Solo Exhibition by Akiq AW
Opening: August 28, 8:00 PM
Exhibition:  August 29 -  September 18, 2010
at Ruang MES 56
Jl. Nagan Lor 17, Patehan Kraton
Yogyakarta 55133

Victor Zwiers from The Hague, the Netherlands, is a young artist currently having a residency at Ruang MES 56. The 25 years old gentleman studies Interactive Media Design at the Royal Academy of Art, The Hague.

At some stage of his 3 (April-June) months stay in Yogyakarta, Victor challenged himself in adapting to new surroundings, different way of thinking, and completely opposing weather. Obstacle after obstacle came in the way; the biggest were language barrier and time limit of the residency.

He also carried out numerous supporting activities; giving public presentation in the Department of Photography, Faculty of Recording Media of Indonesian Institute of the Arts Yogyakarta for the kick-start. Afterward, at the second-half of his residency, a workshop with Yogyakarta college students was organized and took place at Ruang MES 56. In the workshop, Victor tried to feature the idea of conceptual portrait to both photography and non-photography students, and had to deal with some incidents amid his interaction with the workshop participants; from differences of opinion, understandings, to the habit of rubber time (being late) that happened frequently during the workshop process.  The outcomes are presented as well in a setting of a small exhibition of the works and the documentation photos of the process.

Then, Victor reached the last episode of his residency; an exhibition entitled Contact Lens. Being held at the gallery of Ruang MES 56 from June 4 – 25, 2010, he lays bare various works derived from his encounters with several elements of society. As in the work “Seribu (One Thousand) MAN”, he took shots of parking guys in some places. According to Victor, it is an irony of small numbers of reality happening in occupation world, particularly in Yogyakarta. He observed the lack of care from the government towards those workers who earn one thousand rupiah from each parked vehicle. He highlights this strangeness by printing photos of the parking guys on the leaves of the one thousand rupiah they earned. Besides “Seribu (One Thousand) MAN”, he created many others such as Indonesian Traffic, Couples/Relation, Photothonic DNA, Time Curves, One-Hour Reception, My Facebook Connections, and Emptyness/Shallowness.

Lastly, please enjoy Victor Zwiers’ works of alienation.

Selama tiga bulan (April-Juni) tinggal di Yogyakarta, Victor mencoba beradaptasi dengan lingkungan baru, pola pikir baru, dan kondisi cuaca yang benar-benar berbeda dengan negara asalnya. Banyak kendala yang tak ia kuasai, tentu saja kendala terbesar adalah bahasa dan batasan waktu residensi.

Beberapa aktivitas untuk penunjang residensinya telah ia laksanakan. Awalnya ia melakukan presentasi publik di jurusan Fotografi, Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta. Kemudian di paruh kedua selama residensi ini, ia mengadakan lokakarya dengan mahasiswa di Yogyakarta. Lokakarya tersebut dilaksanakan di Ruang MES 56. Dalam lokakarya itu Victor mencoba mengetengahkan gagasan konseptual potret ke beberapa mahasiswa fotografi dan non fotografi. Banyak hal yang ia alami selama berinteraksi dengan peserta lokakarya. Mulai dari beda cara berfikir, pemahaman, dan budaya jam karet yang kerap terjadi pada saat pelaksanaan proses lokakarya. Hasil dari lokakarya ini juga di presentasikan dengan setingan pameran kecil hasil-hasil karya dan foto dokumentasi prosesnya.

Tibalah Victor di bagian cerita akhir dari residensinya dalam pameran bertajuk Contact Lens. Pameran ini diselenggarakan di galeri Ruang MES 56. Mulai tanggal 4 hingga 25 juni 2010, Victor mencoba menyajikan beberapa karya hasil dari persinggungannya dengan elemen masyarakat. Seperti pada karya Seribu MAN, dimana ia memotret pekerja parkir di beberapa tempat. Bagi Victor ini adalah ironi dari sebagian kecil realita yang terjadi di dunia pekerjaan khususnya di Yogyakarta. Ia melihat pemerintah kota kurang menyentuh pekerja-pekerja parkir berpenghasilan seribu perkendaraan ini. Keanehan itu ia tunjukan dengan cara mencetak foto pekerja parkir di lembaran uang seribu hasil dari jasa parkir yang mereka terima. Selain Seribu MAN masih banyak karya-karya yang ia buat seperti Indonesian Traffic, Cauples/Relation, Photothonic DNA, Time Curves, One-Hour Reception, My Facebook Connections,  dan Emptyness/Shallowness.

Akhirnya, selamat menikmati karya-karya keterasingan dari Victor Zwiers.

Kontak:

hello@victoralex.com

http://www.victoralex.com/

Victor Zwiers and his autonomous alter ego Alex work as independent visual artists. Born in Leidschendam, The Netherlands on February 25th 1985 they soon developed their passion for visual expression and creativity. Victor is a graphics designer by hart that loves to create moods and experiments. He does a lot of freelance work as a graphics designer and as a workshop coach for the NPO Digital Playground. Alex is the more autonomous side of Victor that loves to experiment on a more abstract level of consciousness and social behaviour. Alex work is recently shown in a group exhibition called Staged (NL) and his performances were shown at the Craftivisme Art project in Bristol (UK). Victor and Alex work varies from sculpting to painting, from performance art to graphic design. Creating diversity in their work helps liberate them in both mediums as thought. Creating and defining moods is the main focus and red thread through their work. Visualising the beauty of something so defining but so intangible is their everlasting quest.

Victor and Alex are also currently enrolled in the department of Interactive/Media/Design at The Royal Academy of Art in The Hague. Interactive Media Design is still a young department, launched to train students to become designers or artist of interactive concepts and processes. Processes between people and processes between people and art. Ideas are the main product, which will be captured into a concept and translated into meta-medial, multi-medial or cross-medial artworks or products. Students learn to detect cultural, social, technological and economic trends in society and transfer them into new, promising concept.
The intent of this residency is to create the opportunity to combine personal as well as artistic development into one project. Because their family originated from Yogyakarta, (Tugu Kulon Nr. 33, across the street from pasar Krangan) this made it a logical place for them to reside and explore their heritage. The fact that Yogyakarta is becoming the epicentre of the Indonesian art scene and this vibrant art-scene is full of opportunities and artists will only stimulate their artistic development even further. Working with the talented artists of Ruang MES56 will stimulate their own “exploratory approach to contemporary art, conceptually and contextually. Too quote Heinrich Heine, great poet and writer “Great genius takes shape by contact with another great genius, but, less by assimilation than by fiction ”
Their plan here in Yogjakarta is to create lots of experiments focused on exploring the cultural, social, technological and economical differences in the Indonesian society in relation to that of the Dutch society. During their process of creating work they will focus on the concept of the artwork in context to its aesthetic value. With their work they will try to explore the artworks aesthetics and context in relation to art and commerce. The general focus is too discus actual cultural, social, technological and economical topics that characterize the contemporary society of Indonesia. Their residency will result in the presentation of their experiments and artworks at the end of may 2010.

VICTORALEX

Visit his blog about his activities during in Jogja here
also check out his official website at www.victoralex.com

Dr Knowgood’s World Premiere Lion’s Pride
an animation made in Yogyakarta
Plus:
5 short animations from the same maker and Making of ‘Lion’s Pride’

Selasa, 23 Maret 2010
19:00 – 22:00

Tempat:
Ruang MES 56
Jl. Nagan Lor 17
Yogyakarta, Indonesia

Legal Artist Series #2 Presents

Ping Pong Education System
Solo exhibition by Anang Saptoto
Dec. 28th 2009 – Jan. 11th , 2010
Venue: Ruang MES 56 | Jl. Nagan Lor No. 17 Yogyakarta 55131
Opening by Agung Kurniawan

Ada Instalasi separuh meja ping pong dengan seorang pemainnya menghadap tembok yang disorot animasi foto melalui proyektor ditambah instalasi 20 buku yang mengecil berisi foto-foto Menteri Pendidikan dari era Sukarno sampai kabinet Indonesia Bersatu. Buku tersebut menjadi lebih penting karena tertulis statemen misi-misi pendidikan pada setiap jabatan yang diemban mereka, seperti ini isinya:

Potret Prof. Dr. Ir. Sumantri Brodjonegoro (Semarang, 3 Juni 1926 – 18 Desember 1973)
Menteri P dan K dari Kabinet Pembangunan II, Periode: 28 Maret 1973 – 18 Desember 1973
Misi: Memberikan kebebasan membayar SPP untuk anak-anak pejuang dan panti asuhan.

Potret Prof. Dr. Fuad Hassan (Semarang, 29 Juni 1929)
Menteri P dan K dari Kabinet Pembangunan IV, Periode: 28 Maret 1973 – 18 Desember 1973
Misi: Melakukan penyempurnaan Pedoman Umum Ejaan Bahasa Indonesia yang Disempurnakan, dan pelaksanaan Program Belajar Paket B.

Anang Saptoto tidak setuju dengan hasil kerja sistem pendidikan di Indonesia secara keseluruhan, banyak alasan yang tersusun jadi satu tema serius yang perlu kita setujui pencapaiannya. Dia menemukan pola ‘asik sendiri’ untuk memahami mekanis mesin pendidikan kita yang memang sudah tampak usang permasalahannya. Secara keseluruhan kemasan artistiknya memberi sebuah inspirasi bagaimana membangun simbol-simbol baru dengan latar belakang sejarah pendidikan kita dengan menggunakan media fotografi, video dan instalasi.

Ping Pong Education System diharap akan menjadi sebuah gerakan konsep personal atau kelompok yang bisa dilakukan oleh siapa saja untuk bisa membahas pertumbuhan pendidikan di Indonesia melalui media seni apapun secara terus menerus tanpa batas.

Biografi Anang Saptoto
Anang Saptoto adalah salah satu penggerak Ruang MES 56, bergabung sejak tahun 2003 sampai sekarang. Selain itu dia juga aktif di Green Map Jogja dari tahun 2003-2009. Green Map Jogja adalah sebuah organisasi jaringan yang memetakan potensi alam dan budaya suatu kawasan. Pada tahun 2009 ini dia baru saja mendapat anugerah Duta Lingkungan Hidup dari Pusat Pengelolaan Lingkungan Hidup Regional Jawa, Kementerian Negara Lingkungan Hidup.

Pada awal 2009, Anang Saptoto sempat menyelenggarakan pameran tunggal yang pertama dengan tajuk Awas! Lahan Resapan. Ia juga aktif terlibat dalam proyek-proyek penelitian dan pameran mengenai lingkungan hidup, hak-hak anak, dan kebudayaan. Selain aktif sebagai seniman, ia juga kerap bekerja sebagai konsultan fotografi, video, dan desainer grafis dibeberapa organisasi dan lembaga nasional maupun internasional.

Legal Artist Series adalah salah satu program tetap akhir tahun Ruang MES 56 sejak 2006. Program ini khusus ditawarkan bagi seniman muda yang konsisten dengan daya tarik penemuan konsep terbarunya untuk dipresentasikan kepada publik.

Blog Anang Saptoto

Solo Exhibition
Mie Cornoedus

Opening: November 23rd, 2009
Exhibition ends: December 10th, 2009
Ruang MES 56
Jl. Nagan Lor No.17
Yogyakarta, Indonesia 55131

Dalam rangka Bulan Fotografi 2009
Pameran ini terselenggara atas kerjasama LIP Jogja dan Ruang MES 56

Potret ‘Ibu-Ibu’ Dari Lensa Mie
Ketika Mie menghubungi saya beberapa bulan lalu untuk menjadi salah satu subjeknya dalam project ini,  saya jadi teringat sebuah film yang waktu itu belum lama saya tonton, judulnya ‘Calendar Girls’. Film Inggris tahun 2005 yang dibintangi aktris kawakan Helen Mirren, tentang sekelompok ibu-ibu manula yang membuat kalender serial foto bugil mereka sendiri untuk amal. Saya jadi langsung mengerti rasanya ketika adegan para ibu-ibu tersebut melakukan sesi foto dengan melepas baju sambil cekikikan.

Memang agak lucu rasanya ketika difoto dengan harus memakai kemben agar bahu kelihatan dan memikirkan pose apa yang cocok untuk mewakili diri sendiri, yang kemudian ‘diutak-atik’ lagi oleh Mie. Beberapa bulan kemudian, Mie sudah menyimpan satu koleksi foto sekitar 25 perempuan dengan bahu telanjang dengan gayanya masing-masing. Kinky sekali!

25 perempuan yang difoto oleh Mie memang tidak semuanya manula seperti dalam film ‘Calendar Girls’, tapi juga bukan foto model atau selebriti yang biasa berpose untuk majalah atau publisitas. Semuanya – menurut kriteria Mie, adalah perempuan-perempuan yang memiliki posisi tersendiri dalam dunia seni dan budaya di Jogja, baik posisi dalam arti jabatan atau dalam artian memiliki wewenang sebagai pengambil keputusan dalam kerjanya.

Mie bilang bahwa projectnya ini dilakukan sesuai pengamatannya bertahun-tahun melihat fenomena di lingkungan sekitarnya di Yogyakarta, bagaimana infrastruktur dunia seni dan budaya di Jogja selama ini yang selalu didominasi oleh para laki-laki di barisan depan sebagai pelaku atau si aktor utama, dengan dukungan di belakangnya di berbagai wilayah, mulai dari manajerial, akademis mau pun operasional, yang entah kebetulan atau tidak hampir semua di wilayah itu yang memegang posisinya adalah perempuan.

Analoginya ibarat sebuah keluarga besar yang dengan para perempuan yang memegang peran ‘Ibu’ di dalamnya. ‘Ibu’ dalam berbagai artian, bisa Ibu yang menaungi dan mengemong, Ibu yang mengatur segalanya, Ibu yang cerewet, Ibu yang merapikan segala hal yang berantakan, dan lain-lain. Secara kaum perempuan kebanyakan sudah memiliki naluri ‘Ibu’ ini (entah apakah memang sudah menjadi ibu dalam arti memiliki anak atau tidak), maka pengambilan peran ini pun biasanya sudah terjadi dan dijalankan secara natural.

Mungkin yang paling berat adalah ketika peran Ibu ini digabungkan juga dengan peran Inisiator, sang penggagas. Konstruksi sosial di negeri ini terbiasa melihat ‘Sang Ibu’ sebagai posisi support atau pendukung itu tadi, bukan si penggagas atau pencetus ide/pemikiran yang masih diakui sebagai wilayah ‘Sang Ayah’ atau kaum laki-laki. Laki-laki selama ini juga mencari pengakuan dari Laki-Laki lain. Dan Perempuan selama ini juga kebanyakan terseret dalam tendensi maskulin tersebut, mencari pengakuan dari Laki-Laki, menurut kriteria atau mata para Laki-Laki.

Persoalan pengakuan akan keberadaan dan peran para perempuan di wilayah penggagas, pelaku dan pengambilan keputusan ini yang hadir di balik koleksi potret Mie ini. 25 perempuan yang dipotret Mie ini dianggapnya sebagai para perempuan yang selama ini tidak hanya memegang posisi pendukung, tapi juga sebagai inisiator gagasan dan kemudian merealisasikan gagasan tersebut. Karya Mie adalah sebuah contoh dimana perempuan mengakui atau memvalidasi keberadaan perempuan lainnya melalui karya, dengan cara yang menyenangkan ala perempuan di pesta piyama: dengan cekikikan, genit, galak dan apa adanya.

Yang pasti saya senang difoto oleh Mie. It was fun. Kapan kita foto-fotoan lagi, Mbak?

Farah Wardani

Pameran “DEER ANDRY”
Hari/Tanggal Pembukaan: Sabtu, 7 November 2009
Jam: 19.30 WIB
Durasi Pameran: 7-19 November 2009
Opening Act: Penampilan band Seek Six Sick, A Stone A dan Black Ribbon
Sablonase: GAS*
Tempat/Alamat: MES 56, jalan. Nagan Lor 17, Patehan Kraton, Yogyakarta, 55133
Peserta *

Andry Mochammad adalah salah satu perupa muda yang dikenal luas di berbagai komunitas seni di berbagai kota. Karya-karyanya mewakili kecenderungan praktik seni alternatif. Sosok yang dikenal santun bagi para sahabatnya ini belajar di jurusan Seni Rupa, Universitas Pendidikan Indonesia (UPI), Bandung dan pernah bekerja sebagai desainer grafis pada majalah “Ripple”, pusat kebudayaan Perancis (CCF), dan clothing line “Firebolt”.

Ia menjadikan berbagai keunikan pengalaman hidup sehari-hari yang dijumpainya sebagai inspirasi tanpa batas.  Andry menyukai  cara  kerja terlibat, cenderung spontan, dan meleburkan batas  antara potensi bahasa bunyi (sound), performans  dan rupa (visual) secara ulang-alik. Karya Andry memberi kesan kuat bahwa seni bisa dapat tumbuh dan berkembang dari apa saja, kapan saja dan oleh siapa saja.

Ditengah karier kesenimananya yang produktif Ia meninggal di usia muda (31) pada 1 Mei 2008 di rumah sakit Hasan Sadikin, Bandung. Ia mangkat saat ide-ide karyanya berikut debut karya-karyanya tengah menjadi perhatian besar publik seni. Para sahabat tidak menyangka bila ditengah produktivitas kerja seninya  ternyata Ia tengah melawan tumor ganas di perutnya.

Pameran “Deer Andry” akan menampilkan kelompok band “seek six sick” dan “Black Ribbon”, band-band dari Jogja bergenre noise yang notabene juga akan menginagurasi spirit genre noise band Andry bernama “A  Stone A” yang juga akan tampil pada pembukaan pameran. Seluruh karya yang dipamerkan berukuran 20 cm x 30  cm, 20 cm x 20 cm, 20 cm x 15 cm.  Pameran ini menampilkan ratusan karya dari berbagai kalangan perupa Bandung, Jakarta dan Yogyakarta yang menafsir simbol “rusa” (Deer), salah satu simbol personal Andry yang diniatkannya sebagai gagasan pameran tunggalnya, namun Tuhan telah memanggilnya sebelum niat pameran tunggalnya itu terlaksana. Sebab itu, pameran ini tidak lain adalah sebuah dukungan kolektif para sahabat untuk mewujudkan cita-cita pameran tunggal Andry yang belum terlaksana.

Pameran ini merupakan etape terakhir dari rangkaian acara pameran yang terselenggara dari Bandung (ruang pamer S.14) dan Jakarta (galeri Ruang Rupa). Pameran ini bukan sekadar mengenang sosok Andry, tetapi merupakan bentuk elaborasi atas spirit kesenian Andry yaitu semangat untuk tidak membatasi dalam mengolah gagasan, media dan teknik dalam penciptaan karya seni. Andry mewariskan semangat eksperimentasi yang tak terbatas, dan baginya penciptaan karya seni sesungguhnya harus terus-menerus mengalir. Sikap seperti itu yang sekiranya bisa diwartakan sebagai inspirasi bagi siapapun dalam melakoni kerja kreatif.

Hasil pendanaan kolektif dan penjualan karya peserta pameran akan digunakan untuk memproduksi buku yang berisi seluruh materi tulisan dan dokumentasi karya Andry Mochammad.

*Silahkan membawa kaos untuk mendapat sablonase gratis atas imej pameran “Deer Andry”

Siaran pers ini dipublikasikan oleh MES 56

Contact Person:
Rennie “Emonk” (08156124937), email: semanismadu@gmail.com
Ina (081903715656)
Wimo (081558505996)

“SAFARI” adalah kisah perburuan Agan Harahap dari sebuah hutan belantara maya yang tidak berbatas. Semua jenis binatang ‘dipaksa’ masuk ke ruang imajinernya dengan segala cara sebagai parodi dari rutinitasnya sehari-hari sebagai manusia.

Ruang MES 56 sekali lagi dengan bangga ingin memperkenalkan hasil digital imaging photography dengan narasi yang terbaru dari seorang anak muda yang menetap dan bekerja sebagai fotografer untuk majalah musik-TRAX Magazine di Jakarta. Selain kepiawaiannya memotret para musisi Indonesia untuk kebutuhan majalahnya. Dia selalu memanfaatkan waktu luangnya untuk ‘membuat’ karya-karya fotografi  dengan idenya sendiri tanpa tuntutan dari siapapun.

Tahun 2009 ini Agan termasuk salah satu partisipan dalam ‘New Photography from Southeast Asia’ yang diselenggarakan oleh Valentine Willie Fine Art Gallery Kuala Lumpur, Malaysia dan pada tahun 2008 karyanya pernah dipamerkan dalam pameran bertajuk ‘Indonesia Art Award’ di Galeri Nasional Jakarta.

Menurut kami dia mewakili anak muda Indonesia yang sekarang ini sangat lihai dalam menggunakan  perangkat teknologi digital untuk berekspresi dan berbuat apa saja demi kesenangan pribadi atau bahkan sebagai pekerjaan utama mereka.

Kami berharap Anda bisa hadir untuk melihat dan membaca karyanya secara langsung, kemudian memberi dukungan demi kemajuan fotografi baik secara teknis maupun konsep.

Ruang MES 56
28 Juli 2009

Cuplikan pengantar SAFARI oleh Brigitta Isabella dan Yesaya Sandang:
Foto-foto yang Agan tawarkan memang memacu pikiran  kita untuk berfantasi. Dengan teknik olah imaji (digital imaging), saya pikir kemampuan Agan yang perlu diancungi jempol bukan hanya dalam hal memanfaatkan software Photoshop saja. Melalui medium yang memang dia terbiasa dan kuasai, ia juga mampu mengolah imajinasinya dengan sangat menawan. Pikirannya bisa melanglang buana, memikirkan apa yang tidak sempat orang lain pikirkan.
[Brigitta Isabella, “SAFARI YANG MEMANIPULASI IMAJINASI”, 2009]

Apa yang dilakukan Agan dapat dijelaskan juga dengan konsep memanusiakan binatang. Memanusiakan binatang disini berbeda dengan fabel (cerita-cerita yang menempatkan binatang sebagai tokoh utamanya dan memiliki pesan-pesan moral melalui pengidentikan karakter kehewanannya dengan karakter manusia). Para binatang yang hadir dalam Safari tidak diasosiasikan dengan karakter tertentu. Mereka hadir begitu saja bersanding dengan kita dan melakukan apa yang kita lakukan. Tengok saja misalnya sosok dua kijang yang berada dalam mobil, kijang-kijang ini seakan-akan hendak bergaya sembari menjulurkan kepalanya melihat keluar jendela. Bisa jadi mereka menatap dengan cuek carut marutnya kota metropolitan.
[Yesaya Sandang, “Mari berSAFARI”, 2009]

///english///

“SAFARI” is his hunting chronicle in a limitless virtual jungle. Diverse kinds of animals are “forced” to cross the threshold of his imaginary space by any means necessary; as a parody of his daily routine as a human being.

Once again, Ruang MES 56 proudly presents the upshot of digital imaging photography in a most recent narration—of a young man who lives and makes a living as a photographer for a music magazine, TRAX, in Jakarta. In addition to his expertise in taking shots of Indonesian musicians obligated by his magazine’s requirement, he manages to use his spare time ‘creating’ photography works on his very own will.

On this year of 2009, Agan is one of the artists who were invited to participate in ‘New Photography from Southeast Asia’, which was organized by Valentine Willie Fine Art Gallery Kuala Lumpur, Malaysia. And on 2008, his works were exhibited in an exhibition entitled ‘Indonesia Art Award’ at National Gallery, Jakarta.

In our opinion, he represents Indonesian youth, who nowadays are exceptionally skilled in utilizing digital technology devices to express and do anything for fun, or even as a part of their main occupation.

We sincerely wish for your attendance, to observe and interpret his works in person, and later to considerately giving your support on behalf of photography development, technically and conceptually.

Ruang MES 56
July 28, 2009

Citation of SAFARI’s preface by Brigitta Isabella and Yesaya Sandang:
The photographs offered by Agan are indeed imposing our mind to fantasize. According to me, by applying digital imaging, it is not just Agan’s forte in operating Photoshop software that should be acclaimed.  Through the medium he is accustomed to and expertise in, he is also accomplished to captivatingly process his imagination. His mind is able to globetrot; thinking about what others have never thought about before.
[Brigitta Isabella, “SAFARI THAT MANIPULATES IMAGINATION”, 2009]

What Agan does can also be explained through the concept of humanizing animal. Being different from fable [tales that place animal as the leading character and hold moral messages through the identifying of animalistic character with human character]. The animals present in SAFARI are not associated with particular character; they are simply being there, side by side with us and do what we do. Take a shot at the two deer in the car; they look as if they wanted to pose while craning their heads out of the window. Perhaps, they heedlessly gaze at the obscenity of the metropolitan.
[Yesaya Sandang, “Let’s do SAFARI”, 2009]

Pameran ini diselenggarakan oleh Ruang MES 56
Didukung oleh SUAVE dan I&D CREATIVE

For further writings about this exhibition please visit Kantor Berita MES 56

SWAN DAY 2009 INDONESIA
“IT’S TIME TO PLAY”
Anneke Putri Purwidyantari
‘Chia’ Nurhamsiah
Curated by Angki Purbandono (Ruang MES 56)

Online Opening: March 28, 2009
Offline Exhibition: March 29 – April 28, 2009
Ruang MES 56
Jl. Nagan Lor No.17
Yogyakarta, Indonesia 55131

SWAN Day (Support Women Artist Now Day) is an international holiday celebrated annually on Saturday at the end of March; Women’s History Month. The second SWAN Day celebration is on March 28, 2009. By having the concern towards women artists, SWAN Day can give a thought-provoking contribution to those who presume, imagine, wonder what if the world was created filled with art and women’s perspectives, which then is being integrated into our life.

SWAN Day’s main objective is giving inspiration to communities all over the world in finding a new method to be familiar with and support women artists as the basic planning element in art.

IT”S TIME TO PLAY
It’s not just to having a discussion of oppression against women rights, but more to the will in creating newest information and compile short narrations on what happens to women and the environment around them. It’s Time to Play is Indonesian art product – a country consists of 150 million citizens which half of the population are women.

During the past year, Anneke Putri Purwidyantari and ‘Chia’ Nurhamsiah have gathered their research collection neatly and accurately. It is held as a part of SWAN Day, this is an excellent idea to be involved in giving inspiration to women worldwide. Why not? We will develop this idea into an online project. Every year we will open a free application for women artists in Indonesia to contribute their energy as the headline in our gallery.

During this event, Putri and Chia process their experiences using photography as the medium. Putri examined her childhood pictures when she wore her mother’s over-sized shoes. The behavior is repeated in her niece’s manners. Putri shows the pictures of adolescent girls who act ‘crazy’ to try to resemble the pretty teenage girls. A process of construction of ideas to be beautiful is taking place – possibly without realizing it – for years and is passed on from on generation to the next.

While Chia is more into finding out about the result of a process when parents – father and mother – hand down their discipline to the children, for instance when she takes picture of Hatta family who is a family of doctor. The father is a doctor, and the mother is a housewife. Both of their daughters are a dentist and a general practitioner. His son is not a doctor but he is married to a dentist, and his wife’s family is also a doctor family!
(Angki Purbandono)

Artist Statement
FAMILY PORTRAIT
by ‘Chia’ Nurhamsiah

A family is the smallest scale of society that all at once acts as the slightest governmental system in a state. And so, when we see a family, it is where a small world existing.

The identity of a family is often represented in a family photo. Frequently, we can find family photos being displayed in every house, whether it is in the living room, family room, bedroom, working room, on a shelf, etc.

Families are never free from conflicts; among parents and the children, sisters and brothers, and also wives and husbands. Started from the conflicts, I try to see, gaze at and observe the families from their profession sides.

In a family, many times the father will pass over his profession to his children, or not at all. Several factors are able to affect that, family factor, which means that the family atmosphere can influence the children’s thinking pattern, also surroundings factor which are living environment, societal environment of the children, etc. For example, in a doctor family it is possible that there is or there is not any child who follows the parents’ path.

FAKE PRETENDING OR TRULLY PRETENDING
By Anneke Putri Purwidyantari

In the beginning, I started the project because I was interested in the girl’s games which were always in the form of ‘pretending’ games. From cooking, housing, playing mom, etc, they all are pretending games. My childhood was also, inescapably, filled with these kinds of games. Until now, those games are still buzzing clearly in my mind. Ugh…I really miss that thrilling imaginary moment.

One unique thing I mostly remember is: pretending to be a grown up. Imitating Adult; that is how some psychology journals call it; performing as an adult and interpreting about what an ideal life is.

In playing, many references of what so-called ideal life are taken by little girls, from parents or adults around them, mass media, particularly television, magazine, etc. They, afterward, apply their interpretation into a game.

What I find interesting is how the little girls are undoubtedly using their parents’ stuffs to play; they just slapdash the make-up to their faces. Clothes, dress, and accessories also become their target to complete their imagination of becoming a mature women.

SHORT BIO
Nurhamsiah (Chia), born in Makassar in 1980. She graduated from Chemistry Department, Faculty of Math and Science, Gadjah Mada University Yogyakarta. Her final project/ thesis is “Silver Recovery of film-Processing Waste for Silver Plating on Iron”.

She joined in Photography Unit of Gadjah Mada University in 1999. Some of her works have been being exhibited in Yogyakarta, Bali, Makassar and Japan. Matabaca magazine also published her works in several editions. In 2003, she joined in Gadjah Mada Theatre as stage photographer. During her process in the theatre, she held her photography solo exhibition on the play of Kethoprak Lesung, Gadjah Mada University in Makassar and Yogyakarta. In 2007, she was in internship program at Cemeti Art House. Currently, she works as researcher assistant of Analysis on Environmental Impact in Makassar.

Anneke Putri Purwidyantari (Putik), born in Surabaya in 1985. She graduated from Public Realtion Department, Faculty of Social and Politic Science, Gadjah Mada University. She joined in Photography Unit of Gadjah Mada University in 2004. At the present she is active in writing, drawing, making design, making photographs and video, and also making money.

SWAN DAY 2009 INDONESIA “IT’S TIME TO PLAY”
Organized by Ruang MES 56
In partnership with UFO UGM, Crown Photo Studio, and Super Photo Studio
In association with WomenArts/The Fund for Women Artists

Main Website: www.WomenArts.org
SWAN Day Website: www.SwanDay.org
CP: Angki Purbandono
Phone: +62 817 915 1155
e-mail: angsmail@gmail.com

SWAN DAY (Support Women Artist Now Day) merupakan hari libur internasional yang akan dirayakan tiap tahun, jatuh tiap hari Sabtu di akhir bulan Maret, Women’s History Month. Hari SWAN Day kedua akan jatuh pada hari Sabtu, 28 Maret 2009. Dengan menaruh perhatian pada pekerja seniman perempuan, SWAN Day akan dapat memberikan bantuan pemikiran kepada orang-orang untuk mengira-ngira, membayangkan, berandai-andai, bagaimana jika dunia tercipta penuh dengan seni dan juga perspektif perempuan yang kemudian terintegrasikan dalam kehidupan kita. Sasaran utama SWAN Day adalah memberikan inspirasi bagi para komunitas seluruh dunia untuk menemukan cara yang baru untuk mengenal dan mendukung seniman perempuan sebagai unsur dasar perencanaan dalam kesenian.

IT’S TIME TO PLAY
Tidak melulu pada pembahasan terbelenggunya hak hidup bagi perempuan tapi lebih pada keinginan untuk menciptakan berita terbaru dan mengumpulkan narasi-narasi kecil tentang apa yang terjadi pada perempuan dan lingkungan sekitarnya. It’s time to play adalah produk kesenian dari Indonesia-sebuah negara yang berpenduduk lebih dari 150 juta orang yang hampir separuhnya adalah perempuan.

Anneke Putri Purwidyantari dan ‘Chia’ Nurhamsiah telah mengumpulkan koleksi penelitiannya dalam satu tahun ini dengan cermat dan baik. Diadakan sebagai bagian dari SWAN Day, ini adalah ide yang bagus untuk bisa juga terlibat dalam memberikan inspirasi bagi perempuan di seluruh dunia. Kenapa tidak? Ide ini akan kami kembangkan menjadi sebuah on line project. Setiap tahunnya kami akan membuka aplikasi bebas bagi seniman perempuan di Indonesia untuk menyumbangkan energinya sebagai berita utama di galeri kami.

Dalam kesempatan ini Putri dan Chia mengolah pengalaman mereka dengan menggunakan medium fotografi. Putri mengamati dari foto semasa kecilnya waktu dia memakai sepatu ibunya yang tampak sangat kebesaran. Kemudian perilaku itu terulang kembali ketika dia melihat tingkah keponakannya sekarang yang sama dengan tingkahnya dulu. Putri menampilkan foto gadis-gadis balita yang bertingkah ‘gila’ untuk jadi seorang remaja cantik. Sebuah proses pembentukan konstruksi ide menjadi cantik yang berlangsung—bahkan mungkin tanpa disadari—selama bertahun-tahun dan diturunkan dari generasi ke generasi.

Sedangkan Chia lebih ingin tahu tentang hasil dari proses orang tua-bapak dan ibu- menurunkan ilmu kepada anak-anaknya. Seperti dia memotret keluarga Hatta yang adalah keluarga dokter. Bapaknya seorang dokter gigi, istrinya seorang ibu rumah tangga. Kedua anak perempuannya menjadi dokter gigi dan dokter umum. Anak laki-laki mereka bukan seorang dokter tapi dia menikah dengan seorang dokter gigi. Dan keluarga dari istrinya adalah keluarga dokter pula!
(Angki Purbandono)

Artist Statement
FAMILY PORTRAIT
oleh ‘Chia’ Nurhamsiah
Keluarga merupakan kehidupan terkecil dalam masyarakat sekaligus berperan sebagai sistem pemerintahan terkecil dalam sebuah negara. Sehingga, ketika melihat sebuah keluarga, disitulah dunia kecil berada.

Identitas sebuah keluarga seringkali ditampilkan dalam sebuah foto keluarga. Tak jarang kita dapati foto-foto keluarga terpampang di setiap rumah, entah di ruang tamu, ruang keluarga, kamar tidur, kamar kerja, di atas buffet, dan lain sebagainya.

Sebuah keluarga tak pernah lepas dari konflik, baik itu konflik yang terjadi antara orang tua dan anak, sesama saudara, bahkan suami istri. Berawal dari konflik tersebut, saya mencoba melihat, memandang dan mengamati keluarga dari sisi ke-profesi-an.

Dalam sebuah keluarga, seringkali profesi sang Bapak turun ke anak-anaknya, atau bahkan tidak sama sekali. Beberapa faktor dapat mempengaruhi hal itu, antara lain faktor keluarga dalam artian atmosfer yang ada dalam keluarga tersebut mempengaruhi pola pikir si anak, lalu faktor lingkungan yakni lingkungan tempat tinggal, lingkungan bergaul si anak, dsb. Sebagai contoh, dalam sebuah keluarga dokter, terkadang ada anak yang mengikuti jejak orang tuanya dan adapula yang tidak.

SEKEDAR PURA-PURA ATAU MEMANG PURA-PURA
oleh Anneke Putri Purwidyantari
Pada mulanya, saya mengawali proyek ini karena tertarik pada permainan anak-anak perempuan yang serba –an. Masak-masakan, rumah-rumahan, ibu-ibuan, dsb; semuanya merupakan permainan pura-pura. Masa kecil saya pun tidak luput dengan permainan pura-pura ini. Semua serial permainan khas anak perempuan sudah saya jalani. Hingga saat ini permainan-permainan itu masih teriang-ngiang dengan jelas di kepala saya. Ugh… saya begitu merindukan masa-masa khayal yang menyenangkan itu.

Satu hal khas dari permainan-pemainan itu yang paling saya ingat: Selalu berpura-pura menjadi orang dewasa. Mengimitasi orang dewasa, begitulah beberapa jurnal psikologi menyebutnya. Selalu mengambil peran sebagai sosok dewasa dan berinterpretasi mengenai kehidupan yang ideal.

Dalam bermain, banyak referensi mengenai kehidupan ideal yang diambil anak-anak perempuan seperti: orang tua/orang dewasa di sekitar anak; media massa: terutama televisi, majalah; dsb. Kemudian, mereka mengaplikasikan interpretasi tersebut ke dalam sebuah permainan.

Menariknya, anak-anak perempuan tersebut tidak segan untuk menggunakan benda-benda milik orang tuanya untuk bermain. Mereka mencelemongkan berbagai jenis make-up ke wajah. Pakaian, baju, dan aksesoris pun menjadi sasaran untuk melengkapi khayalan mereka menjadi perempuan dewasa.

SHORT BIO
Nurhamsiah (Chia), lahir di Makassar pada tahun 1980. Ia alumnus Jurusan Kimia, Fakultas Matermatika dan Ilmu Pengetahuan Alam, Universitas Gadjah Mada Yogyakarta. Tugas akhirnya adalah “Silver Recovery of film-Processing Waste for Silver Plating on Iron”.

Ia bergabung dengan Unit Fotografi UGM pada tahun 1999. Beberapa karyanya pernah dipamerkan di Yogyakarta, Bli, Makassar dan Jepang. Selain itu, karyanya juga pernah dimuat beberapa edisi di Majalah Matabaca. Tahun 2003, bergabung dengan Teater Gadjah Mada sebagai fotogafer pertunjukan. Selama berproses di Teater Gadjah Mada, ia kemudian mengadakan pameran tunggal foto pertunjukan Kethoprak Lesung Teater Gadjah Mada di Makassar dan di Yogyakarta. Pada tahun 2007, magang manajemen galeri di Rumah Seni Cemeti. Sekarang ini bekerja sebagai asisten peneliti (tenaga tidak tetap) Analisis Mengenai Dampak Lingkungan (AMDAL) di Makassar.

Anneke Putri Purwidyantari (Putik), lahir di Surabaya pada tahun 1985. Ia alumnus Jurusan Public Relation, Program Diploma Komunikasi, Fakultas Ilmu Sosial dan Politik, Universitas Gadjah Mada. Ia bergabung dengan Unit Fotografi pada tahun 2004. Sekarang ini, ia sibuk menulis, menggambar, mendesain, memotret, membuat video dan mencari uang.

Video Screening and Workshop Presentation
Friday, March 20 2009
07.30 PM
Ruang MES 56
Jl. Nagan Lor 17 Patehan, Kraton
Yogyakarta 55133

From 6th to 20th of March 2009 The One Minutes, in collaboration with Ruang MES 56 and Video Battle held The City Oneminutes video workshop about the city of Yogyakarta in exactly 1 minute duration, facilitated by Olivia Glebbeek and Evelien Krijl. The workshop was joined in by 11 participants (with 34 videos in total): Agung Nugroho Widhi, Anang Saptoto, Angki Purbandono, Edwin Dolly Roseno, Daniel Satyagraha, Deon Manunggal, Jim Allen Abel, Noval Akbar, Aderi Putra Wicaksono, Siska Rahardiyanti a.k.a Cyka and Wok The Rock. Click here to see some Yogyakarta – City Oneminutes video samples.

Sessions:
1. The One Minutes introduction
2. Screening and video presentation from One Minute’s compilation
3. Workshop video screening

About The One Minutes
The One Minutes were launched in 1998 and by now it has developed into a global network with makers from 100 countries and an archive of 10000 video works that are shown (inter) nationally on many podia. Its core activity is the annual competition for the best One Minutes. Additionally The One Minutes realizes television programs, exhibitions, DVD-releases, lectures, workshops, internet TV and websites. The One Minutes foundation manages a wealth of images, facilities, contacts and experiences and would like to share this with third parties.

The One Minutes contribute to a rich and divers picture of the world. It provides conditions for creating new artworks and offers an international platform and a broad audience to artists around the world.

About The City Oneminutes
Making a portrait of a city is to record the unique. To register the characteristics with which this city distinguishes itself from others. It is also the city seen through the eyes of the artist.
The exhibition will be a walk through the world of cities. An insight into where and how people live. A visual report of the now.
The exhibition is to be seen on www.cityoneminutes.org, the digital TV channel Holland DOC / VPRO and the World Expo in Shanghai 2010.

This workshop and presentation is held in cooperation of
The One Minutes
Ruang MES 56
Video Battle

OPENING
Wednesday, March 4, 2009
07.30 PM
Ruang MES 56
Jl. Nagan Lor 17, Patehan, Kraton,
Yogyakarta
Opening act: Food & Cooking performance with Chef Pical, Laki Bini Resto, Chef Jimbo and DJ Dolly!

Exhibition ends
March 18, 2009

ARTIST TALK
Monday, March 23, 2009
07.30 PM
Ruang MES 56
Jl. Nagan Lor 17, Patehan, Kraton,
Yogyakarta

ARTIST STATEMENT
In “Persona”, I extend my research on “being” and “appearing” while focusing on the ritual usage and, especially, on the conception of the mask.

“Persona” originates from the decontextualisation of my identity triggered by my stay in Indonesia. The transition period between two different life contexts enticed me to wonder about the representation of my own identity outside its context of origin.

Thus, I wanted to extract all contextual references out of the mask, conceived as a tool of both change of identity and revelation of identity.

By placing my hands over my face in different configurations, I have therefore created my own game of masks. These masks are constructed from the different facets of my personality, to which I added a number of visual symbols at the time of conception.

The very gesture of hiding my face reveals my identity.

As a complement to “Persona”, I created “WanderWall” , a wall made of body parts as a direct picture of the symbolic weight of the other parts of the body besides the face. For example, the torso, carrier of the classical characteristics of Western masculinity, is used as an element of wall construction, is used as a brick. And, through these bricks, my body speaks.

But my body lies.

Because this wall is only an inert surface, it only has a visual density. And is incapable of withstanding the environment which surrounds it.

ABOUT BENJAMIN MILOUX
This 22 years old guy is in his first year of taking a Master degree at Ecole Supérieure d’Art de Grenoble, Grenoble, France, actively doing research on humanity, its connection with environment and himself through Sociology, Anthropology, and also through the exploration on visual and audiovisual images.

He is currently participating in a residency program in Yogyakarta for 6 months in cooperation with Lembaga Indonesia Prancis Yogyakarta.

The works try to question the frontiers implemented by humanity to differentiate itself from nature. By asking such questions, he hopes it will allow him to know better not only where mankind stands in this world but also where he himself stands. The frontiers between species, the definition of a landscape, and the appropriation of nature by human beings can be questioned. One of the subjects of his reflection is the frontiers that humanity has implemented in its social behavior in order to get out of animalism and thus become “civilized”. In such context, his objective is to study the techniques used daily by human beings in order to preserve a certain idea of civilization and to secure the harmony within human society.

From this experience in residency, and after the presentation of his work he made at mes 56, he opened the frontiers of his researchs. The confrontation of his reflections and many different Indonesian’s points of view, during his presentation, generate a lot of questions.

Persona is the first result of these questions.

Illustration Photography Exhibition of Chairil Anwar’s Love Poems
( Workshop Presentation of Ruang MES 56 and students of FOTKOM 401 “UPN Veteran”, Yogyakarta)
Mentor: Angki Purbandono
Assistant: Edwin Roseno and Jim Allen Abel
Illustrator: Hardian N Adi, Anggraeni W Ikasari, Fauziah Ayu Rahmawati, Eka Prabowo P, Wahyu Putro A, Moechammad Ramdhan S, Endarso Wicaksono, Garnis Saputri, Reza Fitrianto, Guntur Aga T, Adi Adriandi, Nugroho Hadi Santoso, Yuliani Noorsafitri, Noveradika Priananta, Nouval Akbar, Tano Nazoeaggi, Novie Rullyanti,Ozzie Prasilina, Anggia Pita Loka, Aderi Putra W, M Rayhan Fauzi, Saras Dwi Chandra, Sigid Kurniawan, Gigih, Syevira Citra H, Dwi Asri Wulandari, Yoga Hutama Putra, Hendy Susilo Nugroho.

Opening:
February 14, 2009
07:00 PM
Live Performance by Orkes MP3 “Gita Cinta Sepanjang Masa”

Exhibition:
February 14 – 28, 2009
Open 24 hour

Artist Talk:
February 20, 2009
07:00 PM

It’s not easy to understand Chairil Anwar‘s poems. In this workshop, we didn’t find its ease, but we tried to more conceive or grasp his poems in order to create some visual illustrations through photography and looked for any possibilities to explore its medium.

There were no “truth” that we seek from the sentence of his poems. We just tried to match or combine his text with the situation and (or) experiences that we had in our daily life. There are many words and sentences from his poems that we couldn’t completely understand. Like this one for example.

“Mirat Muda, Chairil Muda”

Dialah, Miratlah, ketika mereka merebah,
Menatap lama ke dalam pandangnya coba memisah matanya menantang
yang satu tajam dan jujur yang sebelah.

Mirat raba urut Chairil, raba dada.
Dan tahulah dia kini, bisa katakan dan tunjukkan dengan pasti di mana menghidup jiwa, menghembus nyawa.
Liang jiwa-nyawa saling berganti.

Dia rapatkan dirinya pada Chairil makin sehati; hilang secepuh segan, hilang secepuh cemas.
Hiduplah Mirat dan Chairil deras, menuntut tinggi tidak setapak berjarak dengan mati.

[1949]

What a strange romantic poems…

These 29 works from the boys and girls of FOTKOM 401 try to open up Chairil’s poems with many methods of technique, approach and interpretation to make it into photography illustrations. “Mirat Muda, Chairil Muda” was succesfully interpreted by Noval and Pungky into an animation with long exposure technique. While in the other side, one of Chairil’s poems “Hampa” was constructed with the idea of anti-gravity by Fauziah Ayu Rahmawati, which makes a kind of astonishing photographic illusion.

Besides animation technique, there are some other works with different execution and presentation. Like installation, digital imaging and many other ways. Maybe as their devotion and love to Chairil Anwar, or their love to love itself. Well, maybe you and somebody else have to prove it…

Arts and Conversation, was initiated by Katerina Valdivia Bruch in 2007, started first as a “living room” project called Haus Bruch, in which invited art practitioners gave a talk about their work. The invited participants were developing work in Berlin, so that most part of the presentations were about an ongoing project. Usually galleries in Berlin do an opening, sometimes a closing event, but there is few that do an additional programme about the content of the exhibition. For that reason, she collaborated with a number of artists, art institutions and galleries and presented this event as an addition to the regular programme. In 2008, Arts and Conversation was presented as part of the Festival New Life Berlin.

Her talk at Ruang MES 56 was about some aspects of curating contemporary arts from the point of view of an independent art curator. It showed also some examples of exhibitions done with emerging international artists. After that, there was an overview presentation of the arts scene in Berlin, focusing mainly on visual arts, electronic and/or experimental music and performing arts. Part of the talk was also a glimpse on the most important art festivals held in the city during the year.

The last part of the Katerina’s presentation was a screening with some video works of Diego Lama. Diego Lama (*1980, Lima) studied Fine Arts in Lima at Corriente Alterna, was a resident artist at Site Gallery in Sheffield, United Kingdom and did a course on multimedia and video at Mediamatic in Amsterdam, the Netherlands. His works have been presented in a number of International festivals and exhibitions in Argentina, Netherlands, Peru, Germany, Czech Republic, Brazil, Spain, Israel, USA, Switzerland and France. He lives and works in Lima, Peru.

Biography:
Katerina Valdivia Bruch is an independent art curator and contemporary dancer based in Berlin, Germany.She studied Philosophy in Lima at the Pontifical Catholic University of Peru and in Germany at the Freie Universität Berlin. She holds a postgrade in Cultural Policies and Management of the Universitat de Barcelona and a diploma of the Independent Study Programme of MACBA, Museum of Contemporary Art in Barcelona, Spain.

She has been working in the field of arts management since 2001, including working for institutions such as House of World Cultures in Berlin and the Hirshhorn Museum and Sculpture Garden in Washington DC, USA. After her work as Exhibitions and Program Coordinator at Casa Asia, Barcelona, she started curating contemporary arts in 2006 with IN_FUSION, an exhibition about Peruvian contemporary art. IN_FUSION was presented at Cervantes Institute Berlin in 2007 and at Cervantes Institute Munich in 2008. She was invited as a curator for the International Prague Triennale in Czech Republic in 2008 with her project Hybrid Identities in Urban Landscapes. She has curated the yearly program of exhibitions for the gallery IAC-Berlin after its opening in February last year. Katerina works also as art critic and has been writing for some printed and online magazines, such as Kunst Magazin Berlin, Artfacts.net, the Spanish newspaper La Vanguardia.

As a contemporary dancer, she has been in Peru, Brazil, Spain, Poland and Germany working for different dance companies, but also presenting her own choreographies. She usually does collaborative works within a multidisciplinary approach and works with visual artists, sound artists and experimental musicians.

During her residency period at Ruang MES 56, she has been researching about contemporary Indonesian art, Indonesian recent history and artist initiatives in Indonesia. Back in Berlin, she will give a talk about artist initiatives space in Indonesia (with examples from Yogyakarta, Jakarta and Bandung) at the Asia Pacific Weeks in Berlin in October 2009, invited by IfA (Institute for Foreign Cultural Relations). Besides that, she is planning an exhibition on contemporary Indonesian art to be presented in Berlin next year.

Opening: November 3, 2008 | 08:00 PM
Exhibition: November 4 – 15, 2008 | 10:00 AM – 10:00 PM
Artist Talk: November 14, 2008 | 07.00 PM
at V-Art Gallery Café
Jl. Laksda Adisucipto No. 165 Yogyakarta

Participants:
Andrew Budhitama | Awaluddin | Bimo Wikan Rochmadadi | Dona Pambudi Wijayana | Dwiaji Admojo Yudo| Eko Hari Pranoto | Halimah | Idhul Fitrial | Leonardus Ragil Prabowo | M.Kharis Mahmud | Nanda Cista Pradipta | Nissa Yuliza Agassi | Novika Argiriani | Novita Kristiana Hutabarat | Pratiwi Setyaningrum | Rafika Dian Fibiriani | Renal Rah Adi Wisesa | Romanus Daniel Riyanto | Sekar Putri Andayani | Tommy Janadi | Yogi Wirawan

On November 4 – 15, 2008, the Student Activity Unit of STIE YKPN Yogyakarta, or known as STIEHUNT held an exhibition of the result of collage art workshop. It was an exhibition of 34 works of the students collaborating with Angki Purbandono (Ruang MES 56). Entitled MAKE UP, this was the result of image therapy using collage technique – cutting and pasting of advertisings pages taken from magazines, then it was being scanned to make it into digital data, and afterward the data was being printed into any kind of mediums and sizes. By doing a re-make up, hopefully the left and right brain will be refreshed thus creating a spontaneous creative art thinking.

A collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole. Use of this technique made its dramatic appearance among oil paintings in the early 20th century as an art form of groundbreaking novelty.

An artistic collage work may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs, and such, glued to a piece of paper or canvas.

Techniques of collage were first used at the time of the invention of paper in China around 200 BC. The use of collage, however, remained very limited until the 10th century in Japan, when calligraphers began to apply glued paper, using texts on surfaces, when writing their poems.

The technique of collage appeared in medieval Europe during the 13th century. Gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other precious metals were applied to religious images, icons, and also, to coats of arms.

In the 19th century, collage methods also were used among hobbyists for memorabilia (i.e. applied to photo albums) and books (i.e. Hans Christian Andersen, Carl Spitzweg).

Lately, collage work done on paper or magazine is getting rare because nowadays the technique can be done easily on a computer without having to go through the real cut-and-paste ritual, we just need a computer mouse. (from Wikipedia)

It is not easy to pull a red line among the 34 collage works created by STIEHUNT. There was no similarity in the content, no exact deal on how to communicate, and moreover on what the message was. But that was actually the appealing point of these works; the freedom of viewing the image and later combining it with other image until it created a new form with a new meaning. That was the freedom they obtained in this workshop; not just on the freedom of the technique, but also on the way of the thinking!

The exhibition was opened by the Director of STIE YKPN Yogyakarta Dr. Dody Hapsoro, MSPA., MBA., Ak., and live performance of Frau at V Art Gallery Café Jalan Laksda Adisucipto 165 Yogyakarta on Monday, November 3, 2008. This exhibition was continued with an Artist Talk on November 14, 2008 on “Collage Without Concept” by Angki Purbandono (Ruang MES 56) and Grace Samboh.

ORRORIN
A Presentation of Work-in-Progress by Benjamin Miloux
Moderator: Syafiatudina
Thursday, November 13, 2008
07.00 PM

Benjamin’s research after three years of studies at the Fine Arts School of Grenoble is mostly focused on the links between the human species, its own environment and its own self. Scientific point of view has been taken as the approach to these issues, while adding some poetry and visual reflections.

The works try to question the frontiers implemented by humanity to differentiate itself from nature. By asking such questions, he hopes it will allow him to know better not only where mankind stands in this world but also where he himself stands. The frontiers between species, the definition of a landscape, and the appropriation of nature by human beings can be questioned. One of the subjects of his reflection is the frontiers that humanity has implemented in its social behavior in order to get out of animalism and thus become “civilized”. In such context, his objective is to study the techniques used daily by human beings in order to preserve a certain idea of civilization and to secure the harmony within human society.

In Indonesia, he wishes to continue this research in a radically different context from his previous works by deepen or modifying his reflection on what-so-called humanity.
The use of photomontage aims to act as a shifting tool of photographic reality. He can, by working with this medium, build and distorts a certain vision of our environment; topple daily life into the imaginary, reality into fantasy. Hopefully, it will also trigger the reflection of our bond with the world. The research is mostly done through the medium of photography or “photomontage”, but also through writing and video.

About Benjamin Miloux:
This 22 years old guy is in his first year of taking a Master degree at Ecole Supérieure d’Art de Grenoble, Grenoble, France, actively doing research on humanity, its connection with environment and himself through Sociology, Anthropology, and also through the exploration on visual and audiovisual images. Some notable exhibition activities he was involved in was in April 2007 at Espace Valles Gallery, Grenoble (the same place as Joel-Peter Witkin an American photographer whose works are considered radical held his solo exhibition in 2005). And the latest one before he flew to Indonesia was in September 2008 with “Sans Titre” collective, it was held to open a new art space, Le LAA, in Grenoble. This exhibition received very good reviews from various media. He is currently participating in a residency program in Yogyakarta for 6 months in cooperation with Lembaga Indonesia Prancis Yogyakarta.

Click here to view Benjamin’s work