THE WALL / STRUCTURE / CONSTRUCTION / BORDER / MEMORY
PEMBUKAAN PAMERAN 28 MARET 2014
“Bangunan sebuah dinding tidak sekadar menunjukkan teknik dan material yang diperlukan untuk membuatnya berdiri, tetapi, pada akhirnya, setelah sekian lama pola produksi itu dilakukan, ia telah membangun sebuah sistem pengetahuan. ”
Dinding, dalam konteks masyarakat kontemporer, telah berkembang lebih jauh dari sekadar pemahaman yang semata-mata merujuk pada struktur atau materialitas. Dinding menjadi sebuah konsep yang sangat luas, mencakup pengertian konseptual tentang batas--berkaitan dengan geo-politik, teritori, sekuritas, ruang ketiga, serta, sejarah dan memori. Pameran ini mengeksplorasi berbagai kemungkinan, baik konseptual dan artistik, dari persepsi atas dinding dan bagaimana ia didefinisikan pada masa kini. Sejarah dunia mencatat bagaimana dinding punya makna simbolis yang kuat berkaitan dengan kisah-kisah pemisahan. Tembok Berlin, tembok pemisah Palestina/Israel, wilayah non-militer Korea Utara/Korea Selatan, dan masih banyak lagi tembok yang dibangun untuk menegaskan perbedaan, ketimbang menyatukannya dalam satu ruang hidup bersama. Pameran ini mengundang para seniman untuk melihat kembali gagasan tentang dinding dalam kehidupan sehari-hari. Dengan latar belakang ilmu arsitektur, konsep dinding meluas memasuki berbagai perspektif yang berbeda; dinding sebagai sebuah proses dan metode (Aditya Novali), dinding yang merepresentasikan pengetahuan lokal (Eko Prawoto), dinding sebagai wilayah memori, serta berbagai kompleksitas berkaitan dengan sejarah, kepemilikan, konstruksi, serta dialog di antara mereka yang di "seberang" dan kita yang "di dalam" (Tintin Wulia).
Alia Swastika Kurator Pameran
DEPAN KIRI EKO PRAWOTO / IRON STRUCTURE ʻBLUNGKANGʼ (INSTALLATION VIEW) / 2014 DEPAN KANAN ADITYA NOVALI / NGACO - SOLUTION FOR NATION (DETAIL) / 2O14 BELAKANG KIRI ISWANTO HARTONO / KEMBANG DAYEUH (MWK DALAM KENANGAN) / 2014 BELAKANG KANAN TINTIN WULIA / CONSTRUCTION OF A HOLE - OPUS 1 (INSTALLATION VIEW) / 2010
O
Selasa - Minggu 11.00 WIB - 18.00 WIB
Eko Prawoto | 4
Eko Prawoto | 1
Bangunan sebuah dinding tidak sekadar menunjukkan teknik dan material yang diperlukan untuk membuatnya berdiri, tetapi, pada akhirnya, setelah sekian lama pola produksi itu dilakukan, ia telah membangun sebuah sistem pengetahuan. Arsitektur nusantara menunjukkan keragaman pengetahuan lokal yang berbasis pada situasi dan konteks-konteks lokal yang khusus, seperti iklim, ketersediaan bahan, tradisi estetika, identitas komunitas, dan sebagainya.
The building of a wall does not merely signify the techniques and materials required to make it stand up, but, in the end, after endless patterns of production have been implemented, it builds a system of knowledge. Architecture in the archipelago shows the diversity of local knowledge that is based on particular local situations and contexts, such as climate, the availability of materials, aesthetic traditions, community identity etc.
Do You Remember? adalah sebuah perayaan sederhana atas pengetahuan-pengetahuan dari generasi masa lampau yang barangkali telah lama tidak kita alami: sebuah dinding berbahan bekas tulang daun kelapa. Bentuk dinding ini banyak ditemukan di daerah Timur Indonesia. Eko Prawoto menghubungkan gagasan bahwa pengetahuan bisa menjadi border, pembatas dalam cara kita berpikir, karena pengetahuan yang kita serap bisa didikte oleh industri, sehingga teknik dan material lokal semacam ini tidak lagi digunakan. Do You Remember? menunjukkan berbagai kemungkinan dalam struktur dinding: mendirikan / meruntuhkan, menyambung / memisahkan, menghalangi/ membuka, dan, juga memberi ruang pada kemungkinan ketiga.
Do You Remember? is a simple celebration of knowledge from generations past that, nonetheless, we have not experienced for a long time: a wall made from the stems of coconut palm leaves. This form of this wall is often found in Eastern Indonesia. Eko Prawoto associates this with the idea that knowledge can become a border, a barrier in our way of thinking, because the knowledge that we retain can be dictated by the industry, hence local techniques and material like this are no longer used. Do You Remember? indicates many possibilities for the structure of walls: establishing / destroying, connecting / separating, obstructing/opening and also providing space for third possibilities.
Eko Prawoto | 2
Eko Prawoto | 3
Name Eko Agus Prawoto Born Purworejo, 13 Agustus 1958 Education 1982 B.Arch, Faculty of Eng. Gadjah Mada University 1993 M.Arch ,The Berlage Institute Amsterdam Working Experience 1985- present Lecturer at Dept. of Architecture Faculty of Engineering Duta Wacana Christian University Jln. Dr. Wahidin Sudirohusodo 5-19 Yogyakarta 55224 T (0274) 563929 2000-present Chief Architect at Eko Prawoto Architecture Workshop Jln Bener Gang Pandanwangi 11 Yogyakarta 55243 T ( 0274) 622324 E-mail
[email protected]
2011
Architecture Works Design some architecture projects : Private houses, Kampong Improvement, Office, Campus , Hospital and Churches ( 1984 -1997) 1998 1999 2000 Chuch, 2001 2002
2003 2004
2005
Kua Etnika Music Studio in Kersan Cemeti Art House , Yogyakarta House for Suwarno, Yogyakarta Electronic shop and office , Surabaya Campus Extension DWCU, Yogyakarta Meditation Hall, Campus DWCU, Yogyakarta Interior of Manukan Surabaya Dancing Studio Banjar Mili, Yogyakarta Extension of St.Albertus Church, Yogyakarta House for Butet Kertarejasa, Yogyakarta House for Dedi Irianto, Magelang House for Maria Hartiningsih, Yogyakarta House for Mahyudin, Yogyakarta Extension of CRS office, Yogyakarta House for Jeanny-Lantip, Yogyakarta House for Melodia ( design), Yogyakarta House for Gilbert ( design), Jakarta Café Via-Via, Yogyakarta House for Sharon, Tembi House for Abbot-Nicole, Yogyakarta House for Jaduk Ferianto, Yogyakarta Art Gallery Nasirun, Yogyakarta Toga Mas Book Store, Yogyakarta Guest House DWCU, Yogyakarta House for Hartono, Yogyakarta House for Hersi Setiawan, Brosot House for Eko Bebek, Yogyakarta House for Syafril ( design) Community Learning Center, Saba-Biak Timur Extension of Hotel Berg View, Blabak ( design) Extension of Salon Larissa, Yogyakarta Extension of Padepokan Bagong Kussudihardjo, Yogyakarta Extension of a house in Sagan, Yogyakarta House for Sauki, Pekalongan Community Learning Center at Lempong Pucung, Cilacap
2006
2007
2008
2009
2010
Insist Press, Yogyakarta Showroom Antique shop and Café, Giwangan ,Yogyakarta Housing in Ungaran House for Corina, Semarang Community Learning Center, and offce for ‘Grupo Naroman’ Bucoli, Timor Leste Painting Studio Pupuk Daru Extension of Butet House Community Center in Tembi Reconstruction of the village after the earthquake in Ngibikan Bantul Reconstruction of thevillage after the earthquake in Botokenceng, Bantul Housing for M.Sauki, Pekalonan Extension of Lasmano House Housing for Hani,Yogyakarta Housing for Sitok Srengenge,Yogyakarta Food Fast in Kaliurang Housing for Atik, Yogyakarta Housing for Yulianty, Yogyakarta Kinder Garden in Gilang Hardjo, Bantul Extention of Petra Toga Mas, Surabaya Alfi House, Yogyakarta Retreat Center, Salatiga Retreat Center, Ngablak Renovation Padepokan Bagong Kusudiharjo, Bantul Yunizar House,Yogyakarta Jury of IAI Award Gallery Rembulan Cantik, Yogyakarta S Teddy D House, Yogyakarta Langgeng Art Foundation, Yogyakarta Extention of Cemeti Art house, yogyakarta Jerry House, Yogyakarta Kadar-Lucas House, Yogyakarta Training Center Podosoko, Magelang Eko Nugroho House, Yogyakarta
Santi and Miko House, Yogyakarta Yandri Hendrarta House, Yogyakarta Noor Huda House, Yogyakarta Gallery Nasirun, Yogyakarta Maria Hartiningsih House, Yogyakarta Weke’s villa, Bali Ika House, Yogyakarta Rudi Mantofani House, Yogyakarta Sonny House, Surabaya Dian Hp House, Yogyakarta Bed and breakfast, Yogyakarta Satya House, Semarang Sauki House, Yogyakarta Hanni House, Semarang Agung House, Yogyakarta Gallery Erika, Yogyakarta
2012
2013
Omah Keboen, Yogyakarta Sunardi Batik Gallery, Yogyakarta Wahyu Resto, Yogyakarta Santi House, Yogyakarta Café and Gellery, Unesco, Magelang Home Stay for Setumbu, Magelang Nipah House, Jakarta Cisarua Villa, Bogor Telaga Sampireun Ancol, Jakarta
Exhibition 1999 1999 2000 2000 2002 2002 2003 2003 2003 2004 2004 2005 2005 2006 2007
2008
2010 2011 2012 2013
The Tectonics of YB Mangunwijaya Architecture, Yogyakarta and Jakarta Cities on The Move, Hayward Gallery London Cities on The Move, KIASMA Helsinki, Finland The 7th International architecture Exhibition-Venice Biennale, Venice Italy Art of Bamboo ( Indonesia-Denmark), Yogyakarta The Gwangju Biennale, Gwangju,Korea The Echigo-Tsumari Art Triennial , Niigata,Japan The Arte all’Arte , Buonconvento, Toscani , Italy Exploring Vacuum , Rumah Seni Cemeti, Yogyakarta Transforming Asian Cities , Jakarta, Bandung, Surabaya, Semarang,Yogya Contemporary Three Dimensional Art Event, Galeri Langgeng,Magelang CP Biennale 2005 Jakarta, in collaboration with Urban Poor Consortium. Anyang Public Art Project 2005, Anyang,Korea Setting film Free Jazz, directed by Garin Nugroho / bamboo installation Wings of Wind, di Borobudur Art Festival ‘Water water’ in Sale, Victoria Australia Art Festival ‘Common Ground’ in Lakes Entrance ,Victoria Australia Art Festival ‘Common Ground’ in Shepparton,Victoria Australia Pameran peringatan 100 th pelukis Affandi “Toki no hasi”, Kamikatsu Art Festival 2007 Bocor #3 at Rumah Seni Cemeti, Yogyakarta Leng Lung, At Rumah Seni Cemeti Yogyakarta Lung, at Salihara Jakarta Splash! at O House Gallery Jakarta Asia on The Edge in Singapore A Taspestry and The Temple,A Tapestry of Sacred Music in Singapore “Rivers Whispers” Zero Project, Junction 2010, Tasmania Art Festival, Launceston “Jalan Lurus” at Ciputra artpreneurship, Jakarta “Lung” Art Zuid 2011, Amsterdam “Bamboo Temple” Espace Culturel Louis Vuitton “Garbha” – Esplanade Singapore Murbazaar , Murau, Austria Pameran Arsitektur – BI, Yogyakarta “WormHole”, Singapore Biennale 2013
Iswanto Hartono | 4
Iswanto Hartono | 1
Dinding banyak menyimpan kisah masa lampau. Di berbagai tempat, dinding-dinding bersejarah menjadi memorabilia yang dihiasi dengan grafiti, seni jalanan, atau nama-nama para korban perang. Dalam praksis sehari-hari, kita sering melihat tulisan "A was here" untuk merekam relasi kita dengan tempat tersebut. Dinding menjadi media visual untuk menyimpan memori.
Walls often retain stories from the past. In many places, historical walls have become memorabilia, decorated with graffiti, street art or the names of war victims. In daily practice we frequently see the writing “A was here”, recording our relation to a place. Walls become a visual media for recalling memories.
Karya Iswanto Kembang Dayeuh (MWK dalam kenangan, 2014) merupakan sebuah obituari untuk Mulyana W Kusuma, pejuang demokrasi yang meninggal akhir tahun lalu, yang kebetulan merupakan bapak mertua Iswanto Hartono. Teks di dinding dibuat tipis untuk memberi kesan memori yang kabur. Bahwa memori sering kali menunjukkan apa yang ingin kita kenang, lebih dari apa yang sesungguhnya kita saksikan.
The work of Iswanto Kembang Dayeuh (MWK in Memorial, 2014) is an obituary for Mulyana W Kusuma, a defender of democracy who died last year. The text on this wall is thin; to give the impression of a blurred memory, for memory frequently signifies what we want to remember, rather than what we actually witnessed.
Iswanto Hartono | 2
Iswanto Hartono | 3
ISWANTO HARTONO [b. Purworejo ,1972], Indonesia Jl. Purwa Utama Ujung no. 61A, Kavling DKI, Jagakarsa, Jakarta Selatan, Indonesia, 12630
2011
BEASTLY, Rumah Seni Cemeti, Jogjakarta, Indonesia/Salihara, Jakarta, Indonesia
Mobile : +62 21 81212 053 778
2011
1001 PINTU, Ciputra Marketing Galeri, Jakarta, Indonesia
E-mail:
[email protected]
2011
MENTAL ARCHIVE, Rumah Seni Cemeti, Jogjakarta, Indonesia
Web: http://iswantohartono.wordpress.com/
2011
Links: http://www.wooloo.org/iswantohartono/ Solo Show 2010
HANYA MEMBERI TAK HARAP KEMBALI, Ruangrupa 10th, Galeri Soemardja, Bandung – Kedai Kebun Forum, Jogjakarta, Indonesia
2010
Article 8, Tokyo, Japan
2010
MANIFESTO OF THE NEW AESTHETICS: 7 ARTIST FROM INDONESIA,
MUSEUM OF INNOCENCE, Galeri Canna,
Lasalle College, Singapore
Grand Indonesia Lower Ground, Jakarta Indonesia
2010
ECCE HOMO, Galeri Semarang, Indonesia
2009
MOOD INDIGO, Gasatelier Landeshaupstadt, Dusseldorf, Germany
2009
Next Nature, Vanessa ArtlLink/National Gallery of Indonesia, Jakarta
2008
VOID, Maruki Museum, Saitama, Japan
2009
Parcours Interdit, Malkasten Park, Dusseldorf, Germany
2007
MELLOW, Gallery K, Tokyo
2009
ARENA: JAKARTA BIENNALE XIII 2009 . FLUID ZONE,
2007
BLUE, Galeri Soemardja, ITB, Bandung
2006
OIL INCORPORATED, Cemara6 Galeri, jakarta
2008
What Game Shall We Play Today? Tokyo Wonder Site, Shibuya, Tokyo, Japan
2005
GAME IS NOT [YET] OVER, with AK-47, Galeri Lawang, Jakarta
2008
Labyrinth, with Hamad Khalaf, Gaya Fusion Gallery, Ubud, Bali, Indonesia
2004
OIL INCORPORATED : works in engine oil,
2007
KUOTA INBOX 2008, Galeri Nasional Indonesia, Jakarta
RED MILL GALLERY, VERMONT STUDIO CENTER, USA.
2007
Demi Massa, National Gallery of Indonesia, Jakarta, Indonesia
Nest and Solitude, Lembaga Indonesia Perancis [Indonesian France Institute], Yogyakarta
2006
Voices from the Forest, Kanagawa, Japan
2002 Selected Group Show
National Gallery of Indonesia, Jakarta
2005
CP Biennale 2005, with AK-47, Museum BI, Jakarta
2005
abstrak[dicoret], galeri cemara 6, Jakarta
2005
TRANSINDONESIA: Scoping Culture In Contemporary Indonesian Art,
2013
JAKARTA BIENNALE 2013: SIASAT [WITH ARTLAB, Ruangrupa], Jakarta
2013
4th SINGAPORE BIENNALE: IF THE WORLD CHANGE, Singapore
2013
ARTLAB [with Artlab Ruangrupa], Fargfabriken, Stockcholm
2004
Mapping Indonesian Art, ISCP Open Studio, New York
2013
VERTICAL VILLAGE [with Artlab Ruangrupa], 4A Contemporary Asian Art, Sydney
2004
Small Works, Kahn Barn, VERMONT STUDIO CENTER, USA.
2013
DOBRAK! [with Aryo Danusiri], Cemeti Art House, Jogjakarta, Indonesia
2003
Geumgang International Nature Art Exhibition 2003, Gong-ju, Korea
2013
Market Forces: Friction of The Opposites, Osage Gallery, Hongkong
2002
The Exhibition of Geumgang Nature Art Project 2002,, Gong-Ju Cultural Center, Korea
2012
ASIA PACIFIC TRIENALLE 7 [with Ruangrupa], Brisbane, Australia
2012
ARTJOG 2012, Jogjakarta, Indonesia
2012
Bandung Pavilion [with Raqs Media Collective],
Residency Programs
INTER-CITY PAVILION, 9 SHANGHAI BIENALLE 2012, Shanghai, China
2009
Kulturamt Landeshaupstadt, Dusseldorf, Germany
ARTDUBAI 2012, Dubai
2008
TOKYO WONDER SITE, Tokyo, Japan
2011
JAKARTA BIENNALE 2011: MAXIMUM CITY,
2004
VERMONT STUDIO CENTER, Johnson, USA
2011
JOGJA BIENNALE 2011: EQUATOR #1, Taman Budaya Yogyakarta, Jogjakarta, Indonesia
Grant and Fellowship
2011
CITYNET ASIA 2011, Seoul Museum of Art, Seoul, South Korea
2003-2004 Freeman Asian Award Full Fellowship 2003/2004, Freeman Foundation, USA
2011
EKSPANSI, Pameran Besar Patung Indonesia, National Gallery, Jakarta, Indonesia
2000-2002 General Cultural Scholarship Scheme, Indian Council for Cultural Relationship, New Delhi,India
2011
INDONESIAN EYE, Saatchi Gallery/Ciputra Marketing Gallery, Jakarta, Indonesia
2011
SIM CITY, National Gallery, Jakarta Indonesia
Affiliation
2011
ASIA TRIENALLE MANCHESTER 2011 [with Ruangrupa], Manchester UK
2008-present
2011
NEXT TWS 10 YEARS!, Tokyo Wonder Site, Tokyo, Japan
2008-2009 Artistic Board Member Museum of Contemporary Art China, Hongkong
2011
SINGAPORE BIENALLE 2011: OPEN HOUSE [with Ruangrupa], Singapore
TH
2012
Govett-Brewster Art Gallery, New Playmouth, New Zealand
Galeri Nasional Indonesia, Jakarta, Indonesia
ARTLAB ruangrupa, Jakarta Indonesia
Aditya Novali | 4
Aditya Novali | 1
Karya Aditya Novali dalam pameran ini merupakan gabungan antara instalasi, desain, dan bahkan objek performatif yang berkaitan dengan gagasan dasar tentang dinding. Aktivitas membangun dinding tampaknya menjadi sesuatu yang sangat sederhana dan langsung, selama persiapannya untuk karya ini, Aditya Novali menyadari betapa hal sederhana ini menuntut banyak perhatian pada berbagai aspeknya: kualitas, keselamatan, dan banyak lagi. Membangun dinding bisa menjadi sebuah metafor untuk menyediakan proteksi, tetapi juga membangun jarak dengan situasi luar, dimana ada risiko bahaya, bencana dan lingkup lingkungan yang tidak kita kenali.
Aditya Novali's work in this exhibition is a combination of installation, design, and even performative object that is connected to very basic idea about wall. While building a wall seems to be very simple and direct, during his preparation of this work, Novali realized how this simple thing carries very high demand on many aspects: precision, quality, safety, and such others. Building a wall can be seen as metaphor for providing protection, to put some distance with the out side situation, that might offers danger, disaster, or unfamiliar environment.
Lebih jauh lagi, Aditya Novali menghubungkan proses membangun dinding ini dengan situasi di Indonesia, yang disebutnya sebagai negara swa-nahkoda, karena kurangnya penegakan hukum atau penerapan standard yang ketat untuk soal produksi, sehingga hal detail berkait dengan keselamatan tadi banyak tidak diperhatikan. Dengan menimbang situasi ini, ia membangun sebuah brand bernama "Ngaco", yang baginya merupakan parodi terhadap "karakteristik Indonesia". Menariknya, ia membuat desain beberapa material bangunan dengan nilai atau ukuran yang membingungkan, atau tidak konsisten, untuk menciptakan refleksi ironis tentang bagaimana cara kita yang cenderung seenaknya dalam membangun ternyata bisa bertahan hingga jangka waktu cukup lama.
Further Novali sees this process of building a wall into the situation in Indonesia, which he calls as "auto-pilot" country for its lack of law enforcement or rigid standard on production matter, so this aspect of being precise to provide protection is not a big concern from the government. He also observes less community space being built, that inspired him to create a brand for building materials that made based on "this nation characteristic". Interestingly, he designs his shop with several item, where each item offers its confusing or inconsistency value, to create an ironic reflection on how our way of "building something" somehow proven as something surprisingly survived up until now.
Aditya Novali | 2
Aditya Novali | 3
Aditya Novali place/date of birth: Solo, November 17, 1978 education: 1997-2002. Bachelor of Engineering in Architecture, Universitas Katolik Parahyangan, Bandung, Indonesia. 2006-2008. IM Master of Conceptual Design, Design Academy Eindhoven, The Netherlands solo exhibitions 2013, “Beyond The Walls”, Primo Marella Gallery, Milan, Italy 2012, “Method of Polarity”, Umahseni, Jakarta “The Wall:Asian (Un)Real Estate Project”, Project Stage-Art Stage, Singapore 2011, “Indoscape : A “Geo-History”, Canna Gallery, Jakarta 2004, “Art Portable”, CP Artspace, Jakarta 1997, “View on Woman”, Linggar Gallery, Jakarta 1996, Taman Budaya, Yogyakarta 1995, “Transition”, Bentara Budaya, Jakarta 1990, Purna Budaya, Yogyakarta (with Javanese puppet show performance) 1989, Galeri Pasar Seni Ancol, Jakarta (with Javanese puppet show performance)
selected group exhibitions 2014. Ark Galerie, Yogyakarta Jakarta Contemporary Artspace Opening Exhibition, Jakarta Primo Marella Gallery, Art Stage, Singapore 2013. “Little Water”, Dojima River Biennale, Osaka, Japan “Pressing”, Centro Video Insight, Torino, Italia South East Asia (SEA)+ Triennale, National Gallery, Jakarta Homo Ludens#4, Bentara Budaya Bali, Bali Art|Jog|13, Taman Budaya Yogyakarta, Yogyakarta “Collective Perspective on South East Asian Wing”, Beirut Art Fair, Lebanon 2012. “Of Human Scale and Beyond: experience and transcendence”, Hong Kong Arts Centre, Hong Kong “Deep S.E.A:Contemporary Art from South East Asia”, Primo Marella Gallery, Milan, Italy “Re.claim”, National Gallery, Jakarta Art|Jog|12, Taman Budaya Yogyakarta, Yogyakarta “Deviation-New Sculpture”, Galeri Salihara, Jakarta 2011. “Maximum City”Jakarta Biennale, National Gallery, Jakarta “PMR Cube Contemporary Culture Interplay”, Sampoerna Strategic Square, Jakarta “Religiosity In Indonesian Art”, Mon Decor Art Centre, Jakarta “Ekspansi”, National Gallery, Jakarta “Contemporary Landscape”, Lawangwangi Art Space, Bandung “Homo Ludens#2”, Emmitan CA Gallery, Surabaya “Cultural Bridge”, Wendt Gallery, New York-USA Sovereign Asian Art Prize 2010 Finalist Exhibition, Hongkong. BaCAA Finalist Exhibition, Lawangwangi Art Space, Bandung. “1001 Doors: Reinterpreting Traditions”, Ciputra World, Jakarta Art Stage Singapore, with Gallery Canna.
2010. “All About Paper”, Dia Lo Gue Artspace, Jakarta Sovereign Asian Art Prize 2010 Finalist Exhibition, Singapore. Jakarta Art Award 2010 Finalist Exhibition, North Art Space, Jakarta. Bazaar Art Fair, with Viviyipartroom, Jakarta. 2006. “Beyond”Jakarta Biennale, Galeri Cipta TIM, Jakarta. 2005. “Exodus”, Nadi Gallery, Jakarta. CP Biennale, Museum Bank Indonesia, Jakarta Yogya Biennale, Yogyakarta Pameran Nusantara, National Gallery, Jakarta
Tintin Wulia | 4
Tintin Wulia | 1
Construction of a hole - opus 1 installation with interactive performance and video diptych 5 Edition #1 2010 Tintin Wulia
Construction of A Hole adalah sebuah video instalasi terdiri dari video dua saluran yang dibuat dari performans situs khusus oleh Tintin Wulia di Ark Galerie, Jakarta, 2010. Performans ini melibatkan aksi partisipatoris dari penonton (pada saat itu sebagian besar dari mereka adalah kolektor) dengan mengambil bentuk sebuah lelang. Tintin menciptakan dinding di mana ia memproyeksikan skema yang berbentuk lukisan Mondrian, terbagi menjadi 8 bagian. Setiap bagian mengandung cerita yang merujuk pada narasi tentang berbagai dinding dalam sejarah peradaban, termasuk fenomena yang berkaitan dengan konsep dinding. Setelah memenangkan lelang, audiens mendapat kesempatan untuk merusak dinding dan menciptakan lubang. Pada akhir lelang, skema itu lenyap, menjadi sebuah lubang besar.
Construction of A Hole is video installation (two channels video) which made from site specific performance done by Tintin Wulia in Ark Galerie, Jakarta 2010. The performance involved participatory action by audience (most of them are collectors) within a form of auction. Tintin Wulia created a wall where she projected a scheme taken from Mondrian's painting, divided into 8 parts (8 lots). Each of parts consists a story of many different historical walls (or also phenomenon related to the notion of wall). The winners of the bids had opportunities to destroy the wall, to create a hole. In the end, the whole scheme was broken.
Karya ini menunjukkan aksi yang saling bertolak belakang: merusak dinding dan mencipta lubang. Membangun dan meruntuhkan. Keseluruhan performans mengingatkan kita akan narasi yang bergeser dari berbagai dinding itu dalam sejarah, tetapi pada saat yang sama merujuk pada sisi yang menarik dari pasar seni: ide tentang kepemilikan. Para kolektor mengikuti sebuah lelang dimana mereka tidak akan mendapatkan atau memiliki sesuatu, tetapi membeli sebuah kisah dan mendapatkan kesempatan melakukan aksi: meruntuhkan tembok.
This work refers to the contradictory action: destroying a wall and at the same time, making a hole. To deconstruct and to construct. The whole performance, while remind us of the shifting narratives of many greatest walls in our history of civilization, at the same time pointing interesting part of the art market: the idea of possession. It is interesting to see these collectors were joining an auction not to posses something, instead they bought a story of particular wall, and had the opportunity to do an action: breaking the wall.
Tintin Wulia | 2
Tintin Wulia | 3
Tintin Wulia Born 23 November 1972 in Denpasar, Indonesia Based in Brisbane, Australia PUBLIC COLLECTION Stedelijk Van Abbemuseum, Netherlands Singapore Art Museum, Singapore Queensland Art Gallery/Gallery of Modern Art, Australia He Xiangning Art Museum, China GALLERY REPRESENTATION Osage Gallery, Hong Kong EDUCATION 2007-2014 Candidate, PhD (Art) RMIT University, Australia Recipient of Australian Postgraduate Award Exegesis title: Aleatoric Geopolitics: art, chance and critical play on the border 1991-1998 Bachelor of Engineering (Architecture) – second upper class honours Universitas Katolik Parahyangan, Indonesia 1995-1997 Bachelor of Music (Film Scoring) – Magna Cum Laude Berklee College of Music, USA Recipient of Berklee Achievement Award; Dean’s List; Soren Christensen Award SELECTED SOLO EXHIBITIONS 2011 • Subjektive Projektionen: Tintin Wulia, Bielefelder Kunstverein, Germany 2010 • Deconstruction of a Wall, Ark Galerie, Indonesia SELECTED GROUP EXHIBITIONS / SCREENINGS 2014 • Immaterial Frontier, National Visual Arts Gallery, Malaysia (upcoming) 2013 • Biennale Jogja XII, Indonesia • Local Futures, He Xiangning Art Museum, China • 11th Sharjah Biennale, UAE 2012 • 7th Asia Pacific Triennial of Contemporary Art, Australia • 9th Gwangju Biennale: Roundtable, South Korea • What a Wonderful World: visions of contemporary Asian art of the world today, Hiroshima Museum of Contemporary Art, Japan 2011 • The Global Contemporary: Art Worlds after 1989, ZKM Museum of Contemporary Art, Germany • 4th Moscow Biennale: Rewriting Worlds, Russia • Transfigurations: Indonesian Mythologies, Espace culturel Louis Vuitton, France 2010 • Manifesto of a New Aesthetics: Seven Artists from Indonesia, Institute of Contemporary Arts, Singapore • Last Words: Asian Traffic, 4A Centre for Contemporary Asian Art, Australia • The Problem of Asia, Para/Site Art Space at Chalk Horse, Australia
2009 • Beyond the Dutch, Centraal Museum, Netherlands • 38th International Film Festival Rotterdam, Netherlands (screening) • Jakarta Biennial XIII: Arena, Indonesia 2008 • Coffee, Cigarettes and Pad Thai: Contemporary Art in Southeast Asia, Eslite Gallery, Taiwan • Be[com]ing Dutch, Stedelijk Van Abbemuseum, Netherlands • Landing Soon #5, Cemeti Art House, Indonesia 2007 • Geopolitics of the Animation, Centro Andaluz de Arte Contemporáneo, Spain • WRO07, 12th International Media Art Biennale, Poland • Mapping the City, Stedelijk Museum Bureau Amsterdam, Netherlands (screening) 2006 • Hiding City, Seeking City, FACT at Liverpool Biennial, UK (screening) • Trial Balloons, Museo de Arte Contemporáneo de Castilla y León, Spain • Archipeinture, Le Plateau, France (screening) 2005 • Spaces and Shadows, Haus der Kulturen der Welt, Germany • 2nd Yokohama Triennial: Art Circus (Jumping from the Ordinary) with Flying Circus Project, Japan • 9th Istanbul Biennial: Istanbul, Turkey
SELECTED AWARDS / RES IDENCIES / PRODUCTIONS 2014 • The Instrument Builders' Project, residency, Indonesia (upcoming) • Arts Queensland Individuals Fund, Australia, for Aleatoric Geopolitics: Cross-border North America, selforganised residency series with Art Gallery of Windsor, Canada, Queens Museum, USA and La Galería de Comercio, Mexico (upcoming) 2013 • Babel produced in cooperation with Yayasan Biennale Yogyakarta, Indonesia and Sharjah Art Foundation, UAE • Biennale Jogja XII Residency, Sharjah Art Foundation, UAE 2012 • Eeny Meeny Money Moe, produced in cooperation with Queensland Art Gallery/Gallery of Modern Art, Australia • Nous ne notons pas les fleurs, Gwangju, produced in cooperation with Gwangju Biennale Foundation, South Korea 2011 • The Butterfly Generator, produced in cooperation with ZKM Center for Art and Media, Germany, in partnership with Osage Art Foundation, Hong Kong • Nous ne notons pas les fleurs, Fort Ruigenhoek, produced in cooperation with Kaap/Stichting Storm, Netherlands • (Re)Collection of Togetherness – stage 6 and Fallen, produced in cooperation with Louis Vuitton Malletier, France 2009 • Khoj Bihar, residency, Khoj International Workshop, India • Lure, produced in cooperation with Osage Gallery, Hong Kong 2007 • Landing Soon #5, residency, Cemeti Art House, Indonesia 2006 • How the World Began, produced in cooperation with Theatreworks Singapore
craftmanship, the urban cultural context that, is a discourse close to both, seems dominant. Urbanist discourse locates architecture and art as significant elements in its development, regarding the relations The most interesting thing in contemporary arts practice these days, I think, is the adventure-filled intersection with other disciplines, and the ceaseless efforts to abolish stereotypes and eliminate categories. In my experience preparing diverse exhibitions and my involvement in many arts projects, unintentionally, I have had the opportunity to speak to a number of artists with backgrounds in architectural studies. The links between architecture and visual arts are of course not a new thing for contemporary arts practice, especially in global arts practice. However, in Indonesia it seems that few have paid particular or detailed attention to this connection, so it is accepted as a given.
relationship between urban cultural discourse and art and architecture becomes so broad through its intersection with issues such gentrification, political identity, urban planning, sub-cultures, youth politic, tradition/modernity and so on.
Faced with the
complexity of issues like these, I then began to think about taking my starting point from a simple yet fundamental issue, yet still one that was open to various creative possibilities. The concept of the wall came from my travels to many world cities, where historical sites indicate the significance of the wall in the
My desire to see how the study of architecture influences the practice of these artists led me to create an exhibition concept that collected them together to respond to a concept.
between city space and its socio-political context more broadly. The
Grouping together artists with
architectural backgrounds is not an attempt to create a new category, but an attempt to see how an approach different from art education (and other educations) influences the way they see the art world and how they establish their unique arts practices. Among them there are those who often work with other approaches, such as music, film/video, participatory projects and even as curators. All of these complex systems of knowledge production, I think, have made these four artists familiar with various challenging themes, so they have the ability to develop fluid, yet sharp,
cartography of the past, and I think, in a different way, the present. The fall of the Berlin Wall in 1989 is regarded as an important signifier in the development of world politics, not only erasing the border between East and West Germany, but also leading to the increasing irrelevance of the opposition between capitalism and socialism. The remains of the Berlin Wall itself can still be visited, having become a trendy tourist site in Berlin, covered in marks left by artists.
Sections of the wall that are still standing have become
memorabilia for past divisions, with responses from today's generation, who were never a part of that division. Thus, apart from being a signifier of the history of partition, this site has also become
thinking that is also full of complexities.
a connection between the past and the present. The story of the wall
When dicussing the relationship between art and architecture in
fallen: on the border of Israel and Palestine, in the de-militarised zone
Indonesia, especially outside deliberations on tradition and
that separates North and South Korea, in Cyprus where a wall
as a divider continues to today, even though the Berlin Wall has
separates Turkey from a particular part of Greece; these walls mainly
I’m interested in inviting artists with architectural backgrounds to
designate differences in political, religious or ideological positions.
reconsider the basic concept of the wall, as well as the complexity of
This is very different to the story of the Great Wall of China, for
issues full of contradictions. Their experience in working with various
example, that protected the Chinese from outside attack, while also
disciplines, I think, enables them to lead us in reflecting once more on
securing an important trade route of the time, the Silk Road. In
our own perspectives, even though we have long accepted the the
Yogyakarta itself, the Palace area and its surrounds are separated
wall as having become a natural part of our daily lives. These four
from the outside with a wall, of which only parts remain. Hence it is
artists have a tendency to play with reality, turning around what we
more often referred to as a the Fort (in Javanese beteng). In everyday
regard as natural, and seeking subversive values from the praxis of
life, this wall still designates an area that is regarded as special, with
everyday life in the community.
particular values and rituals that ensure it is different to life outside the walls. All the narratives mentioned here show that the wall is a symbol
of
separation:
them/us,
here/there,
inside/outside,
traditional/modern, the past/present and also private/public space. The wall becomes and an effective way to provide protection, not only from that which is regarded as dangerous, but also protection of
1
New Generation of Separation Walls by Japp de Boer. http://popupcity. net/a-new-genera tion-of-separation -walls/
The four works exhibited by the artists seem to genuinely show a diversity of perceptions of the wall itself, as well as interesting and different artistic approaches. The four show different preferences in media that are more or less influenced by their previous practices. The issues start from structure, constructuction, borders, through to
the values held by those in a particular area.
memory, presented in a visual form that differs for each one, but each
Certainly we also encounter models that establish new, small-scale
Prawoto adopted techniques and structural material from walls in
walls in our daily lives. Walls which fence homes become higher,
Eastern Indonesia, and mined local knowledge associated with
limiting our interaction with public space outside, closing us of from
natural materials. Aditya Novali, responded with incisive humour to
communicating directly with our neighbours. In our lives in the ether,
the concept of the wall and how we make buildings in its connection
we also encounter illusory walls (firewalls) that are built to screen our
to capitalism and commercialism. Tintin Wulia’s work, Construction
“atmosphere”. Interesting reflections from the story of walls were
of a Hole, shows the complexity of issues around the wall as the
reflected in Joop de Boer's statement: "Breaking a wall will never be
delimiter of an area and also critiques art practice in association with
a physical activity, although the physical happening on 9 November
the commercial sector, whilst Iswanto Hartono attempts to connect the
1989 will remain as a symbol for freedom and reunification. At this
concept of the wall as memory to personal experiences that have
moment it’s threatening to see how new economically motivated
occurred recently in his life.
walls are built on a local scale. Therefore I want to finish declaring,
memorabilia, a way of recalling something, or someone, which once
for the ones that didn’t already know, that tousling a piece of useless
"was".
concrete is very unlikely to solve any problem." 1
complementing the others with their artistic approaches.
Eko
He associates the wall with
