The Survival of the Art Ecosystem and Imagining the Aesthetics of Tomorrow
Kebertahanan Ekosistem Seni dan Imajinasi Estetika Mendatang
Moderator: Dhuha Ramadhani
Panelists: Alia Swastika, Cecil Mariani, Tonny Trimarsanto
Saturday, 7 November 2020 | 16.00 GMT+7
in Bahasa Indonesia with English translation
registration: bit.ly/ForumFestival2020
Abstrak / Abstract
Arus gerak sebagai nadi kapitalisme berhenti sementara, Pandemi COVID-19 seakan-akan menjadi arena tarung sejajar bagi sistem dominan ini dengan sistem yang dianggap pinggiran, keduanya dihadapkan pada ancaman yang sama: keruntuhan. Pukulan besar yang melanda seluruh warga dunia ini turut merangsang kegairahan untuk menjawab pertanyaan tentang sistem apa yang akan bertahan atau lahir setelahnya. Infrastruktur hiburan, seni, dan budaya dalam kerangka ekonomi besar dan industrial turut hancur. Atas mereka yang bertahan, pandemi menampakkan pada kita setidaknya dua kelompok besar. Tidak untuk menyederhanakan kompleksitas persoalannya, namun kita dapat melihat ada “kelompok” pegiat hiburan, seni, dan budaya yang selamat karena berlindung di balik modal-modal besar dan ada “kelompok” yang selamat justru karena skala kegiatannya yang mikro, berkolektif, bahkan fokus pada persoalan ritus dan ritual sehari-hari.
Tentu dampak pandemi tidak akan selesai dalam rentang waktu singkat. Konsep New Normal yang problematis itu bahkan barangkali dapat dilihat sebagai juru selamat yang ditujukan bagi kebertahanan sistem mapan yang berpihak pada modal. Segala bentuk “pembatasan” dan “keterbatasan” sebagai dampak dari pandemi sebetulnya adalah ruang yang dapat dikatakan telah diakrabi oleh kelompok yang hidup dengan sistem yang dianggap pinggiran. Dalam aspek seni dan kebudayaan serta pengetahuannya, katakanlah, muncul demikian banyak inisiatif yang menggaungkan “kembali” kerja-kerja gotong royong dan mandiri (do-it-yourself) sebagai upaya untuk bisa selamat bersama-sama; tidak hanya selamat manusianya, melainkan berusaha merancang strategi bahkan sistem baru untuk diyakini dan dijalani bersama-sama.
Jika kita melihat sejarah dunia, “pembatasan” dan “keterbatasan” sebetulnya adalah aspek penting yang menjadi dasar serta semangat bagi pelbagai bentuk eksperimentasi, termasuk dalam aspek estetika seni dan budaya. Panel ini hendak menelaah kebertahanan ekosistem seni dan budaya dalam situasi sebelum, saat, dan setelah pandemi; membayangkan model produksi, festival, dan kepenontonan dari segi ekonomi, kemasyarakatan, dan estetika. Para panelis yang diundang diharapkan dapat membagikan temuan-temuan dari amatannya sejauh ini. Melalui penelaahan itu kita kemudian dapat mengimajinasikan estetika seni dan budaya macam apa yang relevan dengan konteks sosial politik dunia hari ini dan di masa mendatang.
The flowing pulse of capitalism comes to a temporary halt, the COVID-19 pandemic becomes a fighting ground for both dominant and rural systems as they are faced with the same threat: a total destruction. This huge conflict that has affected everyone on Earth prompts the question: which system will survive and what will come after. Entertainment, art, and cultural infrastructures within the economy and industry are falling. For those who will survive, the pandemic will show us the presence of two big groups. Not to simplify the complexity of the problem, but there is a “group” of art, entertainment, and cultural workers that survives due to the protection of corporate capital on the one hand, and there is another “group” that survives due to its micro-scale activities, collectivism, and its focuses on rites and everyday rituals on the other hand.
Of course, the pandemic will not end within a short period of time. The concept of New Normal is problematic in the way that it is advertised as the solution aimed for the survival of an established system that favors capital. All that proclamation about “boundaries” or “limitations” caused by the pandemic can be seen as something that the marginalized groups have experienced for a long time and are familiar with. In terms of art and cultural understanding, there have been a lot of initiatives that amplify gotong royong and independence (do-it-yourself) as a way to survive together; not just as a way to save its citizens, but as a strategy or even a new system to be trusted and practised.
If we look at world history, “boundaries” and “limitations” are actually important aspects that become the basis and spirit of various forms of experimentations, including art and cultural aesthetics. This panel reexamines the survival of the art and cultural industry from before, during, and after the pandemic. As well as reimagining the model of production, exhibition, and audienceship from the economic, social, and aesthetic standpoint. The panelists are expected to share their current findings and understandings regarding this topic. Through this study, we can then imagine what kind of art and cultural aesthetics that are relevant in the current and upcoming social-political climate.
About the Panelist
Alia Swastika aktif berkegiatan sebagai kurator, manajer proyek, dan penulis di sejumlah pameran internasional. Ia lulusan Jurusan Ilmu Komunikasi Universitas Gadjah Mada Yogyakarta. Dia juga adalah Direktur Yayasan Jogja Biennale. Sebelumnya ia bekerja sebagai Direktur Program di Ark Galerie, Yogyakarta sejak 2008.
Alia Swastika is actively involved as a curator, project manager, and writer on a number of international exhibitions. She graduated from the Communication Department Gadjah Mada University in Yogyakarta. She’s a director of the Jogja Biennale Foundation. Prior to that she has worked as Program Director for Ark Galerie, Yogyakarta since 2008.
Cecil Mariani adalah seorang desainer, seniman, peneliti di Koperasi Riset Purusha, penggiat seni budaya, pengajar di Institut Kesenian Jakarta Fakultas Seni Rupa Jurusan Desain Komunikasi Visual juga di Program Pasca Sarjana Institut Kesenian Jakarta. Pada tahun 2008-2011 Cecil menjadi bagian dari komunitas salihara. Pada 2011 ia menginisiasi TuaTuaSekolah bersama Lisabona Rahman dan Felencia Hutabarat, sebuah program beasiswa independen agar ia dan rekan-rekannya dapat melanjutkan pendidikan pascasarjana setelah ia diterima di School of Visual Arts, New York, dimana ia memperoleh gelar Master di 2013. Kini selain bekerja sebagai desain strategist pada tim desain “Mariani Witabora”, Cecil juga memulai inisiatif ekonomi-produksi alternatif Arisan Desainer Upacita. Ia salah satu dari dewan pertimbangan organisasi untuk serikat Sindikasi (Serikat Pekerja Media dan Industri Kreatif untuk Demokrasi).
teks dari: https://ciptamedia.org/juri-cme/cecil.html
Cecil Mariani is a designer, artist, researcher at the Purusha Research Cooperative, cultural arts activist, lecturer at the Jakarta Arts Institute, Faculty of Fine Arts, Visual Communication Design Department, also in the Jakarta Arts Institute’s Postgraduate Program. In 2008-2011 Cecil became part of the Salihara community. In 2011 she initiated TuaTuaSekolah with Lisabona Rahman and Felencia Hutabarat, an independent scholarship program so that she and her colleagues could continue their postgraduate education after she was accepted at the School of Visual Arts, New York, where she obtained her Master’s degree in 2013. design strategist on the “Mariani Witabora” design team, Cecil also initiated an alternative economy-production initiative for the Arisan Upacita Designer. She is on the advisory board of the organization for the serikat Sindikasi (Media and Creative Industry Workers Union for Democracy).
text from: https://ciptamedia.org/juri-cme/cecil.html
Tonny Trimarsanto adalah seorang pembuat filem, aktivis kebudayaan, edukator, dan fasilitator lokakarya filem. Ia menyelesaikan studi Ilmu Politik, dan Master dibidang filem. Ia juga merupakan staf pengajar Pasca Sarjana di ISI Surakarta dan Jogja Film Academy. Sebagai sutradara dan produser filem, karya filemnya banyak diputar dan memperoleh penghargaan di berbagai festival filem internasional, di antaranya filem “The Dream Land”, “Serambi”, “Its A Beautiful Day”, “Renita Renita”, “The Mangoes”, “The Last Prayer”. Film “Bulu Mata”, meraih Piala Citra di FFI (2017) untuk kategori Film Dokumenter Panjang Terbaik. SERAMBI (2005)—karya filem kolaboratif dari empat sutradara—adalah filem fitur dokumenternya yang pertama dan ditayangkan di sesi Un Certain Regard dalam Festival De Cannes 2006.
Tonny Trimarsanto is a filmmaker, cultural activist, educator, and film workshop facilitator. He completed his studies in Political Science, and a Masters in film. He is also a postgraduate teaching staff at ISI Surakarta and the Jogja Film Academy. As a film director and producer, his films have been screened and won awards at various international film festivals, including the films “The Dream Land”, “Serambi”, “Its A Beautiful Day”, “Renita Renita”, “The Mangoes”, ” The Last Prayer ”. The film “Bulu Mata”, won the Citra Award at Indonesian Film Festival (2017) for the category of Best Documentary Feature. SERAMBI (2005) — a collaborative film by four directors — is his first documentary feature film and was screened in the Un Certain Regard session at the 2006 De Cannes Festival.
About the Moderator
Dhuha Ramadhani (b. February 23, 1995, in Jakarta) is a filmmaker and curator. Completed undergraduate education at the Department of Criminology, Faculty of Social and Political Sciences, University of Indonesia. Member of the Forum Lenteng, active as a participant in the Milisifilem Collective and 69 Performance Club. Since 2018, he is the curator of the Candrawala program at ARKIPEL – Jakarta International Documentary and Experimental Film Festival. In July 2019, he presented his curatorial on Asia Forum 3 for EXiS – Experimental Film and Video Festival 2019, Seoul, South Korea. His latest films are Jakarta Unfair (2016) and Into The Dark (2018).
Dhuha Ramadhani (lahir 23 Februari 1995, di Jakarta) adalah seorang pembuat film dan kurator. Menyelesaikan pendidikan sarjana di Departemen Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia. Anggota Forum Lenteng, aktif sebagai partisipan Milisifilem Collective dan 69 Performance Club. Sejak 2018, ia menjadi kurator program Candrawala di ARKIPEL – Jakarta International Documentary and Experimental Film Festival. Pada Juli 2019, ia mempresentasikan kuratorialnya di Asia Forum 3 for EXiS – Experimental Film and Video Festival 2019, Seoul, Korea Selatan. Film terbarunya adalah Jakarta Unfair (2016) dan Into The Dark (2018).
