First Sight August
12 August 2017 09:00
b. 1963, Beijing, China. Based in Beijing, China
Washing the River
Washing the River was first performed in 1995 when Yin Xiuzhen learned about the condition of the Funan River in Chengdu, China. The artist froze water from the river into large blocks of ice and with the help of local people, symbolically ‘washed’ the river using brushes and broomsticks. In this performance developed for Museum MACAN, water from Pesanggrahan River in Jakarta has been frozen. The artist invites local audiences to join together to ‘wash the river’. This act of cleaning is a form of public intervention and communal activity, raising awareness about the natural environment which surrounds us.
Yin Xiuzhen graduated from Capital Normal University in Beijing, majoring in painting. She works in a range of media including painting, sculpture, installation, and performance, addressing personal and social issues that are influenced by the changing social landscape of modern day China. Her work has been exhibited in major exhibitions including the 5th Moscow Biennale (2013); 7th Shanghai Biennale (2008); 52nd Venice Biennale (2007); and 26th São Paulo Biennial (2004).
b. 1949, Blitar, Indonesia. Based in Jakarta dan Yogyakarta, Indonesia
Writing in the Rain (Live Performance)
The writing and rewriting of the characters of the artist’s Chinese name, has been an ongoing preoccupation for FX Harsono. This work refers to his family and the experience of the Chinese in Indonesia’s modern history. The process of writing is used by the artist to state his identity and is an attempt to retrieve it from the oblivion of history. It is an action, which is personal but is also connected to a sense of community and the Chinese diaspora in Indonesia.
As a member of the Gerakan Seni Rupa Baru (New Art Movement) established in the 1975, FX Harsono emerged as an important voice in the development of contemporary art in Indonesia. He has participated in major international exhibitions including 20th Sydney Biennale (2016); 4th Moscow Biennale (2011); and the 1st Asia Pacific Triennial (1993).
b. 1958, Bandung, Indonesia. Based in Bandung, Indonesia
Potret Diri Sebagai Kaum Munafik
In this work Potret Diri Sebagai Kaum Munafik, which literally means ‘self-portrait as a group of hypocrites ’, Tisna Sanjaya invites the audience to paint his canvases using spices, mud, and charcoal – materials that represent the diversity of Indonesia and the South East Asian archipelago. The performance involves a process of audience participation and collaboration which is inspired by the Quranic verse ‘for you is your religion and for me is mine,’ where the artist encourages us to not only be mindful of being tolerant but to act on this in public.
Influenced by his studies of art both in Indonesia and Germany, Tisna Sanjaya’s body of work incorporates printmaking, performance, literature and local traditions to address environmental and socio-political issues. His work has been featured in major international exhibitions including: Singapore Biennale (2013); 5th Gwangju Biennale (2004); and 50th Venice Biennale (2003). He teaches at Bandung Institute of Technology and founded Imah Budaya Cigondewah, an art space in the outskirts of Bandung, Indonesia.
b. 1977, Bandung, Indonesia. Based in Jakarta, Indonesia
The Plan Need Not be Accurate So Long as It Shows The Disposition of The Rooms
Reza Afisina presents a performance using found objects and waste materials from the museum’s construction and his own house. This is a direct response to the new museum and its construction process. The combination of mundane domestic objects with construction waste, raises questions about how objects are elevated to the status of art. At what point does an object become art? At what point does an artist become an ordinary citizen? In this performance Reza raises pertinent issues about the artist’s role in society.
Reza Afisina studied cinematography at Jakarta Institute of Arts, Indonesia, working predominantly in performance and video art. He has exhibited widely including at the Jakarta Biennale (2015); OK Video Festival, Jakarta (2011); and City Net Asia, Seoul Museum of Art in (2011). His work is in the collection of the Guggenheim Museum, New York. He is a member of RuangRupa, an artist collective from Jakarta, and has been an Artistic Director of ArtLab as part of the collective.
b. 1969, Surakarta, Indonesia. Based in Surakarta, Indonesia
Eins und Eins
Eins und Eins, which means ‘one and one’, is a three-hour-long performance where the artist imagines herself as the embodiment of a disgruntled nation, filled with oppression, aggression, and violence which eventually explodes and leaves scattered marks on her surroundings. With her mouth filled with ink, Melati Suryodarmo spits into the pristine environment around her. The act of spitting is visceral and intimate. The result is strangely aesthetic and can be seen to draw on histories of ink painting and especially calligraphy with its underlying relationship to language. Spitting, speaking, language and action come full circle in this durational work.
Melati Suryodarmo received her Doctoral degree from Hochschule für Bildende Künste Braunschweig, Germany and Indonesia Art Institute, Yogyakarta. She has participated in major exhibitions including the Singapore Biennale (2016); 8th Asia Pacific Triennial (2015); and Jogja Biennale XI (2011); Manifesta7 (2008); 50th Venice Biennale (2003). She founded Undisclosed Territory, an independent annual performance art festival in Surakarta and is currently serving as Artistic Director for Jakarta Biennale 2017.
b. 1968, Jember, Indonesia. Based in Yogyakarta, Indonesia
Sri: Sebuah Biografi dalam 65 Kata
In this performance, Agung Kurniawan conducts a ‘choir’ of voices drawn from the audience. Each participant has been given a word, and under his direction, the group retells a biography of a former court singer named Sri, who struggles to piece her life back together after surviving a traumatic ordeal at the peak of her career.
Agung Kurniawan is known for his ability to address social and political issues in ways which are playful and satirical. Working mostly in drawing, illustration and comics, he has recently turned to performance. In 1996, he won the Phillip Morris Art Award and has exhibited in the Jogja Biennale XIII (2015); Van Abbemuseum, The Netherlands (2013); and the 9th Gwangju Biennale (2012). He also runs an independent art space, Kedai Kebun Forum, in Yogyakarta.