Perulangan (2022)
[loud, short] Bam! [startled] Agh! [super loud, with echoes] Bam!!! [shocked] Ahh! [nothing] … [perturbed] Ugh [moderate] Bang [gasped] … [super loud, long, long echoes] BAM!!! [shuddered] … [nothing] … [still shuddered] Ah [small echoes from afar] bang … bang
Perulangan (2022)
[loud, short] Bam! [startled] Agh! [super loud, with echoes] Bam!!! [shocked] Ahh! [nothing] … [perturbed] Ugh [moderate] Bang [gasped] … [super loud, long, long echoes] BAM!!! [shuddered] … [nothing] … [still shuddered] Ah [small echoes from afar] bang … bang
ber317an*
Abstrak Tamarra tertarik untuk menelusuri sejarah waria di Indonesia, terutama untuk mengumpulkan kisah-kisah dan cara-cara bertahan hidup, menavigasi hubungan pertetanggaan, dan bagaimana ragam lingkungan sosial memosisikan mereka. Tamarra memulai penelusuran ini dengan mendatangi komunitas Bissu di Sulawesi Selatan (2016, 2018,
ber317an*
Abstrak Tamarra tertarik untuk menelusuri sejarah waria di Indonesia, terutama untuk mengumpulkan kisah-kisah dan cara-cara bertahan hidup, menavigasi hubungan pertetanggaan, dan bagaimana ragam lingkungan sosial memosisikan mereka. Tamarra memulai penelusuran ini dengan mendatangi komunitas Bissu di Sulawesi Selatan (2016, 2018,
Jakarta Biennale 2021 ESOK
Excerpts ESOK is a hope, a shared hope; it is a prayer for all humans to be gratified instead of being repressed or tortured. We are all entangled in histories, personal or otherwise, in which human rights issues play a
Jakarta Biennale 2021 ESOK
Excerpts ESOK is a hope, a shared hope; it is a prayer for all humans to be gratified instead of being repressed or tortured. We are all entangled in histories, personal or otherwise, in which human rights issues play a
ǝlɐuuǝᴉq sɐ ǝɯɐs ǝɥʇ ǝq ʇouuɐɔ lɐuᴉq: Might the Exhibition Be a Festival?
Excerpts BINAL did indeed differentiate itself from the “institutionalising aesthetics” of the official biennale, playing up its “wildness”—where the word binal is translatable as “wild”, “rebellious”, “naughty”.[8] The proposal document for BINAL notes how the biennale’s “institutionalising” was enforced through its selection process
ǝlɐuuǝᴉq sɐ ǝɯɐs ǝɥʇ ǝq ʇouuɐɔ lɐuᴉq: Might the Exhibition Be a Festival?
Excerpts BINAL did indeed differentiate itself from the “institutionalising aesthetics” of the official biennale, playing up its “wildness”—where the word binal is translatable as “wild”, “rebellious”, “naughty”.[8] The proposal document for BINAL notes how the biennale’s “institutionalising” was enforced through its selection process
Feasting the volcano and cheers to the abundance of scales
Episōdo 03Chasing the Scent A transcontinental tributary convened by Kabelo Malatsie, Michelle Wong, and Lantian Xie, investigates and performs the aporias arising from claims to equality, made with bodies, words, sounds, costumes, instruments, and with shifting forums. This draws from
Feasting the volcano and cheers to the abundance of scales
Episōdo 03Chasing the Scent A transcontinental tributary convened by Kabelo Malatsie, Michelle Wong, and Lantian Xie, investigates and performs the aporias arising from claims to equality, made with bodies, words, sounds, costumes, instruments, and with shifting forums. This draws from
Consequential Privileges of the Social Artists: Meandering through the Practices of Siti Adiyati Subangun, Semsar Siahaan and Moelyono
Abstract How do artists work with people? How do artists work with many people? What do the people who work with these artists think about the work? Does the fact that they are artists matter to these people? What makes
Consequential Privileges of the Social Artists: Meandering through the Practices of Siti Adiyati Subangun, Semsar Siahaan and Moelyono
Abstract How do artists work with people? How do artists work with many people? What do the people who work with these artists think about the work? Does the fact that they are artists matter to these people? What makes
Mischiefs and festivities: How to body-build?
“The way our society works does not leave us space nor time to move alone. So, most likely things are done together. Some people call it DIWO (do it with others). But, these terms are unlike Coca-Cola, which is definitely
Mischiefs and festivities: How to body-build?
“The way our society works does not leave us space nor time to move alone. So, most likely things are done together. Some people call it DIWO (do it with others). But, these terms are unlike Coca-Cola, which is definitely
Collecting Entanglements and Embodied Histories
The conference seeks to open up new perspectives on storytelling, narrativisations of history and their embodiment in performative arts and practices in Southeast Asia. Central questions are how, in very different ways, these practices offer new potentials to be presented,
Collecting Entanglements and Embodied Histories
The conference seeks to open up new perspectives on storytelling, narrativisations of history and their embodiment in performative arts and practices in Southeast Asia. Central questions are how, in very different ways, these practices offer new potentials to be presented,
What Does the Elephant Remember? How Did the Ant Win?
An essay contribution for Curating After the Global – Roadmaps for the Present copublished with the Center for Curatorial Studies Bard College/Luma Foundation, 2019. Order from here. Editors Paul O’Neill, Lucy Steeds, Simon Sheikh, Mick Wilson Summary What it means to be
What Does the Elephant Remember? How Did the Ant Win?
An essay contribution for Curating After the Global – Roadmaps for the Present copublished with the Center for Curatorial Studies Bard College/Luma Foundation, 2019. Order from here. Editors Paul O’Neill, Lucy Steeds, Simon Sheikh, Mick Wilson Summary What it means to be
Bad English: Can we really be friends?
An essay contribution in the catalogue of Ties of History: Art from Southeast Asia. ABOUT THE EXHIBITION The Philippines organizes an exhibition of contemporary art in Southeast Asia in Manila to mark the 50th year of the Association of Southeast Asian
Bad English: Can we really be friends?
An essay contribution in the catalogue of Ties of History: Art from Southeast Asia. ABOUT THE EXHIBITION The Philippines organizes an exhibition of contemporary art in Southeast Asia in Manila to mark the 50th year of the Association of Southeast Asian
グレイス・サンボフ 