Participating Artist for 900mdpl (2019)
Arief Budiman (Indonesia)
Arief Budiman (Indonesia)
Arief Budiman uses moving picture as his medium of artistic works. Besides exploring various forms of spontaneously and intuitively, he also interested in the intersection of lifestyle, social trend, the power of the Internet, as well as political influences in society.
His solo exhibition included “Don’t Be Afraid with the Dark” in collaboration with PAPERJAM at Lir Space - Yogyakarta (2015); “On Moving Text” at Lir Space - Yogyakarta (2018) and “Spectacle Project” in collaboration with Piring Tirbing - Yogyakarta (2019). Arief also participated in various group exhibitions, such as: “Wish You Weren’t Here” at Raksasa Print - Malaysia (2016); “Screening – Screen Ink” in collaboration with Grafis Huru Hara at Gudang Sarinah Ecosystem - Jakarta (2016); “Video Battle Screening” at Deck Gallery - Singapore (2017); “All the World’s Display” at Vieniti4/Siete Galeria - Costa Rica (2017); “Quiet Odd #16_Video Battle (I)” at National Rumania Literature Museum (2018); “Scope: Indonesia” at 98B COLLABoratory - Philippines (2018); “Either Together Whatever” at Ruang Mes 56 (2019); and many more.
Lala Bohang (Indonesia)
Lala Bohang is an artist and writer who graduated from Architecture degree. Her solo exhibitions are “The Museum of Forbidden Feelings”, Qubicle Centre - Jakarta (2016) and “Gendis”, Lir Space - Yogyakarta (2013). She was also part of several group exhibitions such as “Begadang Neng Project”, Ruang Rupa - Jakarta (2013); “Medium of Living”, Edwin’s Gallery - Jakarta (2015); “Pameran Gagasan Getok Tular”, Omnispace - Bandung (2015); “Illunesia”, Centralstation - Darmstand, Germany (2017); “Slow Living Exhibition”, Indoestri - Jakarta (2016); “Remember Me” Dattabot Dojo - Jakarta (2017); among others.
As a writer, she has written several books such as “Perkara Mengirim Senja”, a short story compilation from various writers dedicated to Seno Gumira Ajidarma - Serambi (2009), “The Book of Forbidden Feelings” - GPU (2016); “The Book of Invisible Question” - GPU (2017); and “The Book of Imaginary Beliefs” – GPU (2019)
Fyerool Darma (Singapore)
Through playing with the privileged status of display, Fyerool Darma's practice interrogates and complicates the cultural consumption of history and myth in relation to contemporary markers of identity and class. He graduated from LASALLE College of the Arts, Singapore in 2012, and has currently presented his artistic projects through NUS Museum, Yale-NUS College Library, Asia Film Archive’s State of Motion 2019: A Fear of Monsters and Institute of Contemporary Arts Singapore. He has held individual presentations through ‘Moyang’ (2015) and ‘Monsoon Song’ (2017) and participated in Singapore Biennale 2016: An Atlas of Mirrors. His works are within private and public collections like Singapore Art Museum and Bank Negara Malaysia
Returnee: Maryanto (Indonesia)
Yudha Sandy (Indonesia)
Agung Kurniawan (Indonesia)
Maryanto creates evocative, black and white paintings, drawings, and installations that undermine the romantic language of traditional landscape painting to examine socio-political structures in the physical spaces that he depicts. Through fable-like and theatrical settings, these landscapes are subjected to the whims of colonisers and capitalists through technological development, industrialisation, pollution of the land and exploitation of its natural resources.Maryanto graduated from the Faculty of Fine Art, Indonesia Institute of the Art, Yogyakarta in 2005, and completed a residency at the Rijksakademie in Amsterdam in 2013. Maryanto has recently presented solo exhibitions at Lir Space - Yogyakarta (2019); Yeo Workshop - Singapore (2017 and 2015); Art Basel Hong Kong - Discoveries Section (2016); the Rijksakademie van Beeldende Kunsten - Amsterdam; and Heden - Denhaag (2013). He has also recently participated in notable group exhibitions at the Koganei Art Spot Chateau - Tokyo (2018); the Samstag Museum of Art - Adelaide; the Asia Culture Centre - Gwangju; the Singapore Art Museum - Singapore (2015); and the Stedelijk Museum Bureau Amsterdam - Amsterdam (2013). Maryanto has also been featured at international biennials such as the 2nd Industrial Biennale, Labin - Croatia (2018); the Setouchi Triennale, Naoshima - Japan (2016); the Jakarta and Jogja Biennales,, Indonesia (2015); and the Moscow Biennale, Moscow - Russia (2013).
Rara Sekar (Indonesia)
Rara Sekar is a musician, urban-farmer, photographer and researcher based in Bogor. She graduated from Victoria University of Wellington, New Zealand with a master’s degree in Cultural Anthropology. As a researcher, her research uses ethnographic and visual participatory methods to examine issues of development, traditions/adat, social and cultural capital and critical education. Rara is an alumnus of several photo-workshop including Foundry Photo Workshop 2015 under the mentorship of Maggie Steber. Her photo story “Insignificance” was part of a collective exhibition “Wisdom” (2016) organized by PannaFoto Institute at Erasmus Huis Jakarta.
Rara is one of of the co-founders and mentors of Arkademy, a collective focusing on critical photography education. She is also part of nuans, a photography project focusing on documenting the absurdity of life and rituals, particularly wedding rituals in Indonesia. Recently, she is interested in exploring the socio-political relationships between food, society and culture through gardening, food sharing and the act of eating together. She grows her own food in her home garden and is currently working to grow a community garden.
Yudha Sandy is an artist working with graphic art, hardboard cut, video, and multi-media installation. His current interests including history, violent, social changes, utopia, and dark comedy. He is part of Mulyakarya artist collective in Yogyakarta. He received awards for best comics from Indonesian Art and Culture Directorate (2011) and Kosasih Award (2015). He graduated from Fine Art Department in Institut Seni Indonesia Yogyakarta. He has had several solo exhibitions, including “Puisi Kelas Menengah” at Hysteria – Semarang (2019); “Breaking Records with Rocket” at KKF – Yogyakarta (2016); “Atom Jardin” at C20 Library - Surabaya (2011); “TOSERBA: Toko Serba Salah” at Coral Gallery - Yogyakarta (2009); “Ular Sanca Memanjat Kotak Kaca” at LIP/IFI - Yogyakarta (2007), among others. His works has been exhibited in some group exhibitions such as “Jejak Exchange” at Cemeti Art House (2018); “Hidden Artists” – Seoul (2017); and “The Mountain, The Clouds, & Dragon” at CC Strombeek – Brussels (2017) among others.
--Paoletta Holst (Netherlands/ Belgium)
Working as an artist, architectural researcher and writer based in Brussels. Paoletta Holst’s practice operates at the intersection of different disciplines to investigate the spatial and political dimension of art, architecture and the urban environment. She is interested in the influence of formal spatial/political power structures on our living environment, and in the informal counter-strategies people create to deal with them. Recently she worked as a Jan van Eyck participant on Grand Tour Europa, an artistic research project regarding the spatial understanding of tourism and migration in the context of the politics of cultural identity in the European Union.
Together with Rob Ritzen, she co-founded “That Might Be Right”—an artistic and socially engaged organization dedicated to researching, developing and supporting alternatives to the present. Since 2017 she also teaches history and theory of architecture at the Academy of Architecture and since 2018 she works as an editor for Archined.
Agung Kurniawan (Indonesia)
Agung Kurniawan works with a variety of media. He has developed his artistic work within the field of concrete socio-cultural activism; he believes an artist has more and larger social responsibilities than simply producing artistic work. His traditional medium is drawing, but lately he works actively with performance art, he refuses to be called as a performer, and preferred to call himself as the director of the crowds instead. Both as a studio artist and an art activist, he takes up clear positions and his approach often leads him either down to street level or to intervening in bureaucratic structures.
His work is reputed to be fairly “coarse” due to themes of violence, controversial politics and taboo subjects. The artist started out with book illustrations, drawings and comics, which offered a harsh, often satirical critique of Indonesian society at that time. With his drawing Happy Victim (1996), depicting people hanging upside down while laughing cheerfully, he won a 1996 Philip Morris Art Award and gained international recognition.
He co-founded "Indonesian Visual Art Archive" (IVAA) and co-owner of Kedai Kebun Forum (KKF) in Yogyakarta. His works are to be found worldwide mostly in museums e.g. Stedelijk Museum (Amsterdam, The Netherlands), Van Abbe Museum (Eindhoven, The Netherlands), Singapore Art Museum, as well as in private collection. His recent works include his performance in The Netherlands "Remember Day Parade and after", during the so-called transHISTORY (Arnhem June 2016) and his video art during the Europalia Festival 2017 (Paleis voor Schone Kunsten / BOZAR / Centre for Fine Art Brussels, Belgium).
Jompet Kuswidananto (Indonesia)
Jompet Kuswidananto graduated from Gajah Faculty of Social and Political Science in Gadjah Mada University, Yogyakarta. Since 1998, he has worked with Teater Garasi, a multidisciplinary collective of artists presenting shows that reflect Indonesian life after the fall of the Suharto regime. He explores Indonesia’s history and the complexities of contemporary life in a globalized world using installation, video, sound, performance and theatre. His practice focuses on issues of politics, colonialism, power and mass mobilization in the context of post-reformation Indonesia.
Among his solo shows are “On Paradise” at Musée des Arts Contemporains Grand-Hornu - Belgium (2017); “After Voices” at Sherman Contemporary Art Foundation - Sydney (2016); “Order and After” at Govanhill Baths - Glasgow (2015); and “Grand Parade” at Tropenmuseum - Amsterdam (2014). He participated in a number of group shows, including “Sharjah Biennale 14” at Sharjah – Uni Emirate Arab (2019); “Sunshower” at Mori Art Museum - Tokyo (2017); “Rock the Kasbah” at Institut des Cultures d’Islam - Paris (2017); “Asian Art Biennial” at Taichung - Taiwan (2015); “Roots” at Frankfurter Kunstverein - Frankfurt (2015); “Ural Industrial Biennial” at Yekaterinburg - Russia (2015); and “Missing Links” at Jim Thompson Art Center - Bangkok (2015) among others. He has also participated in residencies at NTU Centre for Contemporary Art - Singapore (2015); Harbour International Art Residency - Darwin (2015); Art Centre of Silpakorn University - Bangkok (2015); San Art Laboratory - Ho Chi Minh City (2013); and Nagareyama City Lifelong Learning Center - Japan (2012).
Mark Salvatus (The Philippines/ Japan)
Working across various disciplines and media, Mark Salvatus tries to build direct and indirect engagement using objects, photography, videos, installations and participatory projects that present different outcomes of energies, meanings and experiences. Calling his overall artistic practice ‘Salvage Projects’, a name that corresponds to the meaning of his surname, he deals with the debris of everyday politics in the city, remnants of the blurred history of the nation and its complicated narratives, and the fragments of the constant movements that he is confronting and experiencing.
His work has been shown in a number of international solo and group exhibitions, including “A Tripoli Agreement” at Sharjah Art Foundation - Uni Emirate Arab (2018); “How Little You Know About Me” at Museum of Modern and Contemporary Art - Seoul (2018); “The sun teaches us that history is not everything” at Osage Art Foundation - Hong Kong (2018); “SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now” at Mori Art Museum - Tokyo (2017); “Imagined Homes” at Thessaloniki Biennale - Greece (2017); “Muhon: Traces of an Adolescent City” at Philippine Pavilion - Venice Architecture Biennale (2016); “transACTION” at Sonsbeek International - Arnhem (2016); “Neither Forward nor Back: Acting in the Present” at Jakarta Biennale (2015); “Video Spotlight: Philippines” at Asia Society - New York (2015); “Notes from the New World” at Vargas Museum and Filipina Research Center - Manila (2015); “Chain of Fire: Prologue Exhibition” at Honolulu Biennale (2014); “Open House” Singapore Biennale (2011) and “Back to the Basics” at The Museum Per Se - Guangzhou Triennale (2011).
Salvatus received an Asia Center Fellowship from the Japan Foundation, Kyoto and Osaka (2016); the 13 Artists Award, Cultural Center of the Philippines, Manila (2012); and the Ateneo Art Award, Manila (2010).