this catalogoue is published as a supplement to the ... filepernah ada suatu masa ketika galeri...

Opening

Performance Art by

Mimi Fadmi &

W. Christiawan

Curatorial Team

Aminudin TH Siregar

Rifky Effendy

Agung Hujatnikajennong

Heru Hikayat

Translation

Ario Swastanto Tamat

Sandra Joana Lambey

Graphic Design

Irfan Hendrian

Photography

Courtesy of the Artists

Irfan Hendrian

Printed by

MILprint, Bandung

Edition

500 copies

Published by

Emmitan CA Gallery

This catalogoue is published as a supplement to the exhibition of

9 - 20 Oktober 2012 Emmitan CA Gallery Jl. Walikota Mustajab No. 76 Surabaya

for more information please contact T. +62 31 5466611, 5477711 F. +62 31 5457185 contact: hendrotan +62 81 2311 2311 [email protected] [email protected] www.emmitancagallery.com www.facebook.com/hendrotanhendro www.hendrotan.blogspot.com hendrotanhendro.wordpress.com @arthendrotan

Adhya Ranadireksa

Henrycus Napit Sunargo

J A Pramuhendra

Leyla Aprilia

Mimi Fadmi

Mujahidin Nurrahman

Nadya Savitri

R. Yuki Agriardi

Radi Arwinda

Roumy Handayani Pesona

Wiyoga Muhardanto

iiColophon

ii Colophon

1 Pengantar Galeri | Foreword

2 PLATFORM3 : Sebuah Proyek Ruang Seni |

PLATFORM3: An Art Space Project

Aminudin TH Siregar

12 SENI RUPA dan SINDROM Pasca Kolonial |

ART and the Post Colonial SYNDROME

Rifky Effendy

20 Ihwal Mewarisi | A Matter of Inheriting

Heru Hikayat

30 Tentang Dinamika Agama dan Seni |

The Dynamic Religions and Art


39 Artworks

62 Artist’s CV

69 Platform3’s Profile

70 Acknowledgements

iiiDaftar Isi Contents

Pernah ada suatu masa ketika galeri komersial dihadap-hadapkan secara diametral dengan ruang seni alternatif. Bak Tom dan Jerry—tokoh kucing dan tikus karangan Hanna dan Barbera—keduanya dianggap seteru abadi yang tak mungkin berdamai dan bekerja-sama. Bahkan tak jarang dipanas-panasi untuk senantiasa berseberangan dalam pikiran dan tindakan berseni rupa.

Anggapan umumnya adalah galeri komersial merupakan tempat di mana karya seni rupa ciptaan seorang atau sejumlah perupa dipajang untuk dijual-beli. Sedangkan ruang seni alternatif adalah semacam bengkel kerja nyata di mana bakat-bakat kreatif ditempa agar menjelma sebagai perupa-perupa berwibawa dengan karya-karya seni rupa terpercaya.

Galeri komersial berpegang pada prinsip pragmatisme mencari laba, sementara ruang seni alternatif berpijak pada keyakinan idealisme menggapai cita-cita tanpa pamrih harta. Yang pertama berkecenderungan pada keuntungan ekonomi dari karya seni rupa sebagai barang dagangan semata. Yang kedua berkehendak pada kemuliaan karya seni rupa sebagai benda simbolik penuh makna.

Tapi anggapan umum tersebut, hemat saya, dengan perkembangan mutakhir di dunia seni rupa kontemporer—sudah menjadi klise, kalau bukan telah

There was a time when commercial galleries would be opposed diametrically with alternative art space. Similar to Tom and Jerry—the cat and mouse characters created by Hanna-Barbera for television—both are considered to be eternally in a quarrel, in which reconciliation and collaboration is impossible. Often, this dispute would be intensified by others, so the two sides’ mind and action would stay apart in the art world.

The general assumption is that a commercial gallery is a place where an artist or several artists’ artworks are presented for trade purposes. Meanwhile, alternative art space is a place similar to an actual workshop where creative talents are moulded into refined artists who posses trustworthy artworks.

Commercial galleries hold the pragmatic principle of making profit, meanwhile alternative art space is based on its idealistic belief of achieving goals without considering any monetary reward. Commercial galleries tend to seek economic profit from any artwork, which is treated as mere goods. Alternative art space aims at the glory of any artwork, which is treated as a symbolic material, rich in meaning.

But this general perception, in my opinion, with the latest development in the contemporary art world—is a cliché, if not out-of-date. I am certain that we all know that, as one of the collective

Pengantar Galeri

Foreword

Pengantar Galeri Foreword

basih. Saya yakin kita sudah sama-sama tahu, sebagai salah satu pemahaman bersama di antara penghayat seni rupa kontemporer, bahwa dunia seni rupa kontemporer adalah sebuah jaringan kerja kreatif dan profesional yang saling-silang, yang dierat-satukan oleh kepercayaan pada seni rupa.

Dengan pemahaman itulah Emmitan Contemporary Art Gallery menjadi mungkin, kalau bukan tak terhindarkan, untuk bekerja-sama dengan Platform3 dari Bandung dalam menggelar pameran ini.

Di luar tanggung-jawab masing-masing selama proses persiapannya, pameran ini menjadi bukti penting betapa kami sama-sama memiliki kepercayaan yang kuat pada seni rupa—dalam hal ini, tentu saja, kepercayaan kami pada harkat dan martabat seni rupa Indonesia.

Karena itu, atas terlaksananya pameran ini, saya ingin mengucapkan terima kasih kepada segenap perupa dan kurator Platform3. Begitu juga kepada rekan-rekan media massa, kolektor, pecinta seni rupa, dan semua pihak yang telah berpartisipasi dalam pameran ini. Terima kasih.

Emmitan Contemporary Art Gallery

Hendrotan

understandings between people who internalise contemporary art, the world of contemporary art is a working network of creative and professional workers, criss-crossing and are bonded together by their faith in art.

By this concept, Emmitan Contemprary Art Gallery is made possible, if not inevitable, to collaborate with Platform3 from Bandung in holding this exhibition.

Despite the separated responsibilities during the preparation process, this exhibition becomes important evidence in showing how we both have a strong faith in art—in this case, of course, our faith in the Indonesian art’s value and dignity.

Therefore, on the success of this exhibition, I would like to thank all artists and curators from Platform3. Also, my gratitude is sent to friends in the media, collectors, art lovers and all parties that have been involved in this exhibition. Thank you.

Emmitan Contemporary Art Gallery

Hendrotan

1

Aminudin TH Siregar

Platform3 di Tengah Konstelasi

Digagas pada 2009, Platform3 (PL3) bukanlah sejenis alternatives space/gallery dan juga bukan art activism/community/collectives. Di antara model-model tersebut, PL3 lebih menyerupai “laboratorium” yang cenderung mengutamakan “content providers” ketimbang “context providers” seni dan seniman1. PL3 juga bukanlah “institusi” yang bersikukuh mempertemukan dalil-dalil seni yang mempertautkannya dengan cultural activism.

Secara sederhana, PL3 itu sendiri adalah “proyek ruang seni” yang pada mulanya melibatkan tiga orang kurator dan tiga orang seniman dengan tujuan bagaimana antar keduanya mampu menyusun dan mengembangkan kerja kolaboratif, baik dalam pemikiran atau pengetahuan-pengetahuan yang relevan dengan seni, maupun mengeksplorasi praktik seni (teknik). Dan tentu saja, PL3 didirikan dengan visi yang tidak muluk-muluk, misalkan saja: membela atau memajukan suatu media seni tertentu; atau melakukan pemberdayaan yang mengatasnamakan publik sebagai obyek. Sementara, jauh dari rencana semacam itu, PL3 justru berkeinginan mendorong munculnya kesadaran-kesadaran kritis dari dalam diri seniman untuk lebih memahami keseniannya. Sebab, PL3 percaya bahwa hanya dengan memahami

Platform3 In The Midst of The Constellations

Founded in 2009, Platform3 (PL3) is not an alternative space/gallery, and not an art activism/community/collective either. Among those models, PL3 would be more similar to a “laboratory” that emphasizes “content providers” instead of “context providers” of art and artists1. PL3 is also not an “institution” that insits on connecting art principles with cultural activism.

Put simply, PL3 is an “art space project” that began with three curators and three artists who attempted to construct and develop collaborative work, whether by thoughts, science and knowledge relevant to art, and through exploration of art techniques. Naturally, PL3 was founded with a down-to-earth vision, for instance: defending or progressing a certain art medium; or empowerment that uses the public as an object. In the meantime, beyond such planning, PL3 strives to push for the resurfacing of critical thought in artists to better understand their art, because PL3 believes that only by understanding their own art, that the artist can understand society, history, or the surrounding environment.

Differing from other “alternative art spaces” supported by donors from overseas or the government, PL3 funds itself independently, enabling independent work. Therefore, PL3 is free to direct

Sebuah Proyek Ruang

Seni

An Art

Space Project

22

Platform3: Sebuah Proyek Ruang Seni

Platform3: An Art Space Project

keseniannya sendiri, seniman bisa memahami masyarakat, sejarah, maupun lingkungan sekitarnya.

Dan berbeda dengan “ruang-ruang alternatif seni” lain yang didukung oleh sistem penyantunan dari luar negeri ataupun pemerintah, PL3 berjalan dengan cara swadana dan memungkinkan untuk bekerja secara independen. Karena itu, PL3 leluasa mengarahkan dirinya untuk membuka kemungkinan akan pengkajian seni yang terhubung dengan sebuah produk pengetahuan tertentu (misalnya, pascakolonialisme) dan bagaimana seniman menarik hubungan di antaranya. PL3 percaya bahwa konsepsi seni yang matang hanya bisa dihasilkan dari ketekunan seniman meriset sebuah pengetahuan. Proses riset inilah yang ditawarkan ke khalayak untuk ditanggapi, dikritik guna memperkaya dan sama-sama mempertajam pengetahuan seni.

Dasar-dasar pendirian PL3 tidak terlepas dari hasil pengamatan kami terhadap sejarah seni rupa Indonesia, semenjak Persagi (Persatuan Ahli-ahli Gambar Indonesia, 1938) hingga ruang-ruang seni yang lahir di milenium baru. Persagi adalah sebuah model yang menggabungkan konsep sanggar yang mandiri, art/cultural activism, dan memiliki kepentingan politik (nasionalisme). Pada masa

itself to possibilities such as research into art tied to a certain knowledge base (for instance, post-colonialism) and how artists connect relationships to it. PL3 believes that established art conceptions can only result from the artist’s diligence in researching a chosen subject. It is this research process that is offered to the public for response and criticism, to enrich and focus knowledge about art.

The basis of founding PL3 cannot be separated by our own observation of Indonesia’s history of art, since Persagi (Union of Indonesian Drawing Experts, 1938) to the founding of various art spaces in the new millennium. Persagi is a model that combines the concepts of an independent art house, art/cultural activism, and also has [nationalistic] political interests. At that time, Persagi (naturally) was not supported by the government, and they funded their exhibition activities themselves. Seniman Indonesia Muda (Young Indonesian Artists) was founded in 1946, almost at the same time as Seniman Masyarakat (The People’s Artists), before both organizations were merged. Not long after, Pelukis Rakyat (The People’s Painters) was founded by a few members of SIM. Both Pelukis Rakyat and SIM received financial support from the government, and within both founding charters, they were required to support the

Catatan Akhir

1. Soal content dan context provider ini diadaptasi dari ungkapan seniman Inggris Peter Dunn yang menengarai

fenomena artists dan art collectives yang menempatkan praktik seni mereka sebagai fasilitator guna

membuka dialog maupun kolaborasi yang efektif di antara komunitas masyarakat. Seniman atau grup

seniman dalam kerangka ini lebih mengutamakan pendekatan proses

dan performa di medan sosial. Kerja kreatif mereka dinilai melampaui

batas-batas institusional galeri dan museum. Karena itu, menurut Peter

Dunn, kerja kreatif mereka lebih mengarah pada “context providers”

ketimbang “content providers”. Dalam hal ini, untuk kasus Platform3,

yang saya lakukan hanyalah membalikkan pernyataan Peter Dunn

tersebut. Pernyataan Peter Dunn ini dikutip dalam Grant H. Kester, Conversation Pieces: Community + Communication in Modern Art, (London, University of California

Press, 2004), halaman 1.

Endnotes

1. About content and context providers: this is adapted from thoughts by English artist Peter

Dunn, who suggests that the artists and art collectives phenomenon

that places their art as a facilitator to open dialogue or even effective

collaboration between communities. Artists or art groups in this framework

emphasize on process and performance in the social landscape.

Their creative work is deemed to be able to exceed the institutional

borders of galleries and museums. Therefore, according to Peter Dunn,

their creative work tends to skew towards “context provides” rather

than “content providers”. Here, especially for Platform3, what I

have done is merely reverse Peter Dunn’s statement, which is quoted from Grant H. Kester, Conversation

Pieces: Community + Communication in Modern Art, (London, University of

California Press, 2004), p. 1.

3

Aminudin TH Siregar

itu, Persagi (tentu saja) tidak didukung oleh pemerintah. Secara swadaya mereka berpatungan untuk kegiatan pameran. Pada 1946 berdiri Seniman Indonesia Muda (SIM) yang hampir bersamaan dengan Seniman Masyarakat (SM) sebelum keduanya dileburkan. Tak berapa lama Pelukis Rakyat didirikan oleh sebagian anggota SIM. Baik Pelukis Rakyat dan SIM sama-sama menerima dukungan finansial dari pemerintah. Mereka memiliki tugas dan kewajiban (sebagaimana diatur dalam Anggaran Dasar/Anggaran Rumah Tangga) yang tidak bisa dilepaskan dari kepentingan “propaganda kemerdekaan” yang dicanangkan oleh pemerintah. Kedua “organisasi” ini berdiri sebelum akademi seni rupa

“independence propaganda” pushed forward by the government. Both “organizations” were founded before any art academies in Indonesia, and thus their function became multiple-layered.

Many art houses and artist groups cropped up in the 1950s, some among them affiliated with political parties. This meant that their programs were “adjusted” to the parties’ “interests”. Further along, non-formal groups of artists united by the context of city were founded in the 1960s – for instance, what was later known as the Bandung School of Discipline, consisting of artists who at ITB’s Art faculty. Decenta (Design Center Association) followed in 1973, consisting of

* Board Meeting

44



berdiri di Indonesia. Karena itu fungsi mereka menjadi demikian berlapis-lapis.

Memasuki dekade 1950-an banyak bermunculan sanggar-sanggar, kelompok-kelompok seniman. Beberapa diantaranya berafiliasi dengan partai politik. Ini berarti program-program mereka “disesuaikan” dengan “kepentingan” partai. Sampai dekade 1960-an, ditemukan kelompok seniman non-formal yang disatukan oleh konteks kota, misalnya - apa yang kemudian disebut sebagai: “mazhab Bandung” – seniman-seniman yang tergabung dalam Seni Rupa-ITB. Menyusul kelompok Decenta (Design Center Association, 1973) berisi alumni dan pengajar di Seni Rupa-ITB, yang melakukan formulasi unik antara seni dan desain. Mereka bersifat swadana. Selain aktif menggelar program pameran, melakukan pekerjaan komisi (commision works), program diskusi, Decenta sebenarnya bisa dilihat sebagai “laboratorium” di luar konteks akademi seni (dalam hal ini Seni Rupa-ITB).

Sementara Gerakan Seni Rupa Baru (GSRB) lebih merupakan kelompok seniman non formal yang menginisiasi gerakan perlawanan terhadap kemapanan seni rupa. Dekade 1980-an banyak “gerakan seni” dilakukan secara individual. Beberapa seniman bergabung dengan Lembaga Swadaya Masyarakat

alumni and lecturers from Art ITB, who created a unique formulation between art and design. They were self-funded – other than actively doing exhibitions, they also did commissioned works and discussion programs. Decenta could be seen as a “laboratory” outside of the context of an art academy (in this case, Art ITB).

Gerakan Seni Rupa Baru (The New Art Movement) is more of an informal artist group that initiated an opposition movement towards established art. The 1980s also saw many “art movements” done individually. A few artists joined non-governmental organizations (NGOs). At the end of the decade, many exhibition spaces were founded by initiatives from artists like Cemeti (Yogyakarta) and R-66 (Bandung). Both were self-funded (with the exception of Cemeti, which later on received grants from overseas), using a “house” that was converted into an “exhibition space”. In the 1990s, art groups like RuangRupa followed the “Cemeti method” with special programs regularly supported by overseas organizations. On the other hand, artist groups like Taring Padi and Kelompok Jendela are seen more as art activism groups, with differing emphasis on activities.

In the 2000s, art/cultural activism models founded outside of the mainstream galleries gradually became canonical. Their regular programs became more

5

Aminudin TH Siregar

(LSM), Pada akhir dekade ini berdiri ruang-ruang pamer inisiatif oleh seniman (artist run initiative) seperti Cemeti (Jogjakarta) dan R-66 (Bandung). Keduanya bersifat swadana (kecuali Cemeti kemudian memperoleh hibah reguler dari lembaga luarnegeri) menempati “rumah” yang diubah menjadi “ruang pamer”. Dan pada dekade 1990-an, kelompok seniman seperti RuangRupa mengikuti “jalur Cemeti” dengan program-program khusus yang didukung lembaga luarnegeri secara reguler. Sementara kelompok seniman seperti Taring Padi dan Kelompok Jendela cenderung dilihat sebagai “art activism” dengan bobot maupun penekanan aktivitas yang berbeda.

Sampai dekade 2000-an, model-model art/cultural activism yeng didirikan di luar jalur mainstream galeri perlahan-lahan menjadi kanonik. Program-program reguler mereka semakin tertata dan mereka masih mengandalkan proposal-proposal guna memperoleh dana dari luarnegeri. Ruang-ruang seperti S-14 di Bandung barangkali adalah model yang berbeda dan masih dijalankan secara swadana dan mandiri. Di tengah konstelasi itu PL3 menyadari bahwa jalur swadana, swadaya, dan independensi masih sangat relevan dan berpotensi sebagai ruang yang kontributif bagi pembacaan maupun perkembangan seni rupa di Indonesia.

structured, and they relied on proposals to receive overseas grants. Spaces like S-14 in Bandung are a different model, as they are independent and self-funded. In the midst of this constellation, PL3 realizes that the self-funded, self-empowered and independent method remains very relevant and potential as a space that contributes towards the observation or development of art in Indonesia.

* Performance Art: Diyanto

66



Program

Fokus program PL3 yang utama berupa pameran tunggal seniman (solo show). Pada peristiwa tertentu, PL3 menggelar pameran bersama (group show) untuk menggalang dana (fund rising). PL3 juga membuka diri bekerjasama dengan galeri lainnya dalam suatu program pameran dan residensi seniman (artist in residence) berskala internasional. Program yang disebut terakhir ini baru dilakukan satu kali semenjak PL3 berdiri.

Pameran di PL3 dinamakan “proyek atau presentasi khusus”. Di setiap acara pembukaan, PL3 membiarkan seniman membuka

Program

The primary focus of programs by PL3 is solo exhibitions. On certain events, PL3 will do group exhibitions for fund raising. PL3 is also open to cooperations with other galleries for exhibition and artist in residence programs on an international scale. The latter-mentioned program has only been done once since the founding of PL3.

Exhibitions at PL3 are named “special projects or presentations”. At every opening event, PL3 lets the artist open his or her own exhibition, followed by a talk with the artist with the attending public. Here, the

* Front Yard

7

Aminudin TH Siregar

sendiri pamerannya, menyusul kemudian artist talk di hadapan publik yang datang. Dalam kesempatan ini, seniman akan menjelaskan hal-hal seputar gagasan proyek seninya. Disebut “proyek khusus” karena dalam proses kerjanya, seniman akan menanggapi tema tahunan yang telah ditetapkan oleh dewan PL3 (board). Setelah berpameran di PL3, seniman secara otomatis menjadi anggota PL3 yang memiliki previlege: mengusulkan program kegiatan dan nama seniman yang akan dipamerkan. Setiap anggota turut dilibatkan dalam rapat-rapat internal PL3. Mekanisme ini, dengan demikian, meniscayakan terciptanya kesetaraan, kesimbangan dan demokrasi di internal PL3.

Program lainnya adalah “seminar nasional” dengan mengolah isu-isu mutakhir yang berlangsung di medan sosial seperti yang telah dua kali dilakukan selama ini, yaitu seminar tentang mekanisme pasar dan gejala seni rupa global. Seminar yang dicanangkan satu tahun sekali ini mengundang pembicara-pembicara yang berpengalaman di bidangnya masing-masing. Selain seminar, program yang bersifat diskusi adalah “presentasi khusus”, yaitu presentasi dari seniman/kurator/aktivis tentang pengalaman mereka di medan sosial seni rupa Indonesia. Presentasi khusus ditujukan untuk menginformasikan khayalak tentang apa-apa yang sudah berlangsung dan telah menjadi bagian dari

artist will explain issues around the idea of his or her project. It is named “special project” because in the work process, the artist will be responding to a yearly theme decided by PL3’s board. After exhibiting at PL3, the artist automatically becomes a member of PL3 with the privilege to propose activity programs and artists for exhibiting. Every member is involved in PL3 internal meetings. This mechanism hopefully creates equality, balance and democracy inside PL3.

Another program is a “national seminar” that discusses current issues in society, which has currently been done twice already – a seminar about market mechanisms and the trends of art globally. The annual seminar presents speakers who are experienced in their field. Other than seminars, programs with a focus on discussion are “special presentations”, which are presentations from artists/curators/activists about their experiences in the social landscape of Indonesian art. These special presentations’ purpose is to inform the public about what is going on and what has become a part of the development of (art history). There are also “thematic performance art” programs based on the defined yearly theme. Similar to the seminars, this program is also done once annually, and is usually done over 2-3 days by inviting a

88



perkembangan (sejarah seni rupa). Digagas pula program “thematic performance art” berdasarkan tema tahunan yang telah ditetapkan. Seperti halnya seminar, program ini pun dicanangkan satu tahun sekali. “Thematic performance art” ini berlangsung selama 2 -3 hari dengan mengundang performer artists beraksi di lingkungan sekitar PL3.

Program terkini PL3 adalah “Olah Rasa” yang menggabungkan unsur teater dan olahraga seperti badminton dan ping-pong (table tennis). Program mingguan yang bersifat terbuka bagi siapa saja ini dilakukan di ruang pameran dan sekitarnya. Selain ditujukan sebagai melting-pot bagi semua kalangan, program ini dibayangkan mampu menumbuhkan kreativitas, sikap fair-play yang positif bagi terciptanya iklim kesenian yang sehat dan produktif.

Tanpa bermaksud membedakan diri, ditilik dari program, orientasi dan visinya, PL3 segera terlihat berbeda dibandingkan ruang-ruang seni lainnya di Indonesia. Sebagai simulasi model “proyek ruang seni” yang “tidak biasa”, ke depannya PL3 akan terus berkembang dan secara kreatif akan melahirkan program-program baru yang segar dan, tentu saja, “berbeda”.

Aminudin TH Siregar Founder and Board

performance artist to peform in the PL3 area.

PL3’s most recent program is “Olah Rasa” that combines elements of theatre with sports like badminton and table tennis. The weekly event, open for anyone, is done around the exhibition space. Other than becoming a melting pot for various circles, this program attempts to foster positive creativity and fair play to create a healty and productive art climate.

Without the intent of separating ourselves, PL3 is different from other art spaces in Indonesia, seen from the programs, orientation and vision. As a simulation of the “unusual” “art space project” model, PL3 strives to expand creatively and give birth to various new programs which are fresh, and of course, “different”.

Aminudin TH Siregar Founder and Board

9

Aminudin TH Siregar 1010

Rifky Effendy

Program pameran tahun pertama di Platform3 bertema Kolonialisme. Tema ini dipilih, sebagai pembuka ruang baru kami dengan mempertimbangkan wacana pasca – kolonialisme yang kurang mendapat perhatian para praktisi seni rupa Indonesia. Padahal dalam nilai-nilai kehidupan sosial-politik-budaya di Indonesia, aspek kolonialisme tampak jelas mempengaruhi dan bahkan menjadi konstruksi yang telah hidup di dalam ketidak-sadaran masyarakat. Baik itu terserap dalam kelembagaan ; seperti pendidikan, etika, hukum, politik, agama, maupun nilai-nilai keseharian. Karena dengan menghayati persoalan seputar kolonialisme, setidaknya para seniman mampu menggali lebih dalam persoalan – persoalan yang akan menjadi subjek – matternya. Tetapi galibnya , bidang pasca – kolonialisme merupakan disiplin keilmuan sosial yang mempunyai dasar teori dan pemikiran pasca strukturalisme dari berbagai bidang ilmu lain, seperti psikoanalisa, sejarah, sosial-politik, antropologi, sastra, dan lainnya, yang kemudian menjadi payung besar keilmuan studi kebudayaan.

Pasca-kolonialisme bukanlah suatu wacana anti-kolonialisme (walaupun menjadi suatu bagian penting didalamnya), tetapi sebagai suatu wahana untuk memahami persoalan-persoalan di dalam masyarakat yang pernah terjajah. Indonesia yang

The first yearly exhibition program at Platform3 has the theme of Colonialism. This theme was selected as an opening for our new space, with the consideration that the issue of post-colonialism has not received much attention by art praciticioners in Indonesia. This is despite the fact that in the sociocultural and sociopolitical situation in Indonesia, we can clearly see that colonialism is an influence, or even a construct that lives in society’s subconcious. It is absorbed institutionally, like in education, ethics, law, politics, religion, and also in daily life. Therefore, by studying the issues around colonialism, artists at least weill be able to dig further the issues of the subject matter. Interestingly, post-colonialism is a social science which has theories and post-structuralist thoughts based from other disciplines, like psychoanalisis, history, sociopolitics, anthropology, literature, and so on, which are part of the big umbrella of cultural studies.

Post-colonialism is not merely an issue of anti-colonialism (although it is an initial part of it), but it is a vessel to reach understanding of problems in a once-colonialized society. Indonesia has been colonialized by European nations, and for a longer period by the Dutch. During the Dutch’s 3.5 century rule, there were naturally many cultural shifts that transformed, contested, and rediscovered, in an interaction process between the colonizer

SENI RUPA

dan SINDROM

Pasca Kolonial

ART and the

Post Colonial

SYNDROME

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SENI RUPA dan SINDROM Pasca Kolonial


pernah dijajah oleh bangsa – bangsa Eropa dalam kurun waktu lama, sekitar 3,5 abad, terutama oleh Belanda, tentunya mengalami banyak perubahan nilai-nilai yang ditransofrmasikan, dikontestasikan, ditemukan- kembali, di dalam suatu proses interaksi antara bangsa yang menjajah dan terjajah. Praktek seni rupa modern misalnya, merupakan hasil transformasi dari bangsa Eropa ke bangsa terjajah. Walaupun praktik artistik sudah tumbuh dalam kehidupan budaya – masyarakat etnis di Nusantara era pra-sejarah, tetapi praktik seni modern merupakan sesuatu yang sama sekali baru. Seni modern mempunyai nilai dan disiplin khusus berkat interaksi antara para pelukis Belanda dan pribumi. Proses adaptasi dan apropriasi (atau dalam istilah Homi K. Bhabha : mimikri) seni rupa dari Eropa ini kemudian dijadikan praktik khusus di dalam sekelompok masyarakat baru, yakni yang menamakan diri mereka seniman Indonesia baru (modern); seiring munculnya kesadaran nasionalisme di dalam kehidupan sosial- politik ketika bangsa penjajah masih berada di Nusantara diawal abad ke-20.

Sudah tentu, ada banyak perbedaan mendasar yang membedakan antara perkembangan seni rupa di dunia Eropa dan di Indonesia (dan juga negara”ketiga” lainnya). Kritikus Sanento Yuliman pernah menulis makalah yang cukup

and the colonized. The practice of modern art, for instance, was a result of transformation from Europe to the colonized nation. Although artistic practice had already evolved in the culture, in Indonesia’s ethnic communities in prehistory, the practice of modern art was completely new, and the result of the interaction of values and disciplines betweeen Dutch and Indonesian painters. The process of adaptation and appropriation (or in the terms of Homi K. Bhabha; mimicry) of art or cutlure from Europe was then practiced by a new group in society, naming themselves new (modern) Indonesian artists – at the same time as the national awakening of sociopolitical life while still under colonization at the beginning of the 20th century.

There are certainly many basic differences between the development of art in Europe and Indonesia (and other “third world” countries). Critic Sanento Yuliman once write a very important paper, titled “Dua Seni Rupa (Two Arts)” (1984) where he underlined the existence of “high art and low art”, signifiying how vague society understands art. This is caused, in short, by (1) viewing only “one” of everything: one art (with one reference standpoint), therefore only one society, which is the global society; (2) the view that depicts the journey of our art as a straight line; which describes prehistoric art as a line that ends at one point; (3) the view

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penting; Dua Seni Rupa (1984), di mana ia menggaris bawahi adanya “ seni rupa atas dan seni rupa bawah” , yang menandai adanya kerancuan dalam pemahaman umum masyarakat kepada makna seni. Hal ini disebabkan singkatnya, karena (1) pandangan serba tunggal yang menganggap hanya ada satu seni rupa (dengan satu tata acuan), dan hanya ada satu masyarakat, yaitu masyarakat seluruh (global). (2) Pandangan yang menggambarkan sejarah seni rupa kita sebagai satu garis lurus. Dalam pandangan ini seni rupa prasejarah dibayangkan sebagai garis yang berakhir pada satu titik. (3) Pandangan yang mengutamakan seni lukis (juga seni patung), yang meremehkan berbagai jenis seni rupa lainnya. Pandangan ini diwarisi dari sejarah seni rupa (dan estetika) Eropa.

Lain kata, perkembangan seni rupa modern Indonesia, berjalan dan berkembang di atas berbagai paradoksnya. Perkembangan ini, lebih terlihat lagi bila kita cermati dari sisi kemunculan lembaga seni , seperti perkembangan lembaga pendidikan seni (akademi), museum, catatan-catatan, dan arsip yang dibukukan dan dipublikasikan, dan lainnya. Di sinilah terletak persoalan-persoalan modernisasi atau modernitas negara ini. Di sisi lainnya, perkembangan seni rupa kontemporer menunjukan adanya peran pasar sebagai suatu arena yang dinamis,

that emphasizes painting (and sculpture) while underestimating other types of art. These views were handed down from European art (and aesthetics).

The country’s modern art history is a transformation of modern European knowledege inherited from colonialism, something given and internalized by a society that yearns for a modern, independent nation. For a few artists like S. Sudjojono and friends in PERSAGI, modern painting is the surfacing of individualistic values that take the identity and spirit of Indonesia into consideration, and not merely skill in expressing aesthetic values. Painting (and visual art) are manifestations of the vision to attain independence, and thus must separate itself from past values no longer suitable for current times, including independence from the art values of the colonists.

However, the development of Indonesia’s modern art continues to grow upon its various paradoxes. These developments are even easier to see if we take a look at the founding of art institutions such as art academies, museums, historical records, published archives, and so on. This is where the issue of modernisation or modernity of the nation lies. On the other hand, the growth of contemporary art shows the role of the market as a dynamic arena, by displaying initiative from art circles to push for more infrastructure so that the

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dengan memperlihatkan munculnya inisiasi dari masyarakat seni rupa untuk mendorong berkembangnya infrastruktur untuk mengantisipasi ketertinggalan praktik seni di Indonesia, walaupun masih dengan situasi yang memprihatinkan. Konteks inilah kemudian yang melahirkan program – program di Platform3 sebagai ruang inisiasi yang terdiri dari para kurator dan seniman.

Proyek “ Pasca-Kolonialisme”

Proyek “ Pasca-Kolonialisme” yang dirancang Platform3, cenderung bukan untuk mendiskusikan secara khusus kepada persoalan teori-teorinya, tetapi lebih mengupayakan persoalan-persoalan seputar kolonialisme dipertimbangkan, ditemukan dari keseharian, dijelajahi dan kemudian dijadikan dasar untuk mengerjakan karya-karya seniman. Diawali dengan seniman muda J. Ariadhitya Pramuhendra, pada bulan November 2009, yang menghampiri persoalan kolonialisme dengan subyek relijiusitas melalui medium cat air , seperti yang dilakukan oleh para ahli gambar bangsa Eropa ketika mereka mulai mengidentifikasi dunia timur dengan melakukan kegiatan pencatatan, pendataan, pengarsipan berbagai unsur, seperti tumbuhan, binatang, maupun kehidupan masyarakat di wilayah tanah jajahannya. Hal ini menandai kebutuhan

practice of art in Indonesia can catch up, even in apprehensive times. This context thus gave birth to programs at Platform3 as an initiating space, consisting of curators and artists.

The Post-Colonial Project

The “Post-Colonial” project designed by Platform3 does not tend to specifically discuss theories, but attempts to consider issues around colonialism found in the space of daily life, further explored and then made as a basis for art projects. We begin with young artist J. Ariadhitya Pramuhendra in November 2009, who approached the issue of colonialism with the subject of religiousness using watercolor, as done by European drawing experts when they started to indetify the East world through documenting, collecting data, and recording aspects of various life like flora, fauna and even the lives of those they conquered. This signified the European need of visual records with a scientific approach in documenting the mysterious, magical Eastern world – to give clearer and more detailed information as presentation material in the name of science – and thus known afterwards as Orientalism.

Pramuhendra redepicts the shapes of flora and fauna which have symbolic connections to passages in the Bible; a rooster, a fish, a dove, a pelican, a rose, a

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arsip visual dengan pendekatan sain (scientific) bangsa Eropa terhadap dunia timur yang penuh misteri dan magis. Untuk memberikan gambaran dan informasi lebih jelas dan terperinci sebagai materi representasi, untuk kepentingan pengetahuan, yang kemudian dinamakan Orientalisme.

Pramuhendra menggambarkan kembali bentuk flora-fauna yang mempunyai kaitan simbolik dengan apa yang disebutkan di dalam alkitab Injil ; ayam jantan, ikan, burung Merpati, burung Pelikan, bunga Mawar, sekumpulan buah Anggur, dan Domba, dengan medium cat air. Mengapa tanda-tanda Alkitab dimunculkan kembali ? Hal ini kemudian berhubungan dengan subyek yang menjadi ketertarikan Pramuhendra, yang selama ini tertarik pada persoalan-persoalan reliji (Katolik). Di sini juga ia mempertanyakan hal asal-usul, dan agama Katlolik yang juga dibawa oleh orang-orang Eropa dan disebarkan pada era kolonialisme. Ia menyajikannya dengan menempatkan gambar-gambar tersebut di dalam sebuah kotak kaca , mirip display benda-benda atau artefak di museum-museum arkeologi. Proyek “Taksonomi sang Liyan” , bisa diumpamakan sebagai pisau bermata dua. Di sisi pertama ia merupakan jawaban atau responnya terhadap taksonomi kolonial, namun di sisi yang lain, ia juga menyelipkan tafsirnya terhadap

bunch of grapes, and sheep, all in watercolor. Why were biblical symbols used? This has relation to the subject of Pramuhendra’s interest, who always had an interest in religious (Catholic) issues. Here he questions the issue of origin, the fact that Catholicism was also spread by Europeans during the colonial era. He presented this by placing these pictures in a glass box, like archeological displays. The “Taksonomi sang Liyan” (Liyan’s Taxonomy) can be seen as a double-edged sword: at one side, it is an answer or response towards colonial taxonomy, but on the other hand, he also slips in his interpretation towards various flora and fauna metaphors found in the Bible. Liyan’s taxonomy became an artistic project that brings forward the issue of colonialism and religion, and the hidden relationships within it.

The next project, titled “Menyulam Sejarah” (Knitting History), displays work by Leyla Aprillia who raises the issue of history in a series of images. She depicts images of war heroes, weapons, and airplanes in an artwork that combines screen printing with the behaviour of stitching or knitting, an activity often done by women in domestic life. Today’s generation of artists are in luck, as in modern art traditions, knitting is not considered ‘honorable work’, but as with batik, creamics and carving, they are now accepted as elements that lend meaning to art concepts. This is influenced

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by post-structuralist, post-feminists thought in the 1970s and 1980s, where craft gained recognition in the practice of contemporary art. In Indonesia, such thought was most possibly pioneered by The Movement for New Art (GSRB).

Leyla uses knitwork woven to shape shillouettes of war heroes and important historical events of Indonesia’s formation. The combination of colors, image patterns in the background, or decorations on the person’s clothes, create an impression of a paradox. The issue of the nation’s welfare is narrated through the artist’s own experiences. She stats; “Other than distance, and only understanding bits and pieces, there are many historical events of this nation that I know nothing about. I ‘sew’, ‘patch’, ‘knit’, and ‘construct’ the pieces with visual archives: contributing color to events as events, as part of my curiosity towards what we call ‘history’.”

The reality that the nation’s youth has no interest in history is a problem for our relatively young

berbagai metafor / simbol flora-fauna yang ia temukan dalam Alkitab. Taksonomi sang Liyan menjadi proyek artistik yang mempersoalkan kolonialisasi dan agama, sekaligus hubungan-hubungan tersembunyi di dalamnya.

Projek selanjutnya bertajuk “Menyulam Sejarah” , menampilkan karya-karya Leyla Aprilia yang menyoroti persoalan sejarah dalam rangkaian suatu citra. Ia menampilkan citra tokoh-tokoh perjuangan , senjata, pesawat di dalam karya dengan menggabungkan cetak saring dengan perilaku merajut benang atau menyulam, suatu kegiatan yang biasa dilakukan kaum perempuan di dalam kehidupan domestik. Beruntunglah generasi seniman sekarang, karena menyulam di dalam tradisi seni modern, bukanlah kegiatan yang dianggap suatu ‘kerja mulia’. Tetapi di dalam praktek seni rupa saat ini menyulam, membatik, berkeramik, mengukir, bisa diterima sebagai unsur – unsur yang mampu memberikan makna pada konsep karya seni. Hal ini dipengaruhi oleh pemikiran-pemikiran pasca strukturalis , pasca–feminisme, di dekade 70-80an, di mana elemen kriya mendapatkan kharismanya dalam praktik seni rupa kontemporer. Di Indonesia, pemikiran seperti ini mungkin dibidani oleh Gerakan Seni Rupa Baru (GSRB).

Leyla menggunakan jalinan

(kanan / right)

* Artwork J. A. Pramuhendra Project no.1:

Taxonomy of The Other

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nation, and even becomes an important question about history itself. In a post-structuralist paradigm, history is not anymore a mission to reveal the absolute truth of the past, since history is what is documented by the victors, and is often ‘seasoned’ with special interests, or even purposefully created. However, whatever imagination is thrust upon history, especially regarding a nation and state, it still requires studying, archiving, and constructively retold in an interesting and perhaps entertaining way. Therefore, the medium to introduce facts of the past keep developing, beginning with book publishing, classrooms, museums, photography, movies to the internet.

Visualizing history through Leyla’s knitwork becomes a response containing a series of ironies, lightly communicated yet still touching on the issue of how we imagine history to be to Indonesia’s faster-moving society. History becomes a row of icons decorating important historical days as a mundane routine with a different meaning, like on Independence Day celebrations, and so on. Historical icons appear in various events – tv shows, ceremonies at governmental offices, schools, or advertistments. The spirit of the struggle for independence has faded behind the rowdy noise of new capitalism.

The 3rd project, created by

benang yang dirajut / disulam membentuk siluet potret para tokoh perjuangan dan juga kejadian-kejadian pada masa pembentukan republik ini. Paduan unsur warna , pola-pola citra di latar belakang, atau dekorasi hiasan pada bagian pakaian figur-figur tersebut, secara keseluruhan memunculkan kesan yang paradoks. Persoalan kesejarahan bangsa ini dikemukakan berdasarkan pengalaman diri sang seniman. Ia menyatakan ; “Selain berjarak dan hanya dimengerti sepotong-potong, banyak peristiwa dalam sejarah perjalanan bangsa ini yang tidak saya ketahui. Saya ‘menjahit’, ‘menyambungkan’, ‘menyulam’, ‘menyusun’ potongan tersebut dengan memanfaatkan arsip visual: memberikan warna pada peristiwa sebagai proses keingintahuan saya terhadap apa yang kita sebut sebagai ‘sejarah’.”

Kenyataan bahwa ketidaktertarikan terhadap kesejarahan bangsa oleh kaum muda merupakan problematika bagi masyarakat kita yang masih terbilang muda sebagai negara, bahkan menjadi pertanyaan penting terhadap sejarah itu sendiri. Sejarah dalam wacana pasca strukturalis, memang bukan ihwal mencari suatu kebenaran absolut tentang masa lalu, karena sejarah dicatat oleh sang pemenang, seringkali ‘dibumbui’ kepentingan-kepentingan untuk tujuan kekuasaan tertentu, bahkan

* Artwork Leyla Aprilia

Project no. 2: Knitting History

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R. Yuki Agriardi, presents an interpretation of an important past event. Titled “Hari Hening Terakhir” (The Last Day Of Silence), he rearranges space and time when Mount Krakatau erupted in 1883. That eruption, is said to be the first large-scale disaster since the discovery of undersea telegraph. The sound of the eruption was said to be heard by one eigth of the world’s population at that time. Yuki, however, did not focus his work on that event which claimed around 36,000 lives and caused global changes in climate.

Instead, he focused his attention to the silence moments before the eruption. A period of time that defined fate. In his research, he discovered that before the peak of the eruption, there was a moment where all living things experienced a vague anxiety for no reason. Rocking chairs, waves on water in a cup, walls cracking, and loud beats from the clock. Yuki interprets the moment of the natural disaster through objects and drawings where he inserted elements of space and time into a series of installations. The choice of using an installation as a medium turned was a smart choice, where the aspects of space and time could interact with the audience. For Yuki, the colonial era is like a space and time that constructs and produces stories, legends and myths that may be beyond the facts.

Rifky Effendy

mungkin sengaja diciptakan. Tetapi bagaimanapun imajinasi terhadap suatu sejarah, terutama mengenal suatu negara dan bangsa, perlu untuk digali, dicatat kembali, disampaikan secara konstruktif, menarik dan mungkin sedikit menghibur. Maka media untuk memperkenalkan suatu fakta masa lalu terus berkembang, mulai dengan penerbitan buku-buku, ruang-ruang kelas, museum, fotografi, hingga film dan internet.

Citra sejarah lewat karya sulaman Leyla, menjadi respon dengan serangkaian ironi, cenderung dibawakan secara ringan namun menyentuh persoalan imajinasi kepada kesejarahan masyarakat di Indonesia yang semakin cepat bergerak. Sejarah menjadi rangkaian ikon-ikon yang hanya menghiasi hari-hari besar saja, sebagai suatu rutinitas dengan makna berbeda, seperti peringatan kemerdekaan R.I, dll. Ikon-ikon sejarah muncul menghiasi acara – acara televisi, upacara di kantor-kantor lembaga negara, sekolah-sekolah, atau iklan-iklan. Semangat nilai-nilai perjuangan memudar di balik riuhnya semangat kapitalisme baru.

Rifky Effendy

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Platform3 memilih persoalan seputar poskolonialisme sebagai tema tahun pertamanya. Latar belakang pemilihan tema telah dipaparkan oleh Rifky Effendy. Pilihan tema ini kemudian menggiring seniman-seniman yang berpameran di Platform3 menjelajahi berbagai dimensi dari kondisi yang kita warisi.

Setiap kali seseorang muncul sebagai seniman, maka ia bukan hanya memunculkan kepribadian dan pencapaian artistiknya, melainkan juga menunjukan hubungan kesinambungan sekaligus ketidaksinambungan dengan apa-apa yang telah lebih dulu ada. Telah didiskusikan juga oleh Rifky bahwa pemahaman seni modern di Indonesia berkembang seiring dengan kesadaran nasionalis, dan hal ini tidak mungkin tidak berhubungan dengan kolonialisme bangsa-bangsa Eropa. Kondisi ini sedikit banyak selalu bisa ditelusuri pengaruhnya pada setiap seniman.

Platform3 memilih istilah “proyek khusus” bagi program pameran rutinnya. Istilah ini merujuk pada penampilan karya yang khusus dibuat untuk pameran di Platform3 oleh seniman bersangkutan, dan pada serangkaian diskusi yang menjelajahi berbagai kemungkinan dari tafsiran tema tahunan Platform3. Dari diskusi-diskusi ini, selain kecenderungan si seniman, ide-ide baru muncul menelisik berbagai aspek dari

On its first year, Platform3 chose post-colonialism as a theme. The background of this theme was explained by Rifky Effendy alluring artists to exhibit their artwork at Platform3 exploring different dimensions and conditions we inherit.

Whenever someone emerges as an artist, not only the artist shows personality and artistic achievements, he/ she also shows sustainable and unsustainable relations to the things around him/her. Rifky also discussed that the understanding of modern art in Indonesia is developing alongside nationalism associated with the development of colonialism in Europe. The influence of this condition is almost always evident in each artist.

Platform3 chooses the term “special project” for its routine exhibitions. This term refers to artwork purposefully created for exhibitions at Platform3 and discussions on various possibilities of yearly theme of Platform3. Based on these discussions, besides the artistic tendencies of artists, new ideas emerge surrounding the targeted theme. This exploration is from something known as a large narration to a very private subject.

Ihwal Mewarisi

A Matter of Inheriting

Heru Hikayat 2020

tema yang disasar. Penjelajahan ini terentang dari sesuatu yang dikenali sebagai narasi besar hingga wilayah yang sangat personal.

R. Yuki Agriardi adalah proyek ke-3 kami. Yuki, menjelajahi tepian antara seni dan desain. Latar belakang pendidikan desain interior serta keterampilan dalam bidang pertukangan agaknya berpengaruh besar. Di samping itu, Yuki mempunyai minat pada fenomena alam. Karenanya, saat disodori tema poskolonialisme, Yuki membidik pada peristiwa alam yang terjadi di masa kolonial. Saya kira, bidikan Yuki memperkaya diskusi tentang

Ihwal Mewarisi

R. Yuki Agriardi is our third project. Yuki explores the boundaries between art and design. His educational background in interior design and trade skills seem to be the major influence in his work. Yuki also has an interest in natural phenomena. Therefore, when given the theme post-colonialism, Yuki targets natural phenomena in the colonial era. In my eyes, Yuki will enrich the discussion on post-colonialism in her own way: it is not merely about relationships between humans but also relationships with nature.

Yuki’s project was given a title “Hari Hening Terakhir” (The Last

* Artwork R. Yuki Agriardi Project no.3: The Last Quiet Day

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poskolonialisme dengan caranya tersendiri: bahwa ini tidak semata-mata hubungan antarmanusia, melainkan juga hubungan dengan alam.

Proyek Yuki kemudian diberi judul “Hari Hening Terakhir”, diselenggarakan Januari-Februari 2010. Adalah peristiwa letusan Gunung Krakatau yang jadi pokok soal. Ini merupakan fenomena alam terbesar di Nusantara yang terjadi pada masa kolonial. Skala peristiwa diyakini mengakibatkan berbagai dampak besar juga. Namun, bukan dampak itu yang dibidik. Yuki membidik saat-saat sebelum ledakan. Dalam surveynya, Yuki menemukan bahwa, beberapa hari sebelum ledakan, ada suasana hening yang mencekam: tidak terjadi apa-apa, tapi semua merasa gelisah. Ini adalah momen “dimana kita (seharusnya) tidak berpikir apa-apa, tetapi merasakan hampir segalanya”, demikian pernyataan Yuki.

Saat itu Yuki menampilkan 2 karya trimatra dan 1 seri gambar. Objek-objek ini dirakit sedemikian rupa hingga menyituasikan momen hening-menggelisahkan itu. Ruang pamer saat itu terasa bersih, tenang, agak lowong, namun setelah beberapa lama di dalamnya, akan terasa ada unsur-unsur yang berpotensi memecah keheningan.

Heru Hikayat

Quiet Day), held in January-February 2010. The main topic of her work was the volcanic eruption of Krakatoa. This was the largest natural disaster in Indonesia at that time which also had a huge impact on the country. However, the impact was not the focus of her work but minutes before the eruption. Based on her survey, Yuki found that several days before the volcano erupted, there was an eerie silence: nothing happened but everyone was worried. This was the moment “where we (should) not think about anything but we feel almost everything.”

At the exhibition, Yuki presented two 3-D artworks and 1 series of drawing. These objects were sewn together to reflect the moment of silence and worry. The venue looked clean, spacious and felt quiet as if there was something about to break the silence.

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Di Bawah Bayangan Sang Pahlawan

Setelah R. Yuki Agriardi, giliran Roumy Handayani Pesona menjelajahi ihwal poskolonialisme. Roumy kebetulan dibesarkan di lingkungan militer, karena ayahnya bekerja di sana. Hal lain, sang ayah berasal dari Sulawesi. 2 hal ini (militer dan Sulawesi) memiliki tautan pada satu babak dalam sejarah Indonesia modern. Babak yang berpusat pada 1 figur: Kahar Muzakar. Bagi Roumy, karena berhubungan juga dengan kisah pribadinya, figur Kahar Muzakar sungguh ambigu: apakah ia pahlawan atau pemberontak?

Roumy berlatang belakang seni grafis. Salah satu keahlian utama dia adalah litography. Roumy banyak menggambar potret. Potret Roumy bukanlah rekaman akurat. Ia tidak menyediakan cukup petunjuk bagi pelihat untuk mengidentifikasi. Perkara identifikasi penting dalam

A Matter of InheritingIhwal Mewarisi

In the Shadow of a Hero

After R. Yuki Agriardi, it was Roumy Handayani Pesona to explore the theme post-colonialism. Roumy was actually brought up in the military environment because her father, originally from Sulawesi, was in the military. These two things (military and Sulawesi) are closely related to a specific era in the Indonesian history. The first part was focused on a figure named Kahar Muzakar. To Roumy, because this was related to her personal experience, Kahar Muzakar was ambiguous: a hero or a rebel.

Roumy, as a graduate of Graphic Art, specializes in lithography and has done a lot of work on portraiture. Roumy’s portraits are, however, not accurate. She does not provide enough clues for viewers to identify a subject which is a very important issue in portraiture because every time we see a face, we automatically

* Artwork Roumy Handayani Pesona

Project no.4: Under The Hero’s Shadows

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potret, karena setiap kali melihat wajah kita akan otomatis mengidentifikasinya: tak ada “sebuah wajah”, selalu “wajah siapa?”. Potret Roumy justru menyela proses identifikasi ini.

Pada persiapan proyeknya di Platform3, Roumy memulai dengan potret. Kali ini, Roumy meninggalkan sedikit petunjuk bagi identfikasi. Potretnya agak menyerupai sosok tertentu. Foto figur-figur yang tampil di panggung sejarah banyak beredar. Foto ini merupakan hasil reproduksi, hingga sebagian besar foto itu kabur secara rupa. Kekaburan rupa juga merujuk pada sesuatu yang lain: ambiguitas dari sang tokoh.

Pada perjalanan prosesnya, Roumy mengubah pilihannya. Ia membidik sesuatu yang lebih ambigu lagi. Ia menemukan sebuah artikel yang menceritakan bahwa Kahar Muzakar konon merekrut sekitar 800 narapidana di pulau Nusakambangan. Mereka adalah orang-orang yang dinyatakan “penjahat” oleh rezim kolonial. Orang-orang ini dibebaskan dari penjara, kemudian diwajibkan berperang. Bersama mereka, Muzakar membentuk “Laskar Kesatuan Gerilya Sulawesi Selatan”.

Siapakah mereka, 800 orang itu? Sejarah tak punya tempat yang cukup untuk mereka. tokoh-tokoh ini menjelma amat samar dalam sejarah. Mereka serupa wajah tanpa nama.

Heru Hikayat

identify it. It is never “a face”, it is always “whose face.” Roumy actually wants to mock this identifying process.

On her preparation for the project at Platform3, Roumy began with a portrait. She left a few clues to help viewers indentify it because it looked like a certain figure. There are many pictures of important figures on stage around. This picture was a result of reproduction with most part of it was badly blurred. This blurriness also refers to something else: the ambiguity of a character.

Roumy changed her mind in the middle of her creative process. She targeted something more ambiguous. In an article, it is said that Kahar Muzakar recruited 800 convicts in Nusa Kambangan. They were people who were labeled “criminals” by the colonial regime. These people were released from jail and obliged to go to war. Together with them, Muzakar formed “Laskar Kesatuan Gerilya Sulawesi Selatan” (The United South Sulawesi Guerrilla Troop).

Who are these 800 people? History does not have enough space for them, characters that appeared blurrily in history. They are faces without names.

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Ihwal Mewarisi

Lidah Bercabang-cabang

Adhya Ranadireksa adalah seorang fotografer dengan keahlian utama fotografi alam-benda. Selain itu, Adhya nampak sebagai seseorang yang menyukai plesetan. Ia selalu melihat sesuatu dengan cara berbeda, menguak peluang untuk membidik sisi lain. Bagi Adhya, kolonialisme jauh melampaui arti harfiah dari kata dasarnya, “koloni”. Baginya, Kolonialisme membentuk cara kita berpikir, dan menguasai indera, dengan kata lain cara kita memahami diri dan memandang dunia.

Berhubungan dengan keahlian khususnya dalam fotografi alam-benda, Adhya kemudian mengedepankan tubuh. Tepatnya organ-organ tubuh. Di tangan Adhya, organ tubuh tertentu (jantung, lidah, mata, dan otak; yaitu organ-organ yang mewakili cara kita mengindera dunia) menjelma jadi objek pajangan. Jantung direntang tergantung di udara, bola mata bertumpuk-tumpuk dalam gelas, lidah dengan ujung bercabang direkatkan pada papan kayu, otak dipasak, semuanya lebih serupa benda mati, tak bernyawa.

Lebih jauh, Adhya bermain dengan batasan denotasi dan konotasi. Ia membolak-balik 2 wilayah ini. “lidah bercabang” merupakan frasa yang kita pahami dengan merujuk pada pengertian seseorang yang lain kata lain perbuatan. Ketika Adhya

Split Tongue

Adhya Ranadireksa is a photographer specializing in bare things who likes mockery. He always sees things differently, giving an opportunity to see from a different angle. To Adhya, colonialism is far from the literal meaning of its base word, “colony”. According to him, colonialism shapes the way we think and how we master our senses, in other words, how we understand ourselves and view the world.

Related to his skills in photography of bare things, Adhya focuses on body, internal organs to be precise. In Adhya’s hands, certain organs (a heart, a tongue, eyes, a brain; organs that represent how we sense the world) were turned into objects of display. The heart was hung in the air, eyeballs were stacked in a glass, the split tongue was glued


* Artwork Adhya Ranadireksa Project no.5: Forked Tounge

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Heru Hikayat

menampilkan lidah sebagai objek yang dipajang, maka konotasi diumbar jadi denotasi. Kedua wilayah ini mengemuka secara bersama-sama: yang fisik dengan yang spiritual. Penguasaan tubuh sesungguhnya tidak pernah merupakan penguasaan atas tubuh itu sendiri, melainkan juga penguasaan jiwa.

Pemandangan Itu

Mimi Fadmi menampilkan lukisan panorama dengan cat air. Lukisan ini dibuat dengan mengacu pada sejumlah foto. Sebagian adalah foto peninggalan ayah Mimi yang berprofesi sebagai insinyur sipil. Ayah Mimi bersekolah di Belanda. Bagi Mimi, sisi lain kolonialisme adalah pembangunan. Pemerintah kolonialislah yang mulai membangun infrastruktur secara modern di negeri ini.

Proyek Mimi merupakan amatan secara visual dipadukan dengan nostalgia. Foto merupakan rekaman dari masa lalu. Sementara lukisan merupakan gubahan menggunakan tangan, dengan begitu ada keintiman di dalamnya.

onto a wooden block, the brain was pinned, and all looked dead, lifeless.

Moreover, Adhya played with the border of denotation and connotation. The term “split tongue” is a phrase referred to someone’s understanding or someone’s actions. When Adhya presented the tongue as an object of display, it was a connotation presented as a denotation. These two areas surfaced at the same time: the physical with the spiritual. The mastery of body is not only of the body itself, but also the soul.

That Scenery

Mimi Fadmi presented water colour panoramic paintings which were created based on photographs. Some of them were inherited from Mimi’s father who was a civil engineer. Mimi‘s father studied in Holland. To Mimi, the other side of colonialism is development. The colonial government was the one who began building modern infrastructure in this country.

Mimi’s project was based on her visual observation combined with nostalgia. These photos were a record of the past and paintings were created by hand showing intimacy.

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Ihwal Mewarisi

Pada lukisan-lukisan Mimi, bangunan tidak tampil dalam kategori fungsional. Media cat air memang bisa lebih mengedepankan sifatnya yang cair dan karenanya tidak menonjolkan rinci objek. Lukisan bentang alam Mimi daripada mengedepankan rinci, lebih menunjukan potensi bentuk-bentuk yang plastis. Apapun yang kita lihat sesungguhnya tidak ajeg, melainkan terus bergerak bersama waktu, dengan kata lain: berubah terus.

In her paintings, buildings did not appear in the functional category. The water colour media was characterized by its fluidity without showing details of an object. Mimi’s landscape paintings focused on details, showing the potential of plastic shapes. Whatever we see is not static but always changing with time, in other words: always changing.


* Artwork Mimi Fadmi Project no.6: Monument.Memory

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Heru Hikayat

Benci dan Rindu

Nadya Savitri adalah seorang pekeramik. Karenanya, saat disodori tema poskolonialsme, Nadya teringat pada keramik Delft Blue. Keramik Delft Blue merupakan oleh-oleh tipikal dari negeri Belanda. Delft Blue identik dengan Belanda. Bukankah lucu sekali jika mengingat sesungguhnya Delft Blue merupakan tiruan dari keramik Cina? Fenomena Delft Blue menunjukan ambiguitas antara Timur dan Barat.

Dari sini Nadya tertarik pada paradoksnya: bagaimana bisa si penjajah dibenci sekaligus dipuja? Nadya kemudian memadukan ketertarikannya dengan masalah kecantikan. Ini juga ihwal tubuh. Khususnya bagi perempuan, penampilan merupakan masalah yang amat serius. Menarik diamati, bahwa ideal kecantikan berkaitan dengan supremasi kulit putih. Ciri-ciri fisik khas ras Kaukasia, kulit putih, hidung mancung, mata bulat, badan tinggi, dan lain-lain, dapat nilai lebih positif.

Nadya kemudian menggubah sejumlah objek replika alat-alat kecantikan menggunakan keramik. Keramik tersebut digarap dengan teknik mirip dengan Delft Blue. Di sini, objek dan teknik garapannya mengemukakan lapisan-lapisan wacana yang rumit dan berkelindan.

Proyek Nadya menutup rangkaian proyek khusus dalam bingkai

Hatred and Longing

Nadya Savitri is a ceramic artist. When given the theme post-colonialism, it reminded Nadya of Delft Blue ceramics. Delft Blue is a typical souvenir from Holland and is closely associated with the country. Isn’t it funny how Delft Blue is actually an imitation of ceramics from China? This phenomenon clearly shows ambiguity between East and West

Nadya was interested in this paradox: how can the colonialist be hated and adored at the same time? Nadya then combined it with her interest in cosmetics. This was also related to the issues on body. Especially for women, appearance is a very serious matter. It is interesting to see how the ideal beauty depends on skin whiteness. The physical characteristics of Caucasians, white skin, pointy nose, round eyes, tall, etc, are considered as having more positive values.

Nadya then created several replicas of cosmetic objects made of clay. The clay was mould using the same techniques used in creating Delft Blue. Her objects and techniques presented layers

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Ihwal Mewarisi

tema Poskolonialisme. Para seniman-seniwati ini dengan caranya sendiri-sendiri telah mengemukakan berbagai dimensi dari kondisi yang warisi dari generasi terdahulu.

Bangsa Indonesia punya keunikan tersendiri. Bangsa kita telah punya bahasa nasional sebelum secara resmi menyatakan kemerdekaannya. Kalangan elit mulai Nusantara menyerap ide-ide baru, mengenai kesetaraan, kemerdekaan, negara-bangsa, juga tentang seni modern, melalui pendidikan modern, melalui bahasa penjajah (Belanda). Lalu, untuk merumuskan identitas yang mandiri, dibutuhkan cara untuk membedakan diri. Bahasa Indonesia dengan demikian merupakan ekspresi perlawanan, yaitu cara bangsa ini membedakan dirinya di hadapan si penjajah. Dari sudut pandang teori poskolonial, bahasa Indonesia juga patut dicurigai: jangan-jangan ia bukan hanya meneguhkan pembedaan diri, tapi mengandung juga cara melanggengkan konstruksi kultural dari si penjajah?

Heru Hikayat

of a complex and intertwined discourse.

Nadya’s project marked the end of the series of special projects under the theme of Post-colonialism. These artists have presented, in their own ways, different dimensions of inherited conditions passed on by the previous generation.

Indonesia is unique in its own way. We have our own national language before officially declaring our independence. Elites absorbed new ideas on equality, independence, country-nation, and modern art through modern education, with the colonialist’s language (Holland). Then, a way to differentiate is needed in order to formulate an independent identity. Indonesian language is, in a way, an expression of resistance which is how the people differentiate themselves from the colonialist. From the perspective of post-colonial theory, Indonesian language is also questioned: not only the language was used to differentiate the country from the colonialist; it might have been used to support the cultural construction.

Heru Hikayat


* Artwork Nadya Savitri Project no.7: Ambivalensi

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Institusionalisasi Agama, Lokal dan Global

Sepanjang dua dasawarsa terakhir, orang-orang sibuk membicarakan ‘kebangkitan kembali agama’ dalam wacana politik dan budaya global. Kebangkitan ini tak berhubungan langsung dengan ramalan tentang kebangkitan sang Mesias atau nabi baru dalam agama-agama samawi. Menyusul surutnya perdebatan tentang pertentangan ideologi Barat dan Timur pada akhir 1980-an, wacana tentang agama mengemuka secara baru. Agama lantas tidak dipandang semata-mata sebagai suatu aturan yang mengatur ritual yang bersifat privat, melainkan representasi institusi yang melegitimasi identitas komunal.

Institutionalisation of Religions, Locally and Globally

For the past ten years, people have been talking about the ‘resurrection of religions’ in the political discourse and global culture. It has no direct connection with the Resurrection of Christ or a new prophet in Samawi religions. Following the decrease of debates about Western and Eastern ideologies in the late 1980s, the discourse of religion resurfaced. Religions were then seen not only as a rule to govern something private, they were also a representation of an institution that legitimated the communal identity.

In relations to social and political issues in Indonesia, I considered the ‘resurrection of religions’ as a consequence of dialectics or relationships between different

Tentang Dinamika

Agama dan Seni

The Dynamic Religions

and Art

* Performance Art W. Christiawan

Performance & Lecture 20 - 21 Mei 2011

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Tentang Dinamika Agama & Seni


Dalam kaitan dengan ranah sosial-politik di Indonesia, saya menganggap bahwa ‘kebangkitan agama’ adalah konsekuensi dari dialektika atau hubungan timbal-balik antara berbagai gejala pada tingkat lokal dan global pada era pasca Orde Baru. Ada beberapa indikasi yang menunjukkan kembalinya kekuatan agama ke dalam wacana politik dan kebudayaan di Indonesia dalam kurun dua dekade terakhir. Munculnya partai-partai politik dan komunitas-komunitas atau organisasi kemasyarakatan berbasiskan agama adalah gejala paling menonjol. Dalam sejarah masyarakat modern Indonesia, agama sebagai kekuatan politik memang bukan fenomena baru. Akan tetapi, dinamika sosial politik menyusul runtuhnya pemerintah Soeharto mengakibatkan agama muncul sebagai sebuah kutub kekuatan yang, meskipun sekilas terlihat solid dan utuh, pada dasarnya berpotensi memecah belah.

Setelah reformasi 1998, ruang-ruang aspirasi warga negara memang menjadi lebih terbuka. Iklim politik yang mengarah pada euforia kebebasan berpendapat turut andil dalam menjamurnya kelompok-kelompok baru yang mengatasnamakan agama sebagai basis komunalitas mereka. Sebagian kecil membentuk organisasi kemasyarakatan yang bertindak sebagai ‘ekstrem kanan’ dengan bendera Islam. Meskipun tidak

situations in local and global environment post New Order era. There are some indications showing the return of religious power in politics and culture in Indonesia in the past two decades. New political parties and communities or religious community organisations are the most evident signs. In the modern Indonesian history, religions as a political power is not a new phenomenon. However, the dynamic social politics following the collapse of Soeharto’s government somehow caused religions to be a new source of strength. Although at a glance they look solid and firm, they actually have the potential to separate people.

After the 1998 Reformation, the space of aspiration for citizens is more open. The political climate

(kanan / right)

* Performance Art Albert Yonathan Setiawan


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berafiliasi langsung dengan pemerintah, puritanisme yang mereka usung dapat dilihat sebagai proses institusionalisasi agama (Islam) secara koersif, karena mereka tidak segan-segan melakukan protes, atau konfrontasi langsung dengan masyarakat melalui ‘sweeping’.

Analisa Ariel Heryanto (2011) terhadap kelompok-kelompok tersebut menunjukkan keterkaitan institusionalisasi agama dengan sejarah kebijakan politik Orde Baru di masa lalu. Ia menganggap bahwa kelompok-kelompok ekstrem kanan itu merupakan gabungan dari kelompok-kelompok ‘marjinal’ yang berjuang untuk memperoleh pengakuan. Kelompok pertama adalah mereka yang pada era Orde Baru menjadi bagian dari kekuasaan dengan cara ‘membajak’ simbol-simbol Islam. Mereka memiliki modal

towards freedom of speech euphoria plays an important role in the widespread formation of groups using religions as their main basis of their communities. Some formed community based organisations act as ‘right extremist’ under Islam. Although there are no direct affiliations with the government, their puritanism can be seen as a coercive process of institutionalisation of a religion (Islam) as they will not hesitate to start a protest or a direct confrontation with the community through ‘sweeping’.

Ariel Heryanto’s analysis (2011) on these groups show a connection between the institutionalisation of religions and the history of political policies in the New Order regime in the past. He considered these ‘right extremist’ groups as a combination of ‘marginal’ groups fighting for recognition. The first

* Performance Art Isa Perkasa


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ekonomi yang kuat namun miskin legitimasi. Perolehan legitimasi hanya dapat dilakukan dengan cara memanfaatkan ajaran agama, sebagai ruang atau celah yang ditinggalkan oleh partai-partai Islam puritan yang gagal mendapatkan legitimasi karena kurangnya modal ekonomi.

Kelompok kedua adalah para preman, tukang pukul atau centeng, yang pada masa Orde Baru dimanfaatkan sebagai martir untuk mengorek keuntungan ekonomi dari para pedagang. Mereka bukan kaum politikus yang gemar berdiskusi, atau mencari nafkah dengan berdiskusi, melainkan kelas bawah, kaum korban yang tinggal di piramida politik-ekonomi kolonial dan tidak terwakili oleh lembaga formal manapun. Tumbangnya Orde Baru menjadikan mereka pengangguran dan oleh karena itu lebih mudah dimanfaatkan oleh kelompok pertama.

Pada tataran global, sekurang-kurangnya sejak Samuel Huntington meramalkan ‘perbenturan peradaban’, agama dilihat sebagai kekuatan yang berpotensi menghasilkan konflik. Terutama Islam, agama-agama dianggap mewakili kekuatan yang mengakar pada peradaban-peradaban lama yang bermetamorfosa dan muncul kembali ke dalam bentuk-bentuk peradaban baru pada era pasca Perang Dingin.

group consists of people who were a part of the authority in the New Order era by ‘pirating’ Islamic symbols. They have a strong economic capital but poor in legitimation. This legitimation can be achieved by using religious teachings because a space or a gap was left by puristic Islam parties that fail to gain economic capital.

The second group consists of thugs, bodyguards or bouncers, who were used as martyrs in the New Order era to gain economic profits from trading businesses. They are not politicians who enjoy discussions and make a living from discussions, they are people from the lower social class, victims of that era existed on the bottom of the colonial politics - economy pyramid and are not represented by any formal institutions. The collapse of the New Order has turned them into an unemployed group of people who are easily used by the first group.

In the more global scene, at least since Samuel Huntington predicted the ‘collision of

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Peristiwa ‘Sembilan – Sebelas’ (9/11) pada tahun 2001 yang berujung pada perang berkelanjutan di kawasan Asia Barat—untuk tidak menyebut ‘Timur Tengah’—seolah-olah menegaskan manifestasi ramalan tentang perbenturan itu. Ketika perang berlangsung di Asia Barat, wacana yang mempersoalkan agenda Amerika Serikat untuk menata ulang dominasi mereka terhadap negara-negara non-Barat cenderung tak mengemuka. Padahal sepanjang sejarah, perang selalu merupakan penawar bagi krisis ekonomi. Dalam kasus Perang Irak (2003 - 2011), dampak jual beli alat-alat militer dan kontrak eksploitasi minyak yang pada akhirnya menguntungkan Amerika Serikat dan sekutunya pada praktiknya adalah upaya penyembuhan krisis dan kegagalan kapitalisme pasca Perang Dingin.

Misi untuk menghancurkan ‘poros iblis’ (axis of evil) yang dikampanyekan oleh Amerika Serikat untuk menumpas terorisme pada praktiknya memiliki dampak berantai. Radikalisme dan terorisme yang dilakukan oleh sekelompok kecil fundamentalis terhadap negara-negara kapitalis memang turut membentuk representasi Islam sebagai agama yang identik dengan kekerasan dan perang. Akan tetapi di sisi lain, gerakan kontra terorisme dalam skala global juga dimanfaatkan

civilisation’, religions have been viewed as a power with a potential to create conflicts. Especially Islam, religions are considered as a representation of power based on old civilisation metamorphed into new forms of civilisation in the post Cold War era.

The September 11 attacks (9/11) in 2001 triggered by endless war in West Asia—to avoid using the term ‘Middle East’—as if to confirm the manifestation of the prediction on this collision. When the war began in West Asia, the discourse of America’s agenda to reconstruct its domination of non-Western countries did not exist even though throughout history wars have always been the antidote for economic crisis. In the case of Iraq War (2003 - 2011), the impact of buying-selling military equipments and the contract of oil exploitation which benefits America and its allies were in fact an effort to recover from crisis as a result of the failure of capitalism post Cold Ward.

The mission to destroy ‘axis of evil’ that America has been campaigning to defeat terrorism has a chain reaction impact. Radicalism and terrorism acts by a few small fundamentalist groups against capitalist countries have created a representation of Islam as a religion associated with violence and war. On the other hand, the anti-terrorism global

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oleh para fundamentalis untuk menarik simpati dan solidaritas dari masyarakat muslim untuk bergerak dan melawan, sehingga kekuatan radikalisme berpotensi untuk menguat.

Seni sebagai Kritik menuju Transendensi

Menghadapi proses institusionalisasi agama oleh fundamentalisme yang digerakkan oleh kekuatan lokal dan global, respon dan gerakan-gerakan tandingan telah bermunculan dalam berbagai bentuknya. Seni berpotensi menjadi praktik kritis yang merespon kenyataan-kenyataan sosial timpang yang disebabkan oleh proses itu. Sepanjang sejarah perdaban manusia, seni selalu berhubungan dengan salah satu obsesi abadinya, yakni menciptakan kenyataan berdasar tafsir terhadap pengalaman

movement has also been used by fundamentalists to draw sympathy and solidarity from their fellow Moslems to move and fight, so that the power of radicalism tends to be stronger.

Art as a Criticism towards Transendence

Facing the institutionalisation process of religions by fundamentalism by the local and global power, responses and competitions have also emerged in different forms. Art has a potential to be a critical practice in response to the imbalanced social reality caused by that process. Throughout the human history of civilisation, art always has connections with one of its eternal obsessions, that is to create reality based on the perception of human experience. We can see spiritual searches and communal religious

* Performance Art Deden Sambas


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manusiawi. Kita bisa melihat pencarian spiritualitas dan ekspresi komunal yang relijius dalam seni-seni tradisional. Selalu ada hubungan yang jelas antara stuktur, pola atau logika yang terkandung dalam karya-karya itu dengan sistem kepercayaan spesifik yang dianut para pembuatnya. Seni pada masa itu dipercayai memiliki fungsi sebagai medium transendensi, bahkan sebelum agama-agama samawi tumbuh dan berkembang dalam sejarah peradaban.

Agama memang pernah dikesampingkan dalam sejarah seni rupa modern. Para avant-gardist meninggalkan bahkan mempertanyakan agama secara radikal. Narasi besar sejarah seni rupa Barat abad ke-20, lebih tertarik pada persoalan-persoalan ‘sekuler’, seperti optimisme pada rasionalisasi, objektivisme, kemajuan linear, teknologi, masyarakat industri. Puncak pemisahan antara agama dan seni terjadi dalam sejarah modernisme artistik, di mana aspek-aspek narasi dalam karya seni—termasuk yang bersinggungan dengan agama atau kepercayaan spiritual—ditinggalkan. Manusia modern condong menjadikan dirinya sebagai penguasa jagat yang mengontrol segalanya. Pergeseran dari paradigma kosmologis menuju antroposentris yang berlangsung dengan proses modernisasi ini juga muncul serentak bersamaan dengan

expressions in traditional art. There is always a clear connection between structures and patterns or logics behind this art with a specific belief of the creators. Art at that time was believed to function as a medium of transcendence, even before Samawi religions grew and developed in the history of civilisation.

Religions have been neglected in the history of modern art. The avant-gardist radically questioned, even left religions. The large narration of the Western art in the 20th century, tend to show interests in secular issues such as, optimism, rationalisation, objectivism, linear development, technology, industrial society. The peak of separation between religions and art occurred in the history of artistic modernism where narrative aspects in art—including anything related to religions or spiritual beliefs—were left behind. The modern human tends to make himself as the centre of the universe who controls everything. The shift from cosmological paradigm to anthropocentric and the process of modernisation happened at the time of a firm separation between ‘the institutions of truths’ like science, religions, philosophy and art. In the context of the western world, industrial and science revolution has raised radical questions about traditional dogma—as set by religions—on the basis of human existence, in

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pemisahan yang tegas antara ‘institusi-institusi kebenaran’ seperti sains, agama, filsafat dan seni. Dalam konteks dunia Barat, revolusi industri dan sains memunculkan pertanyaan-pertanyaan radikal tentang dogma-dogma tradisional—seperti yang ditetapkan dalam agama—tentang dasar-dasar eksistensi manusia, dalam hubungannya dengan manusia lain dan Tuhan.

Proyek-proyek bertema ‘agama’ yang dijalankan oleh PLATFORM3 pada dasarnya tidak didasarkan pada sikap avant-garde yang memisahkan seni secara mutlak dengan agama. Berangkat dari keinginan untuk merespon gejala-gejala institusionalisasi dan politisasi agama, seniman-seniman, kritikus dan filosof yang terlibat dalam pameran, festival seni performans di PLATFORM3 (antara lain Mujahiddin Nurrahman, Henrycus Napit Sunargo, Albert Yonathan Setiawan, Bambang Q-Anees, Deden Sambas, Diyanto, I. Bambang Sugiharto, Isa Perkasa, Prilla Tania, W. Christiawan dan Wicaksono Adi) berupaya mencari dan merumuskan apa yang dapat dilakukan oleh seni sebagai cara-cara untuk mengkomunikasikan dunia batin, di mana relijiusitas manusia tumbuh dan berakar. Komitmen seseorang untuk suatu keyakinan agama atau yang lain adalah masalah kedaulatan, pilihan pribadi yang seharusnya tidak

its relationship with humans and God.

Essentially, projects under the theme ‘religions’ conducted by PLATFORM3 are based on avant-garde attitudes that separate art and religions. Starting from the needs to respond institutionalisation and politicalisation of religions, artists, critics, and philosophers involved in exhibitions and performance art festival at PLATFORM3 (to name a few, Mujahiddin Nurrahman, Henrycus Napit Sunargo, Albert Yonathan Setiawan, Bambang Q-Anees, Deden Sambas, Diyanto, I. Bambang Sugiharto, Isa Perkasa, Prilla Tania, W. Christiawan and Wicaksono Adi) try to find and formulate what can be done by art as an effort to communicate the spiritual world where humans’ religiosity grows and roots. Someone’s commitment to a certain religious belief is a matter of sovereignty, personal choice which should not be dictated by public authority, not even by religious organisations formalised by the government.

In an essay which collaborates the thoughts of Heiddeger, Benjamin and Deleuze, Boris Groys talks about the situation that religions are facing nowadays. According to him, religions and art have lost their aura because of reproduction, repetition, and extreme tautology by the technology of media these

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bisa didikte oleh otoritas publik, bahkan oleh setingkat organisasi keagamaan yang diformalisasi negara.

Dalam sebuah esai yang mengelaborasi pemikiran Heiddeger, Benjamin dan Deleuze, Boris Groys mempersoalkan situasi yang dihadapi oleh agama hari-hari ini. Menurutnya, agama dan seni sama-sama kehilangan aura oleh karena reproduksi, repetisi dan tautologi yang ekstrim oleh teknologi media hari-hari ini. Agama telah lebur dengan konsumerisme media karena kita menghadapi khotbah-khotbah agama yang ditayangkan di televisi dengan iklan-iklan yang merayu kita untuk memuja dunia material. Demikian halnya, para fundamentalis menyebarkan propaganda melalui video-video yang disebarkan melalui internet dan kepingan-kepingan cakram magnetik yang kini dapat diakses dan diperbanyak dengan mudah oleh siapapun. Pada titik itulah seni harus menjadi upaya kritis untuk menghidupkan kembali nilai-nilai transenden sehingga pemahaman tentang keindahan dapat melebur kembali dengan spiritualitas.


days. Religions have merged with media consumerism as we see religious preaches on televisions with commercials persuading us to adore material world. Similar to fundamentalists, they propagate through videos spread on the internet and CDs which can be easily accessed and multiplied by anyone. That is the point when art can be a critical effort to impel transcendent values, so that the understanding of beauty can be once again merged with spirituality.


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ARTWORKS

39

Adhya Ranadireksa

TRIBUTE TOMB.RAHIMSYAH.AR“SIKSA NERAKA #1-4”No. Of print 1 # 3Print on Kodak Royal Paper50 x 50 cm2012

4040

Jantung #2Printed Kodak Ventura

Met VC50,7 x 70,7 cm

2010(kiri atas / top left)

Otak #2Printed Kodak Ventura Met VC50,7 x 70,7 cm2010(kiri bawah / bottom left)

Mata mata #1Printed Kodak Ventura Met VC50,7 x 70,7 cm2010(kanan bawah / bottom lright)

Lidah Bercabang #2Printed Kodak Ventura Met VC50,7 x 70,7 cm2010(kanan atas / top right)

Artworks41


4242

Seven Seals; The Revelationgelatin silver printNo. Of print 1 # 38x10 inch (each), 4 of total 7 images2012

Artworks43

J. Ariadhitya Pramuhendra

After The Preachercharcoal on canvas

200x200cm2012

4444

Leyla Aprilia

Senyuman Sang Jendralsilkscreen & thread on

canvas50 x 65 cm (oval)

2012(kiri / left)

Tjintamu yang menjiwai hati rakyat, tjinta Fatsilkscreen & thread on canvas50 x 65 cm (oval)2012

Kesederhanaansilkscreen & thread on canvas50 x 65 cm (oval)2012

4646

Mimi Fadmi

My Bloody Forestwater color on paper42cm X 14.5 cm2012

Sheep of the Slavewater color on paper

14.5 cm X 18 cm2012

4848

Mujahidin Nurrahman

With All the Reasons and Decisions

ink on papervariable dimension

2012

5050

The Patternsilkscreen on paper40x40cm each, 12 panel2012

Artworks51

Nadya Savitri

CosmeticsSunken relief seriesPorcelain, plexiglas,fluorescent lamp,steel35.3 x 35.3 x 93 cm2010

DistinctionPorcelain with blue cobalt decoration, plexiglass shelf7 pieces 6,2 x 3 x 15 cm2010

5252

Cosmetics (details)Sunken relief seriesPorcelain, plexiglas,fluorescent lamp,steel35.3 x 35.3 x 93 cm2010

Artworks53

R. Yuki Agriardi

The Last Quiet Day #3burned wood, swinging

machine, black yarnØ 60 cm

2012

5454

The Last Quiet Day #2rocking chair and table with a cup of water, red mahogany, rough iron structure, glass and water130 x 50 x 70 cm, 90 x 40 x 60 cm2010

Artworks55

Radi Arwinda

5656

LOROBLONYO150cm x 150cm x 2 pannelsacrylic on canvas2012

Artworks57


Potret Buram #1Lithography on paper25 x 20 cm 2011

Potret Buram #3 Lithography on paper

27 x 16 cm 2011

Potret Buram #4Lithography on paper23 x 16 cm 2011

Potret Buram #2Lithography on paper24 x 18 cm2011

5858

Devotional Picture &Critic #3

Alugraphy on paper57 x 48 cm

2012



2012 (kiri / left)



2012 (kanan / right)

Artworks59

Wiyoga Muhardanto

Anything that will make us better (sketch)wood, resin, digital print & laser cutting on acrylic sheetsvariable dimension2012

6060

UntitledLaminated plywood, paper, impraboard,& silkscreen42 x 60 x 3 cm2010

Artworks61

Adhya Ranadireksa

Bandung, 1972

Founder of CREATORIVM

Commercial Photo &

Graphic Design Studio

in Jakarta; Hypnosis

photography, Agency-

Jakarta; KOMVNI

ILLVMINASI, Research

for the common art of

photography, Bandung

Education

1994-1997

Istituto Europeo Design

in Rome, Italy with a

major study of still-life

photography

Solo Exhibitions

2011

“Cultural Hero”, Veletržní

palác, Odessa, Ukraine.

2010

“Forked Tongue”, Platform3,

Bandung.

1996

“Particolare”, Solo

Exhibition in CTS , Rome,

Italy.

1996

“Klidný” , Convent of St.

Agnes of Bohemia, Prague-

Czech.

1995

Solo Exhibition Annual

Anniversary of IED, Thema:

“Bianco Nero”, Rome, Italy.

Selected Group

Exhibitions

2012

“Ilustrasi Cerpen Kompas”,

Bentara Budaya Jakarta.

“The Pharmacide Art

Project” #2, Paris,French.

“The Pharmacide” #1, Arts

Exhibit is a regional touring

exhibition of Southeast

Asian painters

Laos (Vientiane and Pakse),

Vietnam (Hanoi and Ho

Chi Minh City), Cambodia

(Phnom Penh and

Battambang) and Indonesia

(Jakarta).

2011

“Beyond Photography”,

Ciputra Artpreneurship,

Jakarta

“Anatography”, Galeri Padi,

Bandung.

“Jakarta Contemporary”,

Ciputra Artpreneurship,

Jakarta.

2010

Shopping”, Jakarta Art

District, Grand Indonesia,

Jakarta.

“Sang Ahli Gambar dan

Kawan-kawan – Tribute to

Sudjojono”, Bandung.

JOG ART 10, Yogyakarta;

“Definitive”, Ruang Akal,

Makassar;

”The Mist“, Lawangwangi,

Bandung;

2009

“Bandung Art Now”,

The National Gallery of

Indonesia, Jakarta.

”Imagined

Portraits“,Soemardja

Gallery, Bandung;

ARTIST’S CV

62

Henrycus

Napitsunargo

Bandung, 1974

Workshops

2011

Lecture, “Personal project

development”, Blackmanray

Project, Bandung.

2010

Lecture, “Black & White

Photography & Darkroom

Technique”, s.14 Gallery,

Bandung.

2009

Lecture, “Bandung;

Subjective City”, Ruang

Illuminasi Bandung.

“Personal Monument”, with

Paula Lehtonen and Saara

Piispa (Finland), Bandung

Institute of Technology.

“Realer raum bild raum”,

with Andreas Rost

(Germany), Art Dept.

Bandung Institute of

Technology.

2008

Lecture, “Portraiture”,

Ruang Illuminasi, Bandung.

2007

“Fictitious Reality”, with

Wanda Gillespie (Australia),


Technology.

Solo Exhibitions

2011

“Homeland, Beliefs

and Personal God(s)”,

Platform3, Bandung.

“Lost in Space”,

Blackmanray’s Chapter

Two, Bandung.

2010

“Afterimage “, s.14 gallery,

Bandung.

Selected Group

Exhibitions

2012

”A Certain Grace:

Photography from

Bandung”, Esplanade

Tunnel, Singapore.

2011

”Fountain of

Lamneth”,Gajah Gallery,

Singapore.

”We Are Moving”,

Fundraising Exhibition,

Platform3, Bandung.

”Beyond

Photography”,Ciputra

Gallery, Jakarta.

”Contemporary

Landscape”, Lawangwangi

Art & Science Estate,

Bandung.

”Anatografi”, Padi Art

Ground, Bandung.

”1001 Doors ;

Reinterpreting the

Traditions”,Ciputra Gallery,

Jakarta.

“Megatruh Kambuh ; in

Memoriam Rendra”, YPK

Cultural Center, Bandung.

“A Landscape called

Bandung”, Alkovi Gallery ,

Helsinki, Finland.

“Andre Kertesz

Fotopalyazat” , Petofi

Sandor Cultural Center,

Szigetbecse, Hungary.

“From Hailuoto to Punclut”,

Soemardja Gallery,

Bandung.

Artist’s CV

J. Ariadhitya

Pramuhendra

Semarang, 1984

Education

2007

BFA, Printmaking Major, Art

Dept. Bandung Institute of

Technology, Bandung

Awards

Winner, “Artist of the year

2011 under 30 year old,

Soemardja Art Award,


Technology, Bandung.

Honorable Mention,

Drawing Award, The 12th

International Biennale Print

and Drawing Exhibition

2006, National Taiwan

Museum of Fine Arts.

Solo Exhibitions

2012

“Religion of Science”,

Galerie Perrotin, Hong

Kong.

2011

“Silent Confession”, Michael

Ku Gallery, Taipei.

2009

“Spacing Identities”, NUS

Museum, Singapore.

Spacing Identities : Part

Two, Mapping Asia”, CIGE

2009, Beijing, China.

2008

“On Last Supper”, Cemara

6 Gallery, Jakarta.

Selected Group

Exhibitions

2012

”Flow “, Galerie Michael

jenssen, Berlin.

“Contemporary Indonesia”,

Ben Brown Fine Arts,

London.

2011

“Gajah Gallery 15th

Anniversary Celebration” ,

Gajah Gallery, Singapore.

”9 soul”, Canna Gallery,

Jakarta.

“Arario part 2, Arario

Gallery, Counan , Seoul.

“Indonesian Mythologies”,

Espace Culturel Louis

Vuitton , Paris.

“ArtHk ’11 ”, Hongkong.

“Artstage”, Singapore

“Biennale Jogja XI 2011 :

Equator”, Jogja National

Museum, Yogyakarta

“Indonesian Eye : Fantasies

and Realities”, Saatchi

Gallery, London.

2010

“Jiwa Ketok”, Galeri Adira,

Bandung.

“Critical Points”, Edwin

Gallery, Jakarta.

“SEA Drawing Exhibition”,

Ark Galerie, Jakarta.

“The Strategies of Being;

Art-Jog10, Taman Budaya

Yogyakarta, Yogyakarta.

“No Direction Home”,

National Gallery of

Indonesia, Jakarta.

“MenasArt”, Royal Pavillon,

Beirut, Lebanon.

“My World, Your World, Our

World”, Wendt Gallery, New

York.

63

Mimi Fadmi

Bandung, 1979

Education

1997-2003

Visual Art Dept, Indonesian

Art Higher School (STSI),

Bandung

Artist-in-residence

2003-2004

Rijksakademie van

beeldende kunsten,

Amterdam The Netherland.

Solo Exhibitions

2011

“The Long Road”, Kedai

Kebun Forum (KKF),

Yogyakarta.

2010

“Monument, Memory”,

Platform3, Bandung.

2007

“SPACE”, Asbestos Art

Space, Bandung.

Selected Group

Exhibitions

2012

“Painting@Drawing”, Tony

Raka Art Gallery, Ubud,

Bali.

2011

“Homoludens#2”, Emmitan

Contemporary Art Gallery,

Surabaya.

“A Room of Her Own”,

Dimensi Art Gallery,

Surabaya.

Finalists, “Bandung

Contemporary Art Awards”

(BaCAA), Lawangwangi,

Bandung.

“1001 Doors: Re-

interpreting Traditions”,

Ciputra Marketing Gallery,

Jakarta

2010

“Tribute to S.Sudjojono”,

Galeri Titik Oranje,

Bandung.

“Room is Mine”, Edwin’s

Gallery, Jakarta Art District.

2008-2009

“Inward Gazes”, Macau

Museum of Art, Macau.

Performance Art

2010

“Ruru and Friends”,

National Gallery of

Indonesia, Jakarta.

2006

“Food and the City”,

Duo Performance with

Christiawan, Asbestos Art

Space, Bandung.

2005

1st South East Asia

Performance Art

Symposium

6th Asiatopia International

Festival Bangkok, Thailand

2004

9th International Congress

for Performance Art, Berlin

Open Atelier, Rijksakademie

van beeldende kunsten,

Amsterdam

Paradies Projekt,

Alexanderplatz, Berlin,

Jerman

Leyla Aprilia

Jakarta, 1987

Education

2009


Dept. Bandung Institute of

Technology, Bandung

Awards

Winner, “Artist of the year

2011 under 30 year old,

Soemardja Art Award,


Technology, Bandung.

Honorable Mention,

Drawing Award, The 12th

International Biennale Print

and Drawing Exhibition

2006, National Taiwan

Museum of Fine Arts.

Solo Exhibitions

2009

“Menyulam Sejarah”,

Platform3, Bandung

Selected Group

Exhibitions

2011

“Friends and Co.”,

Inkubator Gallery, Jakarta.



Platform3, Bandung.

2010

“Hi Grapher”, Jogja

Nasional Museum, Jogja.

Bandung New Emergence

Vol.3”, Selasar Sunaryo Art

Space, Bandung.

“Recreate x Reality x

Representation”-project

15x15x15.Vol.3, Soemardja

Gallery, Bandung.


Gallery, Jakarta Art District.

“ArtHk ’11, Hongkong.

“ArtJog”. Jogja Art Fair,

Taman Budaya, Jogja.

“Scarlet”, Galeri Canna,

Jakarta.


Kawan Kawan”, Titik

Oranje, Bandung.

2009

“SR 4003”, Soemardja

Gallery, Bandung.

“Love Letter”, Rumah Buku,

Bandung.

2008

“Metaphoria”- project

15x15x15. Vol.2 ,

Soemardja Gallery,

Bandung.

“Apresiasi Grafis”,

Soemardja Gallery,

Bandung.

2007

“Krisis Identitas”, Taman

Budaya Bandung,

Bandung.

2006

“Apriori Karya Rembrant”,

Ruang Alternatif Grafis, ITB,

Bandung.

2005

“OMIGARI” -origami

exhibition, Campus Center,

ITB, Bandung.

“Asa Dhaya Rupa” ,

Academy Exhibition Class

of 2005, Campus Center,

ITB, Bandung.

64

Mujahidin

Nurrahman

Bandung, 1982

Education

2007


Dept. Bandung Institute Of

Technology (ITB), Indonesia

Solo Exhibitions

2010

“Critical Ornament”,

Platform3, Bandung.

2008

“In The End Of Time”,

Cemara 6 Gallery, Jakarta.

Selected Group

Exhibitions

2012

Yunnan International Prints

2012, Yunnan, China.

2011



Platform3, Bandung.

ART/JOG/11, Yogyakarta’s

Cultural Park, Yogyakarta,

Indonesia

2010

Sang Ahli Gambar dan

Kawan-kawan, Galeri Kita,

Bandung.


Gallery, Jakarta.

2009

ASYAAF, Seoul, North

Korea.

“Perang, Kata dan Rupa”,

Salihara Gallery, Jakarta.

“Deer Andry”, Rumah Rupa,

Jakarta.

C-Art Show(Cemara 6

Gallery), Grand Indonesia,

Jakarta.

“Bandung Art Now”,


Indonesia, Jakarta.

2008

“Deer Andry”, S-14,

Bandung.

“Siapa Salim”, The National

Gallery of Indonesia,

Jakarta.

Ilustrasi Cerpen Kompas

2008, Bentara Budaya

Jakarta, Bentara Budaya

Yogyakarta, Orasis

Art Gallery-Surabaya,

Soemardja Gallery-

Bandung.

Survey”, Edwin’s Gallery,

Jakarta.

“B-Invasion”, Canna

Gallery, Jakarta.

Nadya Savitri

Jakarta, 1981

Education

2007-2009

Tokyo University of The

Arts, majoring in Ceramic

Craft (MFA).

2006-2007

Research student at Tokyo

University of The Arts,

majoring in Ceramic Craft.

2004-2006

Faculty of Visual Art

and Design, Visual Art

Department, Institut

Teknologi Bandung, (master

degree).

2006-2007

Faculty of Fine Art and

Design, Design department,

Institut Teknologi Bandung,

majoring in Ceramic Craft

(bachelor degree).

Awards

25 Best works, Bandung

Contemporary Art Award,

Lawangwangi Art &

Science Estate, Bandung.

Solo Exhibitions

2010

“Ambivalensi”, Platform3,

Bandung.

Selected Group

Exhibitions

2011

Finalists “Bandung

Contemporary Art Awards

(BaCAA)”, Lawangwangi

Art & Science Estate,

Bandung.

“Homo Ludens #2”,

Emmitan CA Gallery,

Surabaya.

“1001 Doors :Reinterpreting

Tradition”, Marketing gallery

Ciputra World, Jakarta.

2010

“Bandung Initiative #5

:Veduta”, Vanessa Art link,

Jakarta.

“The Mist, A reflection

Upon the Development of

Indonesian Contemporary

Art”, Lawangwangi Art and

Science estate, Bandung.

“Recent Art from Indonesia:

Contemporary Art Turn”,

S.Bin Art Plus, Singapore.

“PercakapanMasa”,


Indonesia, Jakarta.

“Reality Effect”, The

National Gallery of

Indonesia, Jakarta.

“Shopping”, Nadi Gallery,

Jakarta Art District.

“Unnatural Selection”,

Kendra Gallery, Seminyak,

Bali.

“S. Sudjojono dan kawan-

kawan”, Galeri Kita,

Bandung.

2009

“The Third Annual Alien

Exhibition: Foreign Artist

Making Work in Japan”,

Tokyo University of The

Arts Union Gallery, Tokyo,

Japan.

“Short Circuit: The Book

and The Guts”, Asumu

Gallery, Tokyo, Japan.

“The 57th Tokyo University

of The Arts Graduation

Works Exhibition”, The

University Art Museum,

Tokyo, Japan.

Artist’s CV65

Radi Arwinda

Bandung, 1983

Solo Exhibitions

2011

“MUJA”, Art HK 2011, Hong

Kong.

“THE DARK SIDE”,

Singapore Art Stage 2011,

Singapore.

2010

“SUGIH”, Sigi Art, Jakarta.

2009

“APET”, Canna Gallery

Jakarta.

Selected Group

Exhibitions

2012

“Purwa Wiwitan Daksina

Wekasan”, Selasar Sunaryo

Art Space, Bandung.

“The Good Old Days”,

Galeri Kita, Bandung.

“Role Play”, Artsphere

Gallery, Jakarta.

2011

“Finding Me”, Semarang

Gallery, Semarang

“TV Eye”, Colaboration

project with Indie Guerillas,

Art Jog 11, Jogjakarta

“Muja”, Special Project

on Art Future, Art HK 11,

Hongkong

“ScoopArt”, Jakarta Art

District, Jakarta.

”1001 Doors ;

Reinterpreting the

Traditions”,Ciputra Gallery,

Jakarta.

“TV Eye”, Colaboration

project with Indie Guerillas,

Loubelle Shop, Bandung

2010

Tribute S.Sudjojono :

Sang Ahli Gambar dan

Kawan-kawan, Galeri STSI,

Bandung

“Made in Indonesia”,

Christian Hosp Gallery,

Berlin

“Shoping”, Nadi Gallery

JAD, Jakarta

“Lompat Pagar”, National

Gallery, jakarta

“Bazaar Art”, Ritz carlton,

Pasific Place, Jakarta

“Soccer Fever”, Canna

Gallery, Jakarta

“Contemporary Art Turn”,

SooBin Art Int’l, Singapore

ART JOG 10, Taman

Budaya Yogyakarta,

Yogyakarta

“15x15x15”, Soemardja

Gallery, Bandung

“Unsegmented”, Kita

Gallery, Bandung

“Almost White Cube”, CG

Art Space, Jakarta

“The Mist”, Lawangwangi,

Bandung

R. Yuki Agriardi

Bandung, 1984

Education

2011-present

MA Design - by project;

Ceramic, Furniture or

Jewelry Central, Saint

Martins, University of

the Arts, London, United

Kingdom.

2002-2007

BA - Interior design,

Faculty of Art and Design,

Institut Teknologi Bandung,

Indonesia

Awards

2012

First prize, Palladium

Visions 2012, London

Fashion Week 2012

Workshops

2012

Botanical Fabrication, CSM

- ENSCI, Granary Building,

London.

Printmaking-Monotypes

with Toni Martina, British

Museum, London.

2009

Workshop with Mella

Jaarsma, Soemardja

Gallery, Bandung.

2007

Photo video workshop

with Wilfrid Rouff, CCF,

Bandung.

Solo Exhibitions

2011

“Dive”, InkubatorAsia

2010

“The Last Quiet Day”,

Platform3, Bandung.

2006

“Pollypop–My Mini

Monster Exhibition”,

Space. Soemardja Gallery,

Bandung.

Selected Group

Exhibitions

2012

“Waves Form -

Soundscapes Materialized”,

Victoria and Albert Museum

(V&A), London, United

Kingdom.

Art Melbourne - Asian

Pacific Contemporary,

Royal Exhibition Building,

Carlton, Melbourne,

Australia

“Parallab; A Role Play -

Artists Initiative Group

Exhibition”, ArtSphere

Gallery, Jakarta.

Rock Vault, British Fashion

Council, London Fashion

Week, Somerset House,

London, United Kingdom.

2011

“Archive Aid 2011 - IVAA

(Indonesian Visual Art

Archive)”, Jakarta Art

District.

2010


Kawan-Kawan, A Tribute to

S.Sudjojono”, Galeri Kita,

Bandung

“Lompat Pagar”, The

National Gallery of

Indonesia,Jakarta.

ARTJOG, Jogja Art

Fair, Bentara Budaya,

Yogyakarta

“Recent Art from

Indonesia”, Soobin Art

space, Singapore

66

Roumy Handayani

Pesona

Bandung, 1972

Education

1994-2000

Bachelor of Art, Major in

Graphic Art, Bandung

Institute of Technology.

Occupations

Lecturer, Faculty of Art

and Design of Graphic Art

Studio, Bandung Institute of

Technology

Habben Drucken , studio

printmaking traditions,

Sukaluyu, Bandung

Lecturer, Risantya, Kids

With Special Need,

Bandung

Workshops

2011

Woodcut Workshop at

Reintepreting Traditions,

Jakarta

Contemporary , Indonesia

Diversity in Contemporary

Art + Craft + Design,

Ciputra Marketing Gallery,

Jakatra

2010

Lecture and workshop,

Lithography tecnique and

aluminium plat.

Printmaking workshop,

wood cut technique,

Festival Pasar Seni ITB

2010.

Solo Exhibitions

2010

“Under The Hero’s

Shadows”, Platform3,

Bandung.

2004

Drawing Exhibition,

Common Room, Bandung.

1997

Enlarged Shadow, My

Shadow Shrinking’,

Bandung.

Selected Group

Exhibitions

2012

Festival Grafis Berseni,

Lawangwangi Art &

Science Estate, Bandung.

“Knowledge Report “,

Galery Soemardja FSRD

ITB Bandung.

2011

“Islamic Contemporary Art”

, Gallery Lawang Wangi Art

Sociates, Bandung.


Kawan-kawan”, STSI

Bandung.

2010

“Percakapan Massa”,


Indonesia, Jakarta.

“The conversation”,


Indonesia, Jakarta.

“Art 10 JOG Indonesian

Art Now ; The Strategies of

Being”, Yogjakarta.

“Ecce Hommo” Semarang

Gallery, Semarang.

“UnSegmented” , Galeri

Kita, Bandung.

Wiyoga Muhardanto

Jakarta, 1984

Solo Exhibitions

2012

“One Day at The Museum

of Tropical Spring”, Canna

Gallery, Jakarta.

2008

“Window Display”, Selasar

Sunaryo Art Space,

Bandung, Indonesia.

Selected Group

Exhibitions

2012

“Rupa Belanja, Rupa Kota”

/ “Forms of Shopping,

Forms of Cities”, Salihara

Gallery, Jakarta.

ART HK 2012 –Art Future

Section, Hong Kong

Convention & Exhibition

Center, Hongkong.

The 9th Shanghai Biennale

2012 ‘Reactivation’ –city

project at Bandung

Pavillion, Shanghai

Contemporary Art Museum.

2011

ARTSTAGE 2011, Project

Stage Section, Marina Bay

Sand, Singapore.

“AIR 3331 Exhibittion”, 3331

Arts Chiyoda, Tokyo

“Indonesian Eye ; Fantasies

& Reality, Saatchi Gallery,

London – UK.

The 11th 2011 Jogja

Biennale – Equator # 1

: Indonesia meet India’,

Taman Budaya Yogyakarta,

Yogyakarta, Indonesia.

2011

“Codex Code”, Kedai

Kebun Forum, Yogyakarta.

Artist’s CV67

Platform3’s Profile

Profile

PLATFORM3 adalah ruang gagas dengan fokus kegiatan pada pameran dan residensi seniman. Dalam penyelenggaraan program-programnya, PLATFORM3 berupaya menajamkan gagasan-gagasan tematik maupun artistik seniman melalui proses diskusi. Pameran-pameran yang diselenggarakan oleh PLATFORM3 menggarisbawahi pernyataan seniman sebagai aspek yang paling penting. Berdiri Oktober 2009

PLATFORM3 is an initiative space with focus activities on exhibition and artist in residence programs. In holding its activities, PLATFORM3 attempts to develop artist’s thematic and artistic ideas through intense discussions. All exhibitions held by PLATFORM3 underline every artist’s statement as the most important aspect. Founded on October 2009.

Curatorial Boards

Aminudin TH SiregarRifky EffendyAgung HujatnikajennongHeru HikayatJA PramuhendraRadi ArwindaWiyoga Muhardanto

Operational Manager

Herra Pahlasari

Artist Member

(Oktober 2009-Oktober 2012) 1. Adhya Ranadireksa 2. Deden Imanudin 3. Henrycus Napit Sunargo 4. Leyla Aprilia 5. Mimi Fadmi 6. Mujahidin Nurrahman 7. Nadya Savitri 8. Narpati Awangga (oomleo) 9. R. Yuki Agriardi 10. Roumy Handayani Pesona 11. Sabina Gillani 12. Yusuf Ismail

Contact

Jl. Cigadung Raya Tengah no. 40 (Studio Rosid)Bandung 40191 West JavaINDONESIAT/F. +62 22 825 22 [email protected]://infoplatform3.wordpress.comwww.platform3.net

69

70

EMMITAN CA GALLERY & PLATFORM3 would like to thank individuals who have contributed in supporting this exhibition;

The Almighty GOD

Aminudin TH Siregar

Heru Hikayat

Rifky Effendy


Adhya Ranadireksa


JA Pramuhendra

Leyla Aprilia

Mimi Fadmi

Mujahidin Nurrahman

Nadya Savitri

R. Yuki Agriardi

Radi Arwinda


Wiyoga Muhardanto

Herra Pahlasari

Irfan Hendrian

Ario Swastanto Tamat

Sandra Joana Lambey

Ariyantri E. Tarman

Acknowledgements

this catalogoue is published as a supplement to the ... filepernah ada suatu masa ketika galeri...

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