Xuân Hạ

Xuân Hạ

WHAT CAN I WRITE ON RICE PAPER? (APA YANG BISA KUTULISKAN DI ATAS KERTAS BERAS?)

  • Let’s have a seat (Mari, duduk)
  • Can you hear the sound? (Apakah kamu bisa mendengarnya?)
  • A Ferry Man (Người đưa đò)

(2021)

Residency project in Hội An; mixed-media, interactive, workshop

ACKNOWLEDGEMENTS:

Hoang Anh Nguyen, Pham The Vu, Van Do, Mr. Nguyen Sy Ho (Người đưa đò/Ferry man), Cô Hai Rice Paper Household (Duy Thanh), Jafar Sidik, Red, Van Do, Mai Huyen Chi, Uyen Minh Nguyen, nguoiduado.vn, SERRUM (Ananta Rizky Pramudya, Abdul Azis Sajali, Andri Yasin, Galih Rake Praseto, Wisnu Septian Nugroho), Usaha Bambu – Cilandak

Xuân Hạ probes the impacts of urbanization and industrialization on young people’s lives in Vietnam. Through multimedia and visual art, she experiments with space and moving image, creating a set of documentation reflecting an opposition between the self the the surrounding changes. How would new meanings be born through such endeavors? We will be seeing Xuân Hạ’s works in the Jakarta Biennale 2021: ESOK.

Supported by the Goethe-Institut Jakarta.

Vincent Rumahloine with Rahmad Larae, Virdinda La Ode Achmad & M. Junaidi Dide

Vincent Rumahloine with Rahmad Larae, Virdinda La Ode Achmad & M. Junaidi Dide​

Basiron

(2021)

Three-channel projection

Vincent Rumahloine is an interdisciplinary artist whose works mainly try to hack the social system by doing a deep field observation of ordinary behaviors and activities. His works often revolve around human interaction, collective memory, or re-designing historic narratives. At the Jakarta Biennale 2021 Vincent is collaborating with the photographer and videographer Rahmad Larae; Belgica School community organizer Virdinda La Ode Achmad; and M. Junaidi Dide, an entrepreneur, music community member, and Rumah Banda’s coordinator.

Esok video projection supported by: EPSON

Ufuk

Ufuk

Ufuk

(2021)

Process, platform, forum, network 

Ufuk is a process, platform, forum, along with the expansion of a network of friends weaved by KUNCI Study Forum and Collective, KUNCI Copy Station, and School of Improper Education. Ufuk tries to propose a collective reflection on the attention economy logic, which often entraps exhibition-making. Before, during, and after “Jakarta Biennale 2021: ESOK” is a temporal moment in which Ufuk tries to amplify other initiatives in an ongoing effort to encourage redistribution of access, resources, and happiness in order to embody the collective vision of “publishing the future.”

Tan Pin Pin

Tan Pin Pin

To Singapore, With Love

(2013)

Film, 67 min

Tan Pin Pin is a Singapore-based filmmaker. Pin Pin’s films tend to question gaps in history, memory, and documentation. These films highlight and study the process of self-examination, suggesting complexity with emotional power and visual clarity. Pin Pin is also a co-founder of the independent filmmakers’ community filmcommunity.sg, and was a board member of the Singapore International Film Festival, the contemporary arts center The Substation, and the National Archives of Singapore.

Image by Karine Azoub.

Tamarra

Tamarra

Matinro (‘Tidur’, ‘Sleep’)

(2021) 

Soft-sculpture, iron structure, found objects, sound 

 

ACKNOWLEDGEMENTS:

Warsito

Curious about people’s perception of performativity, Tamarra often presents works in the form of clothes or daily life movements. With meticulous handiwork and body discipline, this self-taught artist sidles, twists, or teases the often petty apprehension of “common” materials such as plastic, wire, or useless items. Currently, Tamarra is studying history at Sanata Dharma University, Yogyakarta, and recently completed From My Land to Your Land (2021), an online project on the Instagram platform @trans_performance_exchange.

Sri Astari

Sri Astari​

Multicolor Phoenix Rising

(2021)

Painted brass, 308 x 245 x 113 cm

Sri Astari works with painting, sculpture and other objects from the cultural treasures of Indonesia, especially Java. She raises issues of women in the social sphere, especially in relation to pressure as a result of modernisation, democratisation, globalisation and freedom in urban life. In her long career as an artist, Astari continues to question cultural constructs and stereotypes.

Špela Petrič

Špela Petrič

The Institute of Inconspicuous Languages: Reading Lips (Membaca Bibir) 

(2021)

Installation consisting of a standalone table, Tradescantia, microscope, camera, Raspberry Pi, screens, Pi-controlled power switch, 4 lights in fixtures, recording studio, workshop

 

ACKNOWLEDGEMENTS:

PLJ

New media artist and researcher Špela Petrič explores multispecies, natural sciences, wet media, and performances to examine ontological and epistemological underpinnings of our societies, bringing forth the works that focus on plant life. Petrič suggests “plant-blindness”, which predisposes humans to ignorance of plants and undermines their participation in ecosystems. Her works have been shown at La Fabrique du Vivant, Venice Biennial of Architecture, etc. Lately she received an Award of Distinction at Prix Ars Electronica (2019).

 

Supported by: Mondriaan Fonds

Song Ta

Song Ta

March of the Volunteers Songta Remix

(2019)

Audio, 3 min 39 sec

 

The Fighting Boys

(2016)

Single-channel video, 6 min 41 sec

Song Ta explores various mediums’ potential, such as drawing, sculpture, installation, video, and calligraphy. His works start out from observations of mundane realities and make use of humor whether to provoke social political contemplation or test the boundaries of art definition based on the existing frameworks.

Rizki Lazuardi

Rizki Lazuardi

Mencitra Bara Mewarta Wabah (Not a Light Touch)

(2020-2021)

Two channel 16 mm film

 

ACKNOWLEDGEMENTS:

Commissioned and funded by Netherlands Institute of Sound and Vision

Rizki Lazuardi works with moving image and sound, expanding cinematic potentials while questioning the production and institutionalization of information. His works are eye-opening in view of how past events are framed through the writing of history. Rizki is also a co-founder of Indeks, an initiative in research, art, and knowledge transfer.

Esok video projection supported by: Epson

Rempah Embassy with Kamengski, Kandura & Suwe Ora Jamu

Rempah Embassy with Kamengski, Kandura & Suwe Ora Jamu

Gerakan Seni Rupa Bisnis (Business Art Movement)

(2021)

With Kamengski (Jakarta), Kandura (Bandung), Suwe Ora Jamu (Jakarta)

Infiltratorship, tisane, floss, prayer mat, ceramic cups, bird cage, video

ACKNOWLEDGEMENTS:

Kopi Apik, Jatiwangi art Factory

Rempah Embassy is a public spice service agency. Using herbs (and spices) as a pretext, the Embassy collects stories, myths, as well as historical facts. They then cultivate these things with glimpses of fresh perspectives for healthier ways of living. They love to chit-chat, wander, research, experiment, and brew. Their concoctions come from plants that are found in their own garden, or someone else’s, and are purportedly made for to be served to the public.

 

Video projection supported by: Epson

Supported by: Kandura, Kamengski, Suwe Ora Jamu