OTW TROMARAMA SOLO EXHIBITION

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OTW T R OM A R A M A

SOLO EXHIBITION

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OTW T RO MA R A MA Solo E xhi bi ti on

C u r ated by

Asmudjo Jono Irianto

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GOD H AS MANY NAMES Vaccum White Plexiglass, Stainless Steel, LED 83 x 95 x 18 cm 2013

Exh i b i ti on Vi ew

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T HE LO S T O NE Stop-motion Animation with Maneki Neko 4 min 36 sec Sound by Bagus Pandega & Hendra Bud iman 2013

Exh ibit io n V iew

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THE LOST ONE

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( S TI L L ) IMAG ES FROM VIDEO

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THE LOST ONE WO R K IN G PR O CESS

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ON PR OGR ES S Video Animation with Shoes video loop Sound by Bagus Pandega 2013


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ON PROGRESS ( S TI L L ) IMAG ES FROM VIDEO

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ON PROGRESS WORKIN G P ROCES S

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B UR N OUT Video Animation with Paper cut and Scanned Fabric 3 min 6 sec Sound by Bagus Pandega 2013


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BURN OUT ( S TI L L ) IMAG ES FROM VIDEO

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BURN OUT

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W O R K IN G PR O CESS

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PR IV ILEGE Laser Cutting on Paper, Flashlight Variable dimension 2013


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PRIVILEGE EXHIBITION VIE W

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PRIVILEGE WO R KING P R O C E S S

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The Planner Paper, Pen, Manual Instruction variable dimension 2013


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THE PLANNER EXHIBITION VIEW

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C UR ATO R I A L INT R O D UC TION

OTW “I don’t know where I’m going, but I’m on my way.” ― Carl Sandburg

There is an unofficial thesis which says that an artist is the epitome of an idiosyncrasy. This premise will be easy to justify if we take notice of how Febie Babyrose, Herbert Hans and Ruddy Hatumena work. These three artists are the members of Tromarama group, which has become a phenomenon in the Indonesian art world recently. In just a short time they have become a group that needs to be reckoned with, not only in Indonesia, but also globally. This has been shown by their solo exhibition at Mori Art Museum in Japan in 2010.

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C UR ATOR IAL INTR ODU CTION

They are known as a video-artist group, yet their work methods can be said to be different than other video artists. Genealogically, film came before video as a method of producing moving images. One essential difference that distinguishes video with its relative is in how it creates and stores its images: if video directly transforms audio and visual materials in the form of data – analogue or digital – film stores its images in the form of celluloid tapes, of which every part can be seen sequentially with the naked eye.

“However, Video differs from its two closest relatives, film and television, in one essential point: it directly translates the audio-visual material into analogue or digital code. Thereby, recording and storage takes place synchronously. Video is a means of preservation that retains the recorded material in a state of permanent availability and manipulability. In contrast, traditional film is a sequence of individual images visible on the celluloid to the naked eye, and only the mechanical movement of the length of film during projection produces movement.” 1 Tromarama’s video art works are actually more akin to the logic of film – animation to be exact – since they create visual materials manually through various visual methods, such as making woodcut images one after another; making collage from thousands of buttons, or arranging moving images from

C UR ATO R I A L INT R O DUC TION

artists are finally relieved of the task of making ‘objects’, and can now conceive their ideas in a way that becomes experiential.” 2 The assumption that video is a medium that eliminates the artists’ task in creating ‘objects’ puts Tromarama in a unique position as a video art group. Even though the end results of Tromarama’s works are video, the process of making the object is an important part. In fact, these objects are often displayed along their video works. Stop-motion animation has become the technical core of Tromarama’s works. The special logic of movies that creates dimensional motion and time through rotation of tens to millions of images on celluloid tapes, more or less has become the technical ‘philosophy’ that underlies how to move the images they create. What then becomes their biggest strength is the method used to create ‘celluloid tapes’ Tromarama style. Although they are labelled as videoartists, if we trace their working process, it is not an exaggeration to say that they are cross-medium artists. Various techniques and materials have been explored, from woodcut, embroidery, drawing, batik, collage, and the use of found objects arranged into certain images. The manual-labour required was quite tough, belying the apparently simple and light end result, especially considering that the three members of the group tend to adopt a cheerful attitude and often are witty in their works. One interesting thing that they mentioned in a conversation was a funny fact that in the beginning of their work they actually avoided too much use

dozens of embroideries. Video art itself has greatly contributed to the influence of the development of art discourse. One contribution is that it has freed artists from the task of creating ‘objects’:

“Perhaps the biggest development has been that

Limitation of digital equipment owned, forced all three to work harder, relying on manual-labour

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of digital processes due to lack of facilities. Limitation of digital equipment

All Tromarama’s idiosyncrasies and characteristics mentioned above are

owned, forced all three to work harder, relying on manual-labour. That decision

present in this solo exhibition. The choice of the exhibition’s title: OTW, widely

became an advantage, because public see this aspect as their strength.

used as an acronym for ‘on the way’, neatly summarises Tromarama’s stance in this exhibition. But the question that arises is: where are they going?

In terms of idea, Tromarama’s works actually often depart from ideas that are quite reflective and contemplative. However, in line with their friendly,

OTW does have reflective and contemplative content, which is arguably

cheerful and fun demeanour; the visual aspects in their works tend to have

more profound than their previous works. Like an artist that becomes more

light and carefree atmospheres: a quality that corresponds to their publicly

mature both in experience and skill, Tromarama too, besides have expanded

known medium identity, which is video. In art praxis, video is considered as

their views to the outside world, also deepens their contemplation by asking

an agent of democratization in imagery production – anyone can do it. But

the essential question: what is the real purpose of human life? What is human’s

that assumption is not always true, since video art also requires skill to master,

hope for the future?

it also needs unique and interesting ideas / concepts to produce a powerful video work. In addition to the fact that it uses a familiar technology to the non-

With OTW Tromarama stated that generally human always wants to be

art public, video art becomes a medium that is free from canonical modernist

closer to their creator. The image of the creator is surely related with the

tradition parameter:

meaning of perfection. In a conversation, Febie, Herbert and Ruddy said that one of the important keyword in this exhibition is the term “litany”, which means

“One of the most significant ways video art has accomplished this potential, has been to democratize the production of the images, by virtue of being medium free from canonical traditions and without a critical establishment. Because anyone can could pick up a camera and make this form of art, video held the potential for cultural critique and, from the beginning was understood as a technology for production of anti-establishment imagery… 3” Even though positioned in a quite problematic area related to video medium classification, but in fact, the character of Tromarama’s works are congruent with the character of video as a subversive medium to the canonical parameter in modern art. This means that even Tromarama’s work method may not be congruent with most video artist, it does not impede Tromarama’s placing as video artists. After all, video art does not assert its limit strictly.

a series of prayers to God for use in church services. Tromarama believes that prayer is human approach in projecting their hopes for the future. If we put the most extreme form of hope in the vocabulary of human knowledge, then “perfection” is the most complete form of purpose. Thus, god (with lowercase g) according to Tromarama is an image of perfection that symbolizes human’s progressive movements toward a completion. Therefore, “god” has a central position in this OTW exhibition, although it should be underlined, that god Tromarama refers here does not necessarily refer to God (with uppercase G) in institutional religious beliefs. God in Tromarama’s vocabulary is a conception of perfection. An idealization of human purposes at an ultimate point; it may include a career objectives,

God in Tromarama’s vocabular y is a conception of perfection. An idealization of human purposes at an ultimate point

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moral ideals and humanism, or an artistic purpose in work. The phrase, “to

conveys that human in a certain point positions themselves as god. That is why

make something as a god” might be an appropriate analogy in describing the

each god’s (with lowercase g) activities in this work are human daily activities,

symbolism of god in that sense.

which are far from perfect. Interactive aspect in this work, which presented in the flashlight, becomes a symbol of human effort in search of satisfaction

Observing the idea that is carried by Tromarama, we can track the

and perfection. But when visitors read every sentence highlighted, they will

tradition of art in the past which is close to spiritual and religious aspect. But

find the truth that satisfaction and perfection are always hindered by human

in contemporary praxis, the references that have been done by artists are not

limitations.

merely connected to the existence of specific religion with its formal practice. Along with technology development and scientific enlightenment, spiritual

In the work “God Has Many Names”, Tromarama presents a brief but

aspects come in different forms. As stated by art critic Thierry de Duve, and

problematic statement, which is a signage with “God Has Many Names” in

quoted by Jean Robertson and Craig McDaniel:

relief. By reflecting on various religious conflicts, Tromarama believes that ideas about God (with uppercase G) vary. Heterogeneity, the true value of

“…in contemporary secular societies, ‘entertainment has replaced religion… but religiousness is still there.’ Human are now experiencing religious feelings, such as devotion or awe, in secular public domains, including museums, rock concerts, sports arenas, and shopping malls.” 4 When working on the conception of perfection, Febie, Herbert and Ruddy find the anti-thesis of perfection itself. The fact that is not surprising for if you think further about it, the essence of life is born from the imperfection; a reality that provokes human being to form an ideal concept of perfection. The overlapping of these two conflicting conceptions is composed ideally by Tromarama, especially in their installation work titled “Privilege” and “God Has Many Names.”

Through this work Tromarama wants to make public aware that truth has many characters. It is useless if someone forces their personal true value thoroughly to everyone. Surpassing an interactive aspect in “Privilege” is a work titled “The Planner”, a work that takes advantage of public involvement, which shows an abstract configuration of colourful square papers on the wall. Visitor can choose a piece of paper to then draw or write their projections of future. Having finished writing the idea, the paper is taped back to the wall with the written side facing out. Through this work we can peek into others’ minds that have many ideas about hope or even pessimisms about the future. As the three non-video works mentioned, the three videos that will be presented in OTW show similar anxiety from the three members of Tromarama in interpreting progression and hopes of perfection. In “Burn Out”, Febie,

The work mentioned first is an interactive work in writing format formed with laser-cutting techniques, and consists of 45 paper modules.

God many forms end to an endless conflict in the history of human civilization.

Each

module is a statement on god’s “imperfection”. Sentence like: “When god cries, When god sleeps, when god bleeds” continuously arranged in a dark room. Visitors can only read these sentences by shining the lights on the wall, creating multiple images shaped by the object and its shadow. Tromarama

This work shows how human are imprisoned by their own desires toward virtual adequacy and completeness

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Herbert and Ruddy expressed that homogenization in people’s behaviour


desires toward virtual adequacy and completeness.

caused by rules that are agreed together often reduces human individualism and personalities, whereas in a certain proportion liberality of an individual

Tromarama earnest effort to explore various techniques in producing

can be an advantage in a common goal. This work shows the silhouette of

objects and images turns out giving an emphatic effect. Febie Babyrose

human figures shaped from various colours and shapes, moves along to the

admitted that when she made animation material by batik, she could feel

beat of house music in aerobics movements. Gradually these figures of various

how heavy a workload of a batik craftsman was, and they may only receive

patterns unify into one pattern, until their aerobics movements are almost

meagre compensation. Manual-labour by its own becomes an important part

invisible. Aerobics that requires synchronized movements of their participants

for Tromarama, because their aspects of emphatic and critical capacities were

is the right symbol for this issue.

built by this experience. This aspect becomes an idiosyncrasy for Tromarama, as many young artists – in their generation, prioritize conceptual aspect above

As opposed to the video “Burn Out”, the work titled “On Progress” appears

techniques in their work.

deeper and heavier. The work that shows a movement of pairs of shoes going up and down stairs does not bring the subject of shoe wearer. Tromarama said

OTW or “On the Way” can be a checkpoint in mapping Tromarama’s

that sometimes the idea about progress eliminates human values. Projections

progressive movements toward the future. In a conversation with the three,

of development carried by the government, or economic growth target for

each member expresses their concerns in a work’s social function when it is

example, only shows number and figures, without realizing that the truth

presented to the public. This realization, more or less marks their maturity in

behind the numbers is a collection of people with their own complexities. The

their work. Persistency in exploring technical aspects, also the tendency to

presence of stairs becomes another symbol that movements sometimes regress

always consider perfection, as well as their abilities to be more emphatic

rather than progress. Quoting Ernest Hemmingway: “Never confuse movement

toward technical aspect in their work: have interwoven into its own capital.

with action,” human are often dissolves in motion without realizing that they

OTW which is shown today, will provoke public interest, what kind of progress

might move toward a degraded reality.

they will be presented in the future?

Although visually the video work “The Lost One” appears simpler and more


cheerful than “On Progress”, critical content that borne by this work is no less

Dinni Tresnadewi Nf

heavy. The work with its “main star” hundreds of maneki neko cats figurines reminds us to the work “Silent Dialectica” which was shown in 2011 in Asian Art Biennale #3 in Taiwan. If in “Silent Dialectica” arms and other elements of thousand maneki neko passively presented in the form of installation art,

Endnotes

then in “The Lost One”, a thousand of armless maneki neko cats look active,

1

Martin, S. (2006). Video Art (p.6). Koln: Taschen.

as if they are busy searching for their missing arms. Maneki neko in Chinese

2

Elwes, C. (2005). Video Art, A Guided Tour.(p.ix). New York: I.B. Tauris & Co. Ltd.

3

Perry, G., & Wood, P. (Eds). (2004). Themes in Contemporary Art (p.213). London: Yale Uni

culture is known as an object that can attracts fortune by endlessly moving its arm to call fortune. Video journey of a thousand maneki neko in search of their

versity Press.

arms showed as if mocking human effort to fulfil endless needs. This work is a reflection of people gets caught up in consumerism lifestyle and trap inside the logic of capitalism. This work shows how human are imprisoned by their own

4

Robertson, J., & McDaniel, C. (2010). Themes of Contemporary Art: Visual Art after 1980. (p.297). New York: Oxford University Press.

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P E N GA NTA R K U R ATO R I A L

Dikenal luas sebagai kelompok video-artist, namun metode berkarya mereka bisa dikatakan berbeda dengan kebanyakan seniman video. Secara genealogis, film mendahului video sebagai metode penghasil citraan bergerak

OT W

(moving images). Satu perbedaan esensial yang membedakan video dengan saudara tuanya ini adalah dalam penciptaan dan penyimpanan citraannya; jika video langsung mentransformasikan material audio dan visual ke dalam bentuk data—baik analog ataupun digital—maka film justru menyimpan material

“I don’t know where I’m going, but I’m on my way.” ― Carl Sandburg

citraan dalam bentuk fisik berupa pita seluloid, yang tiap bagiannya dapat dilihat secara sekuensial dengan mata telanjang.

“However, Video differs from its two closest relatives, film and television, in one essential point: it directly translates the audio-visual material into analogue or digital code. Thereby, recording and storage takes place synchronously. Video is a means of preservation that retains the recorded material in a state of permanent availability and manipulability. In contrast, traditional film is a sequence of individual images visible on the celluloid to the naked eye, and only the mechanical movement of the length of film during projection produces movement.” 1

Ada semacam tesis tak resmi yang menyatakan bahwa seniman adalah epitome dari idiosinkrasi. Premis ini akan mudah dibenarkan jika kita memperhatikan bagaimana Febie Babyrose, Herbert Hans dan Ruddy Hatumena berkarya. Ketiga seniman yang tergabung dalam grup Tromarama ini memang menjadi semacam fenomena tersendiri dalam dunia Seni Rupa Indonesia beberapa tahun ke belakang. Dalam hitungan waktu yang cukup singkat mereka telah menjadi seniman yang diperhitungkan, tak hanya dalam medan seni rupa Indonesia, tetapi juga internasional. Hal itu ditunjukkan oleh pameran tunggal mereka di Mori Art Museum, Jepang pada tahun 2010.

Karya video yang dihasilkan Tromarama sebetulnya lebih mirip dengan logika film—film animasi tepatnya—karena bahan visual justru mereka ciptakan secara manual melalui berbagai metode rupa, seperti membuat satu demi satu citraan dengan teknik cukil kayu; menyusun kolase bentuk dari ribuan kancing, atau merangkai gambar bergerak dari puluhan karya bordir. Seni

video

sendiri,

telah

banyak

menyumbang

pengaruh

dalam

perkembangan diskursus seni rupa. Salah satunya adalah memberikan

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P E NGANTAR KU R ATOR IAL

P E N G A NTA R K UR ATO R I A L

semacam privilege kepada seniman untuk terbebas dari tugas membuat “objek”:

Satu hal menarik yang pernah mereka utarakan dalam sebuah percakapan, adalah kenyataan lucu bahwa pada mulanya mereka justru menghindari terlalu banyak penggunaan proses digital karena alasan ketiadaan fasilitas.

“Perhaps the biggest development has been that artists are finally relieved of the task of making ‘objects’, and can now conceive their ideas in a way that becomes experiential.” 2

Keterbatasan perlengkapan digital yang dimiliki, memaksa ketiganya untuk bekerja lebih keras dengan mengandalkan manual-labour. Keputusan tersebut menjadi keuntungan tersendiri, karena publik justru melihat aspek ini sebagai kekuatan karya mereka. Dari segi gagasan, sebenarnya karya-karya Tromarama sering berangkat

Anggapan video sebagai medium yang menghapuskan tugas seniman

dari ide yang cukup reflektif dan kontemplatif. Namun sejalan dengan

dalam membuat “objek”, menempatkan Tromarama di posisi unik sebagai

pembawaan ketiganya yang ramah, ceria, dan menyenangkan; aspek visual

seniman video. Kendati hasil akhir karya Tromarama adalah sebuah karya

karya mereka cenderung beratmosfer riang dan ringan; suatu kualitas yang

video, namun proses pembuatan objek menjadi bagian amat penting, bahkan

bersesuaian dengan identitas medium mereka yang dikenal publik, yakni

seringkali objek-objek tersebut dipamerkan bersama karya video mereka.

video. Dalam praksis seni, video dianggap sebagai agen demokratisasi dalam produksi citraan—siapapun bisa melakukannya. Namun anggapan

Animasi Stop-motion, memang menjadi inti teknis dalam karya-karya

tersebut tentu tidak sepenuhnya benar, sebab seni video pun membutuhkan

Tromarama. Logika film yang menciptakan dimensi gerak dan waktu melalui

ketrampilan untuk menguasainya, dan membutuhkan idea/gagasan khas

pemutaran puluhan hingga jutaan citraan di atas pita seluloid, kurang lebih

dan menarik untuk menghasilkan karya video kuat. Selain itu justru karena

menjadi “filosofi” teknis yang mendasari bagaimana cara menggerakkan

menggunakan teknologi yang familiar di kalangan publik non-seni, seni

citraan ciptaan mereka. Yang kemudian menjadi kekuatan terbesar mereka

video menjadi medium yang terbebas dari parameter tradisi modernis yang

adalah metode dalam menciptakan “pita seluloid” ala Tromarama. Meski

kanonikal:

dilabeli seniman video-art, namun jika kita telusuri proses kerjanya, tidak berlebihan jika mereka dianugerahi label sebagai seniman lintas-medium. Berbagai teknik dan material pernah mereka jelajahi, mulai dari cukil kayu, bordir, drawing, batik, kolase, dan penggunaan found object yang disusun ke dalam citraan tertentu. Aspek manual-labour yang mereka tempuh sebenarnya cukup berat, padahal hasil akhir yang tampil di hadapan publik secara visual bisa jadi nampak sederhana dan ringan. Apalagi mengingat ketiga anggota grup ini memang cenderung memilih sikap yang ceria dan sering menyasar efek jenaka dalam karya-karyanya.

Keterbatasan perlengkapan digital yang dimiliki, memaksa ketiganya untuk bekerja lebih keras dengan mengandalkan manual-labour

“One of the most significant way video art has accomplished this potential, has been to democratize the production of the images, by virtue of being medium free from canonical traditions and without a critical establishment. Because anyone can could pick up a camera and make this form of art, video held the potential for cultural critique and, from the beginning was understood as a technology for production of anti-establishment imagery… 3” Meskipun ada dalam posisi yang agak problematis berkaitan dengan

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klasifikasi medium video, namun pada kenyataannya, karakter karya

bentuk pendekatan manusia dalam memproyeksikan harapan-harapannya di

Tromarama justru sebangun dengan karakter video sebagai medium yang

masa depan. Jika kita ingin meletakkan orientasi harapan yang paling ekstrim

subversif terhadap parameter kanonikal dalam seni rupa modern. Artinya,

yang hadir dalam kosakata pengetahuan manusia, maka “kesempurnaan”

kendati metoda berkarya tromarama mungkin tidak sebangun dengan

adalah bentuk tujuan yang paling paripurna.

kebanyakan seniman video, hal itu tidak menghalangi penempatan Tromarama sebagai seniman video. Lagi pula seni video toh tidak menegaskan batas-

Maka, tuhan (dengan t kecil) menurut Tromarama merupakan imaji kesempurnaan yang menjadi simbolisasi tujuan gerak progresif manusia menuju

batasnya secara ketat.

paripurna. Karenanya, “tuhan” memiliki posisi sentral dalam pameran OTW Kesemua idiosonkrasi dan karakter Tromarama yang disebut di atas hadir

ini, meskipun perlu digarisbawahi, bahwa tuhan yang dimaksud Tromarama

pula dalam pameran tunggal mereka kali ini. Judul pilihan pameran: OTW,

di sini tak lantas merujuk pada Tuhan (dengan T besar) dalam kepercayaan

dikenal luas sebagai singkatan untuk menyatakan posisi seseorang saat menuju

agama-agaman institusional.Tuhan dalam kosakata Tromarama adalah sebuah

suatu tempat tertentu. “On the Way!” ungkap Tromarama dalam pameran ini.

konsepsi akan kesempurnaan. Suatu idealisasi dari tujuan-tujuan manusia pada

Namun pertanyaan yang muncul kemudian adalah: mereka sedang on the

titik ultimasi; yang bisa meliputi proyeksi karir, cita-cita moral dan humanisme,

way menuju ke mana?

ataupun tujuan artsistik saat berkesenian. Ungkapan “menuhankan sesuatu” mungkin merupakan analogi yang tepat dalam menggambarkan simbolisme

OTW memang memiliki kandungan reflektif dan kontemplatif, yang bisa

tuhan dalam pengertian tersebut.

dibilang lebih mendalam dibanding karya-karya mereka sebelumnya. Layaknya seniman yang kian matang menabung pengalaman dan keterampilan,

Mencermati gagasan yang diusung Tromarama ini, kita dapat menjejaki

Tromarama pun, selain semakin meluaskan pandangan ke arah luar, juga kian

tradisi seni rupa di masa lalu yang dekat dengan aspek spiritualitas dan

memperdalam kontemplasi dengan mengajukan pertanyaan yang hakiki: Apa

religi. Namun dalam praksis kontemporer, referensi yang dilakukan para

sesungguhnya tujuan hidup manusia? Apa harapan manusia ke depan?

seniman tak sekadar berhubungan dengan eksistensi agama tertentu beserta praktik formalnya. Beriringan dengan perkembangan teknologi dan berbagai

Berkaitan dengan OTW, Tromarama menyatakan bahwa secara umum

pencerahan saintifik yang menyertainya, aspek spiritualitas hadir dalam

manusia senantiasa ingin mendekati imaji penciptanya. Imaji sang pencipta ini

bentuk yang berbeda. Seperti yang dinyatakan oleh kritikus seni Thierry de

tentunya berkaitan dengan makna kesempurnaan. Dalam sebuah percakapan,

Duve, dan dikutip kembali oleh Jean Robertson dan Craig McDaniel:

Febie, Herbert dan Ruddy menyampaikan bahwa salah satu kata kunci penting dalam pameran ini adalah istilah “Litani”, yang merupakan praktik berdoa umat kristiani. Tromarama memiliki keyakinan bahwa do’a adalah salah satu

Tuhan dalam kosakata Tromarama adalah sebuah konsepsi akan kesempurnaan. Suatu idealisasi dari tujuan-tujuan manusia pada titik ultimasi

“…in contemporary secular societies, ‘entertainment has replaced religion… but religiousness is still there.’ Humans now experiencing religious feelings, such as devotion or awe, in secular public domains, including museums, rock concerts, sports arenas, and shopping malls.” 4 Ketika tengah menggodok konsepsi kesempurnaan, Febie, Herbert dan Ruddy justru menemukan anti-tesis kesempurnaan itu sendiri. Kenyataan yang

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sebetulnya tidak terlampau mengagetkan, karena jika direnungkan lebih

Melampaui aspek interaktivitas dalam “Privilege”, adalah karya “The

jauh, hakikat kehidupan memang justru lahir dari ketidaksempurnaan; sebuah

Planner”. Karya yang memanfaatkan keterlibatan penuh publik pameran

kenyataan yang memancing umat manusia untuk membentuk konsep ideal

ini menampilkan konfigurasi abstrak ratusan kertas persegi aneka warna

akan kesempurnaan. Tumpang tindihnya dua konsepsi yang saling bertolak

di atas dinding. Publik yang datang berkunjung dipersilahkan memilih satu

belakang ini terkomposisikan dengan ideal oleh Tromarama, terutama pada

lembar kertas untuk kemudian menuliskan/menggambar proyeksi pribadinya

karya instalatif yang berjudul “Privilege” dan karya objek berjudul “God Has

mengenai masa depan. Setelah selesai menuliskan gagasan, kertas ditempel

Many Names”.

kembali ke dinding dengan bidang kertas yang direspon menghadap keluar. Melalui karya ini kita dapat mengintip benak orang lain yang memiliki ragam

Karya yang disebut pertama adalah sebuah karya interaktif berupa tulisan yang dibentuk dengan teknik laser-cutting, dan terdiri dari 45 modul kertas.

gagasan mengenai harapan atau bahkan pesimisme akan masa yang akan datang.

Setiap modul merupakan pernyataan akan “ketaksempurnaan” tuhan. Kalimat seperti: “When god cries, When god sleeps, When god bleeds” tersusun

Sebagaimana tiga karya non-video yang disebut di atas, tiga karya video

secara bersambungan di dalam sebuah ruangan gelap. Publik pameran

yang hadir dalam OTW menunjukkan kegelisahan serupa dari tiga anggota

hanya dapat membaca tulisan-tulisan ini dengan menyorotkan senter ke arah

Tromarama dalam mengartikan progressivitas dan harapan-harapan akan

dinding, menciptakan citraan ganda yang terbentuk dari objek tulisan dan

kesempurnaan. Pada karya “Burn Out”, Febie, Herbert dan Ruddy hendak

bayangannya. Tromarama menyampaikan bahwa manusia di satu titik tertentu

menyampaikan bahwa terkadang penyeragaman sikap yang disebabkan

menempatkan dirinya sebagai tuhan. Karena itulah setiap aktivitas tuhan

aturan yang disepakati bersama, justru mereduksi individuasi dan personalitas

(dengan t kecil) dalam karya ini merupakan kegiatan keseharian manusia

manusia. Padahal dalam porsi tertentu liberalitas individu bisa memberikan

yang jauh dari kesempurnaan. Aspek interaktif dalam bentuk sorotan senter

keuntungan tersendiri bagi tujuan bersama. Karya ini memperlihatkan siluet

pengunjung ke atas tulisan, menjadi semacam simbolisasi akan upaya manusia

beberapa figur manusia yang terbentuk dari beragam pola bentuk dan warna,

dalam mencari kepuasan dan kesempurnaan. Namun saat pengunjung

bergerak mengikuti koreografi senam aerobik ditemani irama house-music.

membaca setiap rangkaian kalimat yang tersoroti senter, mereka akan

Lambat laun figur-figur aneka pola ini terseragamkan menjadi satu pola yang

menemukan kenyataan bahwa kepuasan dan kesempurnaan yang hendapk

sama, hingga gerak aerobik mereka nyaris tak tampak lagi. Senam aerobik

dicapai akan selalu dihalangi oleh berbagai keterbatasan manusia.

yang mewajibkan sinkronisasi gerak para pesertanya, merupakan simbolisasi yang tepat untuk persoalan ini.

Pada karya objek “God Has Many Names”, Tromarama menghadirkan

Berlainan dengan video “Burn Out”, karya berjudul “On Progress” tampak

sebuah pernyataan singkat, namun tak ayal problematis, berupa semacam

lebih dalam dan berat. Karya yang memperlihatkan gerak berpasang-pasang

signage bereliefkan tulisan “God Has Many Names”. Dengan berefleksi

sepatu naik dan turun tangga ini tak menghadirkan si subjek pemakai sepatu.

pada berbagai konflik keagamaan, Tromarama berpendapat bahwa gagasan mengenai Tuhan (dengan T besar) ternyata bervariasi bentuknya. Heterogennya nilai kebenaran akan bermacam “bentuk” Tuhan ternyata berujung pada konflik tak berkesudahan sepanjang sejarah peradaban manusia. Melalui karya ini Tromarama seolah ingin menyadarkan publik bahwa sebenarnya kebenaran itu majemuk sifatnya. Maka sia-sia jika seseorang hendak memaksakan nilai kebenaran pribadi/kelompok secara menyeluruh kepada setiap manusia.

Kar ya ini menunjukkan kebanyakan manusia terpenjara oleh hasrathasratnya sendiri menuju ketercukupan dan kelengkapan yang maya

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Tromarama menyatakan bahwa terkadang gagasan tentang kemajuan

mungkin hanya menerima kompensasi tak seberapa. Manual labour dengan

seringkali meniadakan nilai kemanusiaan. Proyeksi-proyeksi pembangunan

sendirinya menjadi bagian penting bagi Tromarama, sebab aspek empati dan

yang dirancang pemerintah, atau target pertumbuhan ekonomi misalnya,

daya kritis mereka terbangun dari pengalaman tersebut. Aspek ini kembali

hanya menghadirkan statistik dan angka-angka, tanpa menyadari bahwa

menjadi idiosinkrasi tersendiri bagi Tromarama, karena kebanyakan seniman

realitas yang hadir di belakang angka-angka tersebut adalah kumpulan

muda—rekan satu generasi mereka sendiri, lebih mengutamakan aspek

manusia yang menyeret kompleksitasnya masing-masing. Kehadiran tangga

konseptual di atas aspek teknis saat berkarya.

menjadi simbolisasi tersendiri, akan kenyataan gerak yang terkadang menuju progress atau regress. Mengutip kata-kata Ernest Hemmingway: “Never

OTW atau “On The Way” bisa dijadikan sebuah check point dalam

confuse movement with action,” manusia memang seringkali larut dalam

pemetaan

gerak, tanpa menyadari bahwa mungkin ia bergerak menuju kenyataan yang

percakapan bersama ketiganya, para anggota Tromarama menyampaikan

gerak

progressif

Tromarama

menuju

masa

depan.

Dalam

terdegradasi.

kekuatiran mereka akan fungsi sosial karya saat disodorkan ke hadapan publik. Kesadaran ini, sedikit banyak menandai kematangan mereka dalam berkarya.

Meskipun secara visual karya video “The Lost One” tampak lebih ringan

Persistensi dalam mengeksplorasi aspek teknis, sekaligus kecenderungan

dan jenaka dibandingkan karya “On Progress”, namun muatan kritikal yang

yang senantiasa menimbang perfeksi, juga kemampuan mereka untuk lebih

ditanggung karya ini tak kalah beratnya. Karya dengan “bintang utama”

empatetik terhadap aspek teknis saat berkarya; telah menjadi jalinan modal

beratus patung kucing maneki neko ini agak mengingatkan kita pada karya

tersendiri. OTW yang tampil hari ini, akan memancing rasa penasaran publik,

“Silent Dialectica” yang dipamerkan Tromarama pada tahun 2011 di Asian

kira-kira progress seperti apa yang akan mereka hadirkan di kemudian hari.

Art Biennial #3, Taiwan. Jika pada “Silent Dialectica” lengan dan sebagian elemen 1000 maneki neko dihadirkan secara pasif dalam bentuk karya


instalasi, maka pada “The Lost One”, 1000 kucing maneki neko tanpa lengan

Dinni Tresnadewi Nf

tampak aktif bergerak, seolah sibuk mencari lengan mereka yang hilang. Maneki neko dalam kebudayaan Tionghoa memang dikenal sebagai benda yang dapat memancing keuntungan dengan gerak tangannya yang tanpa henti memanggil rezeki. Video perjalananan 1000 maneki neko dalam mencari lengannya ini seolah mengolok usaha manusia yang senantiasa berupaya memenuhi kebutuhan yang tak kunjung usai. Karya ini merupakan refleksi masyarakat yang terjebak dalam gaya hidup konsumtif dan terkurung dalam logika kapitalisme. Karya ini menunjukkan kebanyakan manusia terpenjara oleh hasrat-hasratnya sendiri menuju ketercukupan dan kelengkapan yang

Catatan kaki

maya.

1 Sylvia Martin, Video Art, Koln: Taschen, 2006, hal. 6 2 Catherine Elwes, Video Art, A Guided Tour, New York: I.B. Tauris & Co. Ltd., 2005, hal. ix

Kesungguhan Tromarama untuk menjelajahi berbagai teknik dalam memproduksi objek dan citraan, ternyata memberikan efek empatetik tersendiri. Febie Babyrose mengakui, ketika ia membuat material animasi dengan cara membatik, ia bisa merasakan beratnya beban kerja seorang pembatik, yang

3 Gil Perry dan Paul Wood (Editor), Themes in Contemporary Art, London: Yale University Press, 2004, hal. 213. 4 Jean Robertson & Craig McDaniel, Themes of Contemporary Art: Visual Art after 1980, New York: Oxford University Press, 2010, Hal 297.

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ABOUT

TROMARAMA a group of artists formed in 2006 in Bandung, Indonesia Febie Babyrose (1985, Jakarta) Herbert Hans Maruli A. (1984, Jakarta) Ruddy Hatumena (1984, Bahrain)

EXHIBITION

Solo Exhibition 2013 > OTW, Ark Galerie, Jakarta, Indonesia 2011 > More We Less Me, ASIA ONE, ART HK 11, Hong Kong > KIDULT, Tembi Contemporary, Jogjakarta 2010 > MAM PROJECT 012: TROMARAMA, Mori Art Museum, Tokyo, Japan

Selected Group Exhibition 2013 > Kuota #4: Kepingan, Langgeng Art Foundation, Yogyakarta > Indonesia Pavilion, Art Stage, Singapore > “SIP! Indonesian Art Today”, ARNDT Berlin, Germany 2012 > 2nd Jakarta Contemporary Ceramic Biennale, North Art Space, Jakarta > 7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery / GOMA, Brisbane, Australia > ART/DESIGN: Renegotiating The Boundaries, Lawangwangi

Creative Space, Bandung, Indonesia > HotWave #4, Cemeti Art House, Jogjakarta > “Similarities and differences” -‐ Asian Contemporary media arts from Daisuke Miyatsu Collection, Busan, South Korea > ART HK 12, Hong Kong > Re.claim, National Gallery, Jakarta > CHIMERA: The Collectors Show, Singapore Art Museum > Fantasy Islands, Espace Louis Vuitton, Singapore 2011 > Biennale Jogja XI – Equator #1, Jogja National Museum, Jogjakarta > Fantasy Islands, Espace Louis Vuitton,

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A BOU T TR OMAR AMA

A BO UT T R O M A R A M A

EXHIBITION Hong Kong > Video Out: New Generation in Indonesian Video Art, OK. Video–5th Jakarta International Video Festival > Medi(t)ation, 3rd Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan > Membajak TV, Galeri Salihara, Jakarta > Invisibleness is Visibleness, MOCA Taipei, Taiwan > Astatic, Bakalar + Paine Galleries, MassArt, Boston, USA > Closing The Gap: Indonesian Art Today, MiFA, Australia > “For Love Not Money”, 15th Tallinn Print Triennial, Kumu Art Museum, Tallin, Estonia 2010 > DIGIT(ALL): Indonesian Contemporary New Media Practices, Umahseni, Jakarta, Indonesia > Made in Indonesia, Gallery Christian Hosp, Berlin, Germany

> VideoZone V, The 5th International Video Art Biennial, Tel Aviv, Israel > Art Gwangju 2010, KimDaeJung Convention Center, Gwangju, South Korea > Experimentelle Deutche-‐ Indonesien Musikvideos, Goethe-‐ Institute, Jakarta, Indonesia > Contemporaneity/ Contemporary Art in Indonesia, Museum of Contemporary Art Shanghai, China > A Changing Surface: Prints in the Age of Digital Media, Center for Contemporary Art, Sacramento, USA > Lihat! Video Art from Indonesia, Gallery Jesus Gallardo, Leon, Mexico > Crash Project: Image Factory, SigiArts Gallery, Jakarta, Indonesia > Dua Kota Dua Cerita, Semarang Contemporary Art Gallery, Semarang, Indonesia > Philagrafika 2010: The Graphic Unconscious, Philadelphia, USA > Halimun The Mist,

Lawangwangi Art and Science Estate, Bandung, Indonesia 2009 > Jakarta Contemporary Ceramics Biennale #1, North Art Space, Jakarta, Indonesia > OK. VIDEO COMEDY, 4TH Jakarta International Video Festival, National Gallery, Jakarta, Indonesia > Hybridization, North Art Space, Jakarta, Indonesia > Cross Animate, space*c Coreana art & culture complex, Seoul, South Korea Bandung Art Now, National Gallery, Jakarta, Indonesia 2008 > Refresh: New Strategies in Indonesian Contemporary Art, VWFA Singapore, Singapore > Singapore Biennale 2008 “Wonder”, Singapore > A Decade of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space, Bandung, Indonesia

2006 > Bandung New Emergence, Selasar Sunaryo Art Space, Bandung, Indonesia

Selected Screening

RESIDENCY

2012 > Roppongi Art Night, Tokyo

2012 > HotWave#4, Cemeti Art House, Jogjakarta,

2010 > Long Night of the Austrian Museums, Kunsthalle Wien, Austria > Children’s Season, Moving Image Gallery, SAM 8Q, Singapore 2009 > A Window to the World, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan

Workshop 2012 > SEESOUND (HotWave #4), Cemeti Art House, 2010 > ‘Mari Sini Buat Animasi’ (MAM PROJECT 012: Tromarama), Mori Art Museum,

COLLECTION

Selected Bibliography

> > > > > >

2013 > Supriyanto, Enin. “Sip! Indonesian Art Today”, DISTANZ > Bollansee, Marc. “Southeast Asian Contemporary Art Now”, Straits Times Press

Mori Art Museum, Japan Singapore Art Museum Asia Society Museum GOMA / QAGOMA, AUS Akili Art Museum, Jakarta National Gallery of Victoria, AUS

2010 > Lee, Yongwoo. “Emerging Asian Artist”, Gwangju Biennale Press

Blog address http://tromarama.blogspot.com

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C O L O P HON

OTW TROMARAMA Solo exhibition Septemb er 14 - Sep t emb er 28, 2013 Curated by: Asmudjo Jono Irianto English Translation by: Yuchita Erayanie Photograph by: Ruddy Hatumena Design by: Aji Achmad Exhibition venue Ark Galerie Jakarta, Jl Senopati Raya 92, Jakarta Selatan 12110, Indonesia Published by Ark Galerie www.arkgalerie.com Enquiries +62 274 388 162 [email protected]

TROMARAMA wo ul d l ik e to thank ever y o ne invo l ved in this pro ject

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Ark Galerie Jl Sur yodiningratan 36 A Yo g y a k a r t a 5 5 1 4 1 Indonesia

T/F +62274 388 162 E

[email protected]

w w w. a r kg a l e r i e . c o m

04 2013

OTW TROMARAMA SOLO EXHIBITION

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