Textual Exhibition Narative View — Diegesis


Yogyakarta – Jakarta, Java, Indonesia: IN BETWEEN (chapter 02):

Mapping Natural objects and Natural born Ideological PPPerspectives :
On labor seeds and synaesthetic micro-utopias:


 Enrootedness? From Thessaloniki (Greece) to Utrecht (The Netherlands) to Yogyakarta (Ruang Mes56) – Jakarta (Ruang Rupa ), Java (Indonesia). Radicant? How could we reinvent History?


Art specificity: Residency Program Ruang MES 56

During my residency program in Ruang Mes 56, via my artistic research SAAR (Artistic Research Social Applied) and via performative and Street photography, I aspire to propose an Alive – New Social Design for Social Innovation and Sustainability, an Alive – New Social Design which sets as its vaulting and reference point the “Social Responsibility of The Art Space” (the Art Space’s multiple constructive process, its structure, its design, function and activities and as well as its collective auratic and documented memory and its interactive communication with the neighborhood space, the public space, the global street). This proposition of an Alive – New Social Design gets unveiled via an ongoing Synaesthetic Theatrical Scenario:

Yogyakarta – Jakarta, Java, Indonesia: IN BETWEEN


PROTAGONISTS: Yogyakarta-Jakarta, Java, Indonesia: IN Between = Cultural Land – Landscapes as magnetic fields of information + – (dual nature of information = aesthetical + political).

ARTISTIC PRAXIS: a) gets constructed as a SITUATION, a moment in Life concretely and deliberately constructed by the collective organization of a unitary ambience and a game of Events AND b) gets composed as a LINGUISTIC meta-structural formation: LINGUISTIC TREE + – ? Radicant?

TOPOS – TIME – QUALITY:  PARASITES: -META and – ISM as social otophone. The performative Nature of the prefix – META and the suffix – ISM (careers of spatiotemporal and qualitative value, careers of metamorphosis and of the human use of signs). Semiotics? Anthroposemiosis?

AGENTS OF THEATRICAL PLOT =  + –  : human and social anatomy + – →  the art space/gallery and Public space – The Street + –homo collector and the market  + –the duality of Space + –the private and public + –  the duality of information + –the antinomy of Natural Beauty +  – ( interaction between post Kantian aesthetics, Adorno’s Aesthetic Theory, Positive and Critical Aesthetic, Natural Beauty of “Land – Landscape” and its demand for “redistribution”) → the dual theory of Labor + –  (purpose realization and material metabolism)the labor theory of value + –form and matter + – materialistic dialecticsthe concept of metallurgy and concrete + –the concept of mastery and domination of nature, the root of nature + –female and male quality + –spiritual and religious value + – → …

The antinomy of Natural Beauty + – 

Natural beauty? Natural and Artistic Beauty? My interest lies on the post-Kantian aesthetics which claims that there is a conceptual connection between the aesthetic appreciation of art and that of nature, an emphasis on the ubiquity of the aesthetic and the democracy of taste. Democracy revisited? The discussion of Natural beauty in Adorno’s Aesthetic Theory is helpful in offering considerations in favor of both passive and critical aesthetics of nature (positive aesthetics says that only positive aesthetic judgments can be made about nature – all nature is at least potentially beautiful and critical aesthetic in contrast, argues that negative aesthetic judgments concerning nature are possible). Adorno writes that the concept of Natural Beauty has an “ essential indeterminateness …  manifest in the fact that every part of nature, as well as everything made by man that has congealed into nature, is able to become beautiful, luminous from within”.

During my residency program, my artistic research social applied (SAAR) communicates the interaction between aesthetical positive and negative values and this very interaction gestates aesthetical pleasure, eroticism and desire where lies the idea of Natural criticism. Seeking Natural beauty, I get fascinated by and I get obsessed with experiencing, inventing, sharing, abusing and getting abused, exchanging or nullifying Natural frames. I perceive Natural closure as the passion for aesthetical freedom and absolute, inner satisfaction; a nakedly nude one. Portraying Natural poetic Beauty via eroticism, sovereignty, loyalty and solitude?


From the Antinomy of Natural Beauty + – to the labor theory of value + – and to the dual nature of Labor + –  . The agents of production + – : proposing modes of the unity of the production and of the circulation processes of metamorphosis. Chrysalis?

1) Values refer to social relationships

2) Transformation and reappropriation of values into “prices” of artistic production addresses the issue of the need of the redistribution of labor time and Natural Beauty of Land – Landscape in capitalistic economy.

3) ”Redistribution” in relation to the equality between total values and total “prices” of production, total surplus value (absolute and relative) and total profits.

During my artistic process my interest gets captured by the dual conceptualization of Labor, Labor process and the dual nature of labor.

Labor is a process in which both man and Nature participate and in which man of his own accord starts, regulates and controls the material re-actions between himself and Nature. He opposes himself to Nature as one of his own forces, setting in motion arms and legs, head and hands, the natural forces of his body, in order to appropriate Nature’s productions in a form adapted to his own wants (Marx 1969:192).

From this definition, labor process can be classified into two aspects: “man of his own accord starts, regulates and controls and “the material re-actions between man and Nature”. Labor is a purposeful activity of human beings to reconstruct nature, while the later focuses on that labor is a metabolist process of natural substance.

Dual logic of labor process:
Purpose realization
Material Metabolism
Zones of activity and passivity?

Aristotle differentiates “form” and “matter”. The form is active and the matter is passive. Anything in the world is a combination of form causes and mater causes. Labor is a combination process of humanistic form and natural substance. Realization of purpose refers to a formalization process in which natural objects are endowed with humanistic forms by human beings. During this process, humans are the subject of labor with special purposes such as wills and plans. By contrast, natural substances are only labor objects and instruments without special motive, as well as the means to realize human purposes and to prove their inbeing power. The differentiation of ends and means has inevitably led to the position- imbalance between humanity and nature which gives rise to the following result: human beings impose their intentions on nature from outside, so as to cause nature to succumb to the human wills. By contrast, material metabolism refers to that natural substances still maintain their identity during the process of formalization. Although having being vested with humanistic forms, natural substances themselves have not been changed at all and still carry on self-implementation with obstinacy. As, a result, in the definition of material metabolism, natural substances are the eternal of their own destiny while the vested humanistic forms are temporary and accidental.

During my artistic process my interest lies on the concept of mastery of nature, domination of nature as well as on the root source nature. Radicant?


My desire to explore, rediscover and meta-experience photographic surface and volume gets expressed via the circular productive/consumer composition of Synaesthetic Theatrical Scenarios oscillating between Aristotle’s Mimesis, Brecht’s Dialectical Theater and Hakim Bey’s Secret Theater and they get formulated via performative, Dialectical Images (W. Benjamin). I perceive these Scenarios as Revolutionary, Uncontrolled, Uncensored, Untraced, Transit Topoi which suck the energy of Urban and Bodily transaction, get interwoven with the immigrant authenticity of the global traditional Topos and threaten the stability of The System. Via street – perceptive walkability, trigonometry and geometry invite me in the prismatic apocalypses of dynamic theatrical stages = Magic Cubes of innovation. In a magic cube, the four space diagonal are the lines that go from a corner of the cube, through the center of the cube, to the opposite corner. These lines also called triagonals or volume diagonals. Seeking variation in apparent sizes between near and distant subjects and objects, Triagonal Mnemosyne hosts and offers me antiseptic, antiracist, egalitarian – sacramental values of three -dimensionality. In The Garden of The Logic-al Magic Cube = Theatrical Stage protests, blooms and gets reborn in/as The poetic of Acoustics, the erotic one. Spiritual, physical, emotional and religious eroticism personify productive – licentious lines-itineraries of transition from discontinuity to continuity, lick the core of marginal existence and destroy the self-contained character of normal – life sizes. Eroticism always entails a breakdown of established patterns. Its sound gets reflected and refracted and every audiovisual axis gets reversed as reliability, validity and staticity join the death of static-predicted perfection.

Photographic – visual image? 

Under the protective aegis of eroticism, I declare, I challenge my pathos and I sacrifice it on the anaglyphic touch-altar of Catharsis. Breathing instability, I adore to persistently access its void and I love to get exhausted in the infinity of its perpetual addiction which welcomes me into the active – vibrated hope of humanistic metamorphosis. I surrender. Experiencing and participating in The Social Responsibility of The Art space and The Global Street, I will always collect the surplus skin of Chrysalis and by this organic, fleshy luxury I will always compose The Portrait of Natural and Labor Beauty. I am devoted in its fragrance and my Garden feels complete…The Garden of Social Euphoria is always open to receive you; it is always ready to welcome you and me. The Garden of Social Euphoria is always ready to engage, to testify and to commit. Do you?

Photographic – visual image?

Dive, dive, dive… Dive in me…

The Concept of Metallurgy:


Yogyakarta-Jakarta, Java, Indonesia: IN Between = Cultural Land – Landscapes as magnetic fields of information + – (dual nature of information = aesthetical + political) distributed via the interactive communication between Human and Social Anatomy, Art and Science.

What if The Metallic Surface = Societal System?

Where is the merging of Art and Science – via the procedure of the semantic-sociological metal corrosion – leading my thoughts? Who is lighting the fire that makes it glow, shapes it, leads it to revolution, murders it and brings it to the level of sacrificed heroes of the global, anti-racist embrace and hope? Who is eating the metal and who is producing the fire? Oh Greek nature of mine, Greek paranormal nature of mine, Greek slutty constitutional metal shame of mine. On the 18th of September, Keratsini, Athens, Greece 2013, the hip-hop artist, street poet Pavlos Fissas, WAS MURDERED by an active member of Chrisi Avgi, a neo-nazi – fascist organization – political party, elected in the Parliament by Greeks, who are accomplishes and equally responsible for this cruel murder.

Μetallurgy, the onto-sociopolitical field yielding multiple itineraries of artistic creation and knowledge production.


“Metallurgy assumes a symbiotic relation between matter and its milieu. What metal and metallurgy bring to light is a life proper to matter, a vital state of matter as such, a material vitalism that doubtless exists everywhere but is ordinary hidden or covered, rendered unrecognizable, dissociated by hylomorphic order. Metallurgy for Deleuze and Guattari becomes a point of interest because it seeks what the material is capable of. In the Treatise of Nomadology plateau we are presented with the figure of the metallurgist as the transformer of material alloys, that is an artisan who experiments with different mixtures and processes in a way that remains creatively open to new material combinations and their effects. Deleuze and Guattari focus on metallurgy because it cannot easily categorized as either an art form or a science and as such develops a series of openings for us to explore within this variable space of resistance. Metallurgy in itself constitutes a flow necessarily confluent with nomadism. Metallurgy remains adaptable, variable and somewhat unpredictable by utilizing the flows of vital matter to resist a hylomorhic, law-driven and linear schema of materiality. Three dimensionality? The metallurgist might discover new material mixtures and interactions with potentially unexplored applications while at the same time reinventing the processes involved in material experimentation and innovation”.


In nature there are metals such as aluminium, chromium, nickel which exhibit unexpected corrosion resistance. The metals corrode very slowly, they show what we call passivity.

Passive is called the dynamic range, where the current I that is recorded (the corrosion rate of the metal) gets a very small value, which is independent of the applied potential E. Two theories have been mainly proposed for the interpretation of the phenomenon of passivation of metals. The first theory, the theory of the adsorbed oxygen, argues that the passivation of metals is a result of the ties developed between the adsorbed oxygen and substrate metal, without the metal ions being detached from the metal lattice. The second theory is the theory of formation of an oxide film on the surface of the metal, where we can see metal ions moving from the metal mesh and forming metal oxides with oxygen ions.

One of the most dangerous forms of corrosion is pitting corrosion or just pitting, during which a patchy destruction of metal structure occurs. Pitting involves the creation of discrete areas (local corrosion outbreaks, pitts) on the passivated metal surface, where the metal is in direct contact with the electrolytic solution and is actively electrolyzed. The creation of outbreaks occurs when the electrolytic solution contains halogen ions (CI, Br, I) in concentrations higher than a critical value, which depends on the type of halogen.

Pitting is a multistage phenomenon. In the first stage where the local corrosion outbreak has not been formed yet, the process of the passive oxide has begun, which presages their creation. Then, the first corrosion outbreaks are created in specific areas of the metal surface and there is a local transition from the passive state to the active state of electrolysis. In these areas, we can also observe a significant increase in density current, which results in an increasing total power of the system. The next stage is the re-passivation of the local corrosion outbreaks with the re-formations of the passive oxide within the oxide, provided that these outbreaks are at an early stage of evolution. Finally, when pitting has reached the final stages of evolution, the formation of an oxide is impossible. At this point, the concentration of metal cations is increased, due to the active electrolysis of the metal and when the product of the concentrations of metal anions and cations of the electrolyte solution inside the outbreaks exceeds the constant of the solubility product of the salt, then precipitation of the salt follows.

The creation of local corrosion outbreaks and the disruption of the homogeneity of the passive electrode surface of the metal is a result of the addition of small but non-negligible quantities of halogen ions. The order of activity of these ions in the passive oxide is Cl [> Br [> I [.

In order to study the disturbance of the passive state of the metal system of the electrolyte solution, polarization curves are used.

The potential Ef is called characteristic potential of passivation. The potential Epit is called critical pitting potential. If potentials are more positive than Epit, local corrosion outbreaks grow steadily without the possibility of re-passivation, so there is a continuous increase of the current. The pitting potential is less positive than the post-passive state potential Etr, in which a post-passive dissolution of the oxide occurs, with a simultaneous oxygen release.

A very important factor for the initiation of current oscillations of the transitional region passive/active status of the system, is the induction time tind, which occurs only in disturbed by adding halogen ions systems and not in undisturbed ones. Induction time is the required time for the initiation of pitting (ie the appearance of current oscillations of a particular form) in a particular potential. The induction time depends on the applied potential E and the concentration of halogen ions. It can also be used to extract useful information about the mechanism of pitting. The inverse of Induction time 1/tind is considered a measure of speed Upit (pitting speed) by which the ions act on the oxide and contribute to the creation of local active corrosion outbreaks. For the interpretation of the passive oxide fracture and the initiation of pitting, the following mechanisms are proposed:

• The mechanism of adsorption (Adsorption mechanism), wherein the creation of pitting is achieved through the creation of complexes in specific areas of the passive surface. This explains the local nature of the formation and development of active corrosion outbreaks, which is attributed to oxide impurities and defects in crystalline structure.

• The mechanism of point defects (Point Defect Model), where the formation of active local corrosion outbreaks is based on the fact that the passive oxide crystal is not perfect, but contains a large number of point defects, anionic and cationic vacancies, which interact with the halogen ions, thus affecting the stability of the passive oxide.

• The mechanism of mechanical breakdown of the passive oxide (mechanical breakdown), which is based on the development of internal mechanical stresses in the oxide. This leads to the local breaking of the oxide and the establishment of corrosion outbreaks.

• The mechanism of changing the electronic properties of the oxide in the presence of halogens, where the basic requirement is defining the post-passive dissolution of the oxide by its electronic properties.

These four mechanisms are able to explain and justify the behavior of the system, depending on the system studied and the parameters of its control, but do not exclude the possibility of coexisting.


What if Metallic Surface = Societal System?

Yogyakarta-Jakarta, Java, Indonesia: IN Between = Cultural Land – Landscapes as magnetic fields of information + – (dual nature of information = aesthetical + political) distributed via the interactive communication between Human and Social Anatomy, Art and Science.

What if The Metallic Surface = Societal System?

Μetallurgy, the onto-sociopolitical field yielding multiple itineraries of artistic creation and knowledge production.

During my residency program I have visited several times Jakarta in order to trace connections IN BETWEEN by meeting and synaesthetically translating the Cultural Other throughout The Street. How do I experience the process of my enrootedness in Yogyakarta – Jakarta via the dialogue between Urban Mobility and Bodily Transition? I collect my coordinates and I create my psychogeographical Maps via an artistic praxis which gets composed as a Linguistic meta-structural formation. LINGUISTIC TREE?

Metal is the color of iodine. How many times have I felt the need to identify my body with the social rust, to sacrifice it for the sake of an urban kinetic dignity and be free…the color of metal is an antiseptic. The air of Jakarta is moist and suffocating and invades my body which has been so weak since August. I got ill again with tropical fever (panas dalam) and have a parasite on my hand that spreads through my heart, which in a time parallel is sleeping peacefully and creates in Tebet. In Jakarta, I used to stay in kos kosan – an urban boarding room –  a space only for sleeping until you return to work, every day the same repetitive use and function, the same steps between the shared bathroom and open shared space to wash and dry the clothes . A friend of mine in Jakarta rents a room – kos kosan – and put some antiseptic on my parasite – Chinese Medicine. Feeling safe again, I went out in the street again. Radicant?

Jakarta is full of flooding, mud and global anthropo-sebum in February. Jakarta smells like antiseptic like the chemical tablets and the sprays which are used in the kos kosan to kill the mosquitos. Preventing industrial sickness?

Hypothermia and fever drained my strength away on the mattress of my bed in the kos kosan and the seats of tras-Jakarta or the kopaja buses.

My conceptual conscience is screeching pictured in installative wire systems and blue millimeter paper sheets with diagrams that reflect the fever and pain fluctuations on the bones caused by the mosquito illness and the urban depression. Where are you? I trusted you.

The house where I am staying is in Sunter, far from Tebet, where my heart used to be warm, sweet and safe. It used to be filled with love. I hate being considered a tourist in Jakarta. I hate the elitist distance of the taxis and the malls and the formal exchange of kindness, and the golden ticket – passport of my white skin makes me sick. In February, I used the ojek – taxi bikes –  to commute in Jakarta, and the water reached my knees, all covered with the blue plastic raincoats that smell like rotten cherries. Citizen of the world? I define my trembling human quality by the wheel of the vehicle that drives through the surplus rain – canal water of the flooded Jakarta like my father’s boat that drives the water of the Thracian Sea and the fresh water of Giaouranta, where the birds of the world migrate, reproduce, have some rest and live free forever. The children living in the flooded streets of Jakarta smell like the canaries in Sokratous Street in Athens. The water that splashes from the vehicle’s wheel reflects the children’s laughter and their joy through this exciting water game between a life that sinks deeper every year, the same season with the same patient, static – stoic despair on their parents’ faces. Looking at their grounded figure, I can’t make out their knees. The water looks like mud and the people like metal flowers nailed on the water – garden of peace. The despair and absolute acceptance and surrender to the cynical reality transform the people into statues and the yellow-green liquid smells like metal powder. Enrootedness? When I was a child, I used to loathe metal. It was as if it made me freeze and it seemed odorless, soulless and useless and it smelled like blood every time I bit my lips…it used to frighten me…One summer, my parents took me to the Archaeological Museum of Delphi, where I saw Iniochos’s statue, which I fell in love with…its eyes, made of semiprecious stones and glass, express Iniochos’s power and self-control – they were amazing, looking like a world metallic mirror, where the entire beauty, aesthetics, philosophy, knowledge and eroticism bloomed. The folds of the tunic give the impression of a Doric column and his hair is embraced by a tape, symbol of his victory… Museum Ruins? And how dare I write literary uncertainties of displacement that dethrone the conceptual burden and predominance of the glorious Greek civilization and place it in Asian Jakarta? I dare do so and I need no one’s permission. Leave the permissions for the distorted reuses of ancient Greek decorative symbols and the water parades of our constitutional shame that welcomes and names neo-nazis, fascist hybrids legally elected by the proud Greek people in the Christian fonts…Western consumers of Democracy, we are all Immigrants; we are immigrants in Vivo; we are immigrants in Vitro. Western Consumers of Democracy, we are all immigrants. From the very few poorly preserved meta – colonial  canals that unite Jakarta, there is yellow-green water coming, along with rubbish and dead rats. In their funeral, you can hear hunger forks – metal curves that undress and become princesses in the beauty contest of the locked – after 10 pm – Jakartan neighborhood of the past fear and terrorism..

During my stay in Jakarta, I used to read the Parasite by Michel Serres, as I wanted to update the text I was preparing as an artistic response to Panagiwtis Kovanis’s (the graphic designer / curator) proposal/invitation in the context of his project: Chrysalis. My parallel participation in Chrysalis project has deeply affected the research for my residency program:

Via walkability I discover my theatrical stages = terrain vague = transit topoi = synaesthetic micro-utopias. “Micro-utopias appear as latent temporalities of disruption and discontinuity in the fringe of the urban structure. “Creative flashes in time, whose sudden and explosive flares are then quantified into forces of innovation. Attached like appendixes to the exoskeleton of the city, these parasitic entities, suck up its energy and develop social barriers like cocoons (extract from Panagiotis Kovanis the curatorial proposal)”. Where could I trace the birth of chrysalis? I perceive Chrysalis as the birth of an uncensored revolutionary metallurgic morphogenesis.Via my artistic praxis which is composed as Linguistic formulation I start a linguistic dialogue on metallic – metallurgic spaces. My conscience smells like wet huge cans which host never-ending qualities of burning wood and newspapers of matter, form and information. Around all these cans gather street poets that criticize with their rhymes, offering GLOBAL society the most golden horizons. In the last few years, winters in Greece are colder and dangerously white. The street poets’ hands offer blankets. The Art – everyday life poets’ hands stand over the fire, glow and speak the truth and natural ideas. There is no other place with more dignity and love. The Radicant linguistic spaces– ISM and – META –produce the meta-fire, glow and burn, shine like Iris and reappropriate history like Prometheus of the Modern World metal life.

On the 18th of September, Keratsini, Athens, Greece 2013, the hip-hop artist, street poet Pavlos Fissas, WAS MURDERED by an active member of Chrisi Avgi, a neo-nazi – fascist organization – political party, elected in the Parliament by Greeks, who are accomplishes and equally responsible for this cruel murder.


How could we reinvent History?

Ancient Greek Mythology = Displacement?

Prometheus bound (Προμηθεύς Δεσμώτης) is an ancient Greek Tragedy which was attributed to Aeschylus. The tragedy is based on the myth of Prometheus, a Titan who defies the 12 Olympian Gods, steals the fire, offers it to Humanity, an act that enable progress and civilization. For his action gets subjected to eternal punishment. In the beginning of the play, Kratos (strength), Bia (force) and Hephaestus (smith-god = is a metalsmith who creates who creates objects from wrought iron or steel by forging the metal by using tools to hammer, bend and cut; metalsmith usually produce objects as gates, sculpture tools, agricultural implements, decorative and religious items, cooking utensils and weapons) chain the immortal Titan Prometheus in a mountain of Caucasus. Each day an Eagle, the emblem of Zeus, was sent to feed on his liver which would then grow back to be eaten again the next day. Human and Social Anatomy? Enrootedness? Displacement: Pancasila? My conscience is wandering scented with the sparkle and the smoke of melted metal coming from Hephaestus’s laboratory’s cracks, while he is preparing the chains that are going to enslave Prometheus. How could we reinvent History and Politics?

Who is sacrificed and who produces the meta-fire? INDUSTRIAL HEALTH?

Who is stealing and producing the fire? Meta-glowing and meta-fire? As the universal media show only the Greek molotov and the fascist preconstructed chaos in the demonstrations that – universal TV addicted, alienated and uneducated consumer – are PEACEFUL AND DEMOCRATIC AND TOTALLY DIGNIFIED – Who is producing the fire and the hope with pride (filotimo)? Filotimo – Φιλότιμο is a word enrooted in the euphoria of the place where I come from and it is so hard to find its essence in linguistic translation.

For the past two weeks I have been collecting visual coordinates which are going to inform my residency program in mes56. Now is the time to interweave my traces and propose the merging of human and social Anatomy, IN BEETWEEN Yogyakarta-Jakarta, Java, Indonesia = Cultural Land- landscapes = magnetic fields of dual information + – (aesthetical and political). I find the answer in the meaning of flexibility. My conscience is filled with patches and bandages, additions, industrial healings named hansaplast, are brown in color and cover – hide the wounds, but rarely clean and socially heal them. The moisture in the kos kosan – the urban boarding rooms – is suffocating. The kos kosan in Jakarta have no windows and smell like naphthalene from the colored balls that decorate the marble of the shared bathroom. It is a nice, playful solution that keeps the rats and typhus away. At Christmas, I spent so many hours in this bathroom, bleeding but patient, as in my conscience the naphthalene balls looked like Christmas balls singing the carols, accompanied by the triangle – creating a family antiseptic atmosphere. The older I get, the more I love trigonometry. It liberates me.

The racism and psychological violence a woman may experience in her working environment are hard to believe. I am dying to be independent, yet for the first time I feel as if I am broken by social rust. Where are you? I trusted you. Kos kosan are not mixed. In the ones for young girls, it is common to see the stickers – wall paintings – beauty patches on walls that die of moisture: LINGUISTIC TREE? Everything on you poetic, your anatomy poetic. Everything on you poetic and your hair like the snow. Sexuality, sensuality and teenage dreams? Purity and the need for motherhood? In my friend’s kos kosan, seeking for stability  between the sun- seeds and the colored sheets I find my answer: After opening a conversation between my body and the plasticity of the patches, I go out to take pictures of the streets of Tebet that I still love and then I familiarize with the metal train rails that  take me back to Yogyakarta filled with hospitality.

At 33, I feel my palms screech filled with tools of anthropometry that sound like the byzantine mosaics where the nails of crucifixion shine…Enrootedeness? When I first came to Indonesia, I had a spirituality and a mystical religiousness in mind – for years I have suppressed this religiousness or it has suppressed me as I suffer from guilt, remorse and uncertainty about where I belong. How could I translate the notion of spirituality that tightly surrounds me via the dialogue between Aesthetics and Politics?

Coming back to Yogyakarta, I continue my research within my residency. The social atmosphere is emotionally charged due to upcoming presidential elections. Prosing a time symbolic platform on the election day, 9th of April, I continue the artistic research in the context of my residency program via performative photography.  I continue the Theatrical scenario Yogyakarta  Jakarta, Java Indonesia  via the chapter MANIS – ANTISEPTIC – PRODUCTIVE LINE:


Cooking cookies for those who fast: CREOLIZATION?



Social Welfare? In the crossroads of Yogyakarta, the traffic lights call my bule – londo, white, immigrant identity and unbearable psycho synthesis to talk about the union of the human and social anatomy. My conscience follows a sentimental route, it cannot bear not stopping at the world’s market and has decided to discuss, share, discover and offer even from the very little kept in its pocket, transforming it into an antiseptic food for the mind and body. My conscience chooses to exhaust itself and be reborn in the faces of young children who decorate the hospitable streets of Yogyakarta with their songs, safety pins and torn jeans. I define myself in the yellow human and social infections and wounds. ENROOTEDNESS? Identity Global from scratch? Social Responsibility? Art responsibility and ALIVE –NEW Social Design?Radicant?

Completing this residency program and leaving Indonesia I have enrooted my existence  in the artistic – sociopolitical ontology of YELLOW via on going theatrical scenario which communicates the Social Responsibility of The Art Space ( art specificity: Ruang Mes56 and Ruang Rupa). My conscience blooms in the Global GARDEN of Euphoria and it is blessed and clean; IT IS ALIVE. I leave from Indonesia in order to return again. I am touching CATHARSIS.

Penny – Despoina Demertzi