Thursday, December 14, 2006




Saturday, September 02, 2006


Wednesday, August 23, 2006


presented by Galeri Nasional Indonesia

Program Name :
"Birds Migration: Indonesia International Performance Art Event
[ IIPAE ] 2006"
An International Performance Art Forum Festival

Activities :

Seminar, Artist Talk, Workshop, Exhibition and Performances

Date :

7th - 9th December 2006

Agenda :
Thursday, 7th/12 – Seminar 1, Workshop, Performance & Exhibition
Friday, 8th/12 – Artist Talk, Performance & Exhibition
Saturday, 9th/12 – Seminar 2, Performance & Exhibition

Theme :

History & Today (Sejarah & Kini )

Participant* :

Performers/ art critiques/ researcher/ observers/ organizers (local or international)

Ade/Asep Deni [Indonesia] Agnes Yit [Singapore] Angie Seah [Singapore] Angga Wedhaswara [Indonesia] Arai Sin-Ichi [Japan] Ari Suryadi Nata [Indonesia] Arief Dharmawan [Indonesia] B+PAC/ Bandung Performance Art Community [Indonesia] Cheng Guangfeng [China] Deden Sambas [Indonesia] Dian Mulyanto & his gank [Indonesia] Emily White [USA] Feriawan [Indonesia] Heru Hikayat [Indonesia] Hong O-bong [Korea] Ilham J. Baday [Indonesia] Inari Virmakoski [Finland] Iswanto GH [Indonesia] Jacques van Poppel [Netherlands] Jane Jin Kaisen [Denmark] Jennifer Nelson [Greece] Jeremy Hiah [Singapore] Juliana Yasin [Singapore] Khairuddin Hori [Singapore] Krisna Murti [Indonesia] Lee Wen [Singapore] Lina Adam [Singapore] Melati Suryodarmo [Indonesia/ Germany] Mukmin Soge Ahmad [Indonesia] Nani Kahar [ Malaysia] Nezaket Ekici [Germany/ Turkey] Performance Art Jakarta Collectivo-Jakarta 32º [Indonesia] Peter Grzybowski [Poland] Prilla Tania [Indonesia] Rahmat Haron [Malaysia] Ray Langenbach [USA/ Malaysia] Razif [Malaysia] Rebecca Conro [Australia] Rizman Putra [Singapore] Roi Vaara [Finland] Saiful Razman [Malaysia] Santo Klingon [Indonesia] Slamet Gaprax & Sallabi [Indonesia] Sophia Natasha Wei [Singapore] S S Listyowati [Indonesia] Teguh Ostenrik [Indonesia] Tiarma D Sirait [Indonesia] Tang Da Wu [Singapore] Yoyoyogasmana [Indonesia/ USA] Yustoni Volunteero [Indonesia] Zane Trow [Australia] etc.


Venue :
Indonesian National Gallery/ Galeri Nasional Indonesia
Jl. Medan Merdeka Timur 14

Jakarta 10110 - INDONESIA


Program Description :
Performance Art in Indonesia is considered a new genre. Despite the pro and contra’s in society, even in art community, the genre is growing and developing, even though in sporadic ways. To some of the people or groups, they already took serious process in every stage, both in researches as well as event organizing and discourse development. Some individuals have already honored in some international forums.

Further, taking the account of some observations* done previously, it is found some basic discourse gaps in Performance Art. It is well-known, that even in art community and performance art community we would find facts that the study discourse of performance art history have not been acknowledge. This gap has lead into an instant or 'just do it' mode compare to 'think first' before proceeding with your ideas. Later it resulted on stagnation within the process. The concept presented has thin layer of argumentation, because people tends to rely on impulsion compare to rationalization descriptive chain, and or even deny the critiques after all. This influence the richness of performance shapes. Some of the performers in the community even declared they resign due to lack of fresh ideas.

Like or not, understandable or not, the genre is a reality and need to be acknowledge in their own space as one of the science, no bargain.

Looking at the metaphor of birds migrating [Birds Migration]. These can not be obstructed. The metaphor pictures thousands of birds migrating from one continent to the other, reproduction, assimilating, create new species based on their continent specification or even preferred to keep their origin, daring the epidemic faced today, bringing hundreds of dead toll from the avian flu. It’s unstoppable.

Even so, following the migrating birds which runs their ecosystem as the nature law, parallel with the wind, soaring high up into the wide sky, wings glaring and open gracefully, sailing a new frontier, seedlings other life, seeds, plants, rice, yeats, flowers, pioneering the blossoms of flowers and the ripe of fruits, dazzling trees, endemic species surviving to find their food, in a harmony, in a restless livelihood or stability, always moving from one phase of life towards another, designing new cells and oasis.

Birds Migration : Indonesia International Performance Art Event [ IIPAE ] 2006 aimed to self-analog with the above description. The event held variety of spirits within numbers of event with special theme 'Bird Migration" located within several venues. The main spirit is to gather networking between the activists in various events and programs, based on common awareness of the importance in history study of the performance art spreading as a genre in involving actors and many messages in raising awareness towards the political, social, individual, cultural and more. These need further understanding and new strategy in dealing with “current” form, later creating the “present” creations.

The event hopefully could give aspirations for many people related, at least in the knowledge aspect. Together with the Indonesian National Gallery (Galeri Nasional Indonesia ) as the national leading arts institution, it is hope that the event could become one of the main support in art and science, not for Indonesia, but also for the world. [SSL*]



Producers :

Galeri Nasional Indonesia [GNI]
In-Charge :
Head of GNI - Jakarta

Production Director :

Tubagus 'Andre' Sukmana
Production Manager :

S S Listyowati [Atieq]
Seminar/ Workshop/ Artist Talk Division :

Heru Hikayat
Performance Division :

Yoyo Yogasmana
Exhibition Division :

Reza Afisina [Asung]

Curator :

Heru Hikayat, Yoyo Yogasmana, S S Listyowati

Secretariate :
Galeri Nasional Indonesia
Jl. Medan Merdeka Timur 14
Jakarta 10110 - INDONESIA
T. [021] 34833954/ 34833955/ 3813021
F. [021] 3813021


contact person : Atieq [+62/0 85217292179]



Seminar 1
Thurday, 7th December 2006

Theme : "Birds Migration: A Study in History of Performance Art and Its Management"

Moderator : Heru Hikayat

Speaker : Ari Suryadi Nata [Indonesia], SS Listyowati [Indonesia] and Nani Kahar [Malaysia]

Background :
Such as bird migration from one continent to the others, performance art although was born in western part of the world, the existence have been known, penetrating the boundaries of countries, nation, race and beliefs even in the east or Asia. The community needs to respond in the situation to give spirit, fresh outlet and newborn, in collaboration, new design, new performs, not a new endemic but not unnecessary death.
The birth of such event polish their own history that later create the genre in art community with specific unique character and make them special at the same time controversial. In each country they have their own culture, which involved many situation and causality condition, political, social, economy, cultural and other in the century. This makes the genre somewhat interesting to be analyzed apart from other form of arts in the century or every stages of history.
Performance art involved many aspect of art management. The aspect include (1) institution and event management, related to capacity to deal with organization and relation to the government (2) discourse management, related to vast knowledge and discourse development (3) self-management, related to mind-focus training, consciousness sharpening, mental and physically preparation in determining, preparing and conduct the performance as well as ability to cope with risk afterwards.
As the birds migrating, could the performance art together with performers, community or individuals keep up the wings soaring as wide as it takes in conquering the unlimited sky with no boundaries? [SS Listyowati]

Seminar 2
Saturday, 9th December 2006

Theme : "Performativity"

Speaker : Heru Hikayat [Indonesia], Zane Trow [Australia] and Ray Langenbach [USA]

Background :
Performance art is an art genre which put themselves in a slice. It has various art discipline which already exist, but at the same time avoid many stagnant convention or category. Therefor, it put itself within the avant garde art frontier.
There are other terms in rejuvenating art: contemporer. In art world, the contemporer terms not just reffered to the definition literally, which is “the pressence”. Contemporer reffered more to certain principals similar to critiques, spreading or even to demolish the other existing principals prior to the term. Performance Art also go along with this definition.
Talking about performance art is to give enlightment or renewable spirit in art sense. One spirit that could lead the audiences felt challenge in adventures. An appreciation adventure. Like all of the artists, always put themselves in adventures in any creation they made.
Performance art have a credo "art presented directly by the artists themselves". Performance art more of an event than the materials. With this, the direct presentation is the basic character. The real art-work is the only event presented once in the venue, in that exact moment only. A performance work could be presented several times. But each of the presentation has not been abide to the specific time and space. On the second performance, third, etc, was not the same work anymore, due to the different time and space. The context was really vital in forming performance works. On the contrary, how could an event be publicized widely without documentation? The modern art infrastructure was build on the art documentation refferences. The knowledge on performance art could be found within the books and review on the documents. Shortly, the history keeps the existence.
This is a reproduction technology era. All happening was documented, copied and widely-distributed. From the monumental event, presidential inaguration, parliament congress, trial, graduation, marriage, birth, death and others; as well as all elementary aspects such as, hair extension, new clothes, cable, curtain, green-coloured window lists and etc. Related to art, all of the aspect are considered important and must be well recorded.
Performance art, is an event, so one of the way to get them easilly access in the future is through documentation. The good performance work is a work that could stunned the audiences. The audiences should be successfully persuaded to capture each moments. On the other hand, the public should also demand a unique event that could captive them in their seats to watch all details performances. [Heru Hikayat]

Artist Talk
Thursday, 7th December 2006
Slide/ Video Presentation
by Lee Wen [Singapore]

Friday, 8th December 2006
by Tang Da Wu [Singapore]
Theme : “Tradition and Modernity in Performance Art”

Exhibition [Screening]
Thursday - Saturday, 7th-9th December 2006
Photos and Videos of Performance Art
Theme : "Performativity : Migration Space for The Performers"

Participants: Teguh Ostenrik, Krisna Murti, Khairuddin Hori, Deden Sambas, Melati Suryodarmo, Iswanto GH, Performance Art Jakarta Collectivo – Jakarta 32°C, B+PAC [Bandung Performance Art Community], Rebecca Conro, Yoyo Yo, Tiarma D Sirait etc.

@ 15-30 minutes or tentative parallel in different rooms
Venue: National Gallery/ Galeri Nasional Indonesia
Thursday, 7th December 2006
9.30am – 9.45am
8pm – onwards

Friday, 8th December 2006
2pm – 5pm
8pm – onwards

Saturday, 9th December 2006
2pm – 5pm
8pm – onwards

Angga Wedhaswara [Indonesia], ‘Ade’ Asep Deni [Indonesia], Mukmin Soge Ahmad [Indonesia], Ilham J. Baday [Indonesia], Prilla Tania [Indonesia], S S Listyowati [Indonesia], Yoyoyogasmana [Indonesia], Yustoni Volunteero [Indonesia], Saiful Razman [Malaysia], Razif [Malaysia], Rahmat Haron [Malaysia], Juliana Yasin [Singapore], Agnes Yit [Singapore], Rizman Putra [Singapore], Lina Adam [Singapore], Jeremy Hiah [Singapore], Hong O-bong [Korea], Arai Sin-Ichi [Japan], Ray Langenbach [USA], Jacques van Poppel [Netherlands], Nezaket Ekici [Germany], Inari Virmakoski [Finland], Roi Vaara [Finland], Zane Trow [Australia], Jennifer Nelson [Greece], Angie Seah [Singapore], Sophia Natasha Wei [Singapore], Cheng Guang Feng [China], Jane Jin Kaisen [Denmark], Emily White [USA], Peter Grzybowski [Polish], Arief Dharmawan [Indonesia], Santo Klingon [Indonesia], Zane Trow [Australia]

Translated by Carolina Monteiro

Sunday, August 20, 2006


Indonesia International Performance Art Event 2006

7-8-9 December

An Outline into a Migration of the Birds

Preface (Into the Discourse)

Performance art, as we all know, is being at the critical edge. It is just not like a credo, ‘lose every art’s border with life’, but it is also can be posted to emphasize all well-done art convention. From the sociological view point, it is easy to be shown how art and all culture’s product are not really self-government, but it is also related to economic factor, social and at the end, power. That is why art that is like performance art is usually related to dimension of politic. Not politics in macro definition, but politics in its own culture.

In West, it is generally known that the showing of performance art was related to common frustration about projects of modernization and promises of brightness. If we agree that big modern project is going through universal sameness, then non-West territory will also share the sameness to face the effect of modernization. Contemporary art in third world countries then prove themselves to share spirits with critical moves to resist the bad effect of modernization. In other word, this kind of art is not claimed that it is neutral, just like modern spirits, but it is cleared its partiality.In its relation with resistant, there is one important thing that have been taken from the heart of modern art’s principles: individuality. Through the art practices, every people is taken to realize his potential, to open freedom of action of an active individual to give contribution to culture’s dynamics. In the spirit of contemporary art, this participatory method must always be celebrated. In its special way, performance art, through ‘its form’ that is shaped events attracts participatory method extrovertly.The SettingNow there are a few cleared changes that we must count. First, performance art has been accepted as a legal medium in arts. As a genre, we saw in a lot of international art activities in Asian-Pacific at 1980 and 1990, performance art became a favorite menu besides installation. So that, for a nation like Indonesia, performance art has its own guarantee: in one side it is effective to reflect reality that is urgent to perform, in the other side it increases power to compete in international level. Things like local values, find its articulation itself in here.

What are the important things of this fact?

We take comparison with conceptual art, in the beginning of its appearance it scrapes the conception that is taken for granted in art, like museum and market mechanism, then history proves that it is also absorbed by that mechanism. We can conclude this because conceptual art has efficient moves. It stabs quickly to its critical target. This efficiency also causes, when it has been absorbed by museum and market, it has to find new articulation as soon as possible, or it completely loses its critiques and it just becomes a trend. In an esthetic definition, for art like conceptual art, being a trend has overthrown its beginning foundation.

Does performance art experience the same things?

When performance art is presented in a direct show, there is actuality values that was aimed that. As an illustration, facing questions about the inclination to hurt himself is wide enough to be practiced in performance art, I am glad to answer this actual quality. Pain is unique. Every time we watch pain, there is a unique sensation that is just like first experience. This sensation is so strong, as if we do not have experiences about pain. And this unique sensation in direct show can not be represented by any reproduction. In grow-up performance art’s practice –its activities increase, its networks form well- do this power of sensation still exist? It is generally known that in a trend’s stream there is a lot of imitations and repetitions. Imitation and repetition in performance art stab the heart of its actual quality immediately. Particularly, if in this situation, performance art is in re-show condition. Meanwhile back to the pain, besides the risks of imitation, repetition, re-show, does not industry’s information in this time also sell pain (remembering tragedy of humanity in a strange way constantly happens by human himself)? Then how can performance art remain special?

Next, one point is offered here. Besides the abundance in trailing participatory method, performance art experiences an effect that I called “invisibility”. We can remember a legendary work of Tang Dang Wu; Don’t Give Money to the Art. In this work, Tang Dang Wu involves in all visitors of the opening exhibition, exactly without they realize it. At this time, this idea is executed by the invisible work. If we agree to place performance art and conceptual art likewise accuse art dematerialization –then performance art performs its abundance here. When it dissolves, as if a natural and real event, it declares itself.

Dealing with ideas that explore potency of performance art intensively, as an event like this, consequence problem is over flown to the organizers of performance art’s activities. General formula in the organization of performance art festival is same as carnival exhibition, where stage is available and schedule of show is arranged so that viewers are conditioned to watch appearance by appearance. Idea resembles complete event that is like Tang Dang Wu’s work passes standard package of festival’s organization. These ideas have important meaning because it asks again about the acceptance of performance art in art that have been enjoyed before.

But another abundance from Tang Dang Wu’s work, he performed two faces. First, when he appeared directly in invisibility. Second, at the moment after execution he appeared via camera.

Talking about camera, since performance art exist in its solemn peak in 1970’s, camera has been considered as effective documentation equipment. Remembering the excessive spreading of camera, another point that need to be proposed here we should honor the ideas that no longer placed a camera as merely documentation equipment. Like we saw influences of media electronics bombard us constantly with news about realities. Realities that we are understand, until certain borders are realities that have been packed via camera. It can be convinced that our way to look at reality has been influenced too. Besides that, direct present can also be relative due to camera’s abilities.

Those Challenges

Indonesia International Performance Art Event 2006, try to map newest problem’s points in the performance art development and offer it to performance artist, so that we can build significant of performance art in a together activity.

First, it is connected with politics in macro definition. Can we consider that participation has become a consciousness that has been developed? Some of us are still unlucky to life under oppressive regime. Art that is like performance art promises spreading of consciousness. Art may not be important to be recognized as art. In this definition, willingness of an artist to dissolve him in community work, develops participatory method and finally, produces new expression, is worth for an honor from us: besides its talent to develop consciousness, this new expression is honored as its contribution to art.In another case, fall of oppressive regime prepares chances of freedom of expression. In spite of Indonesian case when there was another intimidation, otherwise like what has been represented by mass media, freedom in politics is much better. Performance art as “the opened art” should be able to find ways to place itself in the middle of some social practices, include in that art practices itself. The ideas that formulate relationship between art and life should be honored. It can be, to these ideas its execution would never be received in formats of an art’s activity, but merely its reproduction. So that place of art is conditioned to stay open and fertile.

Second, remembering performance art itself as an idiom. Performance art is placed as “art that considers the policy of appearance itself”. It has been mentioned before, in a special performance art’s activity there is always be a stage that is one spot where a work is presented into that place and time. When the activity take place, place will be inhabited by viewers. They are public at that time. Performance artist faces public directly. Performance artist always makes strategies to attract public’s attention to him, making his presence become significant. That means performance artist realize presence of public. Public is succeed to be persuaded to watch every detail. On the contrary, public will require uniquely events to make them watching those events detail by detail. In this situation, we must honor success in constructing unique and deep-impressed events –in the idea that echoed impression in the future, in another place. Place’s border –that time is trailed.

Third point, it simply begins with question, will that unique event end just in memories of its viewers? How about people who did not attend that time?

This is an era of technology of reproduction. Every thing is documented, doubled and spread. Begins with monumental things, president’s inauguration, parlement’s assembly, law-court, wisuda, wedding, birth, death etc, until elementary things: long hair, new clothes, cable, curtain, green window-leaf etc. talking about art, every thing can be considered important and that is why it must be recorded well.

Performance art, due to its “event” form, then the only way so that it can be accessed in the future via documentation. But, camera is not only understood as documentation instrument, but as its locus’s problem. If we talk about presence, can camera be considered as public in the future? Performance artist presents himself via camera. Or another possibilities that also explore ability’s border’s of camera, in relationship with body, person, identity, event, place and time.

Bandung, June 6th, 2006
Heru Hikayat

Translated by Alamanda Herdiyani

Pengantar Menuju Migrasi Para Burung

Prawacana (Into The Discourse)

Performance art, kita tahu, berada pada tepian yang kritis. Bukan saja sesuatu seperti dinyatakan kredo “menihilkan batas seni dengan kehidupan”, melainkan juga demi hal itu ia bisa diposisikan menegasi semua konvensi seni yang sudah dianggap mapan. Dari sudut pandang sosiologis mudah ditunjukkan bagaimana seni dan segala produk kebudayaan tidak sungguh-sungguh mandiri melainkan terkait dengan faktor ekonomi, sosial, lalu di ujung-ujungnya dengan kekuasaan. Dengan begitu seni semacam performance art sangat gandrung berurusan dengan dimensi politis. Bukan politik dalam pengertian makro, melainkan politik dalam kebudayaan itu sendiri.

Di Barat sudah umum diketahui tentang pemunculan performance art yang terkait dengan rasa frustasi umum terhadap proyek modernisasi dengan janji pencerahannya. Jika kita sepakat bahwa proyek besar modern memang menuju pada keseragaman universal, maka wilayah non-Barat pun berbagi kesamaan dalam hal menghadapi dampak modernisasi. Seni kontemporer di negara dunia ketiga kemudian membuktikan dirinya berbagi semangat dengan gerakan-gerakan kritis meresistensi dampak buruk modernisasi. Dengan kata lain, seni macam ini, alih-alih mengklaim dirinya netral––a la semangat modern––justru terang-terangan menyatakan keberpihakannya.

Dalam kaitannya dengan resistensi, ada satu hal penting yang justru diambil dari jantung prinsip seni modern, yakni: individualitas. Melalui praktek seni, setiap orang diajak lebih jauh menyadari potensi dirinya, membuka keleluasaan sebagai individu yang aktif memberi kontribusi pada dinamika kebudayaan. Dalam semangat seni kontemporer metoda partisipatory ini tentu terus dirayakan. Secara khusus performance art, melalui “bentuknya” yang berupa peristiwa menghela metoda partisipatory seterbuka-terbukanya.

Latar (The Setting)

Kini ada beberapa perubahan yang jelas harus kita perhitungkan. Pertama bahwa performance art sudah diterima sebagai medium sah dalam seni. Sebagai genre, kita lihat pada maraknya kegiatan seni internasional di kawasan Asia-Pasifik tahun 1980an dan 1990an, performance art menjadi menu favorit selain instalasi. Dengan demikian, bagi bangsa semacam Indonesia, performance art punya jaminan tersendiri: di satu sisi ia efektif merefleksikan realitas yang urgen untuk dikemukakan, di sisi lain ia mendongkrak daya saing di tingkat internasional. Hal-hal semacam nilai-nilai lokal, menemukan artikulasinya secara tersendiri disini.

Apa yang secara prinsipil begitu penting dari fakta ini? Kita ambil perbandingan dengan seni konseptual (conceptual art): diawal pemunculannya ia ngotot menggerogoti konsepsi-konsepsi yang dilumrahkan begitu saja (taken for granted) dalam seni, seperti mekanisme museum dan pasar, kemudian sejarah membuktikan bahwa ia juga diserap oleh mekanisme itu. Kesimpulan ini bisa ditarik karena seni konseptual sebagai gerakan sangat efisien. Ia dengan cepat menghujam pada sasaran kritiknya. Efisiensi ini pula yang mengakibatkan, ketika ia telah diserap oleh museum dan pasar, harus segera menemukan artikulasi baru, atau sepenuhnya kehilangan kekritisan dan menjadi tren semata. Dalam pengertian estetik sekalipun, bagi seni seperti seni konseptual, menjadi tren telah meruntuhkan pondasi awalnya.

Apakah performance art mengalami hal yang sama?

Ketika performance art dipresentasikan dalam sebuah penampilan langsung, ada nilai aktualitas yang disasar. Sebagai gambaran, dalam menghadapi pertanyaan tentang kecenderungan menyakiti diri sendiri yang cukup luas dipraktekkan dalam performance art, saya senang memberi jawaban tentang kualitas aktual ini. Rasa sakit punya kekhasan tersendiri. Setiap kita menyaksikan langsung kesakitan, ada sensasi khas, selalu seperti pengalaman pertama. Sensasi ini begitu kuat, seolah-olah kita tidak pernah punya pengalaman apapun tentang rasa sakit sebelumnya. Dan sensasi khas dalam penampilan langsung, tidak bisa diwakilkan melalui reproduksi apapun. Dalam keadaan praktek performance art yang makin berkembang––kegiatannya makin banyak, jaringan kerjanya makin terbentuk––apakah kekuatan sensasi ini masih bisa berlaku? Umum diketahui dalam sebuah arus tren terjadi banyak peniruan dan pengulangan. Peniruan dan pengulangan dalam performance art langsung menusuk jantung kualitas aktualnya. Apalagi jika ternyata dalam keadaan ini performance art sudah dalam kondisi bisa dipanggungkan-ulang. Sementara kembali pada rasa sakit, selain resiko tergerus peniruan, pengulangan, pemanggungan-ulang, bukankah industri informasi masa kini juga banyak “menjual” kesakitan (mengingat tragedi kemanusiaan dengan cara yang sangat aneh terus-menerus terjadi diakibatkan oleh manusia sendiri)? Lalu bagaimana performance art bisa tetap istimewa?

Beranjak ke berikutnya, satu poin ditawarkan disini. Di samping kelebihan dalam menghela metoda partisipatory, performance art mengalami efek yang saya istilahkan “ketidak-terlihatan” (“invisibility”). Bisa kita ingat karya legendaris Tang Da Wu, Don’t Give Money to The Art. Pada karya ini Tang Da Wu melibatkan seluruh pengunjung pembukaan pameran, justru tanpa mereka menyadarinya. Pada saat ide ini dieksekusi karya “tidak terlihat”. Jika kita sepakat menempatkan performance art dan seni konseptual sama-sama menggugat dematerialisasi seni, maka di sini performance art menunjukan kelebihannya. Ketika melebur, seolah-olah berupa peristiwa yang wajar dan apa-adanya, ia tetap dengan sangat subtil tegas menyatakan dirinya.

Menyangkut ide-ide yang secara intensif mengeksplorasi potensi performance art sebagai peristiwa seperti ini, masalah lanjutan terlimpahkan pada para penyelenggara kegiatan performance art. Rumus umum dalam penyelenggaraan festival performance art mirip seperti karnaval pertunjukan, dimana “panggung” disediakan dan jadwal penampilan diatur agar penonton terkondisi menyaksikan penampilan demi penampilan. Ide berupa peristiwa menyeluruh seperti karya Tang Da Wu itu melampaui kemasan standar sebuah penyelenggaraan festival. Ide-ide seperti ini penting artinya karena mempertanyakan kembali format penyelenggaraan kegiatan performance art. Bahkan mungkin mempertanyakan kembali penerimaan performance art dalam seni yang sudah terlanjur dinikmati.

Namun kelebihan lain dari karya Tang Da Wu, ia menampilkan dua muka. Pertama, ketika ia tampil langsung dalam ketidak-terlihatan. Kedua, momen paska eksekusi ia tampil melalui kamera.

Tentang kamera, sejak performance art di puncak kemeriahanya di tahun 1970an, kamera telah dipandang sebagai alat dokumentasi yang makin efektif. Mengingat penyebaran kamera yang eksesif, poin lain yuang hendak dikemukakan di sini, kita patut penghargai ide-ide yang tidak lagi mendudukan kamera sebagai alat dokumentasi semata. Seperti kita lihat pengaruh media elektronik yang terus-menerus membombardir kita dengan berbagai berita tentang realitas. Hingga realitas yang kita pahami, sampai batas tertentu adalah realitas yang terkemas melalui kamera. Bisa diyakini cara kita memandang realitas terpengaruh juga. Di samping itu, kehadiran langsung juga menjadi nisbi diakibatkan kecanggihan kamera.

Tantangan itu

Indonesia International Performance Art Event 2006, mencoba memetakan poin-poin masalah terkini dalam perkembangan performance art dan menawarkannya pada performance artist, agar kita bisa bersama-sama meramu signifikansi performance art dalam sebuah kegiatan bersama.

Pertama, menyangkut ihwal politik dalam pengertian makro. Bisakah kita menganggap partisipasi itu telah menjadi sebentuk kesadaran yang berkembang? Sebagian diantara kita masih ada yang kurang beruntung hidup dibawah rejim opresif. Seni seperti performance art menjanjikan penyebaran kesadaran. Seni bisa saja tidak penting lagi untuk dikenali sebagai seni. Dalam pengertian ini, kerelaan seorang seniman untuk meleburkan dirinya dalam kerja komunitas, mengembangkan metoda partisipasi dan akhirnya menghasilkan ungkapan-ungkapan baru, patut kita hargai: di samping keampuhannya mengembangkan kesadaran, ungkapan-ungkapan baru ini dihargai sebagai sumbangsihnya pada seni.

Pada kasus lain, keruntuhan rejim opresif menyediakan peluang kebebasan berekspresi. Walaupun seperti halnya kasus Indonesia ketika telah hadir ancaman lain, namun seperti direpresentasikan oleh media massa, kebebasan berpendapat sudah lebih baik. Performance art sebagai “seni yang terbuka” sudah sepatutnya mampu terus menemukan cara untuk menempatkan dirinya di tengah berbagai praktek sosial, termasuk praktek seni itu sendiri. Patut dihargai ide-ide yang merumuskan terus hubungan seni dengan kehidupan. Bisa jadi, pada ide-ide ini eksekusinya tidak akan pernah bisa ditampung dalam format sebuah kegiatan seni, melainkan reproduksinya semata. Dengan begitu, ruang-ruang seni dikondisikan untuk tetap terbuka dan tidak steril.

Kedua, mengingat performance art itu sendiri sebagai idiom. Performance art ditempatkan sebagai “seni yang menyoal politisasi penampilan itu sendiri”. Telah disebutkan sebelumnya, dalam sebuah kegiatan khusus performance art selalu terdapat semacam panggung, yaitu satu spot di mana karya dipresentasikan terikat pada ruang dan waktu tersebut. Pada saat kegiatan berlangsung, ruang akan dihuni oleh pemirsa. Merekalah publik pada saat itu. Performance artist tampil menghadapi publik tersebut secara langsung. Performance artist selalu berstrategi menarik perhatian publik pada dirinya, membuat kehadirannya menjadi signifikan. Artinya, performance artist juga menyadari kehadiran publik. Masing-masing saling menyadari kehadiran. Karya performance yang baik adalah karya yang berhasil memukau publik. Publik berhasil dipersuasi untuk mengamati tiap rinci. Sebaliknya, publik akan menuntut keunikan peristiwa yang membuatnya mau memperhatikan peristiwa tersebut rinci demi rinci. Dalam situasi seperti ini, patut dihargai keberhasilan mengkonstruksi terjadinya peristiwa yang unik dan berkesan mendalam––dalam pengertian kesan yang bisa bergaung di masa datang, di ruang yang lain. Batasan ruang–waktu tersebut dihela sebisa-bisanya.

Poin ketiga secara sederhana mulai dari pertanyaan, akankah peristiwa unik tersebut berakhir hanya dalam ingatan orang-orang yang hadir saat itu? Bagaimana halnya dengan mereka yang tidak hadir pada saat itu?

Ini era teknologi reproduksi. Tampaknya segala hal didokumentasi, digandakan, dan bisa disebar-luaskan. Dari mulai hal-hal monumental: pelantikan presiden, sidang DPR, pengadilan, wisuda, pernikahan, kelahiran, kematian, dll; hingga hal-hal elementer: rambut panjang, baju baru, kabel, gorden, daun jendela warna hijau, dll. Menyangkut seni, semua hal bisa dianggap penting dan karenanya harus direkam dengan baik.

Performance art, karena berupa peristiwa, maka satu-satunya cara agar ia bisa diakses di masa datang adalah melalui dokumentasi. Namun, kamera dipahami tidak lagi berupa alat dokumentasi, melainkan locus masalahnya. Jika menyangkut kehadiran, bisakah kamera dipandang sebagai publik di masa akan datang? Si performance artist menghadirkan dirinya melalui kamera. Atau kemungkinan-kemungkinan lain yang juga mengeksplorasi batas-batas kemampuan si kamera, dalam hubungannya dengan tubuh, diri, identitas, peristiwa, ruang-waktu.

Bandung, Juni 2006
Heru Hikayat

Tuesday, August 08, 2006



Birds Migration

Performance art di Indonesia masih saja tergolong baru. Terlepas dari berbagai sikap pro dan kontra di masyarakat, bahkan dalam publik seni, genre ini tampaknya malah semakin hidup dan berkembang, meski sporadis. Beberapa orang dan kelompok sangat serius dalam memproses setiap perkembangannya, baik dalam pengamatan (riset) mau pun dalam penggalangan penyelenggaraan dan pengembangan wacana. Beberapa individual bahkan telah mendapat tempat di berbagai forum internasional.

Meski begitu, dari observasi* yang pernah dilakukan telah diketemukan adanya kesenjangan wacana dasar dalam performance art. Tak hanya publik, bahkan dalam publik seni dan komunitas performance art, ditemukan data yang menggambarkan bahwa wacana studi tentang sejarah performance art pun tak juga menjadi kesetaraan dalam berpengetahuan. Kesenjangan ini semakin membuat kondisi ‘just do it’ ketimbang ‘think first’. Maka yang terjadi adalah stagnasi dalam prosesnya. Konsep-konsep yang dihadirkan memiliki selaput tipis argumentasi, karena lebih mengandalkan impulsi ketimbang rangkaian despkripsi rasionalisasi, dan bahkan menolak sama sekali kritik. Hal ini mempengaruhi pula kekayaan bentuk performance. Sehingga beberapa performer menyatakan diri berhenti karena ‘tak ada sesuatu’ yang ‘baru’.

Suka atau tidak, faham atau tidak, keberadaan genre ini adalah sebuah realita dan patut mendapatkan wadah tersendiri sebagai kajian ilmu, tidak bisa tidak.

Ibarat migrasi para burung [Birds Migration]. Tak akan bisa dibendung. Metaphora ini melukiskan ribuan hingga jutaan burung selalu berpindah tempat dari satu benua ke benua lain, berkembang biak, berasimilasi, menciptakan spesies baru berdasarkan alam benua masing-masing atau tetap tak bergeming mempertahankan orisinalitasnya, bahkan epidemik yang menimbulkan kematian dalam area hitam flu burung (avian flu). Tak bisa dicegah.

Meski begitu, sebagaimana migrasi para burung yang selalu menggulirkan ekosistem berjalan sebagaimana hukum alam, beriring bersama angin, melayang terbang tinggi di angkasa luas, sayap-sayap berkepak dan terbentang lebar, mengarungi kawasan-kawasan baru, menyemai benih dan kehidupan lainnya, bulir-bulir biji-bijian, padi, gandum, bunga, mematuk putik-putik bunga hingga makin bersemai dan bakal buah ranum bermunculan, pohon yang semakin rindang, hewan-hewan lainnya terlindung serta mendapatkan makanannya, tak akan pernah berkesudahan dalam menuju harmoni, meski selalu gelisah dalam setiap kemapanan, selalu bergerak dari setiap halte kehidupan ke halte lainnya, membentuk jaringan-jaringan dan oase baru.

Birds Migration : Indonesia International Performance Art Event [ IIPAE ] 2006 ini bermaksud meng-analogi-kan diri sebagaimana deskripsi di atas. Acara ini adalah serangkaian semangat yang sama dari berbagai acara lainnya bertajuk ‘Bird Migration” yang berlangsung di berbagai tempat lainnya. Spirit utamanya adalah menggalang networking antar aktivisnya dengan berbagai events dan program, berdasarkan kesadaran yang sama atas pentingnya studi sejarah beredarnya performance art sebagai sebuah genre yang melibatkan kepedulian para pelakunya dan berbagai pesan demi penyadaran atas berbagai situasi politik, sosial, individual, kultural dan sebagainya, yang tentunya membutuhkan pemahaman dan strategi-strategi baru dalam menghadapi berbagai bentuk ‘kekinian’, hingga menciptakannya dalam kreasi-kreasi ‘terkini’.

Acara ini diharapkan dapat memenuhi berbagai aspirasi dari berbagai pihak, setidak-tidaknya dalam hal pengetahuan. Maka Galeri Nasional Indonesia, selaku institusi seni nasional di ruang seni rupa, bersama AppreRoom* selaku penggarap konsep dan pelaksana program, serta dukungan dari berbagai institusi, a.l.: Goethe Institut Jakarta, Kedutaan Belanda [Royal of Netherlands Embassy], Kedutaan Polandia dsb. berikut partisipan sebanyak 52 orang dari berbagai negara [15 negara] diharapkan acara ini menjadi support besar dalam dunia seni dan sains, tak hanya bagi Indonesia, namun juga dunia. [SS Listyowati]



Materi Program: Seminar, Artist Talk, Workshop, Eksibisi dan Performance

Durasi: 7 - 9 Desember 2006

Susunan Program:
Kamis, 7/12 – Seminar 1, Workshop, Performance & Eksibisi
Jum’at, 8/12Artist Talk, Performance & Eksibisi
Sabtu, 9/12 – Seminar 2, Performance & Eksibisi

Tema: Sejarah & Kini

Performer/ kritikus seni/ periset/ observer/ organizer dari Indonesia dan internasional

Venue: Galeri Nasional INDONESIA
Jl. Medan Merdeka Timur 14
Jakarta 10110 - INDONESIA
T. [021] 34833954/ 34833955/ 3813021
F. [021] 3813021


Seminar 1
Kamis, 7 Desember 2006 [Pk. 09.00 – 12.45]

Tema:“Birds Migration: A Study in History of Performance Art and Its Management

Moderator: Heru Hikayat

Pembicara : S S Listyowati [Indonesia], Ari Suryadi Nata [Indonesia] dan Nani Kahar [Malaysia]

Latar Belakang :
Seperti migrasi para burung dari satu tempat ke tempat lain, dari satu benua ke benua lain, performance art meski kelahirannya di benua belahan Barat, namun keberadaannya bagai mengudara, menembus batas ruang negara, bangsa, ras dan keyakinan hingga ke timur dan Asia, yang perlu disikapi sedemikian rupa agar tetap memberi kehidupan, kesegaran dan kelahiran-kelahiran baru, kolaborasi baru, bentuk-bentuk baru, performa baru, bukan wabah baru, apalagi kematian.
Peristiwa kelahirannya mengukir sejarah tersendiri yang membuat genre ini masuk dalam kawasan seni dengan karakternya yang sangat unik dan menjadikannya begitu special sekaligus kontroversial. Di masing-masing tempat [negara, bangsa] memiliki sejarah keberadaannya sendiri, yang melibatkan banyak situasi dan kondisi kausalitas, baik, politik, sosial, ekonomi, kultural dan sebagainya di setiap jamannya. Hal ini membuat genre ini makin menarik untuk ditelaah selain jajaran bentuk kesenian lainnya di setiap masa dan keberadaannya hingga kini dalam sejarah.
Performance art melibatkan berbagai aspek manajerial seni. Aspek-aspek ini meliputi antara lain dalam (1) manajemen institusi dan events, berkaitan dengan kemampuan berorganisasi dan hubungan dengan pemerintah (2) manajemen wawasan, berkaitan dengan luas pengetahuan dan pembinaan wacana, serta (3) manajemen diri, berkaitan dengan pelatihan fokus pikiran, pengasahan hati nurani, penggodogan mental dan fisik dalam menentukan, mempersiapkan dan melakukan performance serta kemampuan menghadapi berbagai resiko setelahnya.
Sebagaimana halnya para burung yang tengah bermigrasi, mampukah performance art bersama para pelakunya baik komunal mau pun individual tetap terus mampu mengepakkan sayapnya hingga selebar mungkin mengarungi angkasa luas menembus berbagai batas? [SSL]

Seminar 2
Sabtu, 9 Desember 2006 [Pk. 09.00 – 12.00]

Tema : “Performativity

Pembicara: Heru Hikayat [Indonesia], Zane Trow [Australia] dan Ray Langenbach [AS]

Latar Belakang :
Performance art merupakan genre seni yang menempatkan dirinya pada irisan. Ia punya latar dari berbagai disiplin seni yang sudah ada, sambil selalu menghindar dari berbagai konvensi atau kategori yang sudah mapan. Dengan begitu ia berada dalam barisan seni-seni avant-garde (garda depan).
Ada istilah lain menyangkut pembaharuan dalam seni: kontemporer. Dalam dunia seni, istilah kontemporer tidak sekedar merujuk pada makna literer, yaitu kekinian. Kontemporer lebih merujuk pada prinsip-prinsip tertentu yang mengkritik, memperluas, atau bahkan menihilkan prinsip-prinsip yang sudah ada sebelumnya. Performance art juga bersesuaian dengan pengertian ini.
Membicarakan performance art adalah membicarakan semangat pembaharuan dalam seni. Satu semangat yang bisa membuat pemirsa tertantang berpetualang. Sebuah petualangan apresiasi. Seperti halnya setiap seniman, selalu melakukan petualangan setiap kali berkarya.
Performance art mempunyai kredo “seni yang dihadirkan langsung oleh senimannya”. Performance art lebih merupakan peristiwa daripada materi. Dengan begitu, presentasi langsung merupakan karakter dasarnya. Karya yang sebenarnya adalah peristiwa yang hanya terjadi sekali, pada saat itu saja. Sebuah karya performance memang bisa dipresentasikan berkali-kali. Namun setiap presentasi selalu terikat pada ruang-waktu spesifik. Hingga presentasi kedua, ketiga, dst. merupakan karya yang tidak lagi sama, karena ruang-waktunya berbeda. Konteks sangatlah vital membentuk karya performance. Di sisi lain, bagaimana mungkin sebuah peristiwa bisa tersebar luas jika tidak didokumentasikan? Bahkan seluruh bangunan seni modern di Indonesia dimulai dari bacaan terhadap dokumen-dokumen seni. Pengetahuan tentang performance art pun didapat dari buku-buku dan kajian terhadap dokumen-dokumen. Pendek kata, sejarahlah yang menjamin eksistensi.
Ini era teknologi reproduksi. Tampaknya segala hal didokumentasi, digandakan, dan bisa disebar-luaskan. Dari mulai hal-hal monumental: pelantikan presiden, sidang DPR, pengadilan, wisuda, pernikahan, kelahiran, kematian, dll; hingga hal-hal elementer: rambut panjang, baju baru, kabel, gorden, daun jendela warna hijau, dll. Menyangkut seni, semua hal bisa dianggap penting dan karenanya harus direkam dengan baik.
Performance art, karena berupa peristiwa, maka satu-satunya cara agar ia bisa diakses di masa datang adalah melalui dokumentasi. Karya performance yang baik adalah karya yang berhasil memukau publik. Publik berhasil dipersuasi untuk mengamati tiap rinci. Sebaliknya, publik akan menuntut keunikan peristiwa yang membuatnya mau memperhatikan karya performance rinci demi rinci. [HH]

Artist Talk
Kamis, 7 Desember 2006
Presentasi video dsb.
bersama Lee Wen [Singapura]

Jum'at, 8 Desember 2006
bersama Tang Da Wu [Singapura]
Tema : “Tradisi dan Modernitas dalam Performance Art

Eksibisi [Screening]
7-9 Desember 2006, pk 9am-9pm
Pameran Instalasi Seni Foto & Video Performance Art

Tema : “Performativity: Ruang Migrasi Para Performer

Peserta: Teguh Ostenrik, Krisna Murti, Deden Sambas, Melati Suryodarmo, Iswanto GH, Rewind Art, Performance Art Jakarta Collectivo – Jakarta 32°C, B+PAC [Bandung Performance Art Community], Tiarma D Sirait, Khairuddin Hori, Rebecca Conro dll.

@ 15-30 menit atau tentative, dilakukan parallel di ruang yang berbeda
Tempat: area GalNas

Kamis, 7 Desember 2006
09.30 - 09.45
20.00 – selesai

Jum’at, 8 Desember 2006
14.00 - 17.00
20.00 – selesai

Sabtu, 9 Desember 2006
14.00 – 17.30
20.00 - selesai

Angga Wedhaswara [Indonesia], ‘Ade’ Asep Deni [Indonesia], Mukmin Soge Ahmad [Indonesia], Ilham J. Baday [Indonesia], Prilla Tania [Indonesia], S S Listyowati [Indonesia], Yoyoyogasmana [Indonesia], Yustoni Volunteero [Indonesia], Saiful Razman [Malaysia], Razif [Malaysia], Rahmat Haron [Malaysia], Juliana Yasin [Singapura], Agnes Yit [Singapura], Rizman Putra [Singapura], Lina Adam [Singapura], Jeremy Hiah [Singapura], Hong O-bong [Korea], Arai Sin-Ichi [Jepang], Ray Langenbach [USA], Jacques van Poppel [Belanda], Nezaket Ekici [Jerman/ Turki], Inari Virmakoski [Finlandia], Roi Vaara [Finlandia], Zane Trow [Australia], Jennifer Nelson [Yunani], Angie Seah [Singapura], Sophia Natasha Wei [Singapura], Cheng Guang Feng [Cina], Jane Jin Kaisen [Denmark], Emily White [USA], Peter Grzybowski [Polandia], Arief Dharmawan [Indonesia], Santo Klingon [Indonesia]

Galeri Nasional INDONESIA
Jl. Medan Merdeka Timur 14
Jakarta 10110 - INDONESIA
T. [021] 34833954/ 34833955/ 3813021
F. [021] 3813021


Thursday, 7 December 2006
[Galeri Nasional Indonesia]
09.00 : Exhibition Opening
10.00 – 12.45 : Seminar 1
15.00 – 18.00 : Workshop
20.00 – on wards : Performance Art

Friday, 8 December 2006
[Galeri Nasional Indonesia]
09.00 – 12.00 : Workshop
14.00 - 17.00 : Performance Art
20.00 – onwards : Performance Art

Saturday, 9 Desember 2006
[Galeri Nasional Indonesia]
09.00 – 12.00 : Seminar 2
14.00 – 17.00 : Performance Art
20.00 – onwards : Performance Art
24.00 :Closing

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