{"id":13619,"date":"2020-04-22T16:25:00","date_gmt":"2020-04-22T16:25:00","guid":{"rendered":"http:\/\/www.randian.art\/we-move-among-ghosts-jakarta-exhibition-explores-the-ephemeral-nature-of-values-symbols-and-systems\/"},"modified":"2020-04-22T16:25:00","modified_gmt":"2020-04-22T16:25:00","slug":"we-move-among-ghosts-jakarta-exhibition-explores-the-ephemeral-nature-of-values-symbols-and-systems","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/we-move-among-ghosts-jakarta-exhibition-explores-the-ephemeral-nature-of-values-symbols-and-systems\/","title":{"rendered":"We Move Among Ghosts: Jakarta Exhibition Explores the Ephemeral Nature of Values, Symbols, and Systems"},"content":{"rendered":"\n

by Josa Lukman<\/p>\n\n\n\n

\u201cWe Move Among Ghosts\u201d
Museum of Fine Arts and Ceramics<\/strong>(Jl. Pos Kota No.2, RT.9\/RW.7, Pinangsia, Kec. Taman Sari, Kota Jakarta Barat, Daerah Khusus Ibukota Jakarta) February 12 <\/strong>\u2013<\/strong>March 15, 2020<\/strong><\/p>\n\n\n\n

Arahmaiani, Ashley Bickerton, Chris Bunjamin, Marco Cassani, Rafram Chaddad, Cian Dayrit, Fendry Ekel, J. W. Heydt, Agnieszka Kurant, Goshka Macuga, Michelangelo Pistoletto, and Rirkrit Tiravanija, and others.<\/strong><\/p>\n\n\n\n

As I stood at the entrance to Jakarta\u2019s Museum of Fine Arts and Ceramics in Fatahillah Square, in the middle of the Old Town district, I was immediately transported beyond a time that most Jakartans can easily remember. The building, with its classical portico, was completed in 1870, as the former Court of Justice and with its collection of artifacts, it\u2019s common to see groups of bored schoolchildren toting pen and paper, taking notes on old relics. In this context, it is quite refreshing\u2014if rather unexpected\u2014to see a contemporary art exhibition held in one of the square\u2019s museums.<\/p>\n\n\n\n

\"Michelangelo<\/a>
Michelangelo Pistoletto, \u201cThe Great Archipelago\u201d, a mirror in the shape of Indonesian seas with Arahmaini\u2019s \u201cFlag Project\u201d (2006 \u2013 ongoing) (above) . (Photo: IO\/Rayi Gigih)<\/figcaption><\/figure>\n\n\n\n

\u201cWe Walk Amongst Ghosts\u201d brings with it a collection of colorful and accessible contemporary artworks by the famous names you\u2019d normally see in Jakarta\u2019s swanky galleries or art fairs, but now accessible without a VIP card. Adi Hong-Tan, the exhibition coordinator with Yayasan Mitra Museum Jakarta (Friends of Jakarta Museums Foundation), told me that the purpose of the exhibition is to bring more people closer to art and the Rp.-5,000 admission fee, (USD$ 0.32,) certainly goes a long way in achieving that aim. At the same time, the exhibition poses some difficult questions about the ideological legacies which inform our current realities.<\/p>\n\n\n\n

Gaze upwards as you enter the space, and you\u2019ll see Arahmaiani<\/strong>\u2019s \u201cFlag Project\u201d (2006\u2014ongoing), which was displayed at the Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) back in late 2018. The project was inspired by the artist\u2019s work with various communities from Islamic boarding school students to a monastic sect of Tibetan Buddhists. Each flag is embroidered with phrases chosen by the communities, words such as \u201ccourage,\u201d \u201cblessings,\u201d and \u201cheart\u201d which explore a common social currency amongst a diverse set of communities. (Perhaps we are not that different after all?)<\/p>\n\n\n\n

Michelangelo Pistoletto<\/strong> takes on a similar theme of universality with, \u201cIl Grande Archipelago,\u201d a large mirrored table and 12 chairs, which symbolize the idea of Indonesia as a melting pot of cultures. The table was positioned in the center of the space and the chairs were sourced from 12 distinct regions.<\/p>\n\n\n\n

\"Ashley<\/a>
Ashley Bickerton, from his GOOD and BAD series of works (or vice versa, as shown here)<\/figcaption><\/figure>\n\n\n\n

Bali-based Ashley Bickerton<\/strong>\u2019s \u201cBad; and Good\u201d takes a more black-and-white view of the world, literally\u2014juxtaposing symbols that are considered \u201cbad\u201d and \u201cgood\u201d as a means of highlighting the absurdity of a binary morality.  The \u201cbad\u201d painting is a stark graphic pattern composed of swastikas, machine guns, and syringes which jump menacingly out from a black background. The \u201cgood\u201d painting looks like the kind of poster one might find in a head shop, with yin-yang<\/em> symbols, palm trees, hearts, and dolphins. These anodyne symbols are interspersed with more ambiguous signs, \u201cthe seal of the President of the United States,\u201d the UN symbol, crosses, and a few Rolls Royce logos\u2014a collage of imagery that forces the viewer into their own mental sorting processes.<\/p>\n\n\n\n

\"Marco<\/a>
Marco Cassani, Fountain Negari, 2018 (courtesy the artist and Honold Fine Art)<\/figcaption><\/figure>\n\n\n\n

Marco Cassani<\/strong> (also the curator of the exhibition) explores the erosion of value in his \u201cFountain Negari,\u201d a vertical column of coins collected from temples in Balinese coffee plantations. For the worshipers, these coins were the currency of hopes and dreams; and for the priests who collected them, they represented a fund for temple repairs, but now that are corroded beyond use, they become a construction material for a sculpture\u2014one which asks questions about assigning abstract notions to pieces of metal.<\/p>\n\n\n\n

Cassani also used these coins to create an amalgam, which is forged into the words \u201cIn God We Trust,\u201d hanging from a metal archway. The work, a co-creation with Fendry Ekel, is an iconic object that immediately becomes political in today\u2019s age of hyper-partisanism. The phrase, though associated with America, speaks volumes in a nation where many people put faith before all else; sometimes in a performative sense, but sometimes with full sincerity.<\/p>\n\n\n\n

\"Fendry<\/a>
Fendry Ekel, In God We Trust (detail), 2020, (courtesy the artist and Honold Fine Art)<\/figcaption><\/figure>\n\n\n\n

The perpetual transmutation of symbols, the degrading of traditional values, and questioning of ideological systems, be they religious, national or transnational, creates new meaning within the historical specificities of the building and the district, which haunted by ghosts of its own. But in an uncertain future, these ghosts are threatening to return\u2014consistency and conservatism provide a lifebuoy for many in choppy waters. These ghosts are as real and present as the marble columns of the museum and we must navigate them with caution; perhaps the only way of moving forward is to make peace with them.<\/p>\n\n\n\n

\"Installation<\/a>
Installation view of Michaelangelo Pistoletto\u2019s mirror table.<\/figcaption><\/figure>\n\n\n\n
\"\"
Rirkrit Tiravanija \u201cUntitled State Du Mirror\u201d, 2020<\/figcaption><\/figure>\n\n\n\n
\"\"
Goshka Macuga, Ramon Llull, 2016 (courtesy the artist and Andrew Kreps Gallery)<\/figcaption><\/figure>\n\n\n\n
\"\"
Cian Dayrit<\/figcaption><\/figure>\n\n\n\n

Kayu<\/strong>
Kayu is Lucie Fontaine\u2019s branch in Bali, and was founded by her employee, the artist Marco Cassani. Kayu, as an artist-run-space, explores new ways of collaborating with artists and of presenting artworks, by conceiving and producing contemporary art exhibitions, reflecting upon the concept of power embodied through the host-and-guest relation.<\/p>\n\n\n\n

Yayasan Mitra Museum Jakarta<\/strong>
YMMJ envisions Jakarta museums, starting with those under the Jakarta provincial government, as centers of education, entertainment, and recreation; where citizens of and visitors to the city will be able to gain historical, artistic, and cultural knowledge.<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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