Category Archives: Writing
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,
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
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
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
“A proposal to reclaim painting practices in Indonesia: Looking into decades of debate” in the catalogue of Hello World – Revising a Collection
INTRODUCTION Do we really have ‘painting practices’ in Indonesia? That has been a question for almost a century now. We really don’t see why its relevant to even ask this question, we are living in the now. But seeing we
“A proposal to reclaim painting practices in Indonesia: Looking into decades of debate” in the catalogue of Hello World – Revising a Collection
INTRODUCTION Do we really have ‘painting practices’ in Indonesia? That has been a question for almost a century now. We really don’t see why its relevant to even ask this question, we are living in the now. But seeing we
“Thinking of you, and the inability to be visual” in Tom Nicholson: Lines Towards Another
“Lines towards Another” is the first anthology on the work of Australian contemporary artist Tom Nicholson. Spanning drawing, sculpture, public actions, sound, installation, video, and performance, Nicholson’s work since the 1990s has engaged with critical questions around history, politics, narrative,
“Thinking of you, and the inability to be visual” in Tom Nicholson: Lines Towards Another
“Lines towards Another” is the first anthology on the work of Australian contemporary artist Tom Nicholson. Spanning drawing, sculpture, public actions, sound, installation, video, and performance, Nicholson’s work since the 1990s has engaged with critical questions around history, politics, narrative,
Perasaan-perasaan yang dibangun oleh ingatan-ingatan
(For English version, click here.) Sepanjang perjalanan artistiknya, Anusapati bekerja dengan kayu dan dengan hal-hal di seputar perkayuan. Seumur hidup Indonesia, pengembangan dan pembangunan berpusat di Jakarta dan sekitarnya, baik yang kemudian diklaim sebagai Jakarta maupun kota-kota satelitnya. Kedua hal
Perasaan-perasaan yang dibangun oleh ingatan-ingatan
(For English version, click here.) Sepanjang perjalanan artistiknya, Anusapati bekerja dengan kayu dan dengan hal-hal di seputar perkayuan. Seumur hidup Indonesia, pengembangan dan pembangunan berpusat di Jakarta dan sekitarnya, baik yang kemudian diklaim sebagai Jakarta maupun kota-kota satelitnya. Kedua hal
Cita-cita dan duka cita karangan bunga
Bulan Desember dan karangan bunga di dalam sejarah seni rupa Indonesia punya makna yang berbeda. Pada era 1970-an, kita mengenal peristiwa Desember Hitam yang belakangan turut mendorong lahirnya Gerakan Seni Rupa Baru Indonesia. Pada Desember tahun ini, karangan bunga muncul
Cita-cita dan duka cita karangan bunga
Bulan Desember dan karangan bunga di dalam sejarah seni rupa Indonesia punya makna yang berbeda. Pada era 1970-an, kita mengenal peristiwa Desember Hitam yang belakangan turut mendorong lahirnya Gerakan Seni Rupa Baru Indonesia. Pada Desember tahun ini, karangan bunga muncul
グレース・サンボー 