Category Archives: Curatorial
ME: The empirical self of Heri Dono and Jumaldi Alfi
The works of Heri Dono (b. 1960) and Jumaldi Alfi (b. 1973) revolve around the idea of self-portraiture and self-as-knower. Both uses themselves and quite often the image of themselves as a standpoint and to deliver their means.
ME: The empirical self of Heri Dono and Jumaldi Alfi
The works of Heri Dono (b. 1960) and Jumaldi Alfi (b. 1973) revolve around the idea of self-portraiture and self-as-knower. Both uses themselves and quite often the image of themselves as a standpoint and to deliver their means.
MAKCIK PROJECT EPISODE #01
The three women collaboration This is an extension of one of iCAN’s program Wips! (Work in Progress) —a presentation forum for artists, curators, researchers, and cultural practitioners to enrich insights and develop a broader yet intimate discourses.
MAKCIK PROJECT EPISODE #01
The three women collaboration This is an extension of one of iCAN’s program Wips! (Work in Progress) —a presentation forum for artists, curators, researchers, and cultural practitioners to enrich insights and develop a broader yet intimate discourses.
JANEFO #01
JANEFO is a series of LAF’s biannual exhibition. It is an acronym for Jogja New Emerging Forces, and also wordplay from GANEFO (The Games of the New Emerging Forces), which was founded by Ir. Sukarno, Indonesia’s first president who happened
JANEFO #01
JANEFO is a series of LAF’s biannual exhibition. It is an acronym for Jogja New Emerging Forces, and also wordplay from GANEFO (The Games of the New Emerging Forces), which was founded by Ir. Sukarno, Indonesia’s first president who happened
How they did art then*
To reconstruct the history of video art is not the aim of this presentation. This presentation tries to present historical works, which is often mentioned, talked about, studied, analyzed, referred, etc, in many publications (and even other works) that have
How they did art then*
To reconstruct the history of video art is not the aim of this presentation. This presentation tries to present historical works, which is often mentioned, talked about, studied, analyzed, referred, etc, in many publications (and even other works) that have
ON PROGRESS
project|presentation is one of ART|JOG|11’s section that features a number of ongoing art projects. All the works being displayed here are parts of a longer-term project initiated by the artists themselves. Not only that this presentation brings to you the
ON PROGRESS
project|presentation is one of ART|JOG|11’s section that features a number of ongoing art projects. All the works being displayed here are parts of a longer-term project initiated by the artists themselves. Not only that this presentation brings to you the
Once upon a time in Rawalelatu: An attempt to reconstruct the past
“Identity is no longer experienced as something one inherits and life is no longer predestined by the fixed lane of the personal biography. Today, identity can be tested, changed, stylised and taken back” (Ziehe & Stubenrauch, 1983) Prologue R. W.
Once upon a time in Rawalelatu: An attempt to reconstruct the past
“Identity is no longer experienced as something one inherits and life is no longer predestined by the fixed lane of the personal biography. Today, identity can be tested, changed, stylised and taken back” (Ziehe & Stubenrauch, 1983) Prologue R. W.
The free heads
A variety of issues come and go during S. Teddy D’s creative journey, starting from frivolous matters about his neighbors, his dog, his love story, his daughter, ideas, his reactions toward the government, his protests against violence, on to his
The free heads
A variety of issues come and go during S. Teddy D’s creative journey, starting from frivolous matters about his neighbors, his dog, his love story, his daughter, ideas, his reactions toward the government, his protests against violence, on to his
Speech Objects
The context In his manifesto of Fluxus (what we call art-fun), 1965, George Maciunas claimed determines the status of non-professional artist demonstration by the artist himself of his dispensabilité,
Speech Objects
The context In his manifesto of Fluxus (what we call art-fun), 1965, George Maciunas claimed determines the status of non-professional artist demonstration by the artist himself of his dispensabilité,
merchandise|project
Several English-Indonesia dictionaries would translate ‘merchandise’ as ‘goods’ or ‘commodity’. Its most basic form is this: almost every city or country has their own merchandise, also known as souvenir, or gifts. It sounded cheap in contrast to the positioning of
merchandise|project
Several English-Indonesia dictionaries would translate ‘merchandise’ as ‘goods’ or ‘commodity’. Its most basic form is this: almost every city or country has their own merchandise, also known as souvenir, or gifts. It sounded cheap in contrast to the positioning of
Comical Brothers: Catatan kuratorial
Grace Samboh (ko-kurator) Bayangan awalnya, bakalan kayak apa sih bentuk pameran ini? Bambang ‘Toko’ Witjaksono (kurator) Ya, selain ada komik dalam bentuk buku itu sendiri, ya ada macam-macam “produk”. Artinya “produk” apapun yang bukan buku komik itu sendiri.
Comical Brothers: Catatan kuratorial
Grace Samboh (ko-kurator) Bayangan awalnya, bakalan kayak apa sih bentuk pameran ini? Bambang ‘Toko’ Witjaksono (kurator) Ya, selain ada komik dalam bentuk buku itu sendiri, ya ada macam-macam “produk”. Artinya “produk” apapun yang bukan buku komik itu sendiri.
グレイス・サンボフ 