Turning Targets #1 – OneNightStand
2 February 2013, 4.00 pm – 12.00 pm
‘One Night Stand’ is a party and a one-night art project where everything is ‘happenening’ simultanously. Artists and art practitioners will be asked to contribute ‘anything’ for one night, to bring in artworks to exhibit or create an artwork on the spot, such as murals, performances, and video works.
Artists from a variety of disciplines, art activists, including curators, collectors, event organizers, critics, researchers, cultural observers, and art organizations, will be invited to participate, while also becoming the audience appreciating the entire array of One Night Stand presentations.
This program is by invite only.
Turning Targets #2– Young Curators’ Forum
9 January 2013, 4.00 pm – 8.00 pm, at LIP-IFI Yogyakarta
Panel discussion about ‘curatorial practices’ with Enin Supriyanto, Agung Hujatnika, Sujud Dartanto and Alia Swastika.
10, 11, 12 January 2013
Forum/ Workshop with 17 selected participants from Jakarta, Bandung and Yogyakarta at Cemeti Art House.
5,6,7,8 March 2013
Forum/ Workshop with the same participants at Cemeti Art House, presentations by the young curators and discussions about the proposals.
September, November 2013
Two young curators are selected to realize their proposals in exhibition projects.
This curators forum will combine forum discussions and workshops, facilitating mentoring methods to stimulate emerging curators in Indonesia. The workshop participants will share experiences and, at the same time, be encouraged to articulate their ideas and concepts. Established curators, artists, gallery owners, and members of art institutions will lead the sessions. They will address:
- discussions regarding the role of curators in a broader art field,
- political context in the creation of art,
- infrastructure and market strength,
- gathering of knowledge and occurrence of discourse,
- the globalization of art at the present time.
Guest speakers will act as facilitators and invite the participants to observe sample cases from a variety of different perspectives. The participants will be encouraged to present a curatorial exhibition proposal. They will be mentored and two of the particiating curators in this forum will be asked to curate an exhibition which will take place in September and November 2013.
‘Mentoring’ is used frequently in the history of art education in Indonesia. Many budding artists rely on the art course (sanggar) method in which masters or senior artists share their experiences directly with the younger generation. Upon reflection, it appears that the sanggar, or nyantrik (apprenticeship) method has shown a reasonably high success rate in art education. This method also highlights practical experience, which is essential when a curator begins to work in the field.
The forum for young curators will become the pilot project for academic curators that will later be further developed by the Yayasan Biennale Yogyakarta [Yogyakarta Biennale Foundation].
This program is conducted in collaboration with Alia Swastika and the Yogyakarta Biennale Foundation.
Turning Targets #3 – Realities: Cemeti Archived
15 February 2013 – 10 March 2013
Opening: 15 February 2013, 7.30 pm.
This exhibition of archives about Cemeti Art House will present a series of selected documents in a variety of formats: articles, photos, videos, audio recordings and clippings. The selected archival material marks several important moments in Cemeti Art House’s journey since 1988. Not only will the exhibition present past documents that represent Cemeti’s ‘success stories’, but will also explore and re-examine several works, concepts, cultural strategies, and thoughts that emerged at Cemeti in the past. It will trace the footprints of works and discourses after they were processed and created at Cemeti, and then developed further outside Cemeti, either domestically or internationally. Through the archive exhibition, it is hoped that artists who were once involved with Cemeti, as well as the next generation, will gain new knowledge and access to contemporary Indonesian art history, reflecting on contemporary art in the “Global Era”, while witnessing and discovering possibilities for new strategies.
This exhibition will be divided in five sections:
- A brief historical overview of Cemeti through documents arranged in a chronological timeline and presentation of Cemeti Art House posters.
- An archive tracking artists’journeys and selected artworks from Cemeti and beyond, in multimedia format, plus documentation and interviews with these artists.
- An archive tracing discourses/curatorial concepts that were devised at Cemeti in collaboration with various curators/researchers and communities. The archives are in a multimedia format and include additional documentation and interviews with the collaborators now, reflecting back upon these concepts.
- A display of Cemeti Art House catalogues from the past 25 years, exhibiting the original archives in display cases, with digital versions accessible on a touch screen computer.
- A display of several artifacts/replicas of selected works that have been exhibited in Cemeti that are track and trace these artworks and discourses.
Curated by Farah Wardani and Pitra Hutomo in collaboration with the Indonesian Visual Art Archive (IVAA).
Turning Targets #4 – Collecting Rain
14 March – 5 April 2013
Opening: 14 March, 2013, 7.30 pm
This exhibition will present a collection of Cemeti Art House’s artworks for the first time to the broader public. This is a mini collection of works, often with small measurements, mainly dominated by works on paper. Major artists actively promoted by Cemeti will be included in this collection. It will represent a continuation of the discourse of the Cemeti Archive concept, completing and revealing the history of art through a rereading of works in the collection. This exhibition will present concepts of societal activities that focus on the nature of the relationships between humans and objects, and how discourse and human understanding of objects constantly changes, particularly through the form of collecting. The phenomenon of collecting artworks by local and regional collectors, for example, is not independent of the dilemma of buying and selling collections to increase their value and individual profits. The government has just recently started to collect artworks, in the hope that Indonesian scholars will have access to collections to study Art History. Is it true that values in art can be directly compared to market needs only? Is it only economy that in the end measures and determines the quality and value of art?
Curated by Nindityo Adipurnomo.
Turning Targets #5 – Dobrak!
Part one: 7 July – 20 August 2013
Opening: 7 July 2013, 7.30 pm
Part two: March 2014
In Bahasa Indonesia, the term “dobrak” means “to break” or “breaking”. The act of breaking can be read in different ways: it can be aggressive, violent and destructive on the one hand, but on the other it can be the result of mischief and curiosity – the positive, pro-active need to learn and discover, to challenge boundaries in the process of self-discovery and transformation, to grow, improve and evolve. Dobrak! is based on the idea of adopting the positive interpretation of breaking, as a necessary step in the process of renewal, of moving ahead. In this context, breaking can be understood as breaking with tradition, breaking with pre-conceived perceptions, breaking stereotypes or breaking boundaries to chart new territories, new identities and readings.
The exhibition will explore ‘Time and Action’ related to ‘Temporary Rites’ as the primary theme in this project. Research and cross-disciplinary collaboration are key to the development of this project: artists are encouraged to pick up particular topics and will be paired with anthropologists, cultural studies experts, sociologists and historians on “fieldwork” trips to learn, research and gather information with their respective collaborators before production of artwork commences.
This exhibition model hopes to encourage 5 artists to think beyond their immediate comfort zones and to encourage a different approach to art-making and idea formulation. Through exchanges with experts from the field of social sciences, and engagement with different communities, the curators hope that this exercise will enrich the artists’ process and practice and encourage deeper critical reading and understanding of their environment.
Curated by Adeline Ooi and Mella Jaarsma.
Turning Targets #6 – Visual Arts Management Forum
21,22,23,24 October 2013
The Visual Arts Management Forum is a learning space for managers from visual arts organizations in Indonesia to develop professional art organizations, through both conceptual and technical discourse. They will be given the opportunity to expand their knowledge of diverse management practices in Indonesian arts organizations, to strengthen the strategy, idealism and sustainability of an organization or community.
This forum will be held over three days, with a combination of presentations, workshops and field studies. In this forum 25 visual arts organizations from across Java and Bali will be invited. Within the presentations, there is space for dialogue and discussion. Each manager who represents the organization will share their own experiences and managerial strategies within their organizations, including resource management, artist management and development, public management, and promotion.
Workshop sessions feature keynote speakers to convey their specific knowledge on a variety of topics such as administration and taxation, exhibitions planning, presentations of works, art advocacy for the public, knowledge of aesthetics and local culture, promotion and publicity strategies, documentation and archiving, as well as networking at local, regional and international levels. The discussion will ignite an interactive dialogue with participants on related topics.
The field study will be conducted by visiting several art organizations in Yogyakarta with interesting managerial systems. Visits to arts organizations are designed to provide context and exposure to a variety of organizations. The visits also emphasis the relationship between the space/room and the way it is managed. The last session gives participants space to evaluate which forms of management are relevant in the current sociocultural context, alongside future projections of this forum’s sustainability.
In collaboration with Kelola, Jakarta.
Turning Targets #7 – Pseudo Participative Project
Process: January – December 2013
Exhibition: 14 December 2013 – 11 January 2014
Opening: 14 December 2013, 7.30 pm
This ‘participatory’ project is an attempt to trace and redesign variations of creative processes in the arts. This inter-generational engagement project brings together artists from a cross-section of disciplines including sculptors, dancers, musicians, theater and film actors. It will use a step-by-step approach, starting with an artists’ retreat, a forum where each artist will introduce their particular artistic background to each other, then moving on to research, artistic engagement, creation and collaboration and finally the possibility of public participation. It is hoped that this project will advocate and revitalize ethnic diversity and local aesthetics alongside a global perspective. The independence of individual expression is questioned and ‘separated’ from the circulation of financial capital.
The artists are selected for being vocal and critical thinkers, concerning local and global concepts. Their artistic integrity is seen in totality; through their roles and capacities as artists/creators as well as motivators through their affiliated institutions and communities. Approximately 15 to 20 artists are invited who are key catalysts of cultural developments and all live in and around Yogyakarta.
- Each artist will determine two or three art events in Yogyakarta to observe and study using their own artistic methodologies.
- Then they will present their individual findings at a platform with an interactive model of multi-disciplinary backgrounds.
- The participating artists will reflect critically upon important notes and opinions of that form, they will then consider them as new inspiration to work within their communities/institutions.
- The aim is to create new, creative breakthroughs with concepts/idioms/media from various art forms. It is hoped that budding mutual understanding of basic ideas, new perceptions, daring conclusions, criticisms, and rejuvenation of strategies will become the inspiration for a new approach in their works (individually as well as collaboratively).
Finally, there will be a presentation, exhibiting documentation of these projects across a range of formats, including audio visual works, as well as a post-event book on this project, written by all artist participants.
Initiated and coordinated by Nindityo Adipurnomo.
Turning Targets #8 – ‘Whip and Run’ a Documentary Film
Process: 1 January – 30 December 2013
Film screenings: December 2013
Whilst visual art in Indonesia has been growing dynamically over the last two decades, documentary film about these art movements and its key figures has not been optimally captured.
This documentary film shows the importance and impact of visual art in Indonesia through discussions with its most outstanding artists. The film will present different perspectives on how meaning is created through visual art and will represent specific phenomena. Artists will contextualize how they encounter their everyday lives, their broader social environment, history, political issues, and how they transform their context through their creative processes. The documentary will also reflect on the different movements and eras from the 80s until recently. Which roles did art fill in Indonesian society under the Suharto regime, the reformation period and up until now? What has been achieved?
Artists from different generations will be interviewed. The art of mid-career artists concentrated on specific issues with political and social concerns, based on research and experimentation. This generation of artists has been succeeded by a new generation of artists that want to have fun with art and make artworks as part of their daily activities while communicating through Facebook, making music, and designing merchandise and products.
This documentary will newly defines the nature and pace of art developments and discourse in Indonesia.
In collaboration with Forum Lenteng, Jakarta.
Turning Targets #9 – 25 years Cemeti Art House
Launch: end December 2013
The 25 years of Cemeti Art House book will be published to capture and record the phenomenon of contemporary art in Indonesia. This book will follow two channels for the focus of discussion. The first is Cemeti’s point of view as an actor in Indonesian contemporary art, without any distance to remove themselves from their history; Cemeti presents their own perspective on their role within Indonesian contemporary art. The second viewpoint is the reading of others outside Cemeti, who examine, criticize and discuss the reception of Indonesian contemporary art and Cemeti’s role.
This publication’s emphasis on critical discourse aims to contribute to the production of intellectual cultural criticism. During the last year Cemeti Art House has organized several focus-group discussions with artists, curators and researchers of different generations. The outcome of these discussions will be published. An important part of the book is the documentation and articles related to the Turning Targets program during 2013.
Mella Jaarsma / Nindityo Adipurnomo fragment from article ‘What are we waiting for’, Art Asia Pacific, issue Nov. Dec. 2012 :
The last five years have brought significant changes to the scene in Indonesia, notably the trends for “going global” and the rising influence of market forces. These developments have forced us to reconsider the relevance and function of art. At the moment, it seems like we cannot influence the things happening around us, which results in a situation of passive consumption. If art had once been a way to look at things differently and to alter our perspectives, today the questions are: What do we expect from art? What is its function in a society such as Indonesia? Do we still need art to challenge us?
The arts are in crisis, and we hope for a reaction—any initiative that could shake things up. But, to be honest, those in the art community who are voicing concerns are mostly 35 years and older. Meanwhile, the younger generation moves around either in a comfort zone or in confusion, not wanting to be patronized by the previous generation and at the same time not having enemies to rebel against. We shall have to wait and see what breaks this stalemate.