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A report analysing the exhibition of Jakarta Biennale 2015 in Jakarta, Indonesia.
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T Y P E , S I Z E & M A T E R I A L S
SYNTAX SYSTEM
Peter Robinson
P a r t i c i p a t o r y 3 D
Die cut felt
1.000 x 1.000 x 30 cm 2015
Robinson works with hundreds of felt cloth pieces—a kind of flannel cloth with more rugged textures—in different basic forms; lines, squares, and circles. Anyone can create anything with the felt pieces, whether letters, images, symbols or other visual products. Their imagination is the limit.
C O N C E P T
W H O S A Y S W H A T
Peter Robinson studied sculpture at the University of Canterbury Ilam School of Fine Arts, New Zealand. His work is not limited to sculpture as he is fond of using various media and approaches
Robinson wants to create a space as open as possible for experimentation in form, medium, and logic in creating a art work
W H O S A Y S W H A T
I N T E R A C T I O N : p a r t i c i p a t o r y
I M M E R S I O N / A B S T R A C T I O N
With this collective activity, Robinson wants to create a space as open as possible for experimentation in form, medium, and logic in creating a work—which, in turn, are an opportunity for the public to understand and explore the various possibilities of art. Anyone can create anything with the felt pieces, whether letters, images, symbols or other visual products Their imagination is the limit.
Visitors can play a direct role in creating works of art in this participatory display So this display make an interactive role of the spectator who comes
WATER
T a l k i n g a b o u t
d e v e l o p m e n t . O n e o f t h e
h i g h l i g h t e d d e v e l o p m e n t
t h a t i n s p i r e d s o m e o f
t h e a r t w o r k s i s a b o u t a
c i t y . A c i t y i s v e r y
d y n a m i c i n i t s
d e v e l o p m e n t , b e c a u s e o f
i t s m a n y f a c t o r s t h a t a r e
i n i t
HISTORY
T a l k i n g a b o u t
d e v e l o p m e n t . O n e o f t h e
h i g h l i g h t e d d e v e l o p m e n t
t h a t i n s p i r e d s o m e o f
t h e a r t w o r k s i s a b o u t a
c i t y . A c i t y i s v e r y
d y n a m i c i n i t s
d e v e l o p m e n t , b e c a u s e o f
i t s m a n y f a c t o r s t h a t a r e
i n i t
1. HOUSE IS A
CONDITION
b y M a r i s h k a S o e k a r n a
Concept:
How a home for a child is very important environment.
A child will grow according to where he/she belongs.
So all factors that are involve in the home environment
counts. That’s why a house is a condition.
2D (Mural on
wall)
I N T E R A C T I O
N An interaction
occur with people
taking pictures
with the artwork
as the
background.
2. KESEMPATAN DALAM KESEMPITAN b y W i y o g a M u h a r d a n t o
Concept:
Aji mumpung. An opportunity coming from wedding
reception in Indonesia that are usually not private.
Being dressed well is all needed for a ticket to a party
with foods and entertainment.
? ?
Installation
A participatory in form
of an audio that plays
music (dangdut) that
supports an
IMMERSION effect for
visitors
WHAT’S THIS
ABOUT.. LEAVING A
CREATIVE SPACE IN
MINDA FOR
VISITORS
IMAGINATION ABOUT
THIS INSTALLATION
ARC OF TENSION A wow opening that catches the
visitors attention before entering
the main building of the
exhibition
ENTRANCE
3. GRAPHIC EXCHANGE b y J a k a r t a W a s t e d
A r t i s t
Concept:
A historical mapping to see the development of Tebet
area by collecting signs from business enterprises (big
& small). In exchange of the signs JWA designed new
signs for the business enterprise
T H E
A R C O F
T E N S I O N The shocking pink
background
supports the artwork
very well. Making a
contrasting effect
that catches the eye.
Besides, the
emphasizing
dimension of the
artwork also
steals the
attention I N T E R A C T I O
N An interaction
occur with people
taking pictures
with the artwork
as the
background.
2D forming an insttalation
4. FREEDOM b y D a n P e r j o v s c h i
Concept:
A form of freedom that leads to
critiques about a city. What lies
inside a city with no conventional
rules that bounds it.
INTERACTION
An interaction occur
with people taking
pictures with the
artwork as the
background.
Installation
5. HOME b y L e o n a r d i a n s y a h A l l e n d a
3D Installation
Concept:
Criticizing about Eco-tourism which is not supported
by the condition of the construction of hotels,
resorts, and retails near the tourism destination
INTERACTION
An interaction occur
with people WALKING
around the installation,
taking picture among it
6. A CITY OF ANYWHERE
b y D e a W i d y a
Concept:
A critique about a city that no longer
has an identity. Buildings are in the
same form, showing no uniqueness,
no landmark to be proud of
A very contextual
artwork because it the
basic of the city uses
the exhibitions venue
floor. Dug to be filled
with black water to
show contrast
3D Installation
Literally placed on floor.
For some artwork, below
70cm is a bad placing. But
the whole size of this
artwork makes it possible
to enjoy from a bird eye
view position
7. KEBISINGAN ADALAH
SARAPAN b y M e l a w a n K e b i s i n g a n K o t a
3D Installation
Concept:
Resembling the noise of a city that
has been a daily ‘breakfast’ to the
citizens
THE AUDIO is the point of the
artwork.
The 3D installation
shows the process on
how the artist produces
the art from a various
forms of stuffs (mix
media)
T Y P E , S I Z E & M A T E R I A L S
PRETTY FURIOUS WOMEN
ZEYNO PEKÜNLÜ
2 D & D i g i t a l v i d e o
Single channel video, digital print
poster, dan fabric poster 5 minutes (video), A0 (digital print
poster), and 2×1 meter (textile poster) 2012
In the past decade in Turkey, violence against women and murders for ‘honor killing’ escalated drastically. To fight against injustice, Turkish women began a new struggle recently, encouraging each other to defend themselves and regain their legal rights. The phenomenon inspired the artist Zeyno Pekünlü. For three weeks, the artist learned a traditional martial art to defend herself. The learning process is retold in a series of B-movie-styled posters. B-movies
70 cm
C O N C E P T
W H O S A Y S W H A T
Her works often deal with technological power issues, reversing social functions through deformation and deconstructing contextualities as well as text and image categorization. The perspectives she offers bring viewers into confusing situations, resulting in disorientation and failure
to identify.
Try to reverse the social function with a discussion of Turkish women Began a new struggle recently, encouraging each other to defend Themselves and regain Reviews their legal rights to fight against Injustice
I N T E R A C T I O N : p a r t i c i p a t o r y
I M M E R S I O N / A B S T R A C T I O N
Visitors can feel as if the role of the Turkish woman who leaves her country to learn how to fight and then returns for revenge when they saw the video and poster.
Visitors can see posters and videos on display, and listen to the audio of the video being played
T Y P E , S I Z E & M A T E R I A L S
OBSCENITY FOR LUBRICATING DEMOCRACY
Agung Kurniawan
3 D
Fabric 2015
70 cm
W H O S A Y S W H A T
Agung Kurniawan is a social-cultural activist living in Yogyakarta
The works tells us about social-cultural issue in Jakarta
A R C O F T E N S I O N
Unlike the old-school sex industry, which was exploitative of women, Agung thinks that today’s industry is more ‘humanistic’. The people involved are young men and women who are fully aware of their assets. They are like the lubricant that keeps the hectic Jakarta going. Without them, the big machine that is Jakarta will be paralyzed.
C O N C E P T
They are professional, in control of the production tool, i.e. their bodies, and not always dependent on third parties. Consumers are also white-collar professionals, wealthy businessmen and important decision-makers in the country.
Color: Bra color striking the colors pink, red and purple make it easier to realize the end of the existence of goods display
Position:
The position display located on the front of the exhibition as well be in the middle point of view. Otherwise it means laying by hanging which made its position is above the man's head but still affordable to reach the eye making it easy for visitors to
see it from all directions and is easy to realize the existence of display
W H O S A Y S W H A T
Maika Elan is a freelance photographer from Hanoi. Before focusing on documentary photography Focus on contemporary issue
Documentary photo about homosexual relationship.
She took photographs of homosexual and transgender couples in intimate spaces and situations—a drastically different perspective from that of everyday Vietnamese people. These intimate
portraits require not only a close relationship between the couples, but also between the couples and the photographer.
In recent years, several countries around the world began to acknowledge homosexual relationship and granted homosexuals legal rights equal to those of heterosexual couples. However, in Asian countries— where religion and the state often go strongly hand in hand—such equality and human rights enforcement is still a long way to go.
C O N C E P T
± 200 cm T Y P E , S I Z E &
M A T E R I A L S
PONTIANAK, CHAPTER ONE: I’VE GOT SUNSHINE ON A CLOUDY
DAY
Yee I-lann
D i g i t a l
Wheatpaste, three channel video installation
Various dimensions 2015
Sit
W H O S A Y S W H A T
She obtained a Bachelor of Arts (Visual Arts) from the University of South Australia in 1993, majoring in photography and minoring in cinematography. I-Lann also works in the Malaysian film industry and teaches in universities.
She took photographs in order to reintroduce the kuntilanak figure to the audience—as a representation of women whose every single inch of her body cannot escape from the demands of social, political, religious and local norms. Through modern
visual forms, I-Lann positions kuntilanak as an appreciation for anti-heroines, who are loved and feared at the same time.
In the form of photo-graffiti, I-Lann presents three misogynistic views of kuntilanakas a failed woman who is no longer of value when she rejects or cannot live up to her reproductive task. On three flat screen television sets, I-Lann presents conversations with a number of young women on life and its demands over their roles in the society, for example as a wife and a housewife. The combination of the two will play with the 2015 Jakarta Biennale visitors’ assumptions aroundkuntilanak.
C O N C E P T