Download the Dear Curator Curate Me booklet here.
April/May 2014 Dear Curator Curate Me was organized in Yogyakarta in collaboration with Cemeti Art House and Ruang MES56. In Yogyakarta, three curators participated: Mira Asriningtyas, Pitra Hutomo and Grace Samboh. The booklet is designed by Arthel Tagnipez and handmade by ASNARUPA.
Tuesday, December 30, 2014
meet-up between curators & artists @ ArtStage '15
January 22, I'll participate at a meet-up between curators & artists at ArtStage '15 in the Latent Spaces booth (no. H1a), which is organized by Michael Lee.
Tuesday, November 25, 2014
manifesto #superduperdecorativeart
manifesto #superduperdecorativeart
1. #superduperdecorativeart comes by many names
and in different disguises.
2. We will no longer allow for any more boring
art!
3. What cannot be said, should be joked about.
4.
5. #superduperdecorativeart is beyond beauty
yet aesthetic.
6. #superduperdecorativeart is artificial and
characterized by a high-degree of plasticity.
7.#superduperdecorativeart has no clear-cut
genesis, it's and continuous to be the bastard child of a great many artists,
with and without talent.
8. No one is an artist until one is an artist.
9. #superduperdecorativeart embraces mimetic
desire: that our desires are our own is a wonderful illusion.
10. #superduperdecorativeart has limited use
for authenticity. Authenticity can be regarded a useful artifice though.
11. #superduperdecorativeart plays with an
infinite feedback loop: reflexive self-plagiarism is called for in our digital
modernity.
12. #superduperdecorativeart quotes, samples,
pirates, forges, bootlegs, imitates, borrows, mimics, copies transposes,
plagiarizes, steals, appropriates and echoes from whatever sources we see fit:
nothing is holy.
13.
14.
15. #superduperdecorativeart's interventions are
unpredictable and unstable – long live contingency!
16. #superduperdecorativeart does not spell
everything out, use your imagination anyway you like to finish works on
display.
17. #superduperdecorativeart does not aim to
bridge contemporary art and everyday life, whatever the latter might mean, but
see statement 12.
18. #superduperdecorativeart does not make
statements, let alone statements on factual reality.
19. Pure logics does not apply to the
aesthetics of #superduperdecorativeart, which does not mean that
#superduperdecorativeart is beyond discourse, but, for a change, lets speak in
French tongues, paradoxes, lies, hyperboles and contradictions.
20. Sometimes a shoe is just that: a shoe.
Sometimes a shoe does not signify or symbolize a meaningful concept or idea
(but sometimes, maybe, it does).
21. #superduperdecorativeart does not care the
slightest for democracy, but does care about/for aesthetics as well as ethics
(the two sides of the same proverbial coin).
22. #superduperdecorativeart is
post-post-colonial art as well as post-identity politics.
23. #superduperdecorativeart offers pleasure:
emotional, spiritual as well as intellectual pleasure – but can also cause
discomfort in the faint hearted. It is, therefore, best enjoyed in small doses
in good company.
24.
25. Every day is a great day for
#superduperdecorativeart; no one has the last word on #superduperdecorativeart,
not even the artist (nor this author).
26. #superduperdecorativeart does not want to
win popularity contests, yet, #superduperdecorativeart might, one day, go viral
and become the neo-avant-garde, possibly the new 0.1 percent.
27. None of the above statements have any claim
to originality. Moreover, this manifesto is far from complete (like noise,
silence can be convenient).
28. The author cannot be hold responsible for
the interpretations of this work of fiction.
29. Copyright does not apply to the above
statements nor the manifesto as a whole.
30. None of the above statements nor the
manifesto as a whole are manifestations of art.
31.
Needless to say, the artist does not agree with any of the above statements nor
with the manifesto as a whole.
Thursday, November 20, 2014
Unoriginal Sin II - Art in the Expired Field - a solo exhibition by Asmudjo J. Irianto at LAF
Friday, October 3, 2014
Looking at the Big Sky - video art from Germany
'Looking at the Big Sky' is a traveling program by Goethe Institut (http://www.goethe.de) of 14 videos by students from four art schools in Germany: Braunschweig University of Art, Düsseldorf Art Academy, Academy of Media Arts, Cologne, and Academy of Fine Arts, Munich. The selection was made by Renate Buschmann (http://www.imaionline.de/) and Leonhard Emmerling. The videos range from fictional narratives and stagings to individual assertions and performances, from found-footage montages to pseudo documentaries. At the same time, two major perspectives crystallize in the works: 'The Beauty of the Familiar' aim towards personal introspection that divines meaning in the inconspicuous and unspectacular, 'Departures for Tomorrow' encompasses films seeking to formulate an outlook on the immeasurable and indeterminate. The choice of 'Looking at the Big Sky' is associated with the hope that the ideas and illusions knows no boundaries, that the sky is the limit. At the same time, it sounded like an appeal to the participating artists to venture a look at longings, utopias and great aspirations, and to think the existing concepts of authenticity and beauty beyond the present.
Opening: Friday 10 October, 2014, 7pm
Talk: Saturday 18 October, 2014
Speakers: Melati Suryodarmo & Deden Hendan Durahman
Duration: until Thursday 30 October, 2014
PLATFORM3
Jalan Cigadung Raya Tengah no.42, Bandung
Twitter: https://twitter.com/PLATFORM3_Bdg
At PLATFORM3, organized by Rizki Lazuardi and Roy Voragen
Thursday, August 7, 2014
Bandung Network 11
Sergio Beltran, from Mexico City, stays as a guest at Roma Arts and ASNARUPA. He is in Bandung to give a Situationist workshop, which is facilitated by BCCF and Sembilan Matihari (for more info on his workshop see here). And he presents his thoughts on this workshop at the fifth Arte Polis conference at ITB. Sergio first came to Bandung four years ago to speak at Arte Polis 3, a biannual conference organized by the department of architecture at
ITB, during the conference he also participated in the roundtable
discussion on art and the city, which I organized and moderated (see here for my essay on the roundtable's topic as published in Tempo Magazine and see here for my review of Arte Polis 4 as published in the IIAS Newsletter).
Sunday, July 20, 2014
Deden Durahman's solo exhibition Amorphous Amours
Amorphous Amours
Deden
Hendan Durahman
The body is to be compared,
not to a physical object,
but rather to a work of art.
Maurice Merleau-Ponty
The
Phenomenology of Perception
For his solo exhibition at RKFA,
Singapore, 17 July – 17 August 2014, Deden Hendan Durahman (Majalaya, Indonesia,
1974) presents his new series Amorphous
Amours (2014): multi-layered choreographies of serial de/re-constructed
and morphed bodies. Reconstruction on the level of
the pixel opens up the possible of the possible; therefore, there is an element
of contingency of what actual forms a concept takes – a pixilated flux of
becoming. The element of contingency of a pixilated flux of becoming
necessitates seriality. If actualizations of disparate fragments is not to
unravel in such a way that all that remains are fractures of the possible then
working in series is needed. A series offers a sense of unity – and meaning –
to fragments. The method of working in/on serial de/re-constructed bodies also
implies repetition. And repetition is key in performativity: body is an
unstable category – body as medium and concept in the work of Deden – over
time, gestural permutations allow for changes to occur. The mediated bodies in
Deden’s work are indexes of performativity. Our bodies are the primary sites of
the expanded field of knowing and remembering – or: ontology of the flesh. Memory
leaves imprints in and on our bodies. One body remembers and reminds another;
memory moves from body to body, re-touching us sensually, re-touching the
unfathomable geography of our bodies – to paraphrase Walt Whitman: For every
pixel belonging to me as good belongs to you…
Roy Voragen
Curator
Saturday, June 7, 2014
Amorphous Amours
--> -->
Amorphous Amours
A solo exhibition by Deden HendanDurahman at RKFA, Singapore
Curated by Roy Voragen
Opening: 17 July 2014
Until: 7 August 2014
Artspace@Helutrans
39 Keppel Road
#01-05 Tanjong Pagar Distripark
Singapore 089065
E info@rkfineart.com
T +65 6221 1209
F +65 6221 1249
For the catalog see here.
Monday, May 19, 2014
Dear Curator Curate Me: postscript - questions raised during the roundtable discussion at Cemeti Art House
-->
The
discussion on Dear Curator Curate Me (a travelling
-->
project by the nomadic
visual artist Kristoffer Ardeña)
at Selasar Sunaryo Art Space, Bandung, Indonesia, 19 May 2013, with
curators Rizki Lazuardi and Chabib Duta Hapsoro, focused on the
artist-curator relationships. The discussion at Cemeti Art House in
Yogyakarta, Indonesia, on the other hand, focused on the curatorial text. For Yogyakarta,
-->
the following curators were
invited: Mira Asriningtyas, Pitra Hutomo and Grace Samboh.
Here
are some of the questions that arose during the discussion at Cemeti Art House
(5 April 2014):
1. Why
ask curators to include all the 15 videos?
2.
Why can’t curators select videos she or he
wants to curate?
3.
Why can’t curators add more videos in the
selection? Curators felt like they were given an assignment instead of a
challenge.
4.
Is Kristoffer Ardeña acting as a
meta-curator? How is Dear Curator Curate
Me an artistic project?
5.
Are different models possible to express
curatorial intentions? Is it possible to make a video as a curatorial discourse
instead of writing a text?
6.
A researcher in the audience posed an
interesting point on the dilemma and difficulties of gathering data from past
exhibitions, if curators would opt to make non-text-based curatorial
discourses, how would this facilitate research on these exhibitions in the
future?
7.
What are the functions of texts within
curatorial practices?
8.
What are the relationships between the
curator and the artist(s)/artworks/exhibitions to the curatorial text? How to
engage with artists and their art as a curator?
9.
Who reads curatorial essays? Who is our
audience? Is there enough of a critical mass?
10. What are
the relationships between the curator and the public in relation to the
curatorial text?
11. Should
curators write curatorial texts that are readily understandable by the general
public?
12. Is
there such a thing as a curatorial art writing style?
Friday, April 11, 2014
Dear Curator Curate Me t-shirts
Dear Curator Curate Me (https://www.facebook.com/dearcurator.curateme.3) is a traveling project by the nomadic visual artist Kristoffer Ardeña. In Indonesia, Dear Curator Curate Me is coordinated by Roma Arts with support by ASNARUPA (http://aogindonesia.com). And by purchasing a t-shirt, you support Dear Curator Curate Me!
Wednesday, April 2, 2014
Dear Curator Curate Me notebooks
Dear Curator Curate Me is a traveling project by the nomadic visual artist Kristoffer Ardeña. In Indonesia, Dear Curator Curate Me is coordinated by Roma Arts with support by ASNARUPA (http://aogindonesia.com). And by purchasing a notebook, you support Dear Curator Curate Me!
The notebooks are handmade by ASNARUPA with suede covers in
red, green or brown and refillable content.
Tuesday, April 1, 2014
Dear Curator Curate Me - Yogyakarta: Cemeti Art House & MES56
Dear
Curator Curate Me (https://www.facebook.com/dearcurator.curateme.3)
is a traveling project by the nomadic visual artist Kristoffer Ardeña. Dear Curator Curate Me consists of 15
videos from different makers and each time this project is organized different
curators are invited to write a curatorial essay on the same set of videos.
This time around, the following curators were invited: Mira Asriningtyas, Pitra
Hutomo and Grace Samboh. Dear Curator
Curate Me in Yogyakarta is organized in collaboration with Ruang MES56 (http://mes56.com/; public screening 28 March 2014) and Cemeti Art House (http://www.cemetiarthouse.com; roundtable discussion 5 April 2014 with Ark Gallery artistic director and independent curator Alia Swastika as discussant). Roma
Arts coordinates Dear Curator Curate Me
in Indonesia.
For
the essays by Mira Asriningtyas, Pitra Hutomo and Grace Samboh see here.
Monday, March 10, 2014
RE-ENTRY#3: Muhammad Zico Albaiquni
RE-ENTRY#3: Muhammad Zico Albaiquni
In collaboration with Galeri
Gerilya, Roma Arts presents RE-ENTRY#3, a talk with Bandung-based artist Muhammad Zico Albaiquni
(1987; http://zicoalbaiquni.blogspot.com/).
Zico studied painting at FSRD/ITB and he works now as an assistant lecturer at
the painting studio. He continued his studies at ITB to earn a MFA. But before
he started studying again for his MFA, he went to Austria for an
artist-in-residency at the invitation by the Bundesministeriums für Unterricht,
Kunst und Kultur (Ministry of Education, Art and Culture; http://www.bmukk.gv.at/). He was in Austria
for a three-month residency and he found a new love for the art of painting.
But now he has returned and Zico will share his experiences of living and practicing
art abroad.
Moderated by R. Yuki Agriardi (http://www.agriardi.com/)
Free admission & open for the
public and in Indonesian
Wednesday 19 March 4PM
Galeri Gerilya
Jalan Raden Patah 12, Bandung
Poster design by Endira FJ (http://www.endirafj.com/)
Wednesday, March 5, 2014
e-catalog the weight of weightlessness exhibition at Dia.Lo.Gue. Art Space
You can download the e-catalog of the weight of weightlessness exhibition here. The exhibition runs until 31 March, 2014, at Dia.Lo.Gue. Arts Space, Jakarta.
Monday, February 24, 2014
the weight of weightlessness - exhibition at Dia.Lo.Gue. Art Space
the weight of weightlessness
rhymes and rhythms of paper
an exhibition by Prilla
Tania, Irfan Hendrian and Ivana Stojakovic
curated by Roy Voragen
Dia.Lo.Gue. Art Space
Jalan Kemang Raya Selatan 99A, Jakarta
Tel: 021-719 9670
Opening: March 4, 2014
Opening officiated by Dr. Tisna Sanjaya
And a contemporary dance performance by Yola Yulfianti
Until: March 31, 214
the weight of
weightlessness: rhymes and rhythms of paper at Dia.Lo.Gue. Art Space is a contemporary art
exhibition by three Bandung-based artists: Prilla Tania
(Bandung, Indonesia 1979; see her blog: http://prillatania.wordpress.com/ and a review of a previous solo exhibition: http://bit.ly/17zyUCM),
Irfan Hendrian (Ohio, US, 1987; see his website: http://www.regmart.net, for his work process:
http://vimeo.com/irfanh and see for an
essay on his work: http://bit.ly/VLyQMk)
and Ivana Stojakovic (Belgrade, Serbia, 1976; see her website http://ivanastojakovic.webs.com and
a video on her work process: http://www.youtube.com/user/ivanastojakovic).
Prilla Tania, Irfan Hendrian and Ivana Stojakovic are three visual artists from
various backgrounds – but they share something, a love, a love for paper.
The versatility of paper is a common
thread throughout the artistic practices of these three artists. For the three
artists, paper is a medium and material at the very same time – with keen consideration, these three
artists give paper a different kind of life, a metaphorical life full of rhyme
and rhythm.
The three artists in this exhibition
work with and on paper, so that it remains an important element in the works
they create. In short, this exhibition illuminates the staggering versatility
of paper and, as such, this exhibition is an ode to paper.
In their works, paper is heavy and
light, compositions and rhythms are crafted with, in and on paper, paper is
used in unusual ways, pushed to its limits – cut, pressed, shredded and
re-assembled, printed on over and over again until breaking point – and in this
laborious process new forms are created, paper as body, and these forms are
connected to the spatiality of Dia.Lo.Gue. Art Space.
The three artists in this exhibition go
against the grain by persistently and quietly going their own way – along
meandering paths they show us paper in new lights. They mold paper into
compositions that are weighty or light and always poetic – or in other words: the
weight of weightlessness: rhymes and rhythms of paper.
Roy
Voragen (Bandung-based writer and curator)
Sunday, January 19, 2014
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