{"id":9945,"date":"2019-08-16T03:45:22","date_gmt":"2019-08-15T20:45:22","guid":{"rendered":"https:\/\/arkipel.org\/?p=9945"},"modified":"2019-08-16T03:45:22","modified_gmt":"2019-08-15T20:45:22","slug":"art-experimentation-and-performativity","status":"publish","type":"post","link":"https:\/\/arkipel.org\/art-experimentation-and-performativity\/","title":{"rendered":"Art Experimentation and Performativity"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565901312508{margin-bottom: 0px !important;}”]\n
Moderator: Akbar Yumni Tindak-tindak mengakali kejumudan sistem sebenarnya adalah semangat mengembalikan agensi, atau keindividuan di tengah gerak yang mekanistik dari sistem yang mengabaikan peran subjek pada individu. Keindividuan tindak bromocorah<\/em> ini secara tidak langsung adalah sebuah tindak performatif, karena sebuah tindakan yang terus menerus untuk bisa lolos dari jeratan sistem untuk menegaskan dirinya, bergerak terus. Membayangkan performativitas, sebagaimana praktik seni pertunjukan (performatif), di mana ia adalah sebuah peristiwa (event<\/em>) ketimbang metode yang bisa di ulang-ulang secara reproduktif, karena objeknya adalah waktu dan spasialitas yang melingkupi seninya. Sifat spasialitas pada seni performatif tersebutlah yang kemudian menjadikan seni pertunjukan adalah seni peristiwa. Sebagaimana pembayangan peristiwa, ia sebenarnya bukan bentuk representasional, karena peristiwa sebenarnya adalah kehadiran (present<\/em>) itu sendiri. Ia selalu terkait pada ruang waktu secara serentak. Sebagaimana tindak para bromocorah<\/em>, kebersituasian (facticity<\/em>) yang membentuk performativitasnya, menjadikan seni dalam postulat ini bersifat selalu tumbuh dan melekat pada spasialitasnya.<\/p>\n Beberapa perkembangan kekinian, semangat bromocorah<\/em> semakin mengental. Misalnya dalam dunia seni hari ini, karena kemujudan dari sistem seni representasional yang dianggap sebagai gambaran dunia yang tidak lagi memantulkan kompleksitas realitas hari ini. Membayangkan bahwa bahasa representasional tidak lagi memadai dalam menggambarkan kompleksitas realitas hari ini, serta gambaran relung yang paling dalam dari personalitas dalam menegaskan diri dari sistem-sistem tanda yang baku, maka penggunaan seni performatif dengan watak yang non representasional adalah semangat untuk mendapatkan spasialitas peristiwa. Sebagaimana para bromocorah<\/em> yang selalu menolak kemujudan sistem, seni performatif juga untuk mengakomodir pengalaman-pengalaman non-bahasa (representasional), seperti pengalaman akan sensori sebagai basis yang paling individual dari akan pengalaman. Jangkauan akan kompleksitas realitas adalah sebuah peristiwa dan pengalaman, ketimbang penunggalan makna pada sistem representasional. Sistem representasional yang dimaksud menjadikan pengalaman akan masa lalu dan sejarah selalu terbuka dan beragam penunggalan sejarah dalam sistem kodifikasi dokumen dan arsip, selain spasialitas akan pengalaman lokal-global yang selalu diandaikan secara serentak.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565901399458{margin-bottom: 0px !important;}”]In a particular spatial, bromocorah<\/em> could be avant-gardists in terms of individuals who try to revive the meaning of subject or agency from the rigidity of the system. Therefore, these bromocorah<\/em> are always experimenting, and many innovative works are initiated by the spirit of bromocorah<\/em> in ‘outsmarting’ the system, even when the system has the ability to revise itself to anticipate its bromocorah<\/em>. Bromocorah<\/em> indirectly builds a situation outside the normal system, as the avant-gardists in the modern view who carried the spirit of novelty in shaping practices out of the prevailing artistic boundaries. But nonetheless, in the system that revises itself, and creates its bromocorah<\/em>, as the avant-gardists in their perpetual novelty in responding the new balance of the system. No wonder, Theodor Adorno viewed the avant-gardists as separated from the society, or mass culture. This is caused by the individual’s tendency from the thickening subject consciousness and the enthusiasm coming out of prevailing boundaries.<\/p>\n The acts to outsmart the rigidity of the system are actually the spirit of returning the agency or individuality in the mechanistic motion of the system that ignores the role of the subject in the individuals. Individuality of these bromocorah<\/em> acts is indirectly a performative act, as a continuous action to get away from the system to assert themselves, keeps on moving. Imagining performativity, as the practice of performance art, where it is an event rather than a method able to be repeated reproductively, because the object is time and spatiality that surrounds the art. It is the spatial nature of the performative art that makes performance art as event. As the imagining of event it is not a representational form, because the actual event is the presence itself. It is always related to time and space simultaneously. As the acts of the bromocorah<\/em>, the facticity creates its performativity, binding art in this postulate to grow and attached to its spatiality.<\/p>\n In the recent developments, the spirit of bromocorah<\/em> is thickening. For instance, in the art scene today, as the rigidity of the system of “representational” art that is considered as a depiction of the world no longer reflects the complexity of reality today. Imagining that representational language is no longer capable to depict the complexity of reality, and the deepest depiction of the niche of the personality in asserting itself from standard sign systems, then the use of performative art with non-representational characteristics is a spirit to achieve the spatiality of event. As the bromocorah<\/em> constantly rejects the rigidity of the system, performative art is also to accommodate non-language (representational) experiences, such as sensory experiences as the most individual basis of an experience. The reach of the complexity of reality is within an event and experience, rather than the singularity of meaning in a representational system. Such a representational system makes the history and past experiences constantly open, while various historical consecrations in the codification system of documents and archives, in addition to that of spatiality about local-global experience, are always concurrently envisioned.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Panelist” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9946″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901501178{margin-bottom: 0px !important;}”]Tonny Trimarsanto<\/strong><\/em> adalah seorang pembuat film dan fasilitator lokakarya film. Banyak film dokumenternya telah diputar di berbagai festival film internasional dan memenangkan banyak penghargaan. Ia menerima penghargaan Penata Artistik Terbaik di Indonesia Cine Club Festival untuk film Daun di Atas Bantal (Garin Nugroho, 1997). Setelah sukses, Tonny Trimarsanto mulai masuk ke film dokumenter dengan film pertamanya My Cloth Like a Rainbow<\/em> (2001). SERAMBI (2005) \u2014sebuah film kolaboratif oleh empat sutradara \u2014 adalah film dokumenter fitur pertamanya, diputar di sesi Un Important Regard di Festival De Cannes<\/em> 2006. Renita, Renita (2006) juga menerima banyak penghargaan. Bulu Mata (2016) dianugerahi Piala Citra di Festival Film Indonesia (FFI) 2017.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901520258{margin-bottom: 0px !important;}”]Tonny Trimarsanto<\/strong><\/em> is a filmmaker and film workshop facilitator. Many of his documentary films have been screened in various international film festivals and won many awards. He received the Best Art Director award at the Indonesia Cine Club Festival for the film Daun di Atas Atas (Garin Nugroho, 1997). After the success, Tonny Trimarsanto began to get into the documentary with his first film My Cloth Like a Rainbow (2001). SERAMBI (2005) \u2014a collaborative film by four directors \u2014 was his first feature documentary film, screened in Un Certain Regard session at the 2006 Cannes Festival. Renita, Renita (2006) also received many awards. Bulu Mata (2016) was awarded the Citra Cup at the 2017 Indonesian Film Festival (FFI) (2017 Indonesian Film Festival).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9947″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901574908{margin-bottom: 0px !important;}”]Irwan Ahmett<\/em> <\/strong>merupakan seorang seniman dari Jakarta yang menggunakan seni sebagai medium untuk membicarakan isu-isu sosial dan mempertanyakan sifat interaksi manusia. Karya-karya Irwan seringkali merupakan kegiatan kolaborasi dan intervensi yang melibatkan partisipasi publik. Selama periode tersebut Irwan aktif melakukan proyek dan kampanye independen seperti: Change Yourself, Cemeti Art House, Yogyakarta (2004-2006); Happiness, ruangrupa, Jakarta (2007-2008) dan Urban Play, DGI Online, Jakarta (2010-2011). Irwan aktif menjadi pembicara dalam berbagai kesempatan seperti: TEDx Jakarta, The Versatile Image International Conference Sunderland University UK, Electric Palm Tree on The Road Den Haag, Netherlands. Sepanjang 2011, Irwan berkelana dan berkolaborasi dengan komunitas dan warga lokal untuk menghasilkan karya seni di tiap negara yang ia kunjungi; seperti Belanda, Inggris, Polandia, Turki dan Iran\u2014sembari terlibat dalam residensi di sana.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901593708{margin-bottom: 0px !important;}”]Irwan Ahmett <\/strong><\/em>is an artist from Jakarta who uses art as a medium to raise\/talk about social issues and question the nature of human interaction. Irwan’s works are often in the form of collaborative activities and intervention involving public participation. On those periods, Irwan actively carried out projects and independent campaigns such as: Change Yourself, Cemeti Art House, Yogyakarta (2004-2006); Happiness, ruangrupa, Jakarta (2007-2008) and Urban Play, DGI Online, Jakarta (2010-2011). Irwan is also active as a speaker on various occasions such as: TEDx Jakarta, The Versatile Image International Conference Sunderland University UK, Electric Palm Tree on The Road Den Haag, Netherlands. Throughout 2011, Irwan traveled and collaborated with communities and local residents to create artworks in each country he visited; the Netherlands, Britain, Poland, Turkey and Iran – while involved in residency there.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9948″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901721471{margin-bottom: 0px !important;}”]Jasmine Nadua Trice<\/strong><\/em> adalah seorang Asisten Profesor Studi Sinema dan Media di University of California, Los Angeles, tempat ia meneliti dan mengajar sinema Asia, media transnasional, budaya film urban, dan exhibition\u00a0and moviegoing<\/em>. Bukunya, Speculative Publics: Cinema Circulation\u00a0and Alternative Film Culture in Manila, Philippines<\/em>, berada di bawah kontrak dengan Duke University Press. Dari 2016-2018, ia adalah Co-Investigator dari ” Southeast Asian Cinemas Research Network (SEACRN)): Mempromosikan Dialog Lintas Praktek Kritis dan Kreatif,” yang didanai melalui Arts and\u00a0Humanities Research Council (UK) (Inggris). Karya akademisnya telah diterbitkan di Asian Cinema<\/em>, the\u00a0International Journal of Cultural Studies<\/em>, the\u00a0Quarterly\u00a0Review of Film and Video<\/em>,\u00a0Feminist Media Studies<\/em>,\u00a0Projector: Journal of Media\u00a0and Culture,<\/em>\u00a0and\u00a0Feminist Media Histories<\/em> Saat ini ia sedang mengerjakan collaborative oral history project on film organizing in Southeast Asia and a monograph on diasporic moviegoing in the U.S.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901741434{margin-bottom: 0px !important;}”]Jasmine Nadua Trice<\/strong><\/em>\u00a0is an Assistant Professor of Cinema and Media Studies\u00a0at the University of California, Los Angeles, where she researches and teaches\u00a0on Asian\u00a0cinemas,\u00a0transnational media, urban film cultures, and exhibition\u00a0and moviegoing. Her book,\u00a0Speculative Publics: Cinema Circulation\u00a0and Alternative Film Culture in Manila, Philippines<\/em>, is under contract with\u00a0Duke University Press. From 2016-2018, she was Co-Investigator of the \u201cSoutheast Asian Cinemas Research Network (SEACRN): Promoting Dialogue\u00a0Across Critical and Creative Practice,\u201d\u00a0funded through the Arts and\u00a0Humanities Research Council (UK). Her academic work has been published in\u00a0Asian Cinema<\/em>, the\u00a0International Journal of Cultural Studies<\/em>, the\u00a0Quarterly\u00a0Review of Film and Video<\/em>,\u00a0Feminist Media Studies<\/em>,\u00a0Projector: Journal of Media\u00a0and Culture,<\/em>\u00a0and\u00a0Feminist Media Histories<\/em>. She is currently working on a collaborative oral history project on film organizing in Southeast Asia and a monograph on diasporic moviegoing in the U.S.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_text_separator title=”About the Moderator” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8101″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901797699{margin-bottom: 0px !important;}”]Akbar Yumni<\/em>\u00a0<\/strong>(Jakarta, 1975) adalah kritikus, kurator filem, dan anggota Forum Lenteng. Ia adalah Pemimpin Redaksi\u00a0Jurnal Footage<\/em>\u00a0(www.jurnalfootage.net)<\/a>. Sedang menempuh pendidikan Filsafat di Sekolah Tinggi Filsafat Driyarkara, Jakarta. Ia juga bekerja sebagai peneliti lepas di Dewan Kesenian Jakarta. Saat ini ia tengah mengerjakan proyek performan dan arsip filem-filem yang hilang di era kekuasaan otoriter.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565901809712{margin-bottom: 0px !important;}”]Akbar Yumni<\/strong><\/em>\u00a0(Jakarta, 1975) is a film critic and curator, and a member of Forum Lenteng, as well as Editor in Chief of Jurnal Footage (www.jurnalfootage.net<\/a>). He studies Philosophy at Sekolah Tinggi Filsafat Driyarkara, Jakarta. He is also a freelance researcher at Jakarta Arts Council. He is currently working on a performance project and archives of the lost films in the authoritarian era.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" As the bromocorah constantly rejects the rigidity of the system, performative art is also to accommodate non-language (representational) experiences, such as sensory experiences as the most individual basis of an experience.<\/p>\n","protected":false},"author":1,"featured_media":9474,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,307],"tags":[526,528,300],"jetpack_publicize_connections":[],"yoast_head":"\n
\n<\/strong>Panelists: Irwan Ahmett, Tonny Trimarsanto, Jasmine Nadua Trice
\n<\/strong><\/p>\nMonday, August 20, 2019 | 09:00 | GoetheHaus<\/h5>\n[\/vc_column_text][vc_empty_space][vc_text_separator title=”Abstrak \/ Abstract” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565901386239{margin-bottom: 0px !important;}”]Dalam spasial tertentu, bromocorah<\/em> bisa jadi para avant-gardisme dalam pengertian para individu yang mencoba membangkitkan kembali makna subjek atau agensi dari kejumudan sistem. Tidak heran, para bromocorah<\/em> selalu melakukan eksperimentasi, dan banyak karya-karya inovatif diawali oleh semangat bromocorah<\/em> dalam \u2018mengakali\u2019 sistem, meski kemudian sebuah sistem selalu bisa merevisi dirinya sendiri membentuk sistem yang baru untuk mengantisipasi para bromocorah<\/em>-nya. Bromocorah<\/em> secara tidak langsung membangun situasi di luar normal sebuah sistem, sebagaimana para avant-gardisme dalam pandangan modern yang selalu mengusung semangat kebaruan dalam membentuk praktik- praktik yang keluar dari batas artistik yang berlaku. Namun tetap saja di dalam perkembangan sistem yang selalu memperbaharui dirinya sendiri, dan kemudian juga selalu memunculkan para bromocorah<\/em>-nya, sebagaimana avant-gardisme dalam kebaruannya yang terus menerus dalam menyikapi keseimbangan baru sistem. Tidak heran, Theodor Adorno memandang bahwa avant- gardisme sering kali terpisah dari masyarakat, atau budaya massa. Ini disebabkan oleh kecendrungan individual dari kesadaran subyek yang mengental dan semangat yang keluar dari batas-batas yang berlaku.<\/p>\n