biennale (MB), pantas disambut dengan banyak cara, sesuai kapasitas masing-masing penerima. Yang bergerak di dunia praktek seni, peristiwa MB adalah tantangan yang seksi; berkarya dengan prinsip cetak (print; seni grafis, lipat ganda, dengan varian teknik yang beragam) berukuran mini, namun tetap kuat daya pikat dan daya ganggunya. Tantangan dan peluang untuk mengkreasi karya yang unik, terbatas, artistik, dan menarik, terbuka lebar. Prinsipnya, ukuran/format boleh mini, tetapi gagasan-gagasan di baliknya, pesan-pesan yang ingin disuarakannya, tetap harus (dan boleh) maksi.

Bagi mereka yang tertarik di wilayah pemikiran (pembacaan, pemaknaan) karya seni rupa, peristiwa MB juga sebuah tantangan yang menggairahkan. Melalui peristiwa MB ini dapat memburu, menyelidik, juga menagih, adanya kemungkinan-kemungkinan yang tak terduga di balik penggunaan istilah ‘miniprint’. Karena pada dasarnya teknik cetak (print; atauprintmaking; seni grafis) ‘menyembunyikan’ sejumlah kemungkinan potensi artistik. Dari teknik konvensional; cetak tinggi(wood cut, hardboard cut, lino cut); cetak dalam (etsa, aquatint, drypoint, sugartint); cetak datar  (lithography dan monotype); dan cetak saring (silkscreen, atau serigraphy) dengan segenap variannya, masih dapat dikembangkan menjadi beragam teknik, dan bahkan sebutan. Sejumlah teknik itu sangat mungkin dipadukan (mix), bahkan bisa dicobakan pada berbagai medium. Berkarya dengan medium dan teknik print, adalah berkarya sembari berkawan dengan ketegangan dan ketakterdugaan. Karena itu unsur kejutannya (surprise) demikian tinggi.  Sang perupa hanya bisa mengukur dan mengira (kedalaman cukilan, torehan, pengasaman, kelembaban kertas, ketebalan tinta, kekuatan rekatan, dan lain-lainnya) dengan menganggap  – atas dasar pengalaman empiris – semuanya seolah tepat. Selebihnya, ia sang seniman hanya bisa menduga dan mengharap; semoga hasil cetaknya seperti yang dibayangkan.

Itulah dunia seni cetak; perpaduan antara ketrampilan teknik, kecerdasan gagasan, imajinasi konstruksi bentuk dan komposisi, serta tegangan/ketegangan emosi yang diliputi ketakterdugaan. “Ketepatan” atas dasar dugaan dan (sekali lagi) pengalaman empiris, menjadi faktor penentu keberhasilan karya cetak yang diharapkan.

Miniprint sebagai konsep, justru harus bisa membuka sejumlah kemungkinan dalam aspek eksplorasi gagasan, eksplorasi material, teknik, dan presentasi. Keliaran gagasan dan hasrat, harus terakomodasi dalam keterbatasan format. Saya membayangkan, melalui peristiwa Miniprint Biennale ini, muncul perupa-perupa ‘baru’ dengan gairah baru, yang mendalami sekaligus mengembangkan dunia print, dunia seni cetak; dari yang miniprint hingga yang maxiprint. Maksimal gagasannya, maksimal mediumnya, maksimal formatnya, dan maksimal presentasinya.

Dari aspek teknis, peristiwa Miniprint Biennale ini berpotensi menjangkau seluas-luasnya wilayah dan sebanyak-banyaknya seniman. Bahkan bisa diselenggarakan serentak di mana-mana. Merayakan seni rupa secara egaliter, terjangkau, ringkas, tanpa kehilangan nilai penting atau kewibawaan dunia gagasan. Memiliki watak edukasi dan apresiasi seni rupa yang tinggi bagi masyarakat luas. Saya menyambut dengan sukacita dan penuh harap pada peristiwa Miniprint Biennale ini.

(Suwarno Wisetrotomo / Kritikus Seni Rupa / Dosen di Fakultas Seni Rupa dan Pascasarjana ISI Yogyakarta).

 

Jogja Miniprint Biennale: Mini Format, Maximum Potential

By Suwarno Wisetrotomo

The idea of holding an art event like the Miniprint Biennale (MB) can be welcomed in many different ways, according to the capacity of the various audiences. For those who are active in the world of art practice this is an interesting challenge: to produce work based on the principles of printing and employing various graphic art techniques in a mini format but with a persuasive ability to entice and stimulate the viewers. The challenges and opportunities to create unique, artistic, and interesting works are wide open. In principle, although the format may be small, the ideas behind the works and the meaning the artist wishes to convey are big.

For those who are interested in this area of activity, MB  is a stimulating challenge. Through the Biennale one can look for there are unexpected and unexplored possibilities behind the term ‘miniprint’ because in fact printing techniques ‘hide’ a number of artistic possibilities: from conventional relief print techniques (wood cut, hardboard cut, lino cut) to intaglio (etching, aquatint, drypoint, sugartint), planograph (lithography, monotype) and screen printing ( silkscreen or serigraphy). All are variations which can be still further developed and combined in a number of techniques. New techniques could also be developed or even a number of these techniques could very possibly be combined and applied to different media. Creating works in a particular medium with specific printmaking techniques can create a unique new mixture combining ‘surprises’ and the unexpected. Thus the ‘surprise’ factor is important. The artist can only measure and approximate (e.g., depth of the carving, the incision on the surface of the plate, acidity and moisture content of the paper, viscosity of the ink, and strength of the adhesive material by reflecting empirically on his/her own experience – all are equally valid. More than that, the artist can only guess and hope that the results are like what he/she imagined.            

Such is the world of printmaking; a combination of technical skills, cleverness, ideas, imagination, constructions, compositions of form, as well as tension and feelings – all encompassing the unexpected. Precision founded on guesswork and once again, empirical experience; the factor which determines the results that the artist is hoping for in the printed work.       

Miniprints as a concept must open a number of possibilities from the aspect of exploring ideas, materials, techniques, and presentation. Wild ideas and intentions must be accommodated within the limitations of the given format. I can imagine that through MB  new artists with new passions, who delve deeply into as well create new developments in the world of printmaking, will emerge. From miniprints to ‘maxiprints’: maximal ideas, maximal media, maximal formats, and maximal presentations.       

From a practical, logistical point of view, MB  has the potential to reach a wide area and a great many artists. In fact, the event could be presented simultaneously in several different venues.  It is an egalitarian celebration; affordable, succinct and all without losing sight of important values or the world of ideas in the frame of education and art appreciation in the broader society Thus I have great expectations for the Miniprint Biennale.

(Suwarno Wisetrotomo Art Critic and Lecturer in the Department of Fine Art and Post-Graduate Program, Indonesian Institute of Art, Jogjakarta.)

IVAA Conversations @Bazaar Art 2014


IVAA Conversations @Bazaar Art 2014

Speakers:
June Yap (Independent Curator, Singapore)
Dr. Thomas J. Berghuis (Curator for Guggenheim Museum, NY)
Hammad Nasar (Head of Research Dept., Asia Art Archive, HK)

In conversation with Farah Wardani and Enin Supriyanto
@ Bazaar Art Jakarta 2014
Ritz Carlton Ballroom, Pacific Place, Jakarta
SATURDAY, JULY 19, 2014 | 2.00 PM — 5.30 PM

 

This year Indonesian Visual Art Archive (IVAA) is collaborating with Jakarta Arts Consultancy in hosting an educational program during the week of Bazaar Art Jakarta. This session will be held in conjunction with the 2014 edition of Bazaar Art Jakarta, on Saturday, July 19th, 2014, at the Ritz Carlton, Pacific Place, Jakarta. We are expecting a crowd containing some of the most prominent local and regional collectors, artists, gallerists and curators who are eager to get critical insights and information about the future of Southeast Asian contemporary art in the current globalized contemporary art scenes.

The IVAA Conversations @Bazaar Art 2014 will focus on sharing information and thoughts on the issue of Indonesian contemporary art exposures and engagement with the regional and international development. To cover this issue, we have invited three prominent experts in this area of interes. They are: Ms. June Yap, the curator of the 2012 Curator of Guggenheim UBS MAP Global Art Initiative, Dr. Thomas J. Berghuis, the Robert H. N. Ho Family Foundation Curator of Chinese Art at the Guggenheim Museum, New York and Dr. Hammad Nasar, Head of Research Department, Asia Art Archive, Hong Kong. They will join a set of talks in a one-day program with Farah Wardani from Indonesian Visual Art Archive and Enin Supriyanto, curator of Bazaar Art Jakarta 2014.

Allow us take this opportunity to extend a cordial invitation to you, and we are looking forward to welcoming you in Jakarta to join our conversations.

For registration, please email Pitra Hutomo pitra@ivaa-online.org

Program Agenda: SATURDAY, JULY 19, 2014 | 2.00 PM — 5.30 PM

 

Speakers’ Notes

June Yap
(Un)Mapping Indonesia

While the energies of the contemporary focus on the ever-new and unexpected in artistic practice and form, a wealth of possibilities lie in the combinations of the historical and the present, expressed both in artworks, and the discursive narratives of these artworks. The subject of concern in the exhibition ‘No Country: Contemporary Art for South and Southeast Asia’ – given its rather broad assigned scope – was of representation, responding to the specificities of regionalism and globality in the project of mapping as well as its assumptions. That is, to reflect upon the idea that art can, does, and should provide for (or perhaps should instead resist) the reduction of the culture, conditions and concerns of a peoples that is defined and validated by the idea of the nation state.

The fact is that most nation states in South and Southeast Asia, as we understand them today, have been constituted within the past century, and thus these delineations are neither inevitable, nor indefinite. Rather communities are increasingly faced with the problems of immigration, fundamentalism and secession. Yet, this geopolitical shorthand of nation, defined with territory as the “crucial diacritic” (Arjun Appadurai’s term) of sovereignty, that is lingua franca of global politics and economics, is often reinforced in cultural production and discourse. It is perhaps an unsurprising state of affairs, as culture too is entangled with politics, economics and global flows. The philosophical question that was posed through curation was whether culture could exceed such definition: of whether art could escape from the confines of its classifications and interpretations, and whether the exhibition could subvert itself. Given its regional survey, within the exhibition the nation still is held as marker, or sign, but where its assumption of distinction is instead challenged. The project explored two trajectories of narratives of style, form and history in Indonesian contemporary art.

Nevertheless, this is certainly but one way to develop an exhibition as a discursive platform. With the expansion and diversity of art practices in Indonesia today, singular narratives appear disingenuous, and it is the possibilities of other discursive trajectories that makes contemporary practice not merely exciting to contemplate, but critical to contemporary life. Taking this as a point of departure, of interest then is a reflection on the choices that can be made in representing, constituting, reading, interpreting and complicating, the national – and in this case, the Indonesian – imaginary via art. — Jun Yap.

 

Dr. Thomas J. Berghuis
Contemporary Art – The Role of Commissioning

The time is here again to raise the question of “what is contemporary art?” What do we make of it, as artists, curators, art critics, critical thinkers, art historians, gallerists, collectors and the general public? Looking at the recent attention for contemporary art, the answer could be simple: contemporary art is what makes draws the attention of the contemporary art world. There seems to be a cycle in the attention for contemporary art. Contemporary art is what drives our attention in the contemporary. Yet, do we actually have a sense of what contemporary art is? What does it do? When is it contemporary? Most important is the role of the artist and through the role of the artist to emphasize the role of commissioning artists to produce new works of art.

Most of the discussions on contemporary art take place at the level of production, distribution, and collecting. Instead, the time seems right again to speak about commissions, and through commissions to speak about the role of philanthropy. Literally, philanthropy means “the love of humanity” – a sense of caring, nourishing and enhancing “what it means to be human.” Commissioning artists and their artworks means working out their dreams, ambitions, and desires to relate their work to the dreams, ambitions and desires of contemporary culture and society. As such, commissioning artists shares the role of philanthropy in enhancing the contact between art and humanity.

In 2013, I curated an exhibition titled Suspended Histories, raising the question of whether contemporary artist and contemporary art could rejuvenate histories and generate new histories at a time when history lies suspended; on hold. The idea of the exhibition was to commission new works by artists from across the Asia-Pacific in the context of the Museum Van Loon in Amsterdam, the history of which goes back to the founding of the VOC (The Dutch East Indies Company) – one of the first global investment companies, with an invested interest in taking the resources of the East for its demand and consumption in the West (i.e. Europe).

Located in the history of the VOC (The Dutch East Indies Company), the exhibition had a strong focus on Indonesia, and on the Dutch in Indonesia. However, rather than considering colonial and post-colonial history the exhibition considered the time when both these histories lie suspended (i.e. on hold; stationary; and “hanging in the air”). The idea behind Suspended Histories was to ask contemporary artists to reactivate history, to regenerate multiple histories, and to respond to the “suspense” (i.e. uncertainty and anticipation) and the “suspension” (i.e. postponement and deferral) of history, including colonial and post-colonial history.

Artists came from across the Asia-Pacific, including from Indonesia. But what is important is that they all came with new ways of activating new, multiple histories, most of which were linked to the past, but were also clearly located in the present. Instead of regenerating colonial or post-colonial histories, the artists all based their works to the present relationships that the artists themselves have with the past; including how the past lives on into the present. Through commissioning artists to work on their own reflections of history, and their creating new histories, the art that was created becomes contemporary art.

Contemporary art is that which is created in the time and space of the contemporary. Contemporary art cannot be produced; it can only be created. Its presence in time is essential, and therefore it can only be made in the context of real time and in the context of the actual space of contemporary time. Performance art maybe the most contemporary art form, since it is created in real time and in the real space of time, never mediated by any other but the contemporary artists and his/her contemporary audience. Yet, contemporary art can also produce other works beside performance art, such as in the case of commissioning new works of art. Commissioning new works of art becomes the leitmotiv of contemporary art

In my position as The Robert H. N. Ho Family Foundation Curator of Chinese Art, the emphasis is on commissioning new works by contemporary Chinese artists for exhibition and collection in the Guggenheim Museum in New York in order to enhance the discourse of contemporary art from Greater China in a global, contemporary art environment. The same could be the case for Indonesian art or contemporary art from Asia, where the Guggenheim Museum has a strong legacy to build on its engagement with contemporary art with this important region.

Through the Asian Art Initiative, and the UBS Map Global Art Initiative, the Guggenheim Museum engages with artists and art from Asia (and Southeast Asia) in a significant way. It has certainly worked hard to consider the important emphasis needed on recognizing the important contributions that artists from Asia and across the world have made to the field of modern and contemporary art by not just focusing on artists from Europe and the United States, but having an important Asian Art Initiative, already since 2006.

With The Robert H. N. Ho Family Foundation Chinese Art Initiative the important focus is on commissioning new works by contemporary artists from Greater China in order to expand the discourse of contemporary Chinese art. The initiative drives on its important location in Asia – with the Foundation in Hong Kong, and in close proximity to China, Taiwan, Macao, and Chinese artists living overseas. At the same time the initiative thrives on bringing that experience of China and Chinese art in close contact to the Guggenheim Museum in New York, with its Asian Art Initiative and Global Art Initiative, as well as with the Guggenheim Museums in Bilbao and soon Abu Dhabi, generating platforms for transnational and international exchanges.

When raising the question of “what is contemporary art” one can think of the many platforms that have been built to find the answers. But none are as important as to actually establishing new initiatives for commissioning artist, curators and institutions to work on making contemporary art. The future of contemporary Indonesian art could also focus on developing new incentives for commissioning artists and new works of art, both in Asia and in the context of the Guggenheim Museum in New York.

In 2006 the Guggenheim launched its Asian Art Initiative, with the goal to fully integrate the history of Modern and contemporary Asian art into its exhibition programming and collecting activities. The UBS MAP Global Art Initiative, launched in 2012, and The Robert H. N. Ho Family Foundation Chinese Art Initiative, launched in 2013, are further attempts to strengthen the presence of international art in the Guggenheim’s programs. Through these various endeavors and initiatives, curatorial thinking has evolved to include a nuanced understanding of global or transnational currents in Modern and contemporary art that informs our approach to both an expanded view of abstraction and an effort to stay current as a museum of the present. For the New York collection, this critical investigation of transnationalism (with a particular focus on Asian, Middle Eastern, and Latin American art, in addition to European and American) reflects a change in cultural consciousness, one that understands the world today from multiple perspectives. Rather than regional specificity, the focus of the Guggenheim is on points of formal, conceptual and historic intersection and parallel positions. — Dr. Thomas J. Berghuis.

 

Hammad Nasar
The Archive as a Verb

We are in the midst of an art boom in Asia. Museums are being built. Collections are being assembled. Art fairs are being launched, developed and acquired. Gallery branches are being opened. But this boom is happening in an environment where the knowledge infrastructure around art is at best nascent and undernourished, at worst non-existent. Where significant academies producing significant scholarship are thin on the ground. Where museums with deep and canon-making collections, and substantial research efforts are sparse.
At Asia Art Archive  we often describe ourselves as a node within a network seeking to collectively address this lack. The significance of the network is in its ability to support circulation. For without such circulation, new narratives are not born and do not accumulate to achieve what Foucault memorably called the ‘density of discursive practices.’ What the network also allows is the sharing of independently generated content (between different archives), and the co-creation of content (between individuals and institutions of all shapes and sizes). For a recent project digitising the archives of an artist-run space in Vietnam, we worked with a project researcher in Ho Chi Minh City supervised by an academic in Chicago. While a video archive of performance art over the last twenty years in Malaysia and Singapore is being annotated and enriched by a PhD candidate in Hong Kong – under the supervision of the archive donor himself, an American academic now based in Finland.
It is an internet-enabled platform that makes such collaborations possible. And it is only through such collaborations and long-range exchanges between regions and geographies that we can combat the lacks we face around knowledge infrastructure all across Asia. To anchor this “boom” in history, as well as in economics.—Hammad Nasar

Seni Rupa Indonesia pada Masa Pendudukan Jepang

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Oleh: Antariksa

Sejak awal 2013 Antariksa tengah melakukan penelitian tentang seni rupa Indonesia pada masa Perang Dunia II, berdasarkan arsip dan koleksi seni di Jepang, Belanda, dan beberapa negara lain. Penelitian ini mencari tahu tentang seni rupa Indonesia (mencakup: senimannya, karyanya, pamerannya, dan politiknya) dalam konteks politik perang Jepang di Asia, serta bagaimana kehidupan dan politik seni rupa di Jepang ikut mempengaruhi dan membentuk dunia seni di luar Jepang, tak terkecuali di Indonesia.
Di dalam penelitian ini Antariksa juga meneliti seniman-seniman Jepang, khususnya seniman-seniman yang pernah dikirim/bekerja di Indonesia pada periode itu, baik sebagai “seniman perang”, maupun sebagai “seniman profesional”, dan hubungan mereka dengan seniman dan dunia seni Indonesia. Demikian juga mengenai sejarah dan politik seni di Jepang, terutama dalam konteks “nasionalisme baru” dan populernya yōga (seni gaya Barat) di Jepang mulai awal abad ke-20, yang merupakan periode krusial pembentuk politik dan kebijakan seni di Jepang pada masa perang. Dalam presentasinya ini, Antariksa akan memaparkan proses dan temuan dalam kerja penelitiannya sejauh ini.

Foto Kartono Yudokusumo.
Sumber: Djawa Baroe, 1 Mei 1943.

 

Peluncuran Buku Foto Indonesian Press Photo Service (IPPHOS): reMASTERed Edition

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Pembicara:
Bambang Purwanto (sejarawan)
Realisa Darathea Masardi (peneliti)
Yudhi Soerjoatmodjo (penulis buku IPPHOS: reMASTERed Edition)

Moderator: Umi Lestari (penulis)

Ini foto-foto tentang menjadi Indonesia dan manusia Indonesia. Bukan cuma pejuang Indonesia yang berikat kepala merah-putih, yang mengepalkan tinju ke langit, yang ingin mengatakan “ini dadaku, mana dadamu!”, dan yang maju merangsek melawan tank musuh hanya bersenjatakan bambu runcing. Tapi juga manusia Indonesia sebagaimana yang mungkin dibayangkan oleh para pendiri dan juru foto IPPHOS ketika mereka memotretnya dari sudut pandang sebuah kantor berita pro-Republik yang independen: manusia Indonesia yang cerdas, toleran, dan moderen yang berjuang di sisi kemerdekaan dan keadilan namun juga di sisi kemanusiaan dan kebenaran.
-Yudhi Soerjoatmodjo

Acara ini adalah kerjasama antara IVAA dan Galeri Foto Jurnalistik Antara, dalam rangkaian Pameran Fotografi & Peluncuran Buku Foto “Indonesian Press Photo Service (IPPHOS): reMASTERed Edition” di Bentara Budaya Yogyakarta, Jl. Suroto 2, Kotabaru, Yogyakarta. Pameran berlangsung 1-8 Maret 2014. Pameran dan Temu Wicara ini terbuka untuk umum dan gratis.

Pada hari diskusi berlangsung buku bisa dibeli dengan harga spesial yakni Rp. 280.000,- sementara pada hari lain berlaku harga umum, Rp. 400.000,-

Tautan:
fotografer.net | jogja.tribunnews.com | antarafoto.com | majalah.tempo.co |thejakartaglobe.com | radarnusantara.com | exposure-magz.com

 

Matrix City

unnamed-6A lecture by Arjon Dunnewind in English

Moderator: Maria Adriani

MATRIX CITY 
Cities and Urban Cultures are permanent sources of inspiration for artists and scientists, as well as for utopists and defeatists. The city pre-eminently is an expression of ideals in which ideas about functionality and beauty, equality and happiness are given shape and architecture and (infra)structure meet with imagination, desire and resistance. Developments in society and cultural trends usually originate from a metropolitan environment where people meet, inspire and provoke each other and where the dynamics and technical facilities required to develop these ideas are present and available. New media change the notion of public space. Public space is merging with virtual space where one influences and enhances the other: Augmented Reality, The Internet of Things, Ubiquitous Computing, etc. Urban culture is becoming media culture, more and more: jogging with your mp3 player, videos on mobile phones, digital graffiti, urban screens, video walls and architecture with integrated interactive technology.

‘Matrix City’ maps out the urban landscape as platform and source for inspiration for contemporary artists. The city is viewed as a gathering place of subcultures and communities and for typical urban art-forms like street-art, grafitti and parkours. The presentation sheds some light on the more political issues as the relationship between public space and private space and on the question who is in charge over public space. Also the city is presented as an immersive audiovisual environment, as a modal structure in which virtual and real systems merge.

A variation of artists and phenomena will be discussed ranging from the Situationists and Constant to contemporary artists like Julian Oliver, Sagi Groner, Constant Dullaart, Evan Roth, Julius von Bismarck, GPSter, Gordan Savicic, Christina Kubisch, Claudia Bernett, Michelle Teran and Gabriel Menotti.

Arjon Dunnewind (born in Ommen, The Netherlands, 1967) studied at the Utrecht School of Arts. In 1988 he was co-organizer of the first Impakt Festival and in 1993 he established the Impakt Foundation. In the 1990-ies he curated and organized presentations and touring programs for international artists and filmmakers, projects that would develop into the Impakt Events and become a regular part in the Impakt Foundations program. From 1994 till 1997 he produced ‘KabelKunst’ and ‘Vizir’, two TV-series about video art and experimental film.

In the early 2000’s he started Impakt Online, a project aimed at developing the internet as a platform for the presentation of interactive art projects and streaming video. In 2005 he started a residency programme called Impakt Works where international artists working with video, digital media and new technologies are supported and facilitated to make new work.

Dunnewind has curated exhibitions and screening programmes for e.g. Castello di Rivoli in Italy, the Museo de Bellas Artes in Buenos Aires and the NCCA in Moscow. He worked as an advisor for the Dutch Film Fund, department Research & Development, from 1996 until 2000 and for the Dutch Mediafonds & Fonds BKVB, department Innovative Music Video, from 2009 to 2012. He regularly gives guest lectures at art academies and universities and participates in juries for festivals and art-prizes.

http://impakt.nl/

Maria Adriani, born ini Purwokerto, 1982. She studied Architecture at Islamic University of Indonesia, Yogyakarta, and achieved her Master Degree in Urban Dvelopment and Design at UNSW, Sydney, Australia. Currently Maria is working as Urban Landscape Analyst for Ugahari Architecture and a Lecurer at Architecture Department, Islamic University of Indonesia, Yogyakarta. She’s also a Founder & Generator of GAWE-kampung design community Maria has done many researches on architecture and urban issue, the recent ones are “River, Water Culture, and Asian Cities Case Study: Bangkok”, Bangkok, Thailand, “Rumah Asal: Resiliency Among Globalization and Romanticism”, Bali in Golbal Asia International Conference, Bali, Indonesia, dan “Alternative to Live: The Rented Vertical Flats the Side of Code River, Yogyakarta”, ICSBE #2, Yogyakarta, Indonesia.

http://okvideofestival.org/2013/december-programs-with-impakt/
http://okvideofestival.org/2013/matrix-city
http://okvideofestival.org/2013/in-delta-flux

Artists’ Talk: Su Tomesen “Traveling Artist”

unnamed-4*Talk will be delivered in English

Su Tomesen is a Dutch visual artist based in Amsterdam and Jogjakarta. Her work consists of videos, photographs, installations and interventions. Most of her work evolves from traveling, and immersing herself in urban (sub) cultures. A recurring theme in her socially involved work is expressions of ingenuity and human resourcefulness in public space. Her previous education as a historian, and work as a director and researcher for television, is integrated in her art practice.

Su has been fortunate to see a lot of the world as artist-in-residence in Amman, Johannesburg and Medellin, and working for an international video art project in Port-au-Prince, Buenos Aires and Rio de Janeiro. Next to her work as an artist she has been teaching video workshops for Unicef and The One Minutes Foundation.

Su considers herself a type of cross-cultural ambassador when showing works she realized elsewhere in the world; for example, exposing an audience in Amsterdam to an installation from Amman, presenting her videos from Johannesburg in Yerevan, or giving an artist talk here in Jogjakarta.

Su started commuting between Amsterdam and Jogjakarta after meeting fellow artist Teguh Hartanto, now her husband and father of their daughter Lina. Experiencing life inside out in Indonesia and working with Teguh has inspired some new works and upcoming projects, currently under way. These include:

Film Jalan about ingenuity in Jogjakarta

Intervention Warung at residency in Amsterdam

Installation Rumah at metro station Amsterdam

Exhibition Exchange in Provinciehuis Maastricht

More about Su Tomesen:
videos | installations | residencies | teaching

* PICTURE:
‘Master’, Havana, Cuba 2006
At the opening of La Bienal de la Habana 2006 Su Tomesen photographed an enthusiastic Cuban dancer.